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JAZZ HISTORY FEATURE ArtArt Blakey,Blakey, PartPart 22

Interviews KarenKaren BorcaBorca

Carmen Carmen LundyLundy Jazz Standard, February 22--25

Dianne Dianne ReevesReeves Jazz At Lincoln Center, February 9--1010

Nicholas Nicholas PaytonPayton Dizzy’s Club, February 22--25 Dizzy’s Club, February 22

PHOTOs JaleelJaleel ShawShaw Jazz Standard, February 20--21 HaroldHarold MabernMabern Small’s, February 21 BillyBilly

Comprehensive DirectoryDirectory of NY Club, Concert HartHart AppearingAppearing atat JazzJazz Standard,Standard, FebruaryFebruary 88--11,11, 20182018 Spectacular Jazz Gifts - Go To www.JazzMusicDeals.com

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COVER-2-JI-15-12.pub Wednesday, December 09, 2015 15:43 page 1 MagentaYellowBlacCyank Eric Nemeyer’s

Jazz Inside Magazine ISSN: 2150-3419 (print) • ISSN 2150-3427 (online) January-February 2018 – Volume 8, Number 11

Cover Photo (and photo at right) of Billy Hart 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 4 Billy Hart INTERVIEWSINTERVIEWS 20 Karen Borca by Ken Weiss CLUBS, CONCERTS, EVENTS Jazz History FEATURE 6 Nicholas Payton CD REVIEWS 13 Calendar of Events 29 Art Blakey, Part 2 by John R. Barrett 8 Carmen Lundy 12 John A. Lewis; Thelonious Monk 18 Clubs & Venue Listings 10 Dianne Reeves PHOTOS 29 Jaleel Shaw

36 Harold Mabern

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Feature

BillyBilly HartHart Appearing at Jazz Standard, February 8-11 Photo © Eric Nemeyer

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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 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com 5 JI: Well, e.e. cummings said: “To be nobody but yourself in a world which is doing its best, night Interview and day, to make you everybody else means to Interview fight the hardest battle which any human being can

fight; and never stop fighting.”

NP: Yeah, that’s really true, and it has to be a sol- Nicholas Payton emn reward for you. You can’t necessarily do it expecting that this or that will happen necessarily. “Following through with what you believe” A lot of people, a lot of times just won’t get it. Often times you will suffer a great deal, because it’ll make other people feel uncomfortable about Nicholas Payton cause the band serves as a pad underneath my ide- their ineptitude; their unwillingness to be authentic. Jazz At Lincoln Center, Dizzy’s Club as. If you speak about what’s true and how things February 22-25 really are, that can make people very uncomforta- JI: Could you talk about some of the mentors with ble, and you run a risk of not necessarily being too whom you’ve played, who may have shared with liked. It’s another thing entirely to deny what you NP: I’ve been doing some things with my own you some advice or words of wisdom? felt to be true in your heart, to do something for group, a couple of European joints, did Asia, did someone else’s sake for some kind of other gain, be some stuff in New York. Last weekend I did a NP: Years ago I was hanging out with Elvin Jones it monetary or whatever, and then to not have to festival in Kansas City. So I’ve been pretty active when I was in this band. It was my first extensive come through … also having to deal with the fact with my band and doing some other things as well tour through Europe. On the planes they would that you weren’t true to who you were. You know, … some teaching things. I did a residency at Thelo- give you a meal and these miniature bottles of that’s something I’m just not willing to do. I don’t nious Monk Institute … did some things over the wine. I thought it was kind of hip, so I started col- care how rough it gets. I’ve dealt with a lot of stuff. summer as well, like a Stanford jazz workshop, and lecting them. I didn’t drink at the time so I would some other stuff. I completed a record, a vocal put them in my trumpet case. Elvin noticed that I JI: Talk about your commitment to quality and record—my first vocal album with some special was collecting these wines. So, one morning, at integrity. guests. It’s the first project on which I’ve actually like 6:00 AM, at the airport or something, he asked, played all the instruments throughout the recording “Hey, you got those wines?” I said “Yeah!” He NP: For me good enough is not good enough. I’m - piano, bass, drums, drum machine, various key- said “Come follow me to the bathroom.” So he always seeking to try to push forward. I’m not boards. asked me for the wine. I’m thinking “OK.” He afraid to get my hands dirty - to do what’s required cracks one open and he said, “Aren’t you going to in order to try to create great art, what I feel is great JI: What was the process in moving from concept drink some?” I said, “No, I don’t really drink.” And art. I just feel like a lot of people within this indus- to sound? he kind of stared at me, like just kind of scowled. try believe that good enough is OK. You know the He was like, “Hmm. Somethin’ ain’t right about amount of mediocrity that is passable or that’s NP: Well when I did my record, Into the Blue, I somebody who don’t do nothing wrong.” That put acceptable, is disturbing. had just bought a home studio set up. It was the a lot on my mind—just thinking about living in a first time I went into the studio having supplied society, particularly in a genre of music whose JI: Could you talk about leadership? musicians with instrumental demos of the material. boundaries have become so stiff in terms of the I found it to be quite cool because as opposed to people and the expectations of what one is sup- NP: You have to know yourself in order to lead sheets of music, they came into the session with a posed to do. Maybe even the larger question is, others. I think once you have a firm understanding sound and a vibe. So a lot of stuff didn’t have to be what is the right behavior versus wrong and all and a direction you want to go in, and you have talked about. When you’re dealing with a feel, a these different things. What I took from it was that your feet firmly planted there, people will naturally lot can be lost in translation with words. So the someone who is always catering to some idea of follow. I don’t believe that you have to rule people feel of the project was already imbued in the de- righteousness, and not ever stepping out on a limb, with an iron fist or hover over others. In fact, I don’t like to run my band like that. The reason I have a band and have other musicians is that they have other voices and experiences that they can “the closer you get to what it is you bring into my music to make it more dynamic. I don’t want clones of me on every instrument. I are trying to actually do … the struggle want a music that’s multi-layered, that’s flexible, and that might go in directions that I may not have thought of. If you tell people too much about what becomes bigger … there is the temptation to do, they develop all kinds of complexes. I just don’t find that it creates a good energy. If you have to give up at a time where you actually to start talking a lot about what you want out of this and from that, then I think its time to find somebody else to do that job – someone who is more in might be upon your biggest breakthrough.” sync with what you’re hearing and what you’re looking for … as you progress and there becomes mos. After that project one of the cats in the band to take a chance and to be daring, or maybe to fail, more resistance. Perhaps the closer you get to what was like, “Well man you don’t need us, you know? or maybe to do something that is wrong out in the it is you are trying to actually do, the realness fac- You could make a record yourself.” And it’s some- field – then you’re not really living. That’s some- tor, the authenticity factor, the struggle becomes thing I had done on a couple tracks on previous thing I learned from the experience of working bigger. So, there is the temptation to give up at a records. with him, and seeing how he lived life, and being time where you actually might be upon your big- true to who you are as an artist. The older I get, the gest breakthrough. You just have to remain stead- JI: Talk about playing with a big band versus a more and more I see that that is a rare thing. You fast and keep pushing ahead at all costs. You’re small group. know, there are very few people who are willing to greatest joys are only such because you also had to follow through with what they really believe if it endure great challenge. NP: Well, it depends if I am playing in a section or seems [to others] like it’s not the right thing to do, functioning more as a soloist. If I’m a soloist, if it seems completely wrong.    things don’t really change too much for me, be-

6 January-February 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 AminaAmina FigarovaFigarova Hear Amina at Dizzy’s Club at Jazz At Lincoln Center January 29

To Advertise CALL: 215-887-8880 January-February 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com 7 those that you try to embody in your own creative pursuits?

InterviewInterview CL: My influences have not only been vocal - John

Coltrane, Miles Davis, Billie Holiday, Sarah Vaughn, My Mother. I grew up in the church, and that has always influenced me and my music great- Carmen Lundy ly.

“To thine own self be true” JI: Talk about the importance of learning melodies and maintaining the integrity of the original composer’s intent as you interpret a song. Carmen Lundy from observation. All the great composers in Jazz Jazz Standard and Film. The end result is the way in which I re- CL: Honor the composer’s melody, then do your February 22-25, 2018 ceive their ideas spiritually. own thing.

JI: What are some of the processes you go through JI: What is it that you want from your accompa- Carmen Lundy: It’s an inspiration playing with or sources of motivation you experience when you nists that will enable you to soar in your perfor- like minded musicians who bring everything to the are composing? mances and recordings? music. Heart, soul, virtuosity, authenticity, grit, elegance, experience, spontaneity, genius, all CL: Sources of inspiration are based in real life CL: Play with confidence. Never second guess things jazz. I spread my wings and soared under the experience and true emotions — loneliness, suffer- your choices. Listen to one another! safety of players who know how to swing – my ing, loss, joy, sadness, finding love, being in love, pianist Anthony Wonsey, Kenny Davis on bass, the meaning of freedom. Fantasy. JI: What jazz recordings initially inspired your and the young and energetic Jamison Ross on pursuit of this creative path? drums. JI: How has your work as an educator - conducting Master Classes and clinics — challenged, bolstered CL: Anything Herbie, Everything Ella, Sarah, Jazz Inside: Talk about your new recording or otherwise influenced your creative pursuits? Anything Miles. Everything Jobim. “Changes” and how the creation might have challenged or stretched you. CL: When I teach, I learn. While I share my ideas, JI: What have you discovered about the business I remain open and receptive to the concepts re- side of the music as a result of your associations JI: Could you tell us about some of the noteworthy vealed by those developing artists who respectfully with venues, managers and so on? discussions that you may have had, or wisdom you share the journey of musical discovery. I met my picked up from some of the artists with whom you drummer Jamison Ross this way – he’s one of the CL: We the artists make the music. The business have performed - Kenny Barron, Ron Carter, Jim- young, gifted players coming through Betty of music is nothing personal — it’s important to my Cobb, others? Carter’s Jazz Ahead Program at The Kennedy Cen- separate the two. ter in Washington, D.C., where I have been on the CL: So many great musicians have offered support faculty for the past 12 years. Very inspirational. JI: What do you say to fans who are curious about and teaching through their art over the years. The improvisation and what the process is about? lesson learned? To thine own self be true. JI: How do your musical pursuits influence your visual art, in which you work as a painter in oils on CL: One must be a willing participant. Go out and listen to live music and become an integral part of how this music develops. Do not take the critics word as gospel. In my early years, I was out at the clubs listening to anything and everybody and sit- “One must be a willing ting in at any opportunity.

JI: What do you do to recharge your batteries or participant. Go out and listen decompress?

CL: Think. Create. I work on my paintings and to live music and become an other mixed media to get into that other zone, that other creative space. I love working on the piano, but I’ve also taught myself to play lots of instru- integral part of how this music ments – I have a huge collection of musical instruments in my studio – guitar, bass, harp, trumpet, trombone. Learning to play makes me appreciate what it takes to really master something. develops. Do not take the JI: Is there anything you’d like to talk about that I haven’t prompted you about? critics word as gospel.” CL: Especially at this time, everyone – fans and promoters alike - must be open to allowing the JI: You’ve composed a number of compositions canvas, and vice versa? repertoire to expand and grow in this 21st century. for this album and your compositions have been There is room for the new Jazz Standard, the New appeared on TV and in film. Could you discuss the CL: Color = Sound. Lines and Spaces = Form. Songbook, and we should embrace it! composers whom you have studied and how they Emotions = Content. have influenced your creative process? JI: Could you discuss several of your vocal influ-    CL: I have learned from listening. I have learned ences and the wisdom you have discovered among

8 January-February 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 To Advertise CALL: 215-887-8880 January-February 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com 9 just be one sound. When certain harmonies are put by me, I respond to them. Or if I work with a dif- Interview ferent pianist, I respond to that. And Clark always Interview liked that I was different with everybody that I

sang with.

JI: When Miles Davis was going through some Dianne Reeves changes between Hank Mobley and John Coltrane, he had Sonny Stitt. And as great a player as Stitt “The culture of the music has inspired me” was, he was playing his stuff. It was unlike the rest of Mile’s concept – it was a constantly changing amoeba-like organism – like, if Wynton Kelly was Dianne Reeves teeth into, and secondly, something that releases going one way, Hank Mobley would go with Jazz At Lincoln Center their own personality. Duke Ellington was great at him… February 9-10, 2018 that. He was able to take people’s strengths and weaknesses, and turn it into something great. We DR: Exactly! And I think that’s the essence. as musicians have to interpret the songs and the When I first started out working, Billy and I used Interview by Eric Nemeyer interpretation can be so different one to the next. to have this group together out in the beach area. It Photo: Courtesy Dianne Reeves Being able to trust that and have that, makes the was a place where the owner didn’t care what you arrangement change. played and how many people came in because he JI: You mentioned spirituality and I wanted to didn’t pay you (laughs). But it was a cool thing know if you could comment about how your jour- JI: Like you’re saying, when you’re playing with because you could pass a hat and after a while, we ney has enabled you to discover the things that go really great players, and you’re surrounding your- started making big money…which would pay for beyond just the physical and into the spiritual in self with people who are sensitive and in the mo- the gas! At the time, Larry Klein was in the band, regards to the music? ment and have those tools, in much the same way and Billy, myself and drummer that came from the you or I create a conversation using the English Latin tradition and we would create this music. DR: Part of it is. When you’re working with mu- language, the English language is just the lan- The whole concept was to write, arrange and then sicians that really have all their tools in order that guage. You want to forget about the words and the we would take this music as far as we could. is a big thing, because they don’t rely on what they meanings, and you want to convey an energy. Sometimes, we couldn’t even get back, we’d be think – they rely on what they feel. They also rely gone so far. It was a great experience because it on the connection that happens when you bring DR: Exactly! I loved Betty Carter for that. The gave us an opportunity to keep having that thing people together. I remember when I first started very first time I saw her, I had a totally religious that keeps inspiring one another and try different singing, Clark Terry took me under his wing, and experience—it just wrecked me for a month. I things. I think from that, it was the thing that al- he would put me in these situations with these walked around kind of weeping. I had never seen lowed me to sing any kind of music or even per- musicians that, at the time, I didn’t know who they anything like that. Because it was something that I form with anybody. were. I certainly do now, but he would stick me in aspired to do and it existed and I couldn’t believe the middle and I had my little arrangements and it. Basically, the musicians were an extension of JI: In addition to Clark, you’ve worked with some one of the things that I realized was, “Wow! her sound and they were co-creators on stage, and of the greats in Jazz like Harry “Sweets” Edison, They’re talking with each other and I’m not in on I thought, “Oh my god, how do you create that?” Phil Woods, Kenny Barron. Can you share some the conversation!” And I wanted to be in on that. highlights with working with such people, or more That “thing.” And that thing comes with trust and JI: As you had mentioned, Clark Terry became a specifically, any ideas, or wisdom, or observations knowing the other person musically. You can tell mentor early on in your career. Can you talk about that you made that expanded your awareness that where somebody is at when you jump down in the kind of discussions or advise that you received, expanded your musical direction or artistry? there. They have this call and response; they have or opportunities that he may have helped develop all of these things going on, and I was just singing for you? DR: When I worked with Sweets and Joe Wil- down in front and I said, “I don’t want to be a liams, Clark on the Grand Encounter record, the singer with a back-up band, I want to be involved DR: It wasn’t so much what he said, as much as thing that taught me volumes more than anything, with the band.” So, from very early on, I just knew all the things that he did and all the places that he was the life and the music were the same. Back that it was really important to do that. One of the would present me. One of the biggest things was I then, I looked at all those guys – they were old, but ways that I find is – even when you’re writing was so eager to improvise and he would always they were young. You’d ask them how old they were and they’d say, “Eight!” and I believed it! I had the opportunity to work with Dizzy and it was “I was so eager to improvise and he would always the same thing. The stage is a sacred place – like a holy place where you can experience such a eu- say to me, ‘You know, you have to learn the phoria that you can’t have anywhere else. I can be wearing shoes that are just killing my feet and I walk on stage and they just don’t hurt. I look at melodies first and you have to sing the lyrics.’” Clark and Oscar Peterson – there was such a joy about what they did, to me, beyond the music. It arrangements—I work a lot with Billy Childs; say to me, “You know, you have to learn the melo- has to be a great love. One of the things that I wish we’ve known each other since we’re nineteen— dies first and you have to sing the lyrics.” What I that I had in that session was just a tape recorder and he knows the kinds of things I like to sing got from him was, the building block of improvi- just to have captured all the stories because they over. He’ll write something that sounds very com- sation was phrasing. I don’t view myself as an were just unbelievable. Some of them were just the plex, but really it’s just this wonderful atmosphere entertainer, but I think that my music is entertain- rudest and nastiest stories (laughs), but they were that he puts me in and allows me to improvise. If ing. I think it is because all of those things are great because they were life stories, and I loved it. it’s an orchestra, since we can’t change the form of there and Clark really showed me how to do that. I loved the whole experience. The culture of the the song, he gives me things that allow me to cre- One of the things that I found with the voice— music has inspired me more than anything and ate vertically, I always say. It changes every time, which is why I loved Sarah Vaughn so much—is respect they have for one another. so it’s always fresh and it’s always new. I think that with the voice, you can really refine your that one of the things about arranging, is firstly, sound. And there’s so many things that the voice    giving people something that they can sink their has possibilities of doing and it doesn’t have to

10 January-February 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 (CD Reviews — Continued from page 12)

In”, “Well, You Needn’t”, and of course “Georgia Brown”. Gales is extra-facile, with Monk humming along to his beat, and the crowd gives its thanks. “Epistrophy”, normally heard as a minute-long closer, here gets a full treatment: Charlie is brusque, twisting a phrase in many directions. It’s busy but uneventful; Monk fares better, with stark notes, hammered hard and echoing loudly. This mood is brief and returns to the theme, which is drenched in enduring applause. This ranks among the best live Monk albums I’ve heard: tougher than normal, sharper than normal … and beautiful as always. The DVD covers a TV broadcast in Oslo, made a year later with the same cast. The picture is excellent; an annoying station logo stays in one corner throughout, but that’s the only distraction. Instead of a stage, they seem to be in a ballroom, an enormous tapestry on the back wall: this is no crowd and only two cam- eras, one for group shots and one up close. This simple arrangement ignores artifice and lets the band do its job – suffice to say, it does. Some floating dissonance leads us into “Lulu’s Back in Town”, played slower than usual. The theme is straightforward, with few real Monk-isms; in comes Rouse, exuding power and confidence. Monk stands up and slowly spins in place, gazing at Charlie with intense concentration. (This is where the sax picks up: Rollins-like phrases, with a few squeaks thrown in.) Monk’s solo has a strict pattern: prim on the bridge, explorative on the theme. The camera gets right up in the keys, showing every nuance and quirky note choice. Riley’s brushwork is given the same treatment; he moves mountains with just a bass drum, one snare, and two cymbals. Rouse’s return is super-strong, the finish is proud – and your eyes have feasted. In an instant the pianist moves on to “Blue Monk”, with no obvious sign to the others. (Watch Riley frantically choosing between brushes and sticks.) Charlie is now laconic, letting Monk fill the silence with sour- balls (including a quote of “Straight, No Chas- er”.) As he proceeds, Rouse moves closer to Coltrane; Monk’s turn is a series of chords, banged in harsh precision. Another quote (of “C-Jam Blues”) lasts for a chorus, during which we get another close-up on the fingers. Gales is studious on his solo, better than his effort on “Lulu”; Riley is martial and merry. “’Round Midnight” comes right after, the standard opening barely hinted at. Charlie is direct, with a burnished tone; Monk adds comments all over. Rouse’s solo is the best of the set, swirling fast and honking hard; Monk’s bit is short but effective. The whole film is succinct but satisfying: if there were any faults, it is a wish for color, or that the broadcast be longer. This package proves what hardly needed saying: give Monk the right group and the right audience, and he will do no wrong.

