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JAZZ HISTORY FEATURE CliffordClifford Brown,Brown, PartPart 22

Interviews FrankFrank KimbroughKimbrough Jazz Standard, November 27--28

JohnJohn ScofieldScofield Blue Note, November 27--December 2

Comprehensive DirectoryDirectory of NY ClubS, ConcertS SonnySonny FortuneFortune

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Jazz Inside Magazine ISSN: 2150-3419 (print) • ISSN 2150-3427 (online) October-November 2018 – Volume 9, Number 8

Cover Photo and photo at right of Sonny Fortune By Eric Nemeyer

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CONTENTS 4 Sonny Fortune INTERVIEWSINTERVIEWS Visit these websites: CLUBS, CONCERTS, EVENTS 20 Frank Kimbrough JazzStandard.com 13 Calendar of Events Jazz History FEATURE 24 John Scofield Jazz.org

18 Clubs & Venue Listings 32 Clifford Brown, Pt. 2 by John R. Barrett JJBabbitt.com MaxwellDrums.com

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Sonny Fortune

Feature Sonny Fortune

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SF: Prestige. Right.

Sonny Fortune JI: How did hat opportunity come about?

On Miles Davis, Elvin Jones, McCoy Tyner & More SF: I met Stan in Atlantic City at Club Harlem. I went down there one summer to do the summer By Eric Nemeyer SF: I took lessons down at Wurlitzer School of shows and met the drummer Chris Columbo. It Music for a while there. Then I went to Gran- was on that gig that I met Stan Hunter. Then we off’s. I took theory lessons there started working together. The opportunity came JI: How did Coltrane’s album My Favorite up for a record date and we did this date together. Things in 1959 provide a source of inspiration JI: Over on 18th Street? Those were my only jazz gigs. But by the time for you? those gigs came around I was kind of doing a SF: Yes…I don’t remember where Granoff’s little bit of everything. The gig that more or less SF: I had seen Trane and whatnot a number of was, but I remember Trane had gone there and I turned me around was at a club called The Last times before then but I was kind of somewhat think someone else I can’t recall. But that’s Way Out. I was working for four or five nights a slow to come around. So when I heard that al- where I met the teacher Roland Wiggins. He and week and I had a quartet with a singer. bum, it just kind of for some strange reason, it I actually became good friends. He was a theorist just made everything fall into place in terms of a there at Granoff’s. But I would say that certainly JI: Was that in Philadelphia? conviction for a sound that I had been hearing. my time with Roland Wiggins was very helpful. That just kind of triggered it at that moment and I But the other stuff I would be kind of hesitant to SF: Yes in Philadelphia, down on Chestnut or was kinda sold on that whole thing. try to or how to categorize that—because number Walnut—20th and Chestnut. I remember telling one, it was way in the beginning and everything the band one time, when this gig ends, the band JI: Since you grew up here in Philly, did you was a blur to me in sense and I was just trying to will end. I was actually losing money working have an opportunity to interface with Coltrane figure out how to play the sax. with this band. It was a jazz band. We were work- while he was here or visiting here? Was there a ing either four or five nights at this place that personal connection there? JI: Were there allot of opportunities while you didn’t serve any alcohol. Actually Coltrane was were here in Philly to gig around playing jazz? interested in coming in there because it was a non SF: Well, I was living in Philly and every time he Or, were you taking all sorts of other gigs at the -alcoholic place and at that particular time, he came into town I would go to see him. Then I same time? was interested in getting involved in that kind of would talk to him whenever the opportunity arose scene—getting away from alcohol and what not. before and after that. His mother didn’t live too SF: Well, there was a lot going on but at the same But when the gig ended—we did the gig for two, far from me. She lived on 33rd Street. time because I was married, I felt I had a respon- three, four months or something—it was hard for sibility of trying to make music work and take me to go back to what I had been doing, which JI: Near the park? care of a family at the same time. I had a day job was working with a lot of R&B bands. I got a hold of Kenny Barron to come down to Philly to open at this Last Way Out gig.

JI: What year was that Sonny? “… what you do is you SF: This was in the fall of ’66 or ‘67

prepare yourself for the JI; So Kenny had left a few years earlier to go to New York with Dizzy, and I guess his brother Bill opened the door for him. But you had main- tained a close relationship. moment as opposed to SF: I knew him because we were all … there were like these clans of guys. There were the North Philly guys, there were the Germantown preparing for the moment.” guys, there were the West Philly guys and there were the South Philly guys. I mean there were a as well. lot of musicians, a lot of places at that particular SF: Right, north of Columbia Avenue and I lived time. Because I lived in North Philly, I knew at 33rd and Lehigh Avenue. So the bus that I used JI: That had to be challenging. Kenny. I used to go to jam sessions to more or to take would pass his mother’s house. As a mat- less just sit and listen because this was in my ter of fact, that’s where I saw him before I came SF: Yes, I was juggling all three of these realities beginning stages. That’s where I met Kenny. to New York in ‘67 and so as an end result, I didn’t do a lot of jazz There was a mutual friend that he and I had. The gigs in the beginning, but I was working a lot in three of us had become close through this mutual JI: When you were developing your abilities different kinds of rock and roll and R&B bands in friend. I met through him a drummer by the name early on here in Philly, what kinds of efforts did the Philadelphia area. I was working quite a bit. It of Jerry Thomas. So when this gig came about to you undertake to develop your skills? Was there was only when I started working with an organ try and bring a band together Kenny made the private instruction? Was there transcribing? Was player, a young lady by the name of Betty Bur- first weekend. He hadn’t heard me in years and it there any school? gess who was the accompanist for Arthur Prys- was then that he said “man you ought to think ock, that I played jazz. Then I started working about coming to New York. So when this gig

6 October-November 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 could’ve been Frank who asked me. I said “Sure, trying to figure it all out. Sonny Fortune of course, I’d be glad to.” I quit my day job before I even knew for certain I had the gig with JI: Do you remember any discussions you might Elvin. But, then I started working with Elvin. have had with Elvin about Coltrane and his expe- ended like I said it was kind of hard for me to go riences? Or any things that impacted his perspec- back to what I was doing and I decided to try to JI: Were there specific instructions or guidelines tive? come to New York. that he had for you when you joined the group? SF: No because strangely enough I never really JI: And that was around ‘66-‘67? SF: You’re talking about with Elvin? talked to Elvin about Coltrane even after. That was my first hit with him and then I started work- SF: That was in ’67. JI: Yes. ing with him again in the 80’s and from the 80’s on into the 90’s off and on. We never had that JI: When you got to New York what kind of SF: No. I mean we were just playing tunes. Just, type of conversation. I more or less looked at that environment were you experiencing there?

SF: When I came to new York I still had a family “This music asks for your spontaneity in this so I had to move very cautiously. I came to find out whether or not I could make it in New York. I ended up being a part of an All Star band up on moment. What are you going to do on this 52nd Street one night at Beef Steak Charlie’s place. A place that was open at 52nd and 8th Ave- tune tonight? I know you played it the night nue. That’s when I met Elvin [Jones]. Elvin told me to come down to this club to sit in where he before last—so what are you going to do on was working. At the time he was working at Pookie’s Pub. I ended up working with this all- this tune tonight? Be careful. I mean no one star band. Nobody knew who I was, but I ended up being a part of the band because [bassist] Jim- my Merritt [also from Philadelphia] made it pos- will say this to you and there aren’t any sible for me to be a part of the band. It was Jim- my Merritt, Jane Getz, Joe Henderson, Freddie books that would say this. But the word is Hubbard, myself and Elvin