  

To Advertise CALL: 215-887-8880 January-February 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com 11 “Complicity,” with a down and dirty By John R. Barrett “Mercy, Mercy”-like dose of blues. Gillett and Trusko provide the exactly For a multitude of reasons, this was the best of CDCD ReviewsReviews appropriate accompaniment – never all worlds. Charlie Rouse had been in the group intruding, always supporting - to seven years; with more success than anyone else, complement the simplicity of Lewis’ melody and Rouse could take these prickly tunes and give them solo that follows. his own personality. Monk recognized this, and Bassist Trusko and Gillett are all alone on gave him space to explore – the comps here are “Bylines” – which is a brief one-minute musical simpler than in past years, though still pungent. excursion. Highlighted by changing tempos, it Around them was one of Monk’s strongest rhythm includes a brief walking bass groove, abstractions sections, perhaps ever: bass solos, rare on his previ- and angularity that characterize its brevity. ous efforts, are numerous and buoyant. On top of “Liable” is a more up-tempo piece with a all else, you can’t forget the venue: an immense swinging groove – modally based with extended crowd, cheering madly as it begins … and they all John A. Lewis harmonic rhythms. Lewis serves up a combination turn stone-silent from the moment Monk plays. of block chords interspersed with brief melodic This is the proper audience for Thelonious – and THE BACKSTORY — Valarteri #10. phrases – an earmark of his approach. for the next hour, the pianist reciprocates. JohnALewisJazz.com. Backstory; Deadline; “Precocity” is another Lewis original that With a minimum of fuss, “Rhythm-A-Ning” Kacked; Complicity; Bylines; Liable; Precocity; suggests his affinity for Thelonious Monk – with gets the ball rolling: Rouse is burly with the theme, Excerpt from the “Ancient Dance Suite”; What his use of space, brief melodic fragments punctuat- accented by Monk’s left hand. Come the solo, Say; A Cautionary Ruse. ed by block chords expressed with more forceful Charlie shifts to a nervous hum, shuffling three PERSONNEL: John A. Lewis, piano; Robert dynamics to end the phrases. Trusko gets a few notes as Monk hits a tremolo. While sticking to this Trusko, bass; Merik Gillett, drums. moments to solo, backed sparingly by Lewis’ approach, Rouse then darkens his tone, coming chords. close to Dexter Gordon; Gales’ breezy walk is the By Clive Griffin Lewis’ Excerpt from the “Ancient Dance perfect counterpoint. Monk’s first chorus pulses Suite” is an introspective and all-too-brief ballad, hard in the lower register: later on he quotes The Backstory is the ninth independently- on which the composer delivers a magnificent, “Thelonious”, “Well, You Needn’t”, and thumps released album, an eclectic mix of jazz and blues uncomplicated solo statement wicked tone clusters. Gales’ effort blends fast sin- by John A. Lewis a lifelong Texan, hailing from “What Say” is a straightforward, laid back, gle notes with woody strums – some chorded stuff Dallas. This latest effort appears on his Valarteri medium groove minor blues, with the drive power- near the end is charming. And Riley simply erupts: label and is an excursion through ten original com- fully underscored by Trusko’s bass. splashy snares, lengthy rolls, quotes of “Salt Pea- positions by the leader – and follows his most re- It would be interesting to hear pianist John A. nuts” … all here, and all good. cent recording One Trip Out, which reached num- Lewis performing several standards on his next The applause still rains, but Monk can’t wait: ber eight on the CMJ chart. outing. That would enable listeners to enjoy his alone, crafts a choppy “Body and Soul”, where the Like many other musicians, John A. Lewis is unique perspective in interpreting some of the rep- harmonies add depth … and menace. His stride- not an upstart or novice when it comes to exposure ertoire that committed jazz fans often use to gain work is on full display, plus a near-quote of to jazz. He was surrounded by the music and the clarity on how the given improviser fits into the “Monk’s Mood” – two minutes, but that’s all it music business from an early age. His father John lineage of artists – especially since Mr. Lewis needs. Rouse is ready on “I Mean You”, a buttered Sr. and grandfather Howard Lewis booked, pro- acknowledges that his musical influences include tone that suggests Gene Ammons. The longer he moted and managed Dallas area musicians Etta Herbie Hancock, Chick Corea, Wayne Shorter and goes the tougher he gets – at one point he could be James, David Newman and James Clay. Not only classical composers Claude Debussy, Maurice Rollins. Monk plies him with dainty chords, barely was Mr. Lewis constantly around the music, he was Ravel and Eric Satie. That aside, The Backstory is a heard in the tumult; his own solo is lithe, gliding able to get up close with such influential musical polished set by a pianist and composer who has where Rouse chose to stomp. A churning refrain is artists as James Moody, Johnnie Taylor and Ray spent years pursuing the music he loves and is traced by Gales, who carries it on to his solo – Charles. Of course, his surroundings inspired his energetically devoted to continuing to create his excellent note choice, and subtle variations. Hear desire to make music and initially, Mr. Lewis was a own repertoire. ‘em whistle during Riley’s bit, and holler for trumpet player who studied at Mountain View Monk’s return: the crowd is respectful, but that Junior College and Southern Methodist University, won’t stop them enjoying the music. Nor will it gaining experience playing in Top 40 bands, and you. eventually switching his focus to piano. Nowadays, Another solo feature, this one “April in Paris”. John A. Lewis keeps his trio and quartet busy in (Actually, it was March, but who’s complaining?) the Dallas-Fort Worth area. A long-time staple of his repertoire, the arrange- “Backstory” opens the set at a comfortable ment stays close to the version on Thelonious Him- medium groove. Mr. Lewis punctuates the simple self; a trifle, but a good one. “Well, You Needn’t” theme with block chord jabs, closely voiced, with speeds it up a little: here Monk takes the theme, suggestions of Thelonious Monk and Herbie Nich- and Rouse keeps his distance. They take the first ols. He trades ideas with drummer Gillett before Thelonious Monk chorus together, and Thelonious recedes – Charlie returning to the melody. now sounds like Johnny Griffin, the man he re- Lewis maintains a medium groove for the MONK IN PARIS: LIVE AT THE OLYMPIA. placed in the saxophone chair. Monk walks down second track, “Deadline” and receives capable Thelonious Records TMF-9316. Thelonious Rec- the scale on this solo, then thumps loud as Rouse support from drummer Gillett and bassist Robert ords, 2603 Electric Avenue (Suite 4), Port Huron, gets stronger … they really had something going. Trusko, who also gets a moment in the sun with a MI 48060. Phone: 1-877- 666-5663. Fax: 810-987- High above his range, Rouse toots the theme brief bass solo. 1060. Website: www.monkzone.com. Rhythm-A- to “Bright Mississippi”, sounding like an alto … or The angular, dissonant theme, hinting at inspi- Ning; Body and Soul; I Mean You; April in Paris; a harmonica. The cymbals boil madly as Charlie rations from Thelonious Monk, and the twisting Well, You Needn’t; Bright Mississippi; Epistrophy; takes it slow; he shows grit on the second chorus, and unexpected rhythms of “Jacked”, are the foun- plus, on bonus DVD: Lulu’s Back in Town; Blue where he quotes “Sweet Georgia Brown” – and dation for the trio’s explorations. A solid medium Monk; ‘Round Midnight. betrays the tune’s origin. On most of the solo he’s groove, locked in by bassist Trusko and Gillett who PERSONNEL: Thelonious Monk, piano; Charlie in Johnny Griffin territory, with a hint of Ben Web- stay “home”, provide the leader, Lewis, with the Rouse, tenor sax; Larry Gales, bass; Ben Riley, ster; the crowd approves, as do I. Monks makes it freedom to explore the possibilities. drums. choppy, quoting all over the place: “Lester Leaps Lewis changes up the groove on (Continued on page 11)

12 January-February 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880

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 Pedrito Martinez Group, Dizzy’s Club, Jazz At Lincoln Center, 60th Monday January 8 & Bdwy  Gabrielle Stravelli & Billy Stritch, Birdland, 315 W. 44th St.  Goodman: King Of Swing ¬ The Anniversary Landmark Concert, Jazz  Latvian Radio Big Band, Dizzy’s Club, Jazz At Lincoln Center, 60th At Lincoln Center Orchestra With Wynton Marsalis, Music Director & Bdwy Victor Goines, And Clarinetists Anat Cohen, Janelle Reichman, Ken  Vanguard Jazz Orchestra, Village Vanguard, 178 7th Ave S. Peplowski, Ted Nash, January 11-13, 2018; Rose Theater, Jazz At  Mingus Big Band, Jazz Standard, 116 E. 27th St. Lincoln Center, 60th & Broadway.  BLUE NOTE  Tom Harrell, Trumpet, Danny Grissett, Piano, Ugonna Okegwo, Bass,  Ari Hoenig Trio; Jonathan Barber Group & After-hours Jam Session; Adam Cruz, Drums; Village Vanguard, 178 7th Ave S. Small’s, 183 W. 10th St.  Emmett Cohen Organ Quartet, Smokestack Jazz Brunch, 12pm-1:30 Pm, 116  Dr. Lonnie Smith with Smith Trio Jonathan Kreisberg - Johnathan Tuesday, January 9 Blake; Jazz Standard, 116 E. 27th St.  Vijay Iyer Sextet, Birdland, 315 W. 44th St.  Lee Konitz At 90, Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy  Tom Harrell, Trumpet, Danny Grissett, Piano, Ugonna Okegwo, Bass, Sunday, January 14 Adam Cruz, Drums; Village Vanguard, 178 7th Ave S.  Kurt Elling and Ann Hampton Callaway; Afro Latin Jazz Orchestra,  Baylor Project, Jean Baylor, Marcus Baylor, Keith Loftis, Terry Brewer, Birdland, 315 W. 44th St. Dezron Douglas; Jazz Standard, 116 E. 27th St.  Pedrito Martinez Group, Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy  Tom Harrell, Trumpet, Danny Grissett, Piano, Ugonna Okegwo, Bass, Wednesday, January 10 Adam Cruz, Drums; Village Vanguard, 178 7th Ave S.  Vijay Iyer Sextet, Birdland, 315 W. 44th St.  Dr. Lonnie Smith with Smith Trio Jonathan Kreisberg - Johnathan  Lee Konitz At 90, Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy Blake; Jazz Standard, 116 E. 27th St.  Tom Harrell, Trumpet, Danny Grissett, Piano, Ugonna Okegwo, Bass,  Joshua Redman Quartet With Aaron Goldberg, Reuben Rogers, Adam Cruz, Drums; Village Vanguard, 178 7th Ave S. Gregory Hutchinson; Blue Note, 131 W. 3rd St.  Baylor Project, Jean Baylor, Marcus Baylor, Keith Loftis, Terry Brewer,  Vocal Masterclass with Marion Cowings; Ai Murakami Trio feat. Sacha Dezron Douglas; Jazz Standard, 116 E. 27th St. Perry; Tap Dance Show with Michela Lerman; JC Stylles/Steve  Joshua Redman Quartet With Aaron Goldberg, Reuben Rogers, Nelson Hutcherson Project; Robert Edwards - After-hours Jam Ses- Gregory Hutchinson; Blue Note, 131 W. 3rd St. sion; Small’s, 183 W. 10th St.  Bill Goodwin Trio; Jamale Davis Sextet; Jovan Alexandre - After-hours Jam Session; Small’s, 183 W. 10th St. Monday, January 15  John Pizzarelli's Nat King Cole Centennial Tribute, Birdland, 315 W. Thursday, January 11 44th St.  Veronica Swift; Vijay Iyer Sextet, Birdland, 315 W. 44th St.  Rhoda Scott’s Lady Quartet, Dizzy’s Club, Jazz At Lincoln Center,  Pedrito Martinez & Alfredo Rodriguez, Dizzy’s Club, Jazz At Lincoln 60th & Bdwy Center, 60th & Bdwy  Vanguard Jazz Orchestra, Village Vanguard, 178 7th Ave S.  Goodman: King Of Swing ¬ The Anniversary Landmark Concert, Jazz  Mingus Big Band, Jazz Standard, 116 E. 27th St. At Lincoln Center Orchestra With Wynton Marsalis, Music Director  Keyon Harrold & Friends; Blue Note, 131 W. 3rd St. Victor Goines, And Clarinetists Anat Cohen, Janelle Reichman, Ken Peplowski, Ted Nash, January 11-13, 2018; Rose Theater, Jazz At Lincoln Center, 60th & Broadway. Tuesday January 16  Tom Harrell, Trumpet, Danny Grissett, Piano, Ugonna Okegwo, Bass,  John Pizzarelli, Birdland, 315 W. 44th St. Adam Cruz, Drums; Village Vanguard, 178 7th Ave S.  Igor Butman And The Moscow Jazz Orchestra, Dizzy’s Club, Jazz At  Dr. Lonnie Smith with Smith Trio Jonathan Kreisberg - Johnathan Lincoln Center, 60th & Bdwy Blake; Jazz Standard, 116 E. 27th St.  Tom Harrell, Trumpet, Jaleel Shaw, Alto Sax, Danny Grissett, Piano, Ugonna Okegwo, Bass, Joe Dyson, Drums; Village Vanguard, 178 7th Ave S. Friday, January 12  Jason Marsalis’ 21st Century Trad Band with Austin Johnson, Will  Birdland Big Band; Vijay Iyer Sextet, Birdland, 315 W. 44th St. Goble, Dave Potter; Jazz Standard, 116 E. 27th St.  Pedrito Martinez & Alfredo Rodriguez, Dizzy’s Club, Jazz At Lincoln  Keyon Harrold & Friends; Blue Note, 131 W. 3rd St. Center, 60th & Bdwy  Josh Evans Quintet; Abraham Burton Quartet & After-hours Jam  Goodman: King Of Swing ¬ The Anniversary Landmark Concert, Jazz Session; Small’s, 183 W. 10th St. At Lincoln Center Orchestra With Wynton Marsalis, Music Director Victor Goines, And Clarinetists Anat Cohen, Janelle Reichman, Ken Peplowski, Ted Nash, January 11-13, 2018; Rose Theater, Jazz At Wednesday, January 17 Lincoln Center, 60th & Broadway.  John Pizzarelli, Birdland, 315 W. 44th St.  Tom Harrell, Trumpet, Danny Grissett, Piano, Ugonna Okegwo, Bass,  Igor Butman And The Moscow Jazz Orchestra, Dizzy’s Club, Jazz At Adam Cruz, Drums; Village Vanguard, 178 7th Ave S. Lincoln Center, 60th & Bdwy  Dr. Lonnie Smith with Smith Trio Jonathan Kreisberg - Johnathan  Tom Harrell, Trumpet, Jaleel Shaw, Alto Sax, Danny Grissett, Piano, Blake; Jazz Standard, 116 E. 27th St. Ugonna Okegwo, Bass, Joe Dyson, Drums; Village Vanguard, 178  Joshua Redman Quartet With Aaron Goldberg, Reuben Rogers, 7th Ave S. Gregory Hutchinson; Blue Note, 131 W. 3rd St.  Sasha Masakowski - New Orleans Art Market, Cliff Hines, Chris  Joey "G-Clef" Cavaseno Quartet; George Burton Quintet; The Corey Bullock, Martin Masakowski, Peter Varnardo Wallace DUBtet "After-hours"; Small’s, 183 W. 10th St. Thursday, January 18 Saturday, January 13  La Tanya Hall and The Andy Milne Trio; John Pizzarelli, Birdland, 315  Veronica Swift; Vijay Iyer Sextet, Birdland, 315 W. 44th St. W. 44th St. (Continued on page 14)

To Advertise CALL: 215-887-8880 January-February 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com 13  Igor Butman And The Moscow Jazz Orchestra, Dizzy’s Club, Jazz At  Hypnotic Brass Ensemble; Blue Note, 131 W. 3rd St.  Smalls Showcase: Julius Rodriguez; Santi DeBriano Quartet; Freddie Lincoln Center, 60th & Bdwy  Tim Hagans Quartet; Freddie Hendrix Quartet; After-hours Jam Hendrix Quartet; Philip Harper Quintet; Small’s, 183 W. 10th St.  Tom Harrell, Trumpet, Jaleel Shaw, Alto Sax, Danny Grissett, Piano, Session with Joe Farnsworth; Small’s, 183 W. 10th St. Ugonna Okegwo, Bass, Joe Dyson, Drums; Village Vanguard, 178 7th Ave S. Sunday, January 21  Jenny Scheinman’s Mischief Mayhem, Nels Cline - Todd Sickafoose - Saturday, January 20  Afro Latin Jazz Orchestra, Birdland, 315 W. 44th St. Jim Black, Jazz Standard, 116 E. 27th St.  Eric Comstock and Sean Smith; John Pizzarelli, Birdland, 315 W.  Benny Benack Iii: “One Of A Kind” Album Release Party, Dizzy’s 44th St. Club, Jazz At Lincoln Center, 60th & Bdwy  Igor Butman And The Moscow Jazz Orchestra, Dizzy’s Club, Jazz At  Tom Harrell, Trumpet, Jaleel Shaw, Alto Sax, Danny Grissett, Piano, Friday, January 19 Lincoln Center, 60th & Bdwy Ugonna Okegwo, Bass, Joe Dyson, Drums; Village Vanguard, 178  Birdland Big Band; John Pizzarelli, Birdland, 315 W. 44th St.  Tom Harrell, Trumpet, Jaleel Shaw, Alto Sax, Danny Grissett, Piano, 7th Ave S.  Igor Butman And The Moscow Jazz Orchestra, Dizzy’s Club, Jazz At Ugonna Okegwo, Bass, Joe Dyson, Drums; Village Vanguard, 178  Jenny Scheinman’s Mischief Mayhem, Nels Cline - Todd Sickafoose - Lincoln Center, 60th & Bdwy 7th Ave S. Jim Black, Jazz Standard, 116 E. 27th St.  Tom Harrell, Trumpet, Jaleel Shaw, Alto Sax, Danny Grissett, Piano,  Bruce Harris, Smokestack Jazz Brunch, 12pm-1:30 Pm, 116 E. 27th Ugonna Okegwo, Bass, Joe Dyson, Drums; Village Vanguard, 178 St. 7th Ave S.  Jenny Scheinman’s Mischief Mayhem, Nels Cline - Todd Sickafoose - Monday, January 22  Jenny Scheinman’s Mischief Mayhem, Nels Cline - Todd Sickafoose - Jim Black, Jazz Standard, 116 E. 27th St.  Steve Ross, Birdland, 315 W. 44th St. Jim Black, Jazz Standard, 116 E. 27th St.  Hypnotic Brass Ensemble; Blue Note, 131 W. 3rd St.  Jazz At Lincoln Center Youth Orchestra, Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy  Vanguard Jazz Orchestra, Village Vanguard, 178 7th Ave S.  Mingus Big Band, Jazz Standard, 116 E. 27th St.  “Jazz-Ageddon”: Ray Angry, Warren Wolf & Friends; Blue Note, 131 W. 3rd St.  Ari Hoenig & Edmar Castaneda; Jonathan Michel : After-hours Jam Session; Small’s, 183 W. 10th St.