Jones. Nobody knew who I was. I had met Freddie about a year or so or the thought is be careful not to sound or two ago in Harrisburg. He and Jimmy Merritt were the only two people who knew me that I tonight like you did last night. What are you knew at Beefsteak Charlie’s place. I mean the response there was so favorable. But I had to get a day job here because I still had a responsibility going to do tonight? So, how do you get with my family. I used to go to work everyday and hang out until three or four in the morning. there? How do you make all of that happen?” I’d get up at seven to go to work. Four or five days of that man … by the time Friday came you know … hit. Here’s what time we hit or whole thing. I just really came to another level of around, I was almost dead tired. All of that hap- show up. appreciation with all this within the past seven to pened in about two weeks of being in New York. eight years. But up until then, I looked at the I knew someone here from Philly who had this JI: Any complicated arrangements? whole experience as something very special. I job, this day job—a guy named Ed Smith. He thought that was some real special music that he asked me, did I want to take this job. He was a SF: No. It was just playing tunes. But he had this and Coltrane created. I thought that was a very policeman in Philadelphia he quit his job to come gig. From what I understand he had been at Pook- special kind of a something that you almost ... the to New York to become an actor. When I came to ie’s Pub for almost a year. I mean things that are way I perceived it ... you almost ... it wasn’t much New York he was getting ready to take off from unheard of today in terms of guys working in one you could say about it. It was so complete. Those his day job to do some summer stock. He wanted place for long periods of time. In ’67, Elvin had who saw it and those who identified with it just to know if I was interested in taking his job. So I left Coltrane. Elvin was very popular in the jazz said, “Yeah.” So strangely enough, I never felt took his job. That’s how I got it. So I was doing world and he had this gig where people would the need to provoke a conversation. I remember that during the day and hanging out at night. come—musicians as well as people. We worked some stuff that I went through. At the time Col- When you’re that young, you can do anything. six nights a week. trane had told me before a I came to New York New York was always good for me. Almost as that if I ever got the opportunity to play with soon as I arrived. JI: With all that work were you also devoting Elvin to take it. I saw him at his [Coltrane’s] yourself to a lot of practice on your instrument? mother’s house one night on my way downtown . JI: What were the circumstances that you joined I had already played a concert with him in Phila- Elvin’s group? SF: Well, yes. I was trying to practice as much as delphia, so he knew me musically, besides the I could. I mean at that particular time in the be- conversations he and I had. I don’t know if made SF: When I came, I did go down to Pookie’s Pub ginning at least, I was busy trying to get my own the hook up because I didn’t know him that well. and sit in. Somewhere after a couple of weeks of apartment and get myself situated. I was staying He knew me from playing with me the last year coming down there, Elvin asked me if I would be with someone here in New York. The guy was of his life. I had been meaning to tell him I was interested in it, because Frank Foster was doing nice enough to let me stay there, but he wasn’t working with Elvin and I kept putting it off. I the gig at the time. Would I be interested in tak- nice enough to let me practice there. I appreciated finally called him after about two months or so ing Frank’s place? Frank had to take off to write that because it just helped me to hurry up and get working with Elvin, maybe even longer than that some music for Basie. You know, I don’t know if my own place which I did. So when that hap- about three months. When I called him his wife it was Frank who asked me first or Elvin, but it pened , yeah I practiced. Doing the gig the gig at Alice told me he was sleep—and then he died was one of them. Now that I think about it, it night and feeling like here I am in the Big Apple, (Continued on page 8)