Tuesday, January 23  Vincent Herring's The Story of Jazz: 100 Years, Birdland, 315 W. 44th St.  Elliot Mason “Before, Now And After” Album Release Celebration  Steve Wilson, Saxophone, Uri Caine, Piano, Ugonna Okegwo, Bass, Bill Stewart, Drums; Village Vanguard, 178 7th Ave S.  Jazz Standard Closed - Private Event  “Jazz-Ageddon”: Ray Angry, Warren Wolf & Friends; Blue Note, 131 W. 3rd St.  Spike Wilner Trio; Frank Lacy Group & After-hours Jam Session; Small’s, 183 W. 10th St.

Wednesday, January 24  Vincent Herring, Birdland, 315 W. 44th St.  Elliot Mason “Before, Now And After” Album Release Celebration  Steve Wilson, Saxophone, Uri Caine, Piano, Ugonna Okegwo, Bass, Bill Stewart, Drums; Village Vanguard, 178 7th Ave S.  Benny Golson With Emmett Cohen, Buster Williams, Alvester Garnett, Jazz Standard, 116 E. 27th St.  “Jazz-Ageddon”: Ray Angry, Warren Wolf & Friends; Blue Note, 131 W. 3rd St.  Seamus Blake Quartet; Dan Blake and The Digging; Jovan Alexandre - After-hours Jam Session; Small’s, 183 W. 10th St.

Thursday, January 25  Vincent Herring, Birdland, 315 W. 44th St.  Nilson Matta’s Brazilian Voyage, Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy  Steve Wilson, Saxophone, Uri Caine, Piano, Ugonna Okegwo, Bass, Bill Stewart, Drums; Village Vanguard, 178 7th Ave S.  Benny Golson With Emmett Cohen, Buster Williams, Alvester Garnett, Jazz Standard, 116 E. 27th St.  Talib Kweli W/ Live Band Residency; Blue Note, 131 W. 3rd St.  Seamus Blake Quartet; Carlos Abadie Quintet; Jonathan Thomas - "After-hours" Jam Session; Small’s, 183 W. 10th St.

Friday, January 26  Birdland Big Band; Vincent Herring, Birdland, 315 W. 44th St.  Nilson Matta’s Brazilian Voyage, Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy  Steve Wilson, Saxophone, Uri Caine, Piano, Ugonna Okegwo, Bass, Bill Stewart, Drums; Village Vanguard, 178 7th Ave S.  Benny Golson With Emmett Cohen, Buster Williams, Alvester Garnett, Jazz Standard, 116 E. 27th St.  Talib Kweli W/ Live Band Residency; Blue Note, 131 W. 3rd St.  Humanity Quartet; Alex Sipiagin Quintet; Corey Wallace DUBtet "After -hours"; Small’s, 183 W. 10th St.

Saturday, January 27  Vincent Herring, Birdland, 315 W. 44th St.  Nilson Matta’s Brazilian Voyage, Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy  Steve Wilson, Saxophone, Uri Caine, Piano, Ugonna Okegwo, Bass, Bill Stewart, Drums; Village Vanguard, 178 7th Ave S.  Martha Kato, Smokestack Jazz Brunch, 12pm-1:30 Pm, 116 E. 27th St.

(Continued on page 16)

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

To Advertise CALL: 215-887-8880 January-February 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com 15  Benny Golson With Emmett Cohen, Buster Williams, Alvester Garnett,  Smokestack Brunch: Michael Stephenson; Jamison Ross, Rick Lollar, Jazz Standard, 116 E. 27th St. Cory Irvin, Chris Pattinshall, Barry Stephenson; Jazz Standard, 116  Talib Kweli W/ Live Band Residency; Blue Note, 131 W. 3rd St. E. 27th St.  Smalls Showcase: Robert Tarenzi Trio; Humanity Quartet; Alex  Donny McCaslin, saxophone; Jason Lindner, piano; Nate Wood, bass; Sipiagin Quintet; Brooklyn Circle; Small’s, 183 W. 10th St. Mark Giuliana, drums; Village Vanguard, 178 7th Ave S.  Smalls Showcase: Lucine Yeghiazaryan, David Bixler Quintet, Joe Farnsworth Quartet, Philip Harper Quintet; Small’s, 183 W. 10th St. Sunday, January 28  David Murray Infinity Quartet; Birdland, 315 W. 44th St.  Wee Trio + special guest Luis Perdomo; Afro Latin Jazz Orchestra, Birdland, 315 W. 44th St.  Nilson Matta’s Brazilian Voyage, Dizzy’s Club, Jazz At Lincoln Sunday, February 4 Center, 60th & Bdwy  Jools Holland, “Piano, Vocals And Drum Frenzy”, Blue Note, 131 W.  Steve Wilson, Saxophone, Uri Caine, Piano, Ugonna Okegwo, Bass, 3rd St. Bill Stewart, Drums; Village Vanguard, 178 7th Ave S.  Azar Lawrence Experience, Dizzy’s Club, Jazz At Lincoln Center,  Jazz Standard Closed - Private Event 60th & Bdwy  Talib Kweli W/ Live Band Residency; Blue Note, 131 W. 3rd St.  No Jazz for Kids; Jamison Ross, Rick Lollar, Cory Irvin, Chris Pat-  Vocal Masterclass with Marion Cowings; Ai Murakami Trio feat. Sacha tinshall, Barry Stephenson; Jazz Standard, 116 E. 27th St. Perry; Melanie Charles Quartet; Ned Goold Quartet; Robert Edwards -  Donny McCaslin, saxophone; Jason Lindner, piano; Nate Wood, bass; After-hours Jam Session; Small’s, 183 W. 10th St. Mark Giuliana, drums; Village Vanguard, 178 7th Ave S.  Vocal Masterclass with Marion Cowings, Ai Murakami Trio feat. Sacha Perry, Tardo Hammer Trio, Richie Vitale Quintet, Robert Edwards- Monday, January 29 After-hours Jam Session; Small’s, 183 W. 10th St.  Victoria Shaw, Birdland, 315 W. 44th St.  Mark Gross Quintet with Strings; Birdland, 315 W. 44th St.  Monday Nights With WBGO Amina Figarova Sextet  Vanguard Jazz Orchestra, Village Vanguard, 178 7th Ave S.  Mingus Big Band, Jazz Standard, 116 E. 27th St. Monday, February 5  Roberta Gambarini; Blue Note, 131 W. 3rd St.  Jose James: The Dreamer’s, 10th Anniversary, Blue Note, 131 W. 3rd  Logan Richardson Quartet; Jonathan Michel: After-hours Jam Ses- St. sion; Small’s, 183 W. 10th St.  Polly Gibbons: A New York Moment, Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy  Mingus Big Band; Jazz Standard, 116 E. 27th St. Tuesday, January 30  Vanguard Jazz Orchestra; Village Vanguard, 178 7th Ave S.  David Murray Infinity Quartet, Birdland, 315 W. 44th St.  Ari Hoenig Trio, Jonathan Barber Group & After-hours Jam Session;  Jeremy Pelt, Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy Small’s, 183 W. 10th St.  Donny McCaslin, Saxophone, Jason Lindner, Piano, Nate Wood,  Jim Caruso's Cast Party; Birdland, 315 W. 44th St. Bass, Mark Giuliana, Drums; Village Vanguard, 178 7th Ave S.  David Virelles Nosotros With Román Díaz, Keisel Jiménez, Rashaan Carter, Jazz Standard, 116 E. 27th St. Tuesday, February 6  Roberta Gambarini; Blue Note, 131 W. 3rd St.  Jose James: The Dreamer’s, 10th Anniversary, Blue Note, 131 W. 3rd  Spike Wilner Trio; Abraham Burton Quartet & After-hours Jam Ses- St. sion; Small’s, 183 W. 10th St.  Adam Birnbaum Trio Featuring Doug Weiss, Al Foster, Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy  Tom Guarna Quartet; Jazz Standard, 116 E. 27th St. Wednesday, January 31  Miguel Zenon, saxophone; Luis Perdomo, piano; Hans Glawischnig,  Murray Infinity Quartet, Birdland, 315 W. 44th St. bass; Henry Cole, drums; Village Vanguard, 178 7th Ave S.  Jeremy Pelt, Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy  Spike Wilner Quartet, Frank Lacy Group, Malik McLaurine "After-  Donny McCaslin, Saxophone, Jason Lindner, Piano, Nate Wood, hours"; Small’s, 183 W. 10th St. Bass, Mark Giuliana, Drums; Village Vanguard, 178 7th Ave S.  Joe Lovano Us Five featuring James Weidman, Esperanza Spalding,  David Virelles Nosotros With Román Díaz, Keisel Jiménez, Rashaan Otis Brown III, Francisco Mela; Birdland, 315 W. 44th St. Carter; Jazz Standard, 116 E. 27th St.  Roberta Gambarini; Blue Note, 131 W. 3rd St.  Gilad Hekselman Quartet; Behn Gillece Quartet; Aaron Seeber - After- Wednesday, February 7 hours Jam Session; Small’s, 183 W. 10th St.  Jose James: The Dreamer’s, 10th Anniversary, Blue Note, 131 W. 3rd St.  Anything Mose! Mose Allison Project With Richard Julian & John Chin Thursday, February 1 Quartet, Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy  Jools Holland, “Piano, Vocals And Drum Frenzy”, Blue Note, 131 W.  John Raymond Real Feels; Jazz Standard, 116 E. 27th St. 3rd St.  Miguel Zenon, saxophone; Luis Perdomo, piano; Hans Glawischnig,  Franklin Kiermyer: Scatter The Atoms That Remain, Jazz At Lincoln bass; Henry Cole, drums; Village Vanguard, 178 7th Ave S. Center, 60th & Bdwy  Jure Pukl’ Sound Pictures, BLACK ART JAZZ COLLECTIVE, Jovan  Jamison Ross, Rick Lollar, Cory Irvin, Chris Pattinshall, Barry Ste- Alexandre-After-hours Jam Session; Small’s, 183 W. 10th St. phenson; Jazz Standard, 116 E. 27th St.  David Ostwald's Louis Armstrong Eternity Band; Joe Lovano Us Five  Donny McCaslin, saxophone; Jason Lindner, piano; Nate Wood, bass; featuring James Weidman, Esperanza Spalding, Otis Brown III, Mark Giuliana, drums; Village Vanguard, 178 7th Ave S. Francisco Mela; Birdland, 315 W. 44th St.  Carl Bartlett Jr. Quartet, Sam Dillon Quartet, Davis Whitfield-After- hours Jam Session; Small’s, 183 W. 10th St.  Olivia Chindamo with The Rajiv Jayaweera Trio, David Murray Infinity Thursday, February 8

Quartet; Birdland, 315 W. 44th St.  Jose James: The Dreamer’s, 10th Anniversary, Blue Note, 131 W. 3rd  Christian Sands Trio With Special Guests, Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy Friday, February 2  Billy Hart Quartet with Mark Turner, Ethan Iverson, Ben Street; Jazz  Jools Holland, “Piano, Vocals And Drum Frenzy”, Blue Note, 131 W. Standard, 116 E. 27th St. 3rd St.  Miguel Zenon, saxophone; Luis Perdomo, piano; Hans Glawischnig,  Azar Lawrence Experience, Dizzy’s Club, Jazz At Lincoln Center, bass; Henry Cole, drums; Village Vanguard, 178 7th Ave S. 60th & Bdwy  Itamar Borochov Quartet, Pete Zimmer Trio, Jonathan Thomas-"After-  Jamison Ross, Rick Lollar, Cory Irvin, Chris Pattinshall, Barry Ste- hours" Jam Session; Small’s, 183 W. 10th St. phenson; Jazz Standard, 116 E. 27th St.  David Ostwald's Louis Armstrong Eternity Band; Joe Lovano Us Five

Jazz Lovers’  Donny McCaslin, saxophone; Jason Lindner, piano; Nate Wood, bass; featuring James Weidman, Esperanza Spalding, Otis Brown III, Mark Giuliana, drums; Village Vanguard, 178 7th Ave S. Francisco Mela; Birdland, 315 W. 44th St.  Tom Dempsey/Tim Ferguson Quartet, Joe Farnsworth Quartet, Eric Wyatt Quartet & After-hours Jam Session; Small’s, 183 W. 10th St.  Birdland Big Band, David Murray Infinity Quartet; Birdland, 315 W. Friday, February 9 44th St.  The Bbq Swingers Mardi Gras Celebration, Blue Note, 131 W. 3rd St.  Mario Adnet: Jobim Jazz, Dizzy’s Club, 60th & Bdwy

Lifetime Collection  Billy Hart Quartet with Mark Turner, Ethan Iverson, Ben Street; Jazz Saturday, February 3 Standard, 116 E. 27th St.  Jools Holland, “Piano, Vocals And Drum Frenzy”, Blue Note, 131 W.  Miguel Zenon, saxophone; Luis Perdomo, piano; Hans Glawischnig, 3rd St. bass; Henry Cole, drums; Village Vanguard, 178 7th Ave S. JazzMusicDeals.com JazzMusicDeals.com  Azar Lawrence Experience, Dizzy’s Club, 60th & Bdwy (Continued on page 17)

16 January-February 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880  Peter Bernstein, guitar; Sullivan Fortner, piano; Doug Weiss, bass; Thursday, February 15 Leon Parker, drums; Village Vanguard, 178 7th Ave S.  Marilyn Maye, Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy  Willy Rodriguez Quintet, Claffy Special Edition, Jonathan Thomas-

 Gerald Clayton Quartet with special guest Joel Ross; Jazz Standard, "After-hours" Jam Session; Small’s, 183 W. 10th St. “Some people’s idea of 116 E. 27th St.  Tierney Sutton Band; Birdland, 315 W. 44th St.  Vanguard Jazz Orchestra, 52nd Anniversary Week; Village Van- free speech is that they are free guard, 178 7th Ave S. to say what they like, but if anyone  Rob Bargad's Reunion 7tet, Corey Wilcox Quartet, Davis Whitfield- Friday, February 23 After-hours Jam Session; Small’s, 183 W. 10th St.  Roy Hargrove, Blue Note, 131 W. 3rd St. says anything back that  Catherine Russell and Her Sextet; Birdland, 315 W. 44th St.  Nicholas Payton Trio, Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy is an outrage.”  Carmen Lundy; Jazz Standard, 116 E. 27th St. Friday, February 16  Peter Bernstein, guitar; Sullivan Fortner, piano; Doug Weiss, bass;  Valentine’s Week, Rachelle Ferrell, Blue Note, 131 W. 3rd St. Leon Parker, drums; Village Vanguard, 178 7th Ave S.  Marilyn Maye, Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy  Lawrence Leathers Quartet, Immanuel Wilkins Quartet, Corey Wallace - Winston Churchill  Gerald Clayton Quartet with special guest Joel Ross; Jazz Standard, DUBtet "After-hours"; Small’s, 183 W. 10th St. 116 E. 27th St.  Birdland Big Band; Tierney Sutton Band; Birdland, 315 W. 44th St.  New Slide Hampton Octet, Tim Armacost Quintet, Corey Wallace  Vanguard Jazz Orchestra, 52nd Anniversary Week; Village Van-  Dave Douglas: Dizzy Atmosphere Dizzy Gillespie At Zero Gravity With DUBtet "After-hours"; Small’s, 183 W. 10th St. guard, 178 7th Ave S. Dave Douglas, Ambrose Akinmusire, Gerald Clayton, Linda Oh, Joey  Birdland Big Band; David Ostwald's Louis Armstrong Eternity Band;  Dave Stryker Quartet, David Weiss Sextet, After-hours Jam Session Baron, And BillFrisell This Program Is Presented As Part Of The Joe Lovano Us Five featuring James Weidman, Esperanza Spalding, with Joe Farnsworth; Small’s, 183 W. 10th St. Ertegun JazzConcert Series, 7PM, 9:30 PM, Appel Room; Jazz At Otis Brown III, Francisco Mela; Birdland, 315 W. 44th St.  Birdland Big Band; Catherine Russell and Her Sextet; Birdland, 315 Lincoln Center, 60th & Bdwy  Dianne Reeves, Grammy Award-Winning Vocalist Dianne Reeves, W. 44th St. 8pm, Rose Theater; Jazz At Lincoln Center, 60th & Bdwy

Saturday, February 24 Saturday, February 10 Saturday, February 17  Roy Hargrove, Blue Note, 131 W. 3rd St.  Valentine’s Week, Rachelle Ferrell, Blue Note, 131 W. 3rd St.  Nicholas Payton Trio, Dizzy’s Club, Jazz At Lincoln Center, 60th &  The Bbq Swingers Mardi Gras Celebration, Blue Note, 131 W. 3rd St.  Marilyn Maye, Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy Bdwy  Mario Adnet: Jobim Jazz, Dizzy’s Club, Jazz At Lincoln Center, 60th  Smokestack Brunch: Svetlana and the Delancey Five; Gerald Clayton  Smokestack Brunch: David Gibson; Carmen Lundy; Jazz Standard, & Bdwy Quartet with special guest Yosvany Terry; Jazz Standard, 116 E. 27th 116 E. 27th St.  Billy Hart Quartet with Mark Turner, Ethan Iverson, Ben Street; St.  Peter Bernstein, guitar; Sullivan Fortner, piano; Doug Weiss, bass; Smokestack Brunch: Rachel Therrien; Jazz Standard, 116 E. 27th St.  Vanguard Jazz Orchestra, 52nd Anniversary Week; Village Van- Leon Parker, drums; Village Vanguard, 178 7th Ave S.  Miguel Zenon, saxophone; Luis Perdomo, piano; Hans Glawischnig, guard, 178 7th Ave S.  Smalls Showcase: Mike Bond Trio, Lawrence Leathers Quintet, bass; Henry Cole, drums; Village Vanguard, 178 7th Ave S.  Smalls Showcase: Kate Cosco & Laura Dreyer Project, Jonathan Immanuel Wilkins Quartet, Brooklyn Circle; Small’s, 183 W. 10th St.  Smalls Showcase: Ben Barnett Quintet, New Slide Hampton Octet, Voltzok & Slide Hampton Quintet, David Weiss Sextet, Philip Harper  Tierney Sutton Band; Birdland, 315 W. 44th St. Tim Armacost Quintet, Brooklyn Circle; Small’s, 183 W. 10th St. Quintet; Small’s, 183 W. 10th St.  Dave Douglas: Dizzy Atmosphere Dizzy Gillespie At Zero Gravity With  David Ostwald's Louis Armstrong Eternity Band; Joe Lovano Us Five  Catherine Russell and Her Sextet; Birdland, 315 W. 44th St. Dave Douglas, Ambrose Akinmusire, Gerald Clayton, Linda Oh, Joey featuring James Weidman, Esperanza Spalding, Otis Brown III, Baron, And BillFrisell This Program Is Presented As Part Of The Francisco Mela; Birdland, 315 W. 44th St. Ertegun JazzConcert Series, 7PM, 9:30 PM, Appel Room; Jazz At  Dianne Reeves, Grammy Award-Winning Vocalist Dianne Reeves, Sunday, February 18 Lincoln Center, 60th & Bdwy 8pm, Rose Theater; Jazz At Lincoln Center, 60th & Bdwy  Valentine’s Week, Rachelle Ferrell, Blue Note, 131 W. 3rd St.

 Marilyn Maye, Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy Sunday, February 11  Jazz For Kids; Gerald Clayton Quartet with special guest Yosvany Sunday, February 25 Terry; Jazz Standard, 116 E. 27th St.  Roy Hargrove, Blue Note, 131 W. 3rd St.  The Bbq Swingers Mardi Gras Celebration, Blue Note, 131 W. 3rd St.  Vanguard Jazz Orchestra, 52nd Anniversary Week; Village Van-  Nicholas Payton Trio, Dizzy’s Club, 60th & Bdwy  Mario Adnet: Jobim Jazz, Dizzy’s Club, Jazz At Lincoln Center, 60th guard, 178 7th Ave S.  Jazz For Kids; Carmen Lundy; Jazz Standard, 116 E. 27th St. & Bdwy  Vocal Masterclass with Marion Cowings, Ai Murakami Trio feat. Sacha  Peter Bernstein, guitar; Sullivan Fortner, piano; Doug Weiss, bass;  Billy Hart Quartet with Mark Turner, Ethan Iverson, Ben Street; Jazz Perry, Andy Farber Septet, Joe Magnarelli Group, Robert Edwards- Leon Parker, drums; Village Vanguard, 178 7th Ave S. For Kids; Jazz Standard, 116 E. 27th St. After-hours Jam Session; Small’s, 183 W. 10th St.  Vocal Masterclass with Marion Cowings, Ai Murakami Trio feat. Sacha  Miguel Zenon, saxophone; Luis Perdomo, piano; Hans Glawischnig,  Pete Zimmer; Birdland, 315 W. 44th St. Perry, JC Stylles/Steve Nelson Hutcherson Band, Nick Hempton bass; Henry Cole, drums; Village Vanguard, 178 7th Ave S. Band, Hillel Salem-After-hours Jam Session; Small’s, 183 W. 10th St.  Vocal Masterclass with Marion Cowings, Ai Murakami Trio feat. Sacha Perry, Taru Alexander Quintet, Jerry Weldon Quartet, Hillel Salem- Monday, February 19 After-hours Jam Session; Small’s, 183 W. 10th St.  Julian Bliss Septet: A Tribute To Benny Goodman Monday, February 26

 Mingus Orchestra; Jazz Standard, 116 E. 27th St.  Monday Nights With WBGO: Scott Tixier Quintet, Dizzy’s Club, Jazz Monday, February 12  Vanguard Jazz Orchestra; Village Vanguard, 178 7th Ave S. At Lincoln Center, 60th & Bdwy  Mingus Big Band; Jazz Standard, 116 E. 27th St.  Juilliard Jazz Ensembles, Dizzy’s Club, Jazz At Lincoln Center, 60th  Ari Hoenig Trio, Jonathan Barber Group & After-hours Jam Session;  Vanguard Jazz Orchestra; Village Vanguard, 178 7th Ave S. & Bdwy Small’s, 183 W. 10th St.  Ari Hoenig Trio, Jonathan Michel Jam; Small’s, 183 W. 10th St.  Mingus Big Band; Jazz Standard, 116 E. 27th St.  Linda Purl and the DIVA Jazz Orchestra; Birdland, 315 W. 44th St.  Lorna Dallas "Home Again"; Birdland, 315 W. 44th St.  Vanguard Jazz Orchestra; Village Vanguard, 178 7th Ave S.

 Hays/Turner/Miralta Trio, Jonathan Michel : After-hours Jam Session; Tuesday, February 20 Small’s, 183 W. 10th St.  Roy Hargrove, Blue Note, 131 W. 3rd St. Tuesday, February 27  Jim Caruso's Cast Party; Birdland, 315 W. 44th St.  Maceo Parker, Blue Note, 131 W. 3rd St.  Allen Lowe: A Love Supine: A Dixieland Love Supreme, Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy  Edmar Castañeda Quartet Featuring Jorge Glem, Dizzy’s Club, Jazz Tuesday, February 13  Jaleel Shaw and Steve Wilson; Jazz Standard, 116 E. 27th St. At Lincoln Center, 60th & Bdwy  Adam Nussbaum: The Leadbelly Project; Jazz Standard, 116 E. 27th  A Gotham Kings Mardi Gras Celebration, Dizzy’s Club, Jazz At  Peter Bernstein, guitar; Sullivan Fortner, piano; Doug Weiss, bass; Lincoln Center, 60th & Bdwy Leon Parker, drums; Village Vanguard, 178 7th Ave S.  Ben Wendel, saxophone; Gilad Hekselman, guitar; Aaron Parks, piano; Matt Brewer, bass; Eric Harland, drums; Village Vanguard,  Mardi Gras with Marcia Ball; Jazz Standard, 116 E. 27th St.  Lucas Pino Nonet, Abraham Burton Quartet, Malik McLaurine "After- 178 7th Ave S.  Vanguard Jazz Orchestra, 52nd Anniversary Week; Village Van- hours"; Small’s, 183 W. 10th St.  Steve Nelson Quartet, Frank Lacy Group, Malik McLaurine "After- guard, 178 7th Ave S.  Tierney Sutton Band; Birdland, 315 W. 44th St. hours"; Small’s, 183 W. 10th St.  Steve Nelson Quartet, Abraham Burton Quartet, Malik McLaurine  Steps Ahead Meets Soulbop, Mike Maineri, Randy Brecker, Bill Evans "After-hours"; Small’s, 183 W. 10th St. Wednesday, February 21 featuring Steve Smith and Tom Kennedy; Birdland, 315 W. 44th St.  Catherine Russell and Her Sextet; Birdland, 315 W. 44th St.

 Roy Hargrove, Blue Note, 131 W. 3rd St.  George Burton Quintet, Dizzy’s Club, Jazz At Lincoln Center, 60th & Wednesday, February 14 Bdwy Wednesday, February 28  Maceo Parker, Blue Note, 131 W. 3rd St.  Valentine’s Week, Rachelle Ferrell, Blue Note, 131 W. 3rd St.  Jaleel Shaw and Steve Wilson; Jazz Standard, 116 E. 27th St.  Edmar Castañeda Quartet Featuring Jorge Glem, Dizzy’s Club, Jazz  Valentine’s Day: Songs We Love, Dizzy’s Club, Jazz At Lincoln  Peter Bernstein, guitar; Sullivan Fortner, piano; Doug Weiss, bass; At Lincoln Center, 60th & Bdwy Center, 60th & Bdwy Leon Parker, drums; Village Vanguard, 178 7th Ave S.  Chris Bergson Band; Jazz Standard, 116 E. 27th St.  Valentine's Day with Kate McGarry; Jazz Standard, 116 E. 27th St.  Russ Nolan Quartet, Harold Mabern Trio, Jovan Alexandre-After-hours  Ben Wendel, saxophone; Gilad Hekselman, guitar; Aaron Parks,  Vanguard Jazz Orchestra, 52nd Anniversary Week; Village Van- Jam Session; Small’s, 183 W. 10th St. piano; Matt Brewer, bass; Eric Harland, drums; Village Vanguard, guard, 178 7th Ave S.  Tierney Sutton Band; Birdland, 315 W. 44th St. 178 7th Ave S.  Rob Bargad's Reunion 7tet, Vitaly Golovnev Sextet, Aaron Seeber-  Greg Murphy Quintet, Jared Gold Trio, Aaron Seeber-After-hours Jam After-hours Jam Session; Small’s, 183 W. 10th St. Thursday, February 22 Session; Small’s, 183 W. 10th St.  David Ostwald's Louis Armstrong Eternity Band; Catherine Russell  Steps Ahead Meets Soulbop, Mike Maineri, Randy Brecker, Bill Evans and Her Sextet; Birdland, 315 W. 44th St  Roy Hargrove, Blue Note, 131 W. 3rd St.  Nicholas Payton Trio, Dizzy’s Club, Jazz At Lincoln Center, 60th & featuring Steve Smith and Tom Kennedy; Birdland, 315 W. 44th St.

Bdwy   Carmen Lundy; Jazz Standard, 116 E. 27th St.

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

5 C Cultural Center, 68 Avenue C. 212-477-5993. www.5ccc.com City Winery, 155 Varick St. Bet. Vandam & Spring St., 212-608- 212-539-8778, joespub.com 55 Bar, 55 Christopher St. 212-929-9883, 55bar.com 0555. citywinery.com John Birks Gillespie Auditorium (see Baha’i Center) 92nd St Y, 1395 Lexington Ave, New York, NY 10128, Cleopatra’s Needle, 2485 Broadway (betw 92nd & 93rd), 212-769- Jules Bistro, 65 St. Marks Pl, 212-477-5560, julesbistro.com 212.415.5500, 92ndsty.org 6969, cleopatrasneedleny.com Kasser Theater, 1 Normal Av, Montclair State College, Montclair, Aaron Davis Hall, City College of NY, Convent Ave., 212-650- Club Bonafide, 212 W. 52nd, 646-918-6189. clubbonafide.com 973-655-4000, montclair.edu 6900, aarondavishall.org C’mon Everybody, 325 Franklin Avenue, Brooklyn. Key Club, 58 Park Pl, Newark, NJ, 973-799-0306, keyclubnj.com Alice Tully Hall, Lincoln Center, Broadway & 65th St., 212-875- www.cmoneverybody.com Kitano Hotel, 66 Park Ave., 212-885-7119. kitano.com 5050, lincolncenter.org/default.asp Copeland’s, 547 W. 145th St. (at Bdwy), 212-234-2356 Knickerbocker Bar & Grill, 33 University Pl., 212-228-8490, Allen Room, Lincoln Center, Time Warner Center, Broadway and Cornelia St Café, 29 Cornelia, 212-989-9319 knickerbockerbarandgrill.com 60th, 5th floor, 212-258-9800, lincolncenter.org Count Basie Theatre, 99 Monmouth St., Red Bank, New Jersey Knitting Factory, 74 Leonard St, 212-219-3132, knittingfacto- American Museum of Natural History, 81st St. & Central Park 07701, 732-842-9000, countbasietheatre.org ry.com W., 212-769-5100, amnh.org Crossroads at Garwood, 78 North Ave., Garwood, NJ 07027, Langham Place — Measure, Fifth Avenue, 400 Fifth Avenue Antibes Bistro, 112 Suffolk Street. 212-533-6088. 908-232-5666 New York, NY 10018, 212-613-8738, langhamplacehotels.com www.antibesbistro.com Cutting Room, 19 W. 24th St, 212-691-1900 La Lanterna (Bar Next Door at La Lanterna), 129 MacDougal St, Arthur’s Tavern, 57 Grove St., 212-675-6879 or 917-301-8759, Dizzy’s Club, Broadway at 60th St., 5th Floor, 212-258-9595, New York, 212-529-5945, lalanternarcaffe.com arthurstavernnyc.com jalc.com Le Cirque Cafe, 151 E. 58th St., lecirque.com Arts Maplewood, P.O. Box 383, Maplewood, NJ 07040; 973-378- DROM, 85 Avenue A, New York, 212-777-1157, dromnyc.com Le Fanfare, 1103 Manhattan Ave., Brooklyn. 347-987-4244. 2133, artsmaplewood.org The Ear Inn, 326 Spring St., NY, 212-226-9060, earinn.com www.lefanfare.com Avery Fischer Hall, Lincoln Center, Columbus Ave. & 65th St., East Village Social, 126 St. Marks Place. 646-755-8662. Le Madeleine, 403 W. 43rd St. (betw 9th & 10th Ave.), New York, 212-875-5030, lincolncenter.org www.evsnyc.com New York, 212-246-2993, lemadeleine.com BAM Café, 30 Lafayette Av, Brooklyn, 718-636-4100, bam.org Edward Hopper House, 82 N. Broadway, Nyack NY. 854-358- Les Gallery Clemente Soto Velez, 107 Suffolk St, 212-260-4080 Bar Chord, 1008 Cortelyou Rd., Brooklyn, barchordnyc.com 0774. Lexington Hotel, 511 Lexington Ave. (212) 755-4400. Bar Lunatico, 486 Halsey St., Brooklyn. 718-513-0339. El Museo Del Barrio, 1230 Fifth Ave (at 104th St.), Tel: 212-831- www.lexinghotelnyc.com 222.barlunatico.com 7272, Fax: 212-831-7927, elmuseo.org Live @ The Falcon, 1348 Route 9W, Marlboro, NY 12542, Barbes, 376 9th St. (corner of 6th Ave.), Park Slope, Brooklyn, Esperanto, 145 Avenue C. 212-505-6559. www.esperantony.com Living Room, 154 Ludlow St. 212-533-7235, livingroomny.com 718-965-9177, barbesbrooklyn.com The Falcon, 1348 Rt. 9W, Marlboro, NY., 845) 236-7970, The Local 269, 269 E. Houston St. (corner of Suffolk St.), NYC Barge Music, Fulton Ferry Landing, Brooklyn, 718-624-2083, Fat Cat, 75 Christopher St., 212-675-7369, fatcatjazz.com Makor, 35 W. 67th St., 212-601-1000, makor.org bargemusic.org Fine and Rare, 9 East 37th Street. www.fineandrare.nyc Lounge Zen, 254 DeGraw Ave, Teaneck, NJ, (201) 692-8585, B.B. King’s Blues Bar, 237 W. 42nd St., 212-997-4144, Five Spot, 459 Myrtle Ave, Brooklyn, NY, 718-852-0202, fivespot- lounge-zen.com bbkingblues.com soulfood.com Maureen's Jazz Cellar, 2 N. Broadway, Nyack NY. 845-535-3143. Beacon Theatre, 74th St. & Broadway, 212-496-7070 Flushing Town Hall, 137-35 Northern Blvd., Flushing, NY, 718- maureensjazzcellar.com Beco Bar, 45 Richardson, Brooklyn. 718-599-1645. 463-7700 x222, flushingtownhall.org Maxwell’s, 1039 Washington St, Hoboken, NJ, 201-653-1703 www.becobar.com For My Sweet, 1103 Fulton St., Brooklyn, NY 718-857-1427 McCarter Theater, 91 University Pl., Princeton, 609-258-2787, Bickford Theatre, on Columbia Turnpike @ Normandy Heights Galapagos, 70 N. 6th St., Brooklyn, NY, 718-782-5188, galapago- mccarter.org Road, east of downtown Morristown. 973-744-2600 sartspace.com Merkin Concert Hall, Kaufman Center, 129 W. 67th St., 212-501 Birdland, 315 W. 44th St., 212-581-3080 Garage Restaurant and Café, 99 Seventh Ave. (betw 4th and -3330, ekcc.org/merkin.htm Blue Note, 131 W. 3rd, 212-475-8592, bluenotejazz.com Bleecker), 212-645-0600, garagerest.com Metropolitan Room, 34 West 22nd St NY, NY 10012, 212-206- Bourbon St Bar and Grille, 346 W. 46th St, NY, 10036, Garden Café, 4961 Broadway, by 207th St., New York, 10034, 0440 212-245-2030, [email protected] 212-544-9480 Mezzrow, 163 West 10th Street, Basement, New York, NY Bowery Poetry Club, 308 Bowery (at Bleecker), 212-614-0505, Gin Fizz, 308 Lenox Ave, 2nd floor. (212) 289-2220. 10014. 646-476-4346. www.mezzrow.com bowerypoetry.com www.ginfizzharlem.com Minton’s, 206 W 118th St., 212-243-2222, mintonsharlem.com BRIC House, 647 Fulton St. Brooklyn, NY 11217, 718-683-5600, Ginny’s Supper Club, 310 Malcolm X Boulevard Manhattan, NY Mirelle’s, 170 Post Ave., Westbury, NY, 516-338-4933 http://bricartsmedia.org 10027, 212-792-9001, http://redroosterharlem.com/ginnys/ MIST Harlem, 46 W. 116th St., myimagestudios.com Brooklyn Public Library, Grand Army Plaza, 2nd Fl, Brooklyn, Glen Rock Inn, 222 Rock Road, Glen Rock, NJ, (201) 445-2362, Mixed Notes Café, 333 Elmont Rd., Elmont, NY (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 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 Prospect Park Bandshell, 9th St. & Prospect Park W., Brooklyn, Zankel Hall, 881 7th Ave, New York, 212-247-7800 NY, 718-768-0855 Zinc Bar, 82 West 3rd St.

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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 Sista’s Place, 456 Nostrand, Bklyn, 718-398-1766, sistasplace.org Long Island City, 718-482-5151 Institute of Jazz Studies, John Cotton Dana Library, Rutgers- Lincoln Center — Jazz At Lincoln Center, 140 W. 65th St., Skippers Plane St Pub, 304 University Ave. Newark NJ, 973-733- Univ, 185 University Av, Newark, NJ, 07102, 973-353-5595 10023, 212-258-9816, 212-258-9900 Jazzmobile, Inc., jazzmobile.org 9300, skippersplaneStpub.com Long Island University — Brooklyn Campus, Dept. of Music, Smalls Jazz Club, 183 W. 10th St. (at 7th Ave.), 212-929-7565, Jazz Museum in Harlem, 104 E. 126th St., 212-348-8300, University Plaza, Brooklyn, 718-488-1051, 718-488-1372 jazzmuseuminharlem.org SmallsJazzClub.com Manhattan School of Music, 120 Claremont Ave., 10027, Jazz Foundation of America, 322 W. 48th St. 10036, Smith’s Bar, 701 8th Ave, New York, 212-246-3268 212-749-2805, 2802, 212-749-3025 212-245-3999, jazzfoundation.org Sofia’s Restaurant - Club Cache’ [downstairs], Edison Hotel, NJ City Univ, 2039 Kennedy Blvd., Jersey City, 888-441-6528 New Jersey Jazz Society, 1-800-303-NJJS, njjs.org 221 W. 46th St. (between Broadway & 8th Ave), 212-719-5799 New School, 55 W. 13th St., 212-229-5896, 212-229-8936 New York Blues & Jazz Society, NYBluesandJazz.org South Gate Restaurant & Bar, 154 Central Park South, 212-484- NY University, 35 West 4th St. Rm #777, 212-998-5446 Rubin Museum, 150 W. 17th St, New York, NY, 5120, 154southgate.com NY Jazz Academy, 718-426-0633 NYJazzAcademy.com 212-620-5000 ex 344, rmanyc.org. Princeton University-Dept. of Music, Woolworth Center Musical South Orange Performing Arts Center, One SOPAC Studies, Princeton, NJ, 609-258-4241, 609-258-6793 Way, South Orange, NJ 07079, sopacnow.org, 973-313-2787  Spectrum, 2nd floor, 121 Ludlow St. Spoken Words Café, 266 4th Av, Brooklyn, 718-596-3923 Stanley H. 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To Advertise CALL: 215-887-8880 January-February 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com 19 n’t happy because I was used to being free on alto sax. When I ran into Arthur Weisberg, I InterviewInterview really got into a more centered sound. He wasn’t into the older, the bassoon is the clown of the orchestra, type sound, which is also not my favorite, I like a more crystalized sound. Bassoon is the least developed [classical] instrument – the Karen Borca mechanics of it. Most classical bassoonists do a thing called “flicking,” and I did study classical- Blood On The Floor Bassoon ly, but Arthur Weisberg did not “flick.” He invented future bassoon, a bassoon where you don’t need to “flick.”