To Advertise CALL: 215-887-8880 October-November 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com 7 the degree that Mongo’s music entailed. I mean Sonny Fortune that was a whole different culture, a whole differ- SF: Absolutely. Jack Lemmon was in that movie. ent emphasis on music as far as how I saw things at that particular time. That was really a great gig. JI: What prompted your departure from Mongo’s (Continued from page 7) Mongo was an incredible cat, a heck of an em- band? that Sunday. That was on a Saturday and he died ployer, a professional cat and a very gracious cat. that Sunday. So from what I understand he had SF: Well, he broke up the band after about two been in the club to see Elvin about three weeks JI: What were some of the best things on that gig and a half years. The band kind of disintegrated before I started working there. So I never saw for you? and then I moved to California for a while. Then I him. I never saw him again after the time I saw came back to New York because I wanted to him in front of his mother’s house to tell him I SF: I think the band. I actually just spoke to one work with McCoy [Tyner]—and I did. That was was thinking about going to New York. of those guys in the band about two days ago, the stuff. I came to New York because of Trane Marty Shiller. I became friends with all of those and his band. Much to my surprise it really JI: What lead to your association with Mongo guys. The band , the experience and the whole worked out the way that I pursued it—to work Santamaria? thing. I was young. For me it was my first oppor- with Elvin when I first got here and then to work tunity out of Philadelphia traveling around. Meet- with McCoy after being here awhile. SF: Well, that was actually because of some ing different people from different places. It was friends—mutual friends of ours in Philadelphia a fun band and we had a lot of fun. We certainly JI: Did your opportunity to work with McCoy who knew me. We had played music together partied and it was a band that was very popular. Tyner open up because of your previous associa- before—Dot and Andy Aaron. I think they had As a matter of fact, I had been featured on an tions or your mutual Philadelphia roots? recommended me because there was an opening album that was his second big hit—as big as or or something. I think that’s how that all came bigger than Watermelon Man. SF: We didn’t know each other in Philly because about. I went and auditioned with Mongo and I McCoy was gone. McCoy was leaving when I started working. I also was at this place The Last JI: I think I bought that album when I was a kid. was arriving. McCoy left with The Jazztet. His ex Way Out. We used to do something between -wife and my wife lived around the corner from shows or between sets rather. There was a percus- SF: Watermelon Man? each other. We kind of knew each other. Eric sion ensemble. It consisted of about seven or Gravatt was in the band at the time. He was from eight people. We used to fuse the two bands to- JI: I think it was on Columbia. Philadelphia as well. I knew Eric from Philly. But gether. The Afro-Cuban ensemble, they might what happened was when I came from California, have had a couple of dancers a couple of times. SF: That was before I joined he band. The album one night I replaced Byard Lancaster with McCoy at Slugs. That’s how my whole thing with McCoy started. He was impressed me and shortly there after I started to work with him. “because the music has been institu- JI: What kinds of direction did he provide as a tionalized and people are learning from leader?