Interview and photo by Ken Weiss was in college. I was a hotshot alto saxophone JI: What does it mean to you to “fly?” player in high school. I had been playing it since Karen Borca (born September 5, 1948, Green I was in the third grade. I really enjoyed it and I KB: A certain feeling you feel when the music Bay, Wisconsin) is more than the most stunning was the whiz kid but eventually the teacher told is really flowing. It’s a freedom without any en- double-reed player in jazz history, she is a true me the [school band’s] bassoon player graduated cumberments and the music is unstoppable. pioneer. Grossly underrecognized throughout and that I should play the bassoon because I was- her career, not only was Borca the rare female n’t going to get a college scholarship on saxo- JI: Talk about the difficulty of playing bassoon performing in the macho universe of the early phone because there were too many saxopho- in a jazz setting. ‘70s free jazz world but she dignified the bassoon nists. I didn’t think I wasn’t capable but I didn’t as an imposing front-line instrument in a jazz know that much. I was told I’d get a scholarship KB: The main difficulty is amplifying it because setting. The bassoon had appeared in jazz rarely to play the bassoon and he were right about that. the sound is not coming out of the bell like it in the past by saxophonists doubling on the horn I took my audition on piano, alto and bassoon, does for the most part on saxophone and abso- but Borca may have been the very first to spe- with bassoon being the least accomplished of the lutely how it comes out of the trumpet. Eric cialize in it. She is best known for her association three. Once I got into college with someone who Dolphy ran into that issue with bass clarinet but with Cecil Taylor and her partner Jimmy Lyons. knew something about the bassoon, then I started bass clarinet has a point where a lot of sound is Drummer Andrew Cyrille, who played with Bor- to roll along pretty well. John Barrows, who got coming out. With bassoon, sound is coming out ca in Taylor’s bands, when asked for a comment, me in to the University of Wisconsin, arranged all up and down the instrument, anywhere you said, “Karen Borca’s extraordinary facility and for me to study with the New York Woodwind see a tone hole, the sound is coming out there. speed on the bassoon equaled alto saxophonist Quintet in Milwaukee for the summer after my Actually, Arthur Weisberg’s brother was into Jimmy Lyons’ speed on the alto. A commendable freshman year and then I also met and studied acoustics and the technical knowledge of repro- feat for an extraordinary bassoonist.” Borca has with Arthur Weisberg, who was really a super ducing sounds. He came to one of the gigs I had also performed or recorded with Bill Dixon, bassoonist. That’s when I finally got really, real- with Jimmy [Lyons] and said, “We’ll put clip-on William Parker, Frank Wright, Irene Schweitzer, ly in love with the bassoon. mics all up and down the bassoon,” but we never “As you know, when you’ve met a really great musician, such as Cecil, Jimmy [Lyons], Andrew [Cyrille] and William [Parker], not only do they have their music together but they’ve got their head together. These people inspired me.”

Butch Morris, Sonny Simmons and Paul Murphy. did get to that point. The other instruments that This rare Karen Borca interview took place at JI: What do you love about the bassoon? need amplification, such as the bass and piano, her apartment room in New York City’s Inwood they’ve figured out how to do that now but not section on June 2, 2017. KB: That I can fly on it. That’s the main thing the bassoon. If you turn me up too loud then that really annoyed me when I started on it in you’re gonna pick up the rest of the band and Jazz Inside Magazine: Borca is an uncommon high school. It’s not an easy instrument to start, that defeats the whole purpose. name. What are your roots? unless you have someone who knows about the bassoon to help you start it. The fingerings are JI: I spoke with Mark Gigliotti (co-principal Karen Borca: That’s a Northern Italian name. different, but that’s not the main thing, just put- bassoonist of the Philadelphia Orchestra) and he ting the air through the horn to get a really nice felt that the instrument might create problems for JI: How did you come to the bassoon? sound – it’s like a scratchy violin player when a jazz artist trying to play slurs and limit flexibil- kids start the violin. The bassoon is that way, it ity in general. KB: I didn’t learn to love the bassoon until I doesn’t sound good in the beginning, and I was- (Continued on page 22)

20 January-February 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 To Advertise CALL: 215-887-8880 January-February 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com 21 ity, anything that holds you back from flying. like Weisberg, have rollers on all the keys in- Karen Borca Whether you’re playing classical music or jazz, stead of a few crucial keys. Some things just are you’re gonna hear it if somebody’s not feeling not going to be easy, there’s going to be a gap free. If the reed has certain things stopping you going from one note to another. The real art of it (Continued from page 20) from blowing freely through the horn then is to go from one note to another without hearing there’s a problem. I use files and knives. My a bump when you don’t want a bump to be there. KB: No, not necessarily. For a while I was mak- favorite knife was made with a specific kind of The hard thing is to move from one place to an- ing reeds with more and more wood on them steel that this knife maker used to make knives other quickly with the thumbs, especially from because I figured I needed the reeds to be louder for people who filleted fish. [It resembles a pris- the lowest range up into the next part of the horn but it’s impossible. The reeds will never have on shank] You leave wood on the center mostly that much presence in this orchestration where and try to get a shape that’s similar for every JI: Another issue with bassoon is cost. A profes- you’re playing with trumpets, saxophones and reed. The more sameness you can get in the reed, sional model can run twenty to sixty thousand drums, and with a big band. the more it’s going to be dependable and do what dollars. What type of bassoon do you play and you want. The preparation takes three days. You how old is it? JI: You brought up the issue with making your have to soak the wood and then rub the hairs of own reeds, certainly a major factor for every the wood into the pores so that it’s pretty water- KB: I play a Polisi. At the time I got it, Arthur professional bassoonist. Would you expound on proof in what will be the inside of the reed. You Weisberg introduced me to Polisi who played in that? then fold the stick of cane over when it’s wet and the Metropolitan Opera and was a well-known put wires on it to hold it in place and then you bassoonist. He decided to put his name on a horn KB: Right, I make my own. I’ve bought some at put a mandrel through it after you’ve made little and what was different about his horns was that times but I’ve always changed them to what I cuts to be sure it gets round evenly. That’s the in those bottom thumb keys he had an extra thing wanted. I recently bought some from a reed mak- first day. You let it sit and dry out. The second put on the low C so that you could move from er because I was behind in my reed making day you have to tighten up the wires because the the low C going up a little easier. It’s basically a which means you can’t practice if your reeds wood shrunk and then wrap the thread around it Kohlert and I paid five hundred bucks for it in aren’t working. If you’re not happy [with your and glue it and wait for that to dry and then cut the ‘60s, but if I had to replace it now it would reed] when you’re practicing, it’s all over. The the tip. cost between fifteen and thirty thousand. A reed is everything – it’s your sound, it’s your Heckle bassoon, which is the bassoon, can run articulation. When the classical bassoonist you JI: How long will a reed last you? you up to ninety thousand. I could have gotten spoke with mentioned slurs, that was about artic- one of those in 1970 for a couple thousand dol- ulation. My reeds are very different, I would KB: If you have three or four reeds that are real- lars because Germany was in a depression and think, than his. Mine are not only heavier, I don’t ly popping, but usually it ends up to be one or the instrument went from fifteen thousand sud- think the reeds I’ve been using could be used to two, then it will last for one to two months. My denly to only two thousand. How I did not come play the Mozart Bassoon Concerto, and I have repairman told me about a lady who plays in the up with that two thousand is really so stupid. I played the Mozart Bassoon Concerto with an Metropolitan Opera who brings him bags of should have begged, borrowed, stole, robbed a orchestra when I was in college, and I’ve played reeds that she’s made and doesn’t use so some bank, anything! And depending on who played woodwind quintets, which I love, so the reed people are constantly making reeds every day. them, I heard Weisberg’s horn in the ‘70s, before would be too heavy for that but it’s not too heavy One bassoon player I’ve heard had a closet her- they jumped up to thirty thousand, his went for for a slur in this music. metically sealed and lined in copper and has all fifty grand. his cane in there. I have a little cigar box to hold JI: The bassoon’s double reed is a bit of a mys- mine. My longest lasting reed, I’m embarrassed JI: And how much would a horn played by Ka- tery to many. Would you talk about how you to say, bassoon players are gonna laugh, I have a ren Borca go for?

KB: [Laughs] Hopefully something—especially since I carved a little niche that wasn’t there be- “If you’re playing music you’re fore in this kind of music.

JI: Although you’ve been playing bassoon in a in certain state. I don’t want to jazz setting since the early ‘70s, there are only a handful of semi-prominent bassoonists in jazz today. Are you surprised that your instrument has say heightened but if someone not become more popular?

KB: No, I’m not surprised. Fats Waller had disturbs you, it is going to bassoons in his orchestras, way back in the early 1900’s. In a certain way it’s not accepted. Some have a bad effect on you.” people don’t accept it as a “jazz sound.” I had a gig with my own band, which at the time was Paul Murphy, Mary Anne Driscoll and Jay Oli- make the double reed and the time involvement? reed that was still playing after two years. I was- ver, and it got reviewed. The guy wrote, “And n’t using only that reed but for some reason I the dour sound of the bassoon…” and I’m say- KB: I start with cane that I buy already profiled, couldn’t let it go. It was just insanity so I keep it ing, ‘What? What dour? I was feeling very happy shaped and gouged. The cane comes from a to remind me never to go there again. [Laughs] as a matter of fact!’ [Laughs] There weren’t round tube called Arundo Donax, which is split many people who tried to do it after Fats Waller. in three parts. Machinery that costs a few thou- JI: Bassoon is very thumb oriented, the left sand dollars profiles and gouges the cane to thumb controls nine different keys. How does JI: There have been a few popular musicians make it even and takes the outer shell off in a that effect your playing and what about wear and who have doubled, to an extent, on bassoon precise manner. After you’ve worked on making tear on your thumb? through the years. What have you thought of the your own reeds and become proficient, you’re bassoon playing of Illinois Jacquet, Yusef Lateef, thinking about your sound, articulation, flexibil- KB: Yep, you get little callouses. Some people, Bennie Maupin and Makanda Ken McIntyre?

22 January-February 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 They were teaching me classical music in col- Karen Borca lege. John Barrows and Arthur Weisberg were KB: The orchestration, that’s the one thing he really heavy, not only musicians but people. As dug about Miles. The fact that the notes are there you know, when you’ve met a really great musi- but then you’ve got to let it go. Jimmy was strict- cian, such as Cecil, Jimmy [Lyons], Andrew er and had more specific things in mind and if KB: I actually heard Illinois play it live down at [Cyrille] and William [Parker], not only do they you went into the improvising section and you Sweet Basil. He played “Round Midnight” and have their music together but they’ve got their didn’t pay attention to those things, he would sounded great. When I first discovered the rec- head together. These people inspired me. At that stop you, whereas Cecil would say, “This is the ords he did I said, ‘Oh, wow, this is wonderful, time, I wasn’t too aware of improvising being structure. We have all these lines but rhythmical- he plays the bassoon and he’s a tenor player!’ I such a different art form but once I started doing ly any one of these lines can be played with any never saw the others you mentioned play it but it I knew I had to get it together the right way. other juxtaposed depending on the rhythm.” So yeah, they were getting around on the bassoon, actually placing it in the music to make it work and I was happy they were there. “I said, ‘Let’s go and just hang out in Long JI: There’s a rumor that Ornette Coleman tried his hand at bassoon. Island and go fishing and swimming.’ And

KB: Yeah, when I first came to New York, there he said, ‘What? Fishing and swimming?’ was a picture of Ornette with a bassoon in the New York Times. I don’t know if he actually ever played it. He played a lot of different instru- Cecil was there and said, ‘Huh, Jimmy? ments. You’re going on a vacation?’ [Laughs] JI: When you’re hired for a gig, do the leaders understand how to use you or do you typically Because musicians never go on a have to find your own place in the music?

KB: It’s a little of both, you’re both dealing vacation. I mean, it’s always there. You with something new. Some know how to use me. Cecil knew [once he heard me], he put me with are never anywhere where the music is the tenors in the big band setting to the chagrin of the tenors. When Cecil came to the University not, even if no concerts are happening.” of Wisconsin, he first had the people who came to his class improvise for him. He went around the room and said to me, “And that instrument JI: So when you decided to leave classical mu- he brought out the fact that this music is very, over there.” I’m sure he knew what it was but the sic to pursue playing jazz on bassoon, did you very rhythmically involved. Rhythm is very cen- likes to mess with people. I’m sure he was won- have concerns about the financial aspect of play- tral to classical music too but it’s in a different dering how to use it as well as I was in how to ing an instrument that was so obscure in the way. He was stressing the orchestration, with the make it fit in. field? lines working together, the rhythm, and the respect for your predecessors. JI: You started on piano around the age of four KB: Barrows and Weisberg’s heads were in the but it wasn’t fun because your mother was a right place as far as music so I didn’t have any JI: Did Cecil have any special plans for how to strict teacher and when you started to compose in prejudices against switching into jazz, and me use bassoon? grade school, she insisted that composing meant being me, especially at that time, I wasn’t think- that you were to write material that had never ing about financial things that much I was just KB: He wrote some notes for me in the begin- been written before. thinking, ‘Oh, this is really great. I want to learn ning. I was playing on everything. Mainly in the how to do this, that’s it!’ And then when Cecil beginning he had me in the tenor section so all KB: Yes, because she was an improviser. The offered me the job to be one of his assistants at the lines the tenors were playing I played. When first jazz I ever heard was my mother playing Antioch after I graduated from UW it was really we got to Antioch, he changed me to different stride piano. What happened was I was practic- a good break. A lot of the stuff for me has been sections – the sopranos and then French horn. ing a Mozart piece that was four voices but it had the right thing happened at the right time, it was- But he had me playing on everything. There was three-noted chords in the right and two things n’t planned. no tacit bassoon, there was no such thing. I was happening in the left hand, so what I did was, in it and I could win it if I knew what I was do- away from the piano, I wrote down what I’d been JI: How did you get involved with Cecil Taylor ing. I was just another instrument to him. practicing, all the notes and articulations, and she when he came to the University of Wisconsin in said, “Well you have to write your own thing. Madison in 1969? JI: What did you learn about the process of how That’s what composing is.” So I got a little… I Cecil put his music together? didn’t dislike the piano at first, but after a couple KB: I was in the classical program but Cecil’s of years of the correcting, I landed on the alto. arrival was really special. There were some other KB: Cecil was a prolific composer and he just She’d be in the kitchen cooking and saying “Ah, musicians that I knew who said, “Oh, this guy is loved big bands. Every day he’d come in with that’s a mistake,” every time I messed up. really something else!” I didn’t know who he new charts, especially at Antioch because it was was at that point. I knew who Bird and Miles a huge band. People came from all over the JI: Were your original plans to play classical were, and I had heard Ornette’s name. I saw Cec- country to be in that band. I learned his structure music as a profession? il walking around and he looked like a really of placing the lines, different sections having interesting guy and then I started to listen to his different sets of lines, putting them together. KB: Yeah, I knew about the jazz my mother music and to how different it was. When you’re in a section you’re playing unison was doing but not much after that. When I got to but you can stretch that, but then there’s another college I heard Bird and Miles for the first time. JI: What did Cecil stress in his teachings? (Continued on page 24)

To Advertise CALL: 215-887-8880 January-February 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com 23 hearsing the band when he, Jimmy and Andrew Taylor? Karen Borca weren’t there. There was a core of four or five of us from Madison that went to Antioch. I got KB: It’s just all about the music with him and a paid, I don’t know about the others. definite respect. He’s also a dancer and interested (Continued from page 23) in a lot of things, but music is definitely his core. section, and another section. When I went to JI: What was your experience performing with I saw him recently and he’s still there. I would Duke Ellington’s rehearsal, they were having the the Cecil Taylor Unit? think anyone with ears will be interested to hear same discussions we were about the placement what he has to say the next time he plays. of sections. Everything is in sections and you KB: The Unit was more crystalized of course. have these lines communicating with one another Playing as a small band you get the chance to be JI: In 1984, you recorded with Cecil Taylor for rhythmically a lot and they develop as the whole tighter with each other. I remember playing at his Winged Serpent (Sliding Quadrants) [Soul band and it has to develop into something that Carlos 1 with the Unit which had drummer Fred- Note] release. How was it playing bassoon with means something and then it settles and then you die Waits, he was incredible, William [Parker], Taylor along with 2 trumpeters and 4 other reed- start another section with different lines and a Carlos Ward and Thurman Barker. It was packed ists? different feel. And of course, everyone was ex- every night. The first night we got there, they pected to improvise. In Wisconsin, I didn’t know didn’t have the piano that Cecil wanted so Cecil KB: During the recording I had to stand a little that I was supposed to stretch out when I played walked out and the owner said, “What? Why apart from the rest of the horns so that they could with him until we did the gig at Hunter College. he’s a prima donna! That’s an expensive piano get my sound without it bleeding into the rest. They had me with baffles. All the guys were cool with me because they had already heard me play. There was no negativity there, that was just a “in Moers, as we were finishing beautiful group. There were incidents in other settings where people had a fight and somebody the set, a strong wind came and picked up a chair – I’m not gonna mention names [laughs] – but tempers fly and things hap- blew all my music off the stand pen on the road. Shit goes down but Jimmy was the calming force. If you’re playing music you’re in certain state. I don’t want to say heightened and out into the audience and I but if someone disturbs you, it is going to have a bad effect on you. Another thing about that re- thought, ‘Oh no, it’s gone,’ but cording was that [vocalist] Brenda Bakr unfortu- nately was not there. She had the accident at a gig before the session where one of the big then all of a sudden, the music stretches that held the lights fell down and just nicked her but it was two thousand pounds and was coming back to me. They she was lucky to be alive. She wasn’t at the recording so Cecil had each one of us taking her part at different times. Also, Gunter Hampel, the were handing it from person to vibist, had a bad cold, as we all did, and he was in a bad mood. He blamed it on the trumpet play- person all back to me. They er [Tomasz Stanko]. He said, “He brought this cold into our band!”

showed great respect.” JI: You married [Cecil Taylor’s longtime saxophonist] Jimmy Lyons. Would you talk about He took the college band with him to New York right there!” But he got his way and the piano he that relationship with him? and the big band played opposite the quartet - wanted. Jimmy, Andrew and Sam Rivers, at the time. KB: I really met Jimmy at Antioch when we JI: You had a Carnegie Hall gig with Cecil. were all there. Jimmy came to all the rehearsals JI: You mentioned that Cecil hired you to work and I got to know him and he seemed to be inter- for him at Antioch. What did you do for him? KB: After Antioch, a lot of people moved to ested in the music I was doing. He’d be surprised New York. They called us the “Wisconsin peo- with what I was doing at times. Pretty soon he KB: Part of what I did for him was being in the ple.” We just started rehearsing without him as started coming past and hanging out at my apart- band and helping people who weren’t familiar people who loved the music – his pieces and our ment and then after a while I started hanging out with his music because people were coming from own pieces and then all of a sudden he got a gig at his apartment and so we just got together. I all over and they needed help to get up to speed at Carnegie Hall and he said, “Okay you guys,” was seeing him every day at rehearsal and things as quickly as possible no matter how accom- and then he added Sunny Murray, William Par- just happened. We dug each other. plished they were. Cecil writes a lot of stuff and ker, Joe Bowie, a lot of the top New York musi- so you can have a lot of different lines happening cians. I think there were five bass players. Dur- JI: I’m dying to know who played in your wed- at the same time and if they don’t hook up the ing the performance, the people in the box seats ding band. right way rhythmically, it can stop everything. threw little pieces of paper down on us. We were Everyone who goes to play Cecil’s music has getting pelted by little balls of paper that weren’t KB: The wedding band, well, we didn’t actually questions. Another part of my duties were to spitballs. It’s a tradition. I didn’t know what it have a wedding band. [Laughs] By the time we write down his poetry. He had written it down was at the time but Cecil told me after the gig. It came to New York we got a place together. We but it wasn’t annotated in a concise way. He had was quite an occasion. The music was really just did it, we didn’t have a big party. There was it in books and pieces of paper laying around so rolling and all the musicians were really happy to no ceremony, I never thought it was necessary he wanted it organized. I also got the programs be doing the gig. actually. There’s a thing that’s there and whether ready for the gigs, the names on the flyers, all the you have a piece of paper saying it’s there or stuff for the band. I was also in charge of re- JI: Would you share some memories of Cecil not… There was no wedding but everybody just

24 January-February 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 place of a guy who loved jazz and he let us have to do this, it’s so simple,” type of guy. Karen Borca a cabin and gave us fishing gear. I ended up finding what looked to be a really private part of the JI: As you mentioned, Jimmy Lyons’ close as- beach but we had to crawl over all these rocks to sociation with Cecil Taylor led other artists not assumed we were married and fourteen years is get down there while holding our horns. The to call him for work and he certainly never got nothing to sneeze at. beach was blocked off at both ends by a whole the recognition that his talent deserved. Did he bunch of rocks going up the cliff. We were there talk about that to you? JI: Would you share some Jimmy Lyons memo- playing and having a good old time until we ries? started hearing this sound, this low sound that KB: Yeah, and he’d feel really bad about it. He scared the shit out of Jimmy. We had to scamper talked to me about it but this had been happening KB: He was a real strict jazz guy. He knew Bud back up the rocks before the high tide came in. since the ‘60s when he went with Cecil. He did- [Powell], Elmo [Hope] and Monk when he was a He later told Cecil that he didn’t want to go n’t say too much about it but there was always kid and teenager. His mother moved to the Bronx down there but when we went fishing and he that thing there where he was frustrated about not to get away from the drugs in Harlem. He lived started catching so many fish, oh man, you being appreciated for what he was doing and in the same building as a woman named Fern couldn’t stop him. what he was doing was so incredible. He was Daley who had a grand piano in her apartment and all those guys, plus others including Sonny Rollins, would come to play at her place. Bud and Elmo would also come over to his apartment “At the time I didn’t realize that [my because his mother had a little spinet piano until one day, they were crazy Bud and Elmo, you career] was getting ready to take off know, so one of them hit on her. I don’t know which one but they said, “Come on, let’s get and I became disheartened. I kept naked and dance!” [Laughs] His mother was very prim and proper and she said, “Okay, out! practicing and playing and I was Get out and don’t you ever darken my doorstep again!” Jimmy didn’t tell me that story for a long time. Jimmy had a certain thing ingrained in him, always doing something. I was still a strictness he learned from spending time with these older musicians. When he went to play in the music but I wasn’t doing it with Cecil, Bud and Elmo would not speak to him again. He said one day he was walking down as much as I should have to the street and Elmo purposely went to the other side of the street to not cross his path. I felt so take care of business.” bad for him when he told me that story. One time we went down to hear Jackie “Mac” [McLean] at the Five Spot. Jackie came off the stand and said, JI: You played in Jimmy Lyons’ band for pretty much ignored by the press. In the late “Oh, hi Jimmy,” and he walked away. The older twelve years, until his death in 1986. Would you ‘70s, the Village Voice wrote about his quartet guys were pissed off at Jimmy. Jimmy was a talk about those European tours with him? and said that I was “the perfect foil” for him and taskmaster at anything he did. He was very neat, Jimmy said, “Yeah, foiled again.” He was really neat, neat. If you saw his manuscript it had per- KB: Those were really nice, they treated us like frustrated when he’d see these younger guys fect penmanship, his notation looked pretty. kings and queens in Europe. It’s part of their pushed up like great artists while he was labeled When we bought the house, it was a two-sided culture to enjoy music and view it as art. It was as a sideman. Some people thought that way but coin for him because it took time away from my first time in Europe so I was excited. Jay you’re talking about Andrew Cyrille and Jimmy music but he loved doing the kind of work to Oliver and Paul Murphy were with us. In Am- Lyons! Get out of here. make the house look better like plastering and sterdam we’re on the stage at Bimhuis, Jimmy painting and sawing boards. I remember the time came out and said, “Something’s wrong with my JI: There were long stretches of time that Cecil we actually took a vacation. It was after he had horn,” so I told him, ‘Go backstage and fix it did not have work. What did Jimmy do then? been on the road for a while and before he had to because I cannot play these heads at this speed if have an enormous amount of work done on his there’s something wrong with your horn. It’s that KB: He was working in the post office and he teeth. I said, ‘Let’s go and just hang out in Long key there, you’ve fixed it before! Go back and got his Social Security in order. It’s a shame that Island and go fishing and swimming.’ And he fix it!’ Another time in Moers, as we were finish- these people stopped calling him for gigs, he said, “What? Fishing and swimming?” Cecil was ing the set, a strong wind came and blew all my could have done both. He had his own apartment there and said, “Huh, Jimmy? You’re going on a music off the stand and out into the audience and down in the Village. At one point they hadn’t vacation?” [Laughs] Because musicians never go I thought, ‘Oh no, it’s gone,’ but then all of a worked in a long time and he saved up a bunch on a vacation. I mean, it’s always there. You are sudden, the music was coming back to me. They of money and he was gonna go to Europe by never anywhere where the music is not, even if were handing it from person to person all back to himself but then all of a sudden Cecil came up no concerts are happening. It’s always there, you me. They showed great respect. with a gig so he didn’t do that. hear it in the waves or the elevator going up and down. So we went out to Montauk and we got JI: How did Jimmy’s leadership style differ JI: What happened with you in New York im- this little cabin and the not nice part of it was from that of Cecil? mediately after Jimmy died in 1986 and you there was a little prejudice out there. I had made were on your own? arrangements ahead of time and sent the money. KB: Jimmy gave more specific directions We got there and they looked at the two of us whereas Cecil, it would have to be more extreme KB: I had already been teaching in the public and they said, “Oh no, there was a mistake. for him to jump in and correct you. He would schools before that. I was working at the Village We’re very sorry.” At that time I didn’t realize just do something different and get you going in Voice for a while but I had a teacher’s license so about this whole black and white thing. To me it a different direction and hope it would work out. I was substituting until things looked like Jimmy never made a difference. So we’re out in Mon- Cecil was more of an educator and Jimmy was was getting more gigs so I moved away from tauk with no place to stay. We finally found a more of, “I don’t know why you don’t know how (Continued on page 26)

To Advertise CALL: 215-887-8880 January-February 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com 25 bassist Jay Oliver. When the Knitting Factory JI: What do you have to say about being a fe- Karen Borca came along you could always get a gig there. male playing in jazz bands from the ‘70s and on? You could also always get a gig at Soundscape. Verna Gillis was very good, you could get a gig KB: Every once in a while I’d run into some- (Continued from page 25) there even if only two people showed up at your body who’d have a problem about women musi- teaching. After he passed away, I went back to gig the last time. cians but it was rare from other musicians that a teaching but that has always been sort of frustrat- guy would just treat me really poorly. It did hap- ing for me because that’s not my cup of tea, tell- JI: What has life brought you over the past 25 pen but I didn’t think too much of it at the time ing people to stay in precise places. But kids are years? that I was in the minority. There are a lot more kids and if you’re gonna have a whole room of women doing it now and they’re really on top of them together they’re gonna go crazy if you KB: After I went to Europe with my own band it. don’t lay some rules down. I wouldn’t let them in ’98, it was really exciting because people mess around because I know there could be started calling me to do more things here when JI: You didn’t have problems with musicians blood on the floor. There was blood on the floor they saw I had played the Berlin Jazz Festival. coming on to you? in many of my classes because, although I have a Cadence wanted to put out a number of my rec- degree, I’m not into bogarting kids much. It was ords but I’m not a business person. I’m better at KB: Yeah, that happened sometimes but I could tell them to get out of here. It happened and not necessarily in groups that I was playing with. I’d go out to hear somebody playing and they’d get “I guess sometimes men in their the wrong idea. They weren’t used to seeing women on the scene and they figured it must be a music can sound macho, if there groupie. I don’t remember having problems with musicians that I was playing with in the same band. is such a thing as macho. I don’t JI: You’ve played in settings of all women. You perceive that much of a difference. played in an all-women’s band in Europe which included Irene Schweitzer, Joëlle Léandre and Maggie Nichols in Portugal. Do you perceive We’re talking about a creative there to be a significant difference when performing with all women versus all men? process here which I don’t think is KB: Actually, no. I guess sometimes men in their music can sound macho, if there is such a within any physical boundary.” thing as macho. I don’t perceive that much of a difference. We’re talking about a creative pro- tough for me. I’d go teach and come home and doing things for other people. In the past I had cess here which I don’t think is within any physi- not be able to practice because I was so wound put things together for Jimmy, getting him cal boundary. Okay, men are sometimes more up. grants, setting up his gigs in Europe. That wasn’t aggressive but some people have accused me of as hard as to take care of my own business. After being that way at times, and you’ve never seen JI: There was blood on the floor of your class- that European tour, going to Berlin, things start- me angry. It might be a little different in the way rooms? ed to trickle in here but my living situation was you hang out afterwards, but in the time that tenuous. I had to move around a bit. I don’t want you’re putting music together, I don’t see that KB: Oh, yeah, for lack of keeping them in or- to go into the whole thing about the sale of our much of a difference. der, for lack of cracking the whip. Whatever it house, which didn’t go well. It wasn’t that people was, kids are always gonna fight. I don’t know stopped asking me to play. My making reeds JI: In our communications leading up to this how the other teachers did it but my classes, it didn’t continue as it should. At the time I didn’t interview, you mentioned wanting to talk about was blood on the floor a couple of times. Yeah, realize that [my career] was getting ready to take the importance of keeping improvisation and black eye, broken tooth in the play yard. One off and I became disheartened. I kept practicing composition in free jazz and the need to keep time they tried to take me out with a basketball and playing and I was always doing something. I avant-garde jazz on the edge. but I saw it coming right at me. They thought it was still in the music but I wasn’t doing it as was fun but it’s a good thing I have quick reflex- much as I should have to take care of business. KB: I should explain what I mean by “the es. edge.” The thing about this music that keeps it JI: Why have you never recorded as a leader? moving forward is that it has naturally evolved JI: Talk about the bands you led in New York and changed over time – from the pre-nineteen- KB: I have tapes of my bands but I haven’t re- hundreds and the field hollers, from ragtime and KB: There were some really nice groups. The leased them. For some reason, to do things for Dixieland to Swing, it’s kept evolving. This is first things were communal groups including a my own stuff is just very difficult. I was offered what it’s supposed to do, especially in improvisa- group with Jeff Hoyer, Susan Feiner and Jackson to put out three or four recordings but they were- tory music. If you get too comfortable in doing a Krall. We’d get together once a week, work out n’t going to give me any money, just CDs, and thing, you can get lazy because that is always and play. At that time there were a lot more plac- what I didn’t know at the time was that a lot of going to work, whereas if you’re on the edge, es to get gigs. You would make up your flyers, people were doing that. They were taking CDs as you’ll be out there and it won’t work and it’s not advertise, and see if anybody would come. There payment. I was thinking how am I gonna pay a comfortable feeling but new things do develop were so many little places you could play it was these people in the band? I should have spoken by you doing that, by taking those chances. For almost like 52nd Street. I don’t know how I de- with other people but I didn’t. Shit! This could me the edge is that point that you jump into the cided I wanted to have a quartet on my own but I have happened in 1999 and I would have had my unknown. I term free jazz to be music that’s pro- did. I was starting to write more on my own and own records out. I still have the tapes and it’s duced without any written charts. To do that the first band was with Paul Murphy and his wife incredible music. really well, you have to be playing with people at the time, pianist Mary Anne Driscoll, and for a while and establish a rapport. It doesn’t

26 January-February 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 KB: Another perfectionist. When he and Jimmy unsubscribe. I’m also getting spam calls on the Karen Borca were playing together, they would always be phone. challenging each other to see who could play it faster. And he’d always be bemoaning the fact JI: What was your 9/11 experience? (Continued from page 26) that he only had three keys on trumpet because if always work. You can hit a wall. Sometimes it he had more keys, he could go faster. He was a KB: The vacant hole that was left there, that’s works one time but not the next and you’ll learn great technician and he could talk a mile a mi- how you felt. I was living in Brooklyn at that something from that. nute for hours and hours. He could be annoying time, right across the bridge, and I heard a boom! at times. [Laughs] He was an incredible musi- I thought, ‘Gee, what’s that,’ and then a while JI: I’d like to give you some names and see cian. later I heard another boom! I thought, ‘Wow, that what memories you have. How about Bill Dix- was really loud.’ And then I tried to make a on? JI: Saxophonist Glenn Spearman? phone call but the phones were a mess, you couldn’t make a call. Finally, I got an operator KB: It was an honor to play in his bands. He KB: Glenn was an earthy kind of a guy. He and she said, “Where have you been? They just was another really central force in this music. He loved Frank Wright and, of course, Albert Ayler. hit into the World Trade Center and the two was very compositionally oriented. He was very He hung out with Frank in Europe. He was all buildings fell down!” My bank was right down into chord changes when he first came on the scene. He went up and asked Bird at one time something and Bird said, “Just play it man, don’t worry about that change.” He was a conversa- “If you get too comfortable in doing tionalist. Part of his rehearsals or sometimes afterwards, would be him telling stories, which a thing, you can get lazy because was very enjoyable. He was also a taskmaster. He wrote these things and he wanted them that is always going to work, played to plan. He liked working with big groups as well. He came with a set of values – personal- ly and musically – like most of the great guys. whereas if you’re on the edge,

JI: Drummer Andrew Cyrille? you’ll be out there and it won’t work

KB: He’s such a sweet guy and an incredible and it’s not a comfortable feeling but musician. He can play with anyone. When we were at Antioch, he brought in his pieces too. new things do develop by you doing He’s right there in the center of what’s happening in the music. His apartment was across the that, by taking those chances.” hall from my apartment in Antioch and there was this big, long stairway going down to the street and one day my five-year-old son, Jerry, who music, all the time. When he was in Cecil’s band there and when I tried to use that bank, man, you used to like to go down to the neighborhood Yel- for a few years, and I had been in it for years and could smell it in the air. For them to tell those low Gulch Saloon and watch people play pool, years, he heard me play one thing that Cecil had workers the air was fine, that was not cool. I he got out of the house and I didn’t realize it. It given out notes for and I had elaborated on it and didn’t want to go in to view the center of the was early in the morning and I hear this car – it came out sort of how Cecil would elaborate thing. I didn’t want to be running across any Screech! And then I hear my kid screaming! I and he looked over at me like, “Oh, man, how’d arms and legs. It was enough for me, after I final- went down those really long stairs in three jumps she do that?” He was another really nice guy and ly looked at a television to see these people leap- somehow in my mini sleep wear and I get out very honored to play with Cecil in the Unit. ing off the building. And then the music stopped, there and he hadn’t been hit, thank God. He right after that. There was a real big lull and you jumped backwards and hit his lip on the curb and JI: When I contacted you to do this interview, just felt so terrible. With that, the whole world he was crying up a storm. Andrew came out and you noted that you weren’t checking your emails had changed. I’d compare it to Hiroshima or said, “You made it down the stairs okay, huh?” because you’ve, “Been bombarded by political Pearl Harbor. And he’s very calm and he drove me to the hos- stuff because of some of the activities I got in- pital with Jerry. We were very close and he’s a volved in.” Do you care to talk about what you JI: The last questions have been given to me by very compassionate man but on the bandstand, were up to? other musicians to ask you: don’t fuck with Andrew Cyrille because he can do anything. KB: I did not think that Trump was gonna get Bobby Zankel (sax) said: “What you did on elected but other people thought it was inevita- some of those recordings is just incredible. How JI: Bassist William Parker? ble. When Nixon did his thing I said, ‘Oh, bad, did you have the audacity to play the bassoon as but what can I do about it?’ But Trump actually fast as Jimmy Lyons?” KB: William was one of the first people I saw got elected? I started reading political stuff and I when I came to New York. He was in Cecil’s gave a few dollars to political causes such as KB: [Laughs] Because if I didn’t, I would be left band at Carnegie Hall. I didn’t realize what a stopping the Muslim ban but once you do that… in the wind, behind the whole band. Jimmy was central figure he was, how he gathered musicians Signing petitions, that’s the worst thing you can the fastest. I would have to be skipping notes. At around him. William is the more the better, let’s do, although you feel really good doing it. I’ve a certain point I said, ‘As long as I keep up with all do this, and he has a belief, like many musi- finally realized that all these nasty people are him rhythmically and melodically, the main cians do, that this music is a healing force. Wil- running our country and I suddenly became ac- thing is if he’s gonna set that tempo, I’ve got to liam lives by that and he’s all about music, mu- tive, giving a little bit of money. I signed peti- be there.’ And that’s one thing all the beboppers sic, music. He does it all – poetry. tions online and now my email is bombarded always said – “The new guys coming in, they’re from different sources, they’re not even the ones dragging the tempo, dragging the tempo,” so JI: Trumpeter Raphe Malik? I gave money to. Once they see that you’ve giv- that’s like the worst thing you could do with en, they are all over you and it doesn’t help to somebody who came up in that tradition. I’ve

To Advertise CALL: 215-887-8880 January-February 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com 27 special reed for years but he’s inspired me to from the Louvre. It was flying, tempo-wise – Karen Borca work on that. fast, fast, fast. As fast as Jimmy could go, Paul Murphy was right there, right there! And this Jemeel Mondoc (saxophone) said: “When I group with Murph and Jay Oliver had been to- (Continued from page 27) went to visit Jimmy and you up in the Bronx, the gether for a while. Murphy and Oliver had to known Bobby from the beginning of this music two of you were always practicing. Could you share a room and Murphy was not happy about it in Wisconsin, so thanks Bobby. Audacity, huh? tell us something about Jimmy's practice regi- – “I’m not gonna sleep with any man!” He put Well, you better have it or you ain’t gonna be ment and his influence on you?” the mattress down on the floor and the hotel was playing this music. complaining that he was sleeping on the floor. KB: Jimmy practiced a lot. A lot, a lot, every But on the bandstand, man, that shit was flying. Gunter Hampel (multi-instrument) asked: day without exception. If you didn’t hear him The record that came out on Hat Hut [Riffs] was “How should someone who plays your instru- practicing one day, you’d think he was sick. My only a small part of it. I don’t even think it was ment, go about getting into jazz? Where can they son came to visit in the summers, for a while he the best of our playing. Jimmy was surprised learn and what should they listen to?” was staying with my mother, and once Jimmy when we got there and he saw a big poster adver- was down in the dumps because a gig that we tising the band. “Oh, I didn’t know they were KB: First you have to hang out with jazz musi- thought was coming through didn’t come going to have all that for me,” because he was cians. There are more centers now including through, and then a gig he thought he had with used to not being recognized. This was only our what Gunter is doing in Germany and around the Cecil didn’t come through, so one day he actual- second time in Europe with his band. world. Since there aren’t a lot of people to teach ly didn’t practice very much. And my son asked, the bassoon in this music, the main thing is to get “What’s wrong with Jimmy? Why isn’t he prac- Paul Murphy also asked: “When did you put the into a setting where they can play this music. Just ticing?” Jimmy had just as much joy in practic- peace sign on your bassoon?” go there and play with the other people. There ing as he did in performing. He practiced every was one time that Bill Dixon was teaching at the day, at least two or three hours. I was used to KB: I think it was the late ‘60s, after I had come University of Wisconsin when I went back to doing that myself, and since we were in the same back from studying with Arthur Weisberg in visit and so I sat down with the group to join in house, I didn’t want to distract him and likewise, New York. I went back to Wisconsin to do my and the violin player next to me was just sitting so we’d try to get in our own space. I also love to degree. I had taken a vacation from the bassoon there. He wasn’t playing a note and I asked him, practice, it makes me feel more alive, and maybe for a while in the interim and I was really not ‘Are you waiting for him to give you a note?’ He I practice more because of him. He also influ- happy with my reeds and my playing. Viet Nam said, “Yeah.” I said, ‘Just pick anything. Get in enced me in that I sometimes saw him technical- was happening and I just started carving with my there and do it. He’s not gonna take your head ly doing things that I hadn’t thought of. We rein- reed knife into the maple wood of the bassoon off.’ There are rules but you just gotta go in forced each other. because I was frustrated with my playing and the there, you gotta be in it to learn it. You could war. It’s carved so I couldn’t get rid of it and I learn it by playing along with records like a lot of JI: Jimmy has been gone for so long, it must had to put the black ink over it so it didn’t pop people have done on other instruments but you seem like a lifetime ago to you. out that much. People kept noticing that thing have to go where people are doing jazz. If they and it was upsetting them. They’d say, “Oh, what don’t like you, find another group and insist on KB: Shit, it’s thirty years! In a way, it doesn’t did you do? My God, how could you do that to a getting some notes. I never had to ask for notes. seem like that but that’s a long time. He really bassoon?” I carved it when people were talking got screwed. He was ready to become really, about going up to Canada to get out of the war. I Dave Sewelson (saxophone) asked: “When did really famous, I think. Not that he wasn’t already mean, Jesus, when are we gonna get this shit you have the best reed you ever had. I certainly famous, but recognized in his own thing. So together? It seems so simple when the Dalai La- remember mine and I’m sure you remember many people looked upon him as Cecil’s side- ma explains it. yours.” man, whereas it wasn’t like that. It was like Duke and Johnny Hodges and Duke and Billy Stray- JI: Final thoughts? KB: Yeah, I do actually. Dave, how did you horn. He died really young, right before it finally know that? It was in a gig I did with Jimmy’s was gonna happen for him. He was in the hospi- KB: I’m just really grateful to have a life in quartet and I had this reed I wasn’t using because tal for a lung operation before I even met him. It music and to have known the musicians I’ve I was afraid it was too good and it would be too was very, very serious. His lung was going to known. I can’t imagine what I’d be doing right overpowering with the way the mics were set up. collapse from a congenital bleb and they had to now if I wasn’t playing music, it really would be If I were to switch to that reed it would put me go in there and cut ribs to get rid of that. It took a sad state of affairs. If I wasn’t playing music I even more out front. But I was backstage and him a long time to recover. I met him shortly probably would be a much more negative person somebody asked me how my reeds were and, for after that. He came to a party at Cecil’s and I was than I am. What would people do without art and a change, I was saying, ‘Yeah, I got a good one wondering why he was walking a little stiff. He music? This place would have been burnt to a here. It’s so good, I’m afraid to use it.’ They said when he was in the hospital he would go crisp by now. said, “Ah, go ahead and use it.” That was around into a room and smoke his cigarette and the doc-  ’82 at Soundscape. The house was packed and it tor came past and yelled at him – “You just went was recorded but never came out. Afterwards, I through this serious operation on your lung and told Jimmy I used that reed and he said, “Yeah, I you’re sitting here smoking a cigarette!” He did-