SF: The recordings that we did at that time … another perspective, originality is hard Sahara was a Grammy nomination if it didn’t win. I don’t know what the outcome was. People often talk to me about that. Somebody just men- to hold on to. In the era that I came tioned that album to me within the last three weeks. McCoy and I through the years often talk along, it was about trying to find your about that recording. A number of people saw that band. They thought it was a great band. It was an intense band. We were doing the music own voice. That’s one of the reasons McCoy had in mind at the time.

I continue to play alto, even being JI: Was he bringing the music in and were you reading it down when you first started or was it more intuitive? influenced by Trane. For me that’s a SF: No. I had to read it down. means of [developing] my own identity.” JI: How was his music challenging harmonically and rhythmically? How did that help you or im- So it was known that I had a kind of feeling for that I did was Cloud Nine, which was a commer- pact your own artistry and saxophone playing at Afro Cuban music. From a distance I didn’t really cial album but it featured me and just kind of that time? know that much about it other than it was some- opened things up for me in another direction thing I could identify with. strangely enough, which kind of made a lot of SF: Well, I didn’t see it from that perspective. I things happen. We used to go to Vegas and work saw it from the standpoint of I was just busy try- JI: Did that experience with Mongo help you Caesar’s Palace twice a year, for a month at a ing to accompany what I thought McCoy wanted, expand your artistic perspective? time. It was a great gig. We used to work in Hol- that I was hearing from him—which was a lot of lywood. Mongo was very popular and we did a piano … playing some incredible music and I was SF: I definitely feel that my experience with soundtrack for a movie. The movie was called trying to figure out what can I do. How can I do Mongo gave me the opportunity to be exposed to April Fools. this? Actually I started playing soprano while some rhythms that were out of the ordinary in working with McCoy. So I was trying to figure it terms of where I was going with the jazz pursuit. JI: I guess that was good because you got movie all out. It almost looks as if it was all planned and There was Afro Cuban music in jazz, but not to pay for that. (Continued on page 10)