know you did.” [Laughs] Because it changed the n’t take care of himself a lot. He was as mindful

balance of the sound. That reed just did every- about his health as I am about my business. “As a single footstep thing. It had a real edge to it and you could do will not make a path on the earth, anything. It had more gusto. You can never tell, Paul Murphy (drum) asked: “What did you so a single thought will not make a pathway even if you leave the wood on the reed in all the think about playing at Le Dreher, the jazz club in in the mind. To make a deep physical path, we right places, each piece of cane is different. They Paris, a long time ago?” walk again and again. To make a deep mental have machines now that can duplicate your fa- path, we must think over and over the kind of vorite reed but it doesn’t work that way since the KB: That was incredible, we were all flying. thoughts we wish to dominate our lives.” threads of the reeds are all different. I used to You couldn’t repeat that experience. It was very have a whole drawer of reeds so that when I laid unusual for a jazz group to get a gig in one place

off the reed making, I had reeds to last for years, on tour for ten days. It was right across the which you’re not supposed to do. I haven’t had a bridge from the Notre-Dame and up the street - Henry David Thoreau

28 January-February 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 JaleelJaleel ShawShaw Hear Jaleel and Steve Wilson at Jazz Standard February 20-21

To Advertise CALL: 215-887-8880 January-February 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com 29 are flaunted, like a badge of honor. Kelly sur- rounds her in barroom elegance, while Art stays FEATURE quiet on brushes. She’s girlish on “I Cross My FEATURE Fingers”, absolutely thrilled at what the lyric im-

plies – like a gutsier version of Ella. Wynton’s flamboyance is everywhere, bursting with happy chords; it’s a wonderful comp, but it silences the Art Blakey rest of the band. (This is not Kelly’s fault – the music comes from a portable wire recorder, making His Life & Music — Part 2 it sound a little fuzzy.) “Harbor Lights” is a triumph: Washington pleads in her brightest voice, while Kelly alternates Already a legend by the 1940’s, Coleman the saxophone runs free. Ditching the theme within between stride and block chords. Wynton appears Hawkins was one of the first American jazzmen to a few bars, Stitt makes a feverish hop, weaving up to be her only accompaniment, and it’s all she take residence in Europe. After some fruitful years and down as Mance sketches a background. The needs. “Only a Moment Ago”, a trifle of a song, there he returned to the states for World War II, sax has a hard edge, quoting nursery rhymes in becomes poetry in her hands, as Heath provides a went back for a lengthy tour in the late ‘Forties, double-time fury – the last half-chorus is done in stately walk. Wynton is heard sparingly this time, and repatriated for good in 1950. His first session solitude, dropping jaws as he sets a speed record. in a few lush chords; Art is either quiet or absent. back in America was made for Royal Roost on Stitt was always competitive, but here he’s in a Another set with Dinah, made the following week, August 5, in a quintet with Art, a young Billy Tay- class by himself. offers three songs: “I Wanna Be Loved”, where she lor, Percy Heath on bass, and the guitarist John Starting in 1951, Blakey made frequent visits smiles through the witty lyric; “My Heart Cries for Collins. Now part of the compilation Coleman to Birdland, playing support to a variety of stars. You”, where the voice transcends a mediocre song, Hawkins 1947-50, the band forms a quiet stream, While not the club’s regular drummer (that honor and “Time Out for Tears”, a smoky break-up punc- on which Hawkins sails with vibrato and strength. belonged to Papa Jo Jones), he was often tapped tuated with boogie lines. Blakey shouts on this Art is barely heard; the beat is carried by Collins, a when certain musicians played there. Dizzy used number, but the focus is on Kelly, whose surge in simple comp bolstered by Taylor’s chords. him on several occasions, both with his sextet and tempo perks Dinah’s interest, as well as ours. “You’ve Got Me Crying” lives up His first major job in a jazz con- to its name, Hawk drawling the theme in text, Wynton is fascinating here: while calm surroundings. Collins’ harmonies feeding chords and staying out of the are subtle but sweet, inspiring the lead- singer’s way, elements of his later style er’s emotion… lament never sounded keep peeking through, the same lush- this good. The tiniest brushes adorn ness adored by Miles and others. While “Can Anyone Explain?”, and Hawkins a minor footnote in Blakey’s career, the burbles, almost as an alto would. Piano Washington session form a big chapter and guitar are now independent, trading in Kelly’s, as an important voice gets its comments while the saxophone coos. first hearing. (To paraphrase a record producer: “He The next session is a matter of could play a tune once and make you speculation: a January 31 outing for think he wrote it.”) John’s solo is deli- Sonny Stitt including Eugene Wright cate and too short; Hawk comes back and Charlie Bateman. While the album for the finish, which he plays like “As credits for Kaleidoscope list Teddy Time Goes By”! No doubt, his talent Stewart as the drummer, a reliable dis- defies explanation. cography gives Blakey the honors. No “I Cross My Fingers” is a carbon style is discernable on “Can’t We Be copy of the last tune: lovely to be sure, Friends”: a slow-tapping cymbal, this but we’ve heard this before. Billy gets a could be any drummer. The horn is nice spot, where carefully placed notes sleek and ambles through the theme; his radiate in a pool of echo. “I’ll Know” solo is more aggressive but the sweet- eases up on the vibrato, but the emotion ness remains. Almost with a clarinet’s stays rich. It is centered on Heath, tone he whistles happily on, ending with whose deep bounce seems like a heart- a sharp, eye-opening tag. beat; Hawk answers with sleek double- “Liza” is closer to form, Stitt push- time, and Taylor wraps it in a gossamer ing strong over Bateman’s rumbling flourish. Lightweight but lovely, this comp. The drumming does sound like session finds Hawkins at his gentle best; the next on a memorable date (sometime in May 1950) Art: thick steady cymbals, punctuated by irregular time he’d record with Blakey, the circumstances when the charts of Gillespie’s big band were thuds. Wright is front and center, giving a tuneful, would be more intense, and even more lovely. played by dozens of stars in what Diz called the woody bounce – the drum exchanges are austere by December 15 would bring another date with “Dream Band”. Art was paired by Billy Taylor and Blakey’s standards, using more silence than is his Sonny Stitt; two tunes were recorded, both of Al McKibbon, the reeds included Lee Konitz and wont. The first of these breaks – a tight snare roll which would appear on the Kaleidoscope album. Gerry Mulligan, and the trumpet section – perhaps followed but one note on bass drum and a lone Completing the band were Eugene “The Senator” the best ever assembled – consisted of Dizzy, Miles cymbal – is almost tentative, something I’d never Wright, later to play bass for Dave Brubeck, and Davis, Fats Navarro, Kenny Dorham, and Red say about Blakey. While the tunes here are good Junior Mance, an underrated pianist with a bluesy Rodney! (Sadly, this band only played once; even (as they are for the whole of Kaleidoscope), my approach. “Imagination” finds Sonny on alto, slith- more sadly, no recordings appear to exist.) verdict on Art’s participation would be “possible, ering fast and avoiding ties to Parker. (If anything, Other gigs at Birdland included two dates with but not conclusive”. Stitt would finish the album he sounds like Johnny Griffin here.) Blakey is al- Dinah Washington, now included in the compila- the next day, with Teddy Stewart at the drums; the most invisible, confined to gentle taps buried be- tion Queen of the Jukebox “Live” 1948-1955. The next time he recorded with Art, over a decade had neath Wright’s walk. There’s a feathery comp from first session, from January 13, 1951, gives Dinah passed. Mance, but otherwise this is all Sonny – not like the trio of Blakey, Percy Heath, and Wynton Kelly Blakey had a strong friendship with Dizzy that’s a bad thing. at the start of his professional career. “I’ll Never Be Gillespie, one that lasted many years. Dizzy and “Cherokee” is delirious active, the way it Free” finds the singer in a splendid mood; the har- Art had much in common: they relished the role of should be – Art steams hard on the cymbals, and rowing words, which most singers take as a dirge, bandleader, were avid scouts of new talent, and

30 January-February 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 claps introduce “Lady Be Good”, alongside Milt’s cymbal as Rollins and Miles get into it. The sound Art Blakey down-home piano. The singer is Joe Carroll, a is very murky; you can barely hear J.J. doing the mainstay of Diz’ in the early ‘Fifties; mostly used Birth of the Cool counter-riff in the background. on the comedy numbers, his style is ebullient, a Miles is in full bop mode, drawing zigzgs with a were competitive as anything. Because of their smile you can hear. After the verse he improvises a speed he’d scarcely use again. A hurried quote of breakneck schedules, they rarely got the chance to chorus, part scat and part “bop talk”; the horns “All God’s Chillun Got Rhythm” leads to double- record together; an exception was made on April parry back, ending in a sweet fanfare. Dizzy is time frenzy, and then a subtle exit – Sonny takes 16, on a session produced by Dave Usher. This was barely heard on this cut, while Blakey’s work is over in mid-phrase, before you even notice. Art made under the auspices of Dee-Gee Records, a confined to the brushes, tapping support for Bags. piles on the snares during Rollins’ turn, at times label owned by Usher and Dizzy. Coming after the Dizzy weeps the intro to “Love Me, Pretty submerging the young horn. His tone here is demise of his trailblazing big band, these tracks Baby”, a bittersweet ballad sung by Melvin Moore. throaty and surprisingly meek; he could be stand- lack ambition but are laden with power. A dusky, emotional baritone, Moore caresses the ing far from the mike. A decent melodic idea is This session had three songs, with singers lyric, a vast improvement on Joe Carroll. The chart stretched thin as Sonny tries to emulate Davis’ added as needed: the horns included Budd and J.J. is intriguing, blending smooth horns and spiky speed – and there’s Art driving him faster! He does Johnson, with a rhythm section composed of Milt piano; on the bridge the rhythm section vanishes, the same for Johnson, dropping big snares amid a Jackson, Percy Heath, and Art. He gets “The leaving the horns to pond a riff behind Melvin. pot of boiling cymbals. J. J.’s tone is mellow, while Champ” off to a crackling start, working cymbals (The mood shifts from “Soul Eyes” to “I Put a his pace is not: puffy clouds of sound, moving in as Budd takes the theme. Milt and Dizzy join him Spell on You”!) While credited, Art seems absent all directions. (Many in the crowd cheer him on, at the second chorus, and it’s Bags who gets the from this one; the beat is carried by Percy Heath including Miles.) Drew’s effort is standard, Sonny opening solo: fast, rhythmic, adventuresome. He until the end, when we he a drumroll and a solitary improves on the exchanges, and Art goes wild as gets uncredited help at the piano: it could be Usher cymbal. Good in its understated way, this session the performance unhinges. Tumultuous – but then, or one of the singers, since it’s just a single chord came out on 78, not appearing on LP for several so is the applause. banged over and over. years until Savoy acquired the Dee-Gee material. If “Move” was chaotic, “Half Nelson” makes Budd starts a nice riff on this solo, and varies “The Champ” would appear on – what else? – The up for it: the theme is done smoothly with a pre- it on Dizzy’s: sharp zigzags rising to the sky, with Champ, while the others were issued on School pared chart (or so it sounds.) Sonny wants to take a little tang on the trumpet. According to the cred- Days. the first solo, but it goes to Miles, his etched notes staggering downward. Rollins butts in and is again rebuffed; Miles’ quotes include “Minute Waltz” played in 4/4! Soon after he calms down, in a “Blakey had a strong friendship with sound reminiscent of his later style. Sonny climbs back, and this time gets the floor: a series of subtle arcs, played with a gruff- Dizzy Gillespie, one that lasted many ness expected of baritones. It’s much better than his previous solo, and Kenny helps with his lavish years. Dizzy and Art had much in common: comp. The trombone seems a tad quiet, but wonderfully tuneful; the same goes for Art, who is varied and rhythmic. “Down” is more rough-hewn, they relished the role of bandleader, as is the sound quality; a healthy crackle supple- ments the drum work. Miles goes back to the races, were avid scouts of new talent, and were double-timing for the bulk of his solo. Once he slows down, we hear a tangy blues, continued by competitive as anything. Because of their Sonny in a voice of restraint. Art makes him stronger by pressing the beat – J. J. makes it slow but bold, and Drew is even softer. A little slapdash breakneck schedules, they rarely got the for my taste, this session marked the first time Bla- key and Rollins recorded together – he would im- chance to record together…” prove markedly in just a few months. Blakey’s next session with Thelonious Monk returned him to the quintet format of the earlier its, Milt mans the piano at the end of his vibes solo; A bigger date – both in size and stature – in- dates, with a new musician thrown in the mix. it’s certainly more accomplished than the comp he volved Miles Davis at Birdland on June 2. The (This would appear on Genius of Modern Music, received. Meanwhile, Dizzy keeps moving: stacatto section comprised Kenny Drew and Tommy Potter, Volume Two.) Joining Monk, Blakey, McKibbon notes on his fifth chorus, ecstatic screaming on the both familiar to Blakey; the supporting horns were and Shihab was the young Milt Jackson, dividing sixth, and then we get J. J., whom we haven’t heard J. J. Johnson and a young Sonny Rollins. A profes- his time between Dizzy and the new Modern Jazz yet. Calmer than his norm, his notes are smooth, sional for only three years, this appears to be Quartet. This seems to have been planned as a lead- rounded, and clustered in a whooping sequence. Sonny’s first recording with Miles, released on er date for Jackson: three cuts were issued under Behind him Art is restless, and Bags’ piano is Miles Davis: Complete Birdland Recordings. his name, two on the album Wizard of the Vibes. more than adequate. The horn riff is modified Art leads the way on “Move”, dusting the ride Notably stronger than the ’47 date, the solos are again, this time with Diz joining in – the sound is a taut and the players don’t seem intimidated by little off, as if they’re playing in another room. Monk’s compositions.

Budd’s solo is less creative than his riffing; he For his part, the pianist is way more assertive:

hangs on one note for the better part of two chorus- “Four in Hand” seamlessly blends the stride man-

es! In time he gets moving, in the mold of Gene “The greatest day in your life nerisms with the Monkish tone clusters. The theme Ammons; this is followed by his trademark, an includes Milt, but what you hear is Shihab: strong ornate fluttering trill. (Hear Dizzy shout “Yeah!” and mine is when we take total diction, an icy tone, and harmonies that ape the behind him.) And then he starts walking the bar, a responsibility for our attitudes. leader’s. (Among Monk’s saxophonists, I would honk that starts like Illinois Jacquet … and ends That’s the day we truly grow up.” rank Shihab second only to Charlie Rouse.) Milt like “Mighty” Joe Houston! The least known of the gets a half-chorus, with glowing whole notes in players makes the most interesting solo – some balance with Monk’s chords. things are worth waiting for. A wonderful tension seethes on “Criss Cross”, The two vocals on this session offer different radiating from Blakey’s kit. Bags’ tone is springy, - John Maxwell voices, and different temperaments. Bold hand- (Continued on page 32)