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To Advertise CALL:Experience 215-887-8880 OctoberResults-November 2018 In  24-48Jazz Inside Magazine Hours!  www.JazzInsideMagazine.com CALL 215- 887-8880 9 He was alluding to the fact that he didn’t want to SF: Yes indeed Jack and if it isn’t, it’s because Sonny Fortune reveal to himself what he might play in the per- you’re stale. You know I mean it asks all you got formance. and bring some on if you got it. That’s what I got from Coltrane—the many times that I saw him. (Continued from page 8) SF: I find that what you do is you prepare your- Certainly there was a vocabulary. There was an no, it wasn’t. I was just moving with the desire of self for the moment as opposed to preparing for understanding that, “Okay, this is Coltrane.” But what it was I was trying to do. These people that I the moment. there was, within that zone of “this is John,” — was playing with—I actually wanted to play with there was always some other stuff. I’ve certainly them. Tomorrow didn’t look as certain as yester- JI: That’s a great way to put it. tried to embrace that myself. I’m looking for day. Kind of what we’re looking at now. other stuff. I’m looking for the challenge of what SF: It’s like a sporting event. You do what you this music is about. JI: Looking back on it everything seems like it do to get in shape. You do what you do to stay fit. just magically fit into place. You’re doing this You do what you do to be sharp. So whenever the JI: When I started out it was about the notes ob- album, you’re doing that album. But I’m sure as bell, the gun or the gong or whatever goes off— viously and about the chords. Now it’s really with anything in the music business, at the time, the event starts happening. The spontaneity of about spontaneity the energy and trying to make it must have seemed like you were walking on that event calls for all kinds of stuff. Certainly something meaningful happen on the spot. As eggshells. playing music calls for all kinds of stuff. I never you said, each night its got to be different. From was one who believed in: let me practice this so night to night, you might be playing with the SF: Oh absolutely Jack. I had no idea what to- that I can apply it. same players in the same room, in the same key, morrow was going to be about. Sometimes I actu- at the same tempo—but it’s going to be different. ally even think about all that. I just say it’s funny JI: That’s astonishing. I remember buying your how I got here—considering. It all came from first album Awakening when it first came out on SF: Absolutely. And you’re hoping the members going in another direction. But I would say like Horizon Records. I thought that was just an in- around you feel that way about it. Everybody’s I’ve said many times—that band turned me credible album—the way you were playing all the trying to expand. One of the things that really for around. They played music I had never and really stuff that you were playing and all the stuff that me is a turn on in this music is the fact that you haven’t heard since. It was some incredible mu- you were doing. Wayne Dockery sounded great got to find something else. How dare you play sic. It inspired me to try to identify with it. on bass on that album, along with Kenny Barron. the licks that you played last night? That’s the You had written some really interesting and har- thing that maybe the reason why the music is in JI: What kinds of challenges did you experience monically sophisticated tunes. There’s certainly the trouble is because that’s not an easy thing to when you were making that transition to soprano an intuitive aspect to all of it. come to. sax in the midst of all this? SF: There’s definitely intuitiveness. The ap- JI: I was talking with another saxophone player SF: It wasn’t easy. I’ll tell you that Jack, it wasn’t proach that you applied was probably valid but, the other night and we were talking about how easy. I mean it was a lot of tears. A lot of mo- but at the end of the day, I’ve always found it’s years ago probably in the fifties—Coltrane, Son- ments were like—what in the world is this all hard for me. I know I have a vocabulary that I try ny Rollins, Miles Davis, Bill Evans and others— about. Because that horn … I mean I’ve looked at to stay away from. Because this music doesn’t all these players were different. The understand- my whole musical journey and I’m somewhat necessarily want you to pronounce your vocabu- ing was like this: if, as a compliment, somebody amazed at what I’ve learned as opposed to what I lary. This music doesn’t ask for that. This music told Hank Mobley that he sounded like some knew. Like I said I started playing the soprano asks for your spontaneity in this moment. What other sax player, he would immediately go and do when I was working with McCoy. Music has are you going to do on this tune tonight? I know anything to not sound like that person. In today’s always been mystifying to me and it certainly was you played it tonight. I know you played it the educational environment, where jazz is institu- then. It was just you do it, do it, do it and you night before last—so what are you going to do on tionalized, there appear to be more players look- just keep aiming for trying to get better at what this tune tonight? Be careful. I mean no one will ing for validation based on their astonishing acro- you’re doing. say this to you and there aren’t any books that batic technique—where the by-product is sound- would say this. But the word is or the thought is ing like a clone of someone else—rather than JI: Someone told me that Stan Getz was always be careful not to sound tonight like you did last developing a unique and possibly identifiable afraid that despite everybody saying how amaz- night. What are you going to do tonight? So, how voice. Maybe the music is stagnant in certain ing his sound was and how he played—that he do you get there? How do you make all of that ways for that reason. wouldn’t be able to do it tomorrow because he happen? didn’t really know how he was doing it. SF: That’s true. I’m from the era and on the tail JI: You can’t pre-script it. end of the era where sounding like somebody else SF: I’ve only met Stan a couple of times. I re- was a no-no. I often tell people, wrongfully, that member he and I did a concert together out in the SF: You try to stay in shape. You practice. You if Sonny Stitt was alive today, there wouldn’t be Midwest. I think it was in Wisconsin. It seems to make sure you have all your stuff together. You enough banks for him to keep his money in for all me that he came down to see me at Sweet Basil make sure you’re alert enough to respond. Maybe the saxophone that he played. But people used to when I was working down there. But I know of that’s what Stan Getz was talking about. say, “Yeah but he sounds like Charlie Parker.” Stan. Surprising? No, not really. Musicians, we People used to say, “Sonny is playing Bird so all have our own vocabulary. In my own particu- JI: I just bought him up on a lark, but I agree Sonny’s not playing anything.” Man…Sonny Stitt lar situation, when I’m getting ready to perform, I with you. I didn’t pre-script anything other than was playing so much saxophone. Man I listen to always feel that I’m best to talk or discuss the writing a few questions that would be guidelines him now and say Jesus Christ. Well I said that music either after the first set or at the end of the so you would have no idea what I was going to then too. I listen to him now and say God. But night, because I never know what’s going to hap- say—but the interview, like the music, would like you said, because the music has been institu- pen. develop organically and spontaneously. tionalized and people are learning from another perspective, originality is hard to hold on to. In JI: That’s a good thing in playing jazz. I don’t SF: Right. That’s what this music is. That’s why the era that I came along, it was about trying to think you want to prescript what you’re doing I tell you man I love this music. I really do. find your own voice. That’s one of the reasons I with a bunch of licks and patterns. When I asked continue to play alto, even being influenced by Hank Jones what he practiced, he said that he JI: It’s always fresh. Trane. For me that’s a means of [developing] my simply practices the basics—scales and chords. own identity. People have said things to me