To Advertise CALL: 215-887-8880 January-February 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com 31 “Go! Go!” … and you will agree. The torch goes to completed by baritone Rudy Williams, Tommy Art Blakey Big Nick Nicholas, who starts in calm contempla- Potter, and the pianist Teddy Brannon, a cousin of tion – for ten seconds, anyway. Soon he’s burning Bennie’s. up the track, in a tone similar to Lockjaw’s, and “Green Junction” is a unison riff, played simp- (Continued from page 31) then they joust for a while. The exchanges shrink to ly and loudly. Reminiscent of “’A’ Train”, the pouncing off the rhythm; Thelonious reacts to him, two bars, Miles interrupts with blistering phrases, tune lets Green drawl wistfully over a forceful with Sahib along for the ride. The vibes sound and Art’s interjections are different every time. As chant. Here Davis is not restrained: he pounces on brittle here, as tight notes reflect the slightest vibra- advertised, this one moves, and the applause could the chords with the growl that made him famous. to. Shihab swaggers, tenor-like as he slides down a go on forever. Green is barely heard on his own record … it’s just backdrop of cymbals and rainy chords. Monk’s “The Squirrel” comes from the soft side, with a riff tune, but what a riff. “Flowing River” brings solo is marvelously realized: all aspects of his style big chords from Taylor and quiet reaction from blues the way you like it: honky-tonk licks from in equal proportion, and not a note wasted. An Miles. His playful solo does much with silence: Brannon, Bennie crying a slow lament, and Lock- alternate take finds Milt on center stage: his solo is disparate phrases seem connected, thanks to the jaw shouting his approval. The second chorus fea- good but quiet in places, which may have insured pauses. (In a way it’s like lacework: the pattern tures a throaty Green, and a razor-sharp horn riff … its rejection. comes not from the material but from its absence.) a sound both ancient and timeless. A fresh stab at “Eronel” gives all attention to Mingus makes himself known with an expansive The blues roll fast on “Whirl-a-Licks”; the the alto, heard as sweet as Shihab can make it. Milt walk; Art remains in the background, whisking a theme is sloppy and the mood is right. They begin is present but does little; mostly he decorates the light cymbal. After a few lighthearted choruses, with exchanges: Bennie whoops with frightening ensembles. Thelonious is more busy than usual, and more conventional … it’s a reprise of the theme, with slight variations. “Straight, No Chaser” begins with Art – atmospheric as a silent movie. “When Art returned to Birdland on Papa Jo’s hi-hat routine is interrupted by fierce rimshots, a series of ride cymbals, and the leader’s September 29, he found himself in an- acidic piano. The theme enters with caution, and Monk other sextet with Miles Davis, this one develops his solo with sinuous turns, ending with a few bars of “Misterioso”. Shihab answers by quoting “Kerry Dance”, giving his notes a Hawkins lilt. markedly different from the last. In Milt tries a softer tack as he hovers, leaving a trail of sweet glassy notes. Blame the 78 format and its June, Miles blew tough while his forced brevity; had they played a minute longer, these ideas would be better explored. “Ask Me partners were reticent; here the Why” is almost a cocktail piece, its theme played in slick octaves with discord at a minimum. The band is super-competitive…” horns stay home and McKibbon is barely heard – in essence, a duet, with Art’s brushes guiding the passionate keys. The alternate is more thorny, but Miles gets sassy: high notes are slurred, and the speed, Lock screams harshly, like the best of the the idea is still there. others follow meekly. Lockjaw’s tone is subdued barwalkers. Green dives low on his solo, prompting After a laconic intro by Monk, “Willow Weep (like a bass harmonica in places) but his attack massive snares – the exchanges return, and with for Me” is entirely Bags, from the gentle theme to remains strong, angling through Taylor’s warm them the massive speed. How they keep this pace the bluesy bridge. The strikes are hard, the vibrato comp. Getting tough on his last chorus, he hands for three minutes, I have no idea. slight, and the quote of “Swingin’ on a Star” is fun. off to Nicholas, whose tone is a match for Lock- “Pennies from Heaven” glides smoothly; the Monk is strictly a sideman, playing conventional jaw’s. chart is splendid, using Williams to full advantage. (and intermittent) chords; Art creeps behind with a A tad more forceful, Big Nick lunges against Bennie’s sound is full, pure, and surprisingly high brush, and that is all. A vast improvement on the the comp, making Billy move faster. A small as- … a bluesier version of Frank Rosolino. These ’47 sides, sales were still disappointing; Monk cending figure goes guttural, bubbling with a tracks were first released on 78s and then com- would have more session for Blue Note before vengeance – Miles pops with a riff he’d use at the piled, with tracks by J. J. Johnson and Kai Wind- being dropped by the label. The pianist would find end of “Walkin’”. Nick’s last chorus is his most ing, into the album Trombone by Three. The disc’s work at other labels, and Art would be around to passionate, but is smothered in a sea of drums; second pressing had a cover drawn by MAD Maga- help. Taylor’s effort is elegant, and the end-theme is zine’s Don Martin, while the original release (on When Art returned to Birdland on September almost an afterthought. 16 RPM!) was done by Andy Warhol, newly ar- 29, he found himself in another sextet with Miles The next cut is “Lady Bird”, but it will take rived in New York. Even at this stage in his career, Davis, this one markedly different from the last. In you a minute to recognize: the theme is severely Art traveled in the best company. June, Miles blew tough while his partners were truncated, going to Miles’ solo after only two bars. The session also yielded two more numbers, reticent; here the band is super-competitive … as (It could be a sound problem: there is hiss – and an released at the time on a single. “Tenor Sax Shuf- the trumpet makes steps toward his new style! Pro- audible skip – in the opening moments.) Miles fle”, composed by Big Nick, takes a big note and pelling them all was Blakey, next to Billy Taylor’s keeps to short phrases, flinging them fast over drives it relentlessly. Green gets a short, uneventful piano and a new force on bass, Charles Mingus. Art’s thunder. The saxes duel from the start; Lock- solo; the rest is a duel, with Nicholas coming out This band means business, from the opening jaw plays cool while Nick is intense. Billy’s ele- on top. They were trying to do this on the Birdland moments of “Move”: Art pounds a hard snare, and gant turn is his best; Mingus’ is also good, though date; here it works better, as their tones now are the horns race as one. (The Birth of the Cool coun- hard to hear. It’s toms vs. snares on the exchanges, markedly different. “Sugar Syrup” is much the ter-riff is played by Taylor, who adds warm harmo- and Miles is extra-sweet on the fadeout. A solid same, with the stage going to Rudy for his only ny.) The solos begin with Miles, crisp bop phrases effort from all involved; Art and Miles would unite solo. His tone is agreeable, but Brannon keeps that wend their way upward. Further along the a week later, for one of Davis’ best early albums. butting in – a lesser work, by any standard. These notes melt together, there’s a clever quote of It was a busy day at New York’s Apex Studi- two got their first album release on the compilation “Rhythm-a-Ning”, and the tone becomes wispy. os: on October 7 Blakey cut two sessions there – Prestige First Sessions, Volume Three, and are now Art remains tough throughout, especially on the same label, some of the same cast, but totally dif- heard on the CD reissue of Trombone by Three. cymbals; pay attention to Taylor, whose chords are ferent results. Going by a discography, the first At this point Brannon and the horns were sent glamorous. Without a pause, Lockjaw Davis takes session was a septet, led by the trombonist Bennie home, as Blakey and Potter prepared for the next over – his notes are blunt, sinewy, and always Green. On tenor were Lockjaw and Big Nick, from session – a sextet date with Miles Davis. Also pre- move forward. Somebody (I think Miles) shouts the previous week’s Birdland session; the band was (Continued on page 33)

32 January-February 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 a tangy, irresistible tone; unlike the others, he never in the mid-‘Fifties, several changes were made. Art Blakey strays much from the theme. Miles returns for an- The album was retitled Dig, “My Old Flame” and other solo, calmer than the first; we hear the same “Conception” were removed from the set (they quote of “Rhythm-a-Ning” he did at Birdland the would later appear on Conception, a various-artists sent were the pianist Walter Bishop, Sonny Rollins, previous week. Bishop’s comp in this sequence is collection), to be replaced by the other three tunes and (for some of the tracks) Jackie McLean. This dreamy – then comes the end, and you’ll do what cut at this session. was among the first Davis sessions planned for 10- the title implores. “Denial” is a happy little mover, clearly based inch LP, The New Sounds; seven songs were rec- Miles’ 1949 nonet sessions for Capitol, later on the chords of “Confirmation”. (As with orded, though only four appeared on the album. compiled as Birth of the Cool, included a tune “Deception”, the title tells the story.) Miles wan- “It’s Only a Paper Moon” gets the soft treatment, called “Deception”. A fast number with a rhythmic ders through quickly, spraying dozens of feathery its theme discarded within the first minute. With theme, it was a note-for-note lift of George Shear- notes. The reeds offer a soaring riff; Bishop’s comp buoyant chords behind him, Davis ruminates: the ing’s “Conception”, with only a chord change to is a straight reading of “Confirmation”. Sonny’s phrases are short, the texture is feathery. While the differ them. (You might say “Deception” was aptly turn is perfunctory, but McLean gets his best solo notes are distinct and the attack fairly hard, the titled.) Shearing’s publisher threatened a lawsuit, of the session. Starting high, his notes slither down effect is fragile, introspective – early steps toward which was averted when Miles offered to record before rebounding, all rendered with a propulsive Miles’ “quiet” style. “Conception” on a future album. That album kick. Art gets his say on the exchanges, where Following his turn, Rollins tries the same proved to be The New Sounds: both reeds start the snares interact with rimshots. Davis’ return solo thing: it’s decent at times, but a squeaking reed gets theme which is finished by Miles, using the same tops the first, and Blakey concludes with a long roll in the way. (He was using a borrowed tenor from J. chart from Birth of the Cool. (The harmonies are – no denying this one. R. Montrose, a visitor at the session.) It’s loud, and still rich, even without the extra horns.) The trum- Bishop leans back on the intro to “Bluing”, a disrupts the flow of the solo; I don’t know why pet bobs along with Walter’s splashy chords; faster slow blues in the mold of “After Hours”. Essential- they didn’t try a retake, unless Miles objected. and faster he goes, with a delicacy most horns nev- ly themeless, Miles makes the first solo by drawl- Everything else is sterling, from Bishop’s comp to er reach. Sonny’s turn is short and somewhat bland ing long notes. A leisurely riff bubbles from the the steady march of the cymbals. – Bishop’s is springy, but over too soon. This was saxes, while Miles hovers in the upper register. “Dig” (called “Dig?” on The New Sounds) is quickly tossed off, but surprisingly well made. Gentle, soft-focused, and emotional, this is the tone that would make him a celebrity. Sonny follows, cycling with weathered grace … it sounds like polished copper. Jackie sneaks in mid-phrase, finishing Rollins’ thought in the same tone. McLean “McLean would later dismiss much would later dismiss much of his work from this period, calling it ill-prepared; such is not the case here. Davis picks up steam near the end, and when of his work from this period, calling it Art mis-times the final drumroll, Miles is heard to say “We’ll have to do that again – you know the ill-prepared; such is not the case here. arrangement!” It’s a cute – and human – moment at the end of a fine performance. “Out of the Blue” moves gently despite a busy Davis picks up steam near the end, theme; the harmonies on the bridge are rather nice. While credited to Miles, the same melody was called “Evans” by Sonny Rollins; Blakey would and when Art mis-times the final record it under that name in 1957. Miles’ first solo asserts itself quietly, with many sidesteps; his second is tougher, climbing fast to the top. In between drumroll, Miles is heard to say ‘We’ll is a ragged effort from Sonny (quoting “Well, You Needn’t”) and a splashy bit from McLean (throughout the disc, he deserves more solo time have to do that again – you know than he gets.) While at the time it seemed like “just another session”, the sides from Dig set Miles on the arrangement!’ It’s a cute – and the path to his first stylistic change. It also helped launch the career of Sonny Rollins: within a month he’d be cutting first solo album, with the assistance human – moment at the end of a of Mr. Blakey. By 1952 Zoot Sims had been a professional musician for nearly a decade, and was still known fine performance.” for his time with Woody Herman, as a member of the “Four Brothers” sax section. At first in the image of Lester Young, Zoot would turn aggressive in a “Georgia Brown” variant that quickly became a The disc was completed with “My Old later years, at times becoming the tenor equivalent standard. Davis sounds like the fog, popping the Flame”, a sweet ballad that starts without drums. of Art Pepper. An example of this was a September theme through a wall of echo. McLean coils his Miles takes tiny steps, exploring the chord structure 8 session: he was joined on tenor by Al Cohn, in way through the intro, while the first solo goes to more than the melody. Bishop pours on the harmo- one of their first recordings as a duo. The third Rollins: warm-tones and rolling, the perfect foil to ny, with full advantage of the studio echo; Potter horn was Kai Winding, soon to team up with J. J. Bishop’s chimelike effort. The squeaks are gone, keeps to a simple, sad walk. Sonny does his own Johnson; handling the rhythm were George the solo delivered in a strong breathless sentence – weeping, in a short, vibrato-filled moment; a few Wallington, Percy Heath, and Blakey. even at this age he belongs. Miles comes after, squeaks are there, but nothing major. Art sits out “The Red Door” finds the tenors in lockstep, bopping fast with a tone like gauze. His best is the for the majority of the song, then, during Miles’ as Winding blows some strong counterpoint. Cohn second chorus, with octave leaps in unexpected second solo, a couple of loud (accidental?) cymbals gets the first solo, and bubbling high notes give places; this solo is good, but doesn’t top Rollins’. come out of nowhere. After this, Art picks up the way to resonant hums at the bottom. (In these low Check out the drum pattern during this solo: a brushes and taps lightly for the last minute. You notes you can hear the approach he’d later give to steady soft cymbal, and busy snare rhythms that could call it sloppy … but you must call it beauti- the baritone sax.) Kai follows in a busy, rubbery always change. McLean is halting at first, but soon ful. sequence; Zoot bubbles up high and Art feeds him works sliding patterns into the mix. His playing has When the album was reissued as a 12-inch LP (Continued on page 35)

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ORDER Start Your Promotion NOW! - PressToRelease.com 34 Experience ResultsJanuary-February 2018 In  Jazz24-48 Inside Magazine Hours!  www.JazzInsideMagazine.com CALL 215- 887-To8880 Advertise CALL: 215-887-8880 describes a breathless romance, all over the pur- sounding like Rollins. Coggins follows with Bud Art Blakey chase of beans. Her acting skills are put to good Powell intonations, and Art keeps driving on. use: after the boy hypes his beans for three chorus- Speaking of Powell, his “Tempus Fugit” takes off es, the cynical girl replies “What are trying to like a shot, as tight trumpet notes hit their mark (Continued from page 33) prove with all your talk of beans?/ Yes, I know that again and again. Art stays simple here, but goes to a steady brush-pulse. “Zootcase”, a hyperactive they look cray-ZEEE.” Style is more than sub- town on Heath’s solo, booming the toms, wracking blues, finds its namesake on a two-note riff: the stance here; Ramirez keeps it pumping, along with the snares, and switching to waltz time for a mo- second is the anchor, and the first note flies every- the steady drums. George Wallington replaces ment. The tenor surges with strength, but only hear where. Winding is punchy (he quotes “I’m Gonna Wiltshire for the final tracks, which are decidedly the drums; a rounded solo by J. J. calms Blakey, Wash That Man”!) and Cohn circles up fast in alto more ordinary; “The Time Was Right” is a sad before a rimshot sends him running again. He also range. Wallington’s solo is mostly one note, turn- ballad, pleasant but average. And “Annie’s La- gets a quick solo, a tribal rhythm he’d use on “A ing blue, hammered often – much more interesting ment” fits an ethereal wordless vocal with a Latin Night in Tunisia”. In a way he’s showing off, but than you’d expect. Art has two exchanges, and cymbal riff; it’s a scat, but she sings it like a for- he’s also moving everyone forward … the same does well with both: the first is dominated by rim- eign language. These two are OK, but were clearly way he would later lead the Messengers. If you shots, the second with snares. The end is abrupt, meant as B-sides; listen to the Gray tracks, and try seek the origin of Art’s mature style, you might but the whole is stimulating. to keep from smiling. find it here. Cohn is the arranger for “Tangerine”, which Between his two stints for Prestige Records, “C.T.A.” would be Jimmy’s most famous gives the theme to Kai as the reeds whistle beside Miles Davis spent a short and memorable time at composition, recorded by everybody from Chet him. Zoot is faster than normal, hitting the high Blue Note. Two albums were released, both of Baker to John Coltrane. Its inaugural reading finds notes in a wistful mood. His style here lies some- sextets; this one, made on April 20, 1953, com- J. J. at the lead, drawling over a constant cymbal. where between Lester Young and Paul Desmond bines proven veterans (Blakey, Percy Heath, J. J. Coggins is nearly invisible, but listen – sparkling … which is a good place to be. Winding’s buttery Johnson) with emerging talent. (Jimmy Heath was chords rise off in the distance. Heath takes a four solo gives way to Al’s graceful zigzags, in what fresh from the Gillespie band; pianist Gil Coggins note cluster and spins it, a gritty solo that ranks may be my favorite solo of the session. And would be known for his work with Jackie with his best. Miles is elegant and sparse, complet- “Morning Fun” is all about the riff, a fun thing on McLean.) The charts are taut and the band respon- ing his phrases with silence. It’s not the best perfor- the changes to “I Never Knew”. Al has a good mini -solo on the bridge, while Zoot asserts himself well, sounding like Cohn at times. Wallington stays out of the way; Blakey is mostly light, using a “Between his two stints for Prestige Records, steady diet of cymbals. Al wanders down low, spicing it up with surprising high notes. Kai is ab- Miles Davis spent a short and memorable time at sent, and not missed; it’s great hearing these tenors really go at it. In all a solid session, it begins to Blue Note. Two albums were released, both of break Sims away from the Herman mold. (Perhaps inevitably, this session was released on LP with an earlier “Four Brothers”-inspired outing, which was sextets; this one, made on April 20, 1953, com- titled The Brothers.) Vocalise singing was invented by Eddie Jef- bines proven veterans (Blakey, Percy Heath, J. J. ferson, who wrote lyrics to the tunes of Charlie Parker solos. The first hit in the genre was King Johnson) with emerging talent. (Jimmy Heath Pleasure’s rendition of “Moody’s Mood for Love”; it did well for Prestige but spurred a lawsuit from was fresh from the Gillespie band…” the publishers of “I’m in the Mood for Love”. Wanting more tunes in this style, the label signed Annie Ross, an actress who was singing the solos sive – thank Blue Note and their day of paid re- mance on the album, though it may be the best of Wardell Gray. Her lyrics were clever, with an hearsals. tune. And, on “I Waited for You”, Miles personi- added bonus: as Gray’s publishing was controlled Johnson’s “Kelo” is fast on the track, with a fies the late-night ballad: slow heat from the horn, a by Prestige, no one would be sued. A session was Morse code theme leading to a tom-tom break. heartbeat pulse from Percy, and the faintest trace of set for New York on October 2, 1952, with an unu- Davis has his mellow tone for the theme, then turns a cymbal. Simply called Miles Davis Volume Two, sual cast: Ram Ramirez (the composer of “Lover hard for the solo – a series of sharp angles and fast the title was unimaginative … unlike the music. Man”) on organ, arranger Teacho Wiltshire on turns. Coggins lays a sparse riff, rich with harmo- piano, Percy Heath at the bass, and Art with the ny; it compares well to Walter Bishop’s effort on (Continued in Part 3) beat. Four tunes were recorded, issued first on 78s Dig. J. J. is pleasant, though not much happens; the and later on the anthology King Pleasure Sings/ big surprise is Heath, whose smooth, piercing tone  Annie Ross Sings. recalls his original instrument, the alto. The next Blakey cracks hard on “Twisted”, using Roy tune, “Enigma”, is a placid mood with a devastat- Haynes’ intro from the original version. He pours ing solo by Miles, reaching the heights with preci- on the cymbals as Annie does her thing: throaty at sion and purity. The chart, possibly by Davis, uses

first, the voice becomes girlish, stunned that any- J. J. to great effect – waves of warm sound, calm to

one could doubt her. (“I knew that he thought/ I provide contrast with Miles. While the songs are was crazy but I’m not, oh no!”) Ram hits some big too short, the leader makes that an advantage, with “What baffles and even chords but the background is mostly quiet – so you each note well placed, shining with the brilliance of frightens most people are mere can hear all the jokes, all the witty phrasing. Heath diamonds. While Miles did many things well, he smokescreens. You’ll see these events gets a good solo, Art closes with a long roll, and did this best – fitting himself to his surroundings. as simply the illusions they actually are Annie has the last laugh: “Instead of one head/ Ha! The chart for “Ray’s Idea” is dry and hot: the and begin to walk right through them. Ha! Ha! I got two/ And you know two heads are horns give a fanfare, Art answers with rimshots, the You’ll understand that your success better than one!” When Jon Hendricks and Dave fanfare repeats, and here come the toms. Based on lies just beyond your thoughts Lambert formed their vocal trio, they hired Annie the original Gil Fuller arrangement for Dizzy, about these walls.” on the strength of this song – as well they should. Miles enters quietly, with a fluttery sort of tone. He “Farmer’s Market” comes from another draws simple arcs at the top of his range; Blakey

Wardell Gray session, on which was featured a takes absolute charge, laying the bombs and crack- - A Rich Man’s Secret young Art Farmer. Fast and incredibly wordy, Ross ing the rims. Jimmy is wonderfully fluid, at points

To Advertise CALL: 215-887-8880 January-February 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com 35 HaroldHarold MabernMabern Hear Harold Small’s, February 21

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

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JAZZINSIDE_full-page_VintageExp10.07.17.indd 1 11/13/17 3:10 PM 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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