10 October-November 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 about Buddy Rich. A big band is hard financially SF: The challenge for me was trying to figure out Sonny Fortune to hold together. So a lot of times it’s done by how to fit. It was an amplified band and I hadn’t way of getting young college guys or college played in a band with that kind of volume. It was people, guys and gals now to come together and an electrical band. At times I used to feel like (Continued from page 10) kind of endure what those big band hits are all playing an acoustic instrument, I felt kind of awk- through the years that I appreciate. I guess it’s about—traveling on a bus and so forth. But a lot ward. When I first started out, I had a wah-wah kind of I never gave that kind of thought. They of times it’s a green experience and someone like pedal. [laughs] Later on, Miles said he didn’t say things to me like you play alto like a tenor. Or Buddy Rich—his patience is kind of short. But in want me to play no wah-wah. I said, “Well Miles your alto sounds like a tenor. Maybe it’s the in- the situation that I was with him in his club, it you got a wah-wah, why can’t I have a wah- fluence of the sound of the horn. I more or less was an all star band. I never saw—not one time— wah?” [laughs] He said he wanted to hear my try to carry that over to the alto, where I hear the any of what people are so eager to speak of when sound. But I was actually getting something go- alto not as much on the high end as on the low they’re speaking of Buddy. But I ended up taking ing on that wah-wah, that’s why he didn’t want end. That may be due to the fact of being influ- off. I had taken a band into the Vanguard and the me to play it. But the challenge for me was just to enced by the people that I mentioned. last night, Miles asked me to join his band. try to find how this acoustic instrument could fit—because Miles even though he had an acous- JI: You played briefly with Kenny and Sal Nisti- JI: The last night of you mean your week at the tic instrument, he had it hooked up into his wah- co in Buddy Rich’s sextet. What was that like? Vanguard? wah. So it was a band that was working off of sound effects. Being an acoustic player there SF: That was about five or six months of damn SF: Yeah. He asked me did I want to join his were times when I felt like “where how and near every night Buddy would go find gigs when band and that’s how I went with Miles. where can I go with this?”

we were off. We’d work six nights at his place JI: Obviously the tunes weren’t harmonically and he would find gigs on the night off. We JI: What kind of stuff were you playing with difficult. worked all time. It was my only time in New your own band at that point at the Vanguard— York of working one place for as long as we music from the Awakening album? SF: Right, yeah well because of Miles and that worked. I knew of Buddy Rich, but I didn’t know whole ambience that he represented, it was all him that well. I definitely walked away with a SF: No. We hadn’t gotten there. You know I looked at as something to try to get a handle on. whole different point of view on him and con- don’t know to tell you the truth. I hadn’t really He was a cat that I had so much respect for. I saw cluded that contrary to what people may have been working in New York that much as a band Miles when Trane and Miles were a quintet. Then heard or thought, he basically was a cat that, all leader that was around in ‘73. Somewhere around I saw Miles when Trane and Cannonball were a he wanted to do was play those drums. I mean there. I didn’t have a book. I may have had a sextet. So he’d been one more of those guys who this cat …Buddy would play forever. He took off couple of tunes or was trying to put some stuff convinced me that this is the way this stuff is one night to do the Johnny Carson [Tonight] together. I’m one of the few guys who walk supposed to go. Show and then I got a drummer—he asked me to around with a book now. So knowing me, I prob- get somebody, and I got Freddie Waits. He took ably was throwing some stuff together. Some jazz JI: Could you talk about the evolution of your off one night went out to California, tape the standards tunes that we were playing. I remember album Four In One which features all of Monk’s show, came back the following night and was Max Gordon coming up to me one night in the compositions? back at those drums. I mean he played all the club. He said “ Don’t worry Sonny I like you. I time. He was from the school of all those cats— like you. Don’t worry, I’m going to keep bringing SF: And I’m glad you bought that up. There is a Basie, Ellington—those cats got to work all the you back here”. And he did. But the last night follow through on that. I should mention that time. They just can’t sit around and not work— that I was there, Miles came up and asked me if I those three CD’s that I did on Blue Note records and Buddy had to work all the time. I mean he wanted to join his band. I went in that direction. are getting ready to come out in a couple of had to play those drums all the time. So that was weeks on my own label. when I got out of working with him. It was a JI: At that point the was doing freer fusion kinds great experience. It was a great experience for me of things. JI: What is the name of the label? being in New York, and it also triggered my stuff jumping off. I was working with Buddy when SF: Yeah, yeah. SF: Sound Reason. That’s the label Continuum is Max Gordon at the Village Vanguard asked me if on and I just approved the artwork and I’m going I wanted to bring a band into the Vanguard. We JI: Maybe you can talk a bit about, how that was to be marketing them as a trilogy. So I’m not were just getting ready to go on the road…I never a completely different direction that you were going to be marketing them one at a time. I’m went on the road with Buddy. I never experienced experiencing with Buddy and or with your own going to market them as a package. Hopefully I any of the rumors about Buddy. band. should get them in about a week or so and hopefully I’ll have all my stuff in place about a month JI: I was talking with Steve Peck his manager SF: Or with McCoy or with Mongo. Well that or so from now. And Four In One is one of them, and he was commenting about Buddy hiring was definitely a different direction. A Better Understanding and From Now On. But young kids out of college for his big band. Four In One was that was one of my CD’s that I JI: Was it a shock to your system? feel very good about for a lot of reasons even SF: That was a part of the problem. though it isn’t. I mean people who know some- SF: Yeah, it was kind of off from where I wanted thing about me would probably say, “Hmmm, JI: Of course he’s used to playing with great to go and the Miles that I knew but I felt like this Monk date is kind of out of the ordinary.” players. Steve said this wasn’t the band that you working with Miles is my honor. So I went on in But I think they would also have to include if came to for a kind of warm and nurturing kind of there and did the best I could with that. We did they didn’t say it that yes it’s out of the ordinary, experience. about four or five albums. The Japanese record- but he did it in a kind of out of the ordinary way ings got good reviews. as well. Because someone said that to me around SF: Right. the time the CD came out. A lot of times you get JI: What were some he challenges you experi- compliments, and you appreciate all of them, but JI: It’s like you had to have your stuff together or enced when you were with Miles band? I know sometimes you get a compliment that is exactly goodbye. he didn’t give much direction to people who what were try to do and you really appreciate that worked with him. compliment. [laughs]

SF: Yeah and that’s what I tell people when I talk (Continued on page 20)

To Advertise CALL: 215-887-8880 October-November 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com 11 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

12 Visit JohnALewisJazz.com October-November 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880

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 Tom Harrell's Trip - Tom Harrell, Trumpet; ; Mark Turner, Saxophone; Monday, October 1 Ugonna Okegwo, Bass; ; Adam Cruz, Drums; Village Vanguard 178  Moutin Factory Quintet; Dizzy’s Club, Jazz At Lincoln Center, 60th & 7th Ave S. Bdwy  Smalls Showcase: Jamale Davis Trio; Monte Croft Quartet; Tivon  Mingus Big Band; Jazz Standard, 116 E. 27th St. Pennicott Trio; Philip Harper Quintet; Small's, 183 W. 10th St.  Vanguard Jazz Orchestra; Village Vanguard 178 7th Ave S.  Anu Sun & The Shed All-Stars; Buika @ Sony Hall; Robert Glasper X  Alex Lore Quartet; Anthony Wonsey Quartet; After-Hours Jam Ses- Chris Dave X Derrick Hodge; Blue Note, 131 W. 3rd St. sion; Small's, 183 W. 10th St.  Dee Dee Bridgewater With The Theo Croker Quintet  Steve Ross Sunday, October 7 Tuesday, October 2  Willie Jones Iii Quintet; Dizzy’s Club, Jazz At Lincoln Center, 60th &  Abelita Mateus And Friends; Dizzy’s Club, Jazz At Lincoln Center, Bdwy 60th & Bdwy  Jazz For Kids; Kenny Werner Quartet; Jazz Standard, 116 E. 27th St.  Eli Degibri Quartet; Jazz Standard, 116 E. 27th St.  Tom Harrell's Trip - Tom Harrell, Trumpet; ; Mark Turner, Saxophone;  Tom Harrell's Trip - Tom Harrell, Trumpet; ; Mark Turner, Saxophone; Ugonna Okegwo, Bass; ; Adam Cruz, Drums; Village Vanguard 178 Ugonna Okegwo, Bass; ; Adam Cruz, Drums; Village Vanguard 178 7th Ave S. 7th Ave S.  Vocal Masterclass With Marion Cowings; Ai Murakami Quartet Feat.  Spike Wilner Trio; Frank Lacy Group; After-Hours Jam Session; Sacha Perry; Marianne Solivan Quartet; Don Menza Quartet; JC Small's, 183 W. 10th St. Stylles/Mark Whitfield Birthday Bash; After-Hours Jam Session;  Dee Dee Bridgewater With The Theo Croker Quintet Small's, 183 W. 10th St.  Robert Glasper X Chris Dave X Derrick Hodge; Blue Note, 131 W. 3rd St. Wednesday, October 3  Afro Latin Jazz Orchestra; Birdland, 315 W. 44th St.  Piotr Orzechowski/Kuba Wiecek Trio; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy  Allison Miller and Carmen Staaf's Science Fair; Jazz Standard, 116 E. Monday, October 8 27th St.  Frank Carlberg Large Ensemble; Dizzy’s Club, Jazz At Lincoln Center,  Tom Harrell's Trip - Tom Harrell, Trumpet; ; Mark Turner, Saxophone; 60th & Bdwy Ugonna Okegwo, Bass; ; Adam Cruz, Drums; Village Vanguard 178  Mingus Big Band; Jazz Standard, 116 E. 27th St. 7th Ave S.  Vanguard Jazz Orchestra; Village Vanguard 178 7th Ave S.  Craig Brann Quintet; Mike Troy Quartet; After-Hours Jam Session;  Jonathan Michel Quartet; Jonathan Barber Quartet; After-Hours Jam Small's, 183 W. 10th St. Session; Small's, 183 W. 10th St.  Dee Dee Bridgewater With The Theo Croker Quintet  Cory Henry: The Revival with Nat Townsley & Sharod Barnes; Blue Note, 131 W. 3rd St.  Afro Latin Jazz Orchestra; Birdland, 315 W. 44th St. Thursday, October 4  Willie Jones Iii Quintet; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy Tuesday, October 9  Walking Distance featuring Jason Moran; Jazz Standard, 116 E. 27th  The Little Giant At 90: Celebrating Johnny Griffin; Dizzy’s Club, Jazz St. At Lincoln Center, 60th & Bdwy  Tom Harrell's Trip - Tom Harrell, Trumpet; ; Mark Turner, Saxophone;  James Poyser Quintet featuring members of "The Tonight Show" Ugonna Okegwo, Bass; ; Adam Cruz, Drums; Village Vanguard 178 Band and The Roots; Jazz Standard, 116 E. 27th St. 7th Ave S.  Tom Harrell Quartet - Tom Harrell, Trumpet; Danny Grissett, Piano;  Sylvia Cuenca Quartet; David Ambrosio Quintet; Jovan Alexandre Ugonna Okegwo, Bass; Adam Cruz, Drums; Village Vanguard 178 7th "After-Hours"; Small's, 183 W. 10th St. Ave S.  Robert Glasper X Chris Dave X Derrick Hodge; Blue Note, 131 W. 3rd  Davis Whitfield Trio; Abraham Burton Quartet; After-Hours Jam St. Session; Small's, 183 W. 10th St.  Dee Dee Bridgewater With The Theo Croker Quintet  Robert Glasper: Houston Nights ft Kendrick Scott & More; Blue Note, 131 W. 3rd St.  Kevin Eubanks Quartet With Terri Lyne Carrington, Nicholas Payton, Friday, October 5 Ben Williams; Birdland, 315 W. 44th St.  Willie Jones Iii Quintet; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy  Kenny Werner Quartet; Jazz Standard, 116 E. 27th St. Wednesday, October 10  Tom Harrell's Trip - Tom Harrell, Trumpet; ; Mark Turner, Saxophone;  The Little Giant At 90: Celebrating Johnny Griffin; Dizzy’s Club, Jazz Ugonna Okegwo, Bass; ; Adam Cruz, Drums; Village Vanguard 178 At Lincoln Center, 60th & Bdwy 7th Ave S.  Michael Leonhart Orchestra featuring Special Guest Randy Brecker;  Monte Croft Quartet; Tivon Pennicott Quartet; JD Allen "After-Hours"; Jazz Standard, 116 E. 27th St. Small's, 183 W. 10th St.  Tom Harrell Quartet - Tom Harrell, Trumpet; Danny Grissett, Piano;  Robert Glasper X Chris Dave X Derrick Hodge; Blue Note, 131 W. 3rd Ugonna Okegwo, Bass; Adam Cruz, Drums; Village Vanguard 178 7th St. Ave S.  Dee Dee Bridgewater With The Theo Croker Quintet  Antonio Ciacca Quartet; Pat Bianchi Trio; Aaron Seeber "After-Hours"; Small's, 183 W. 10th St.  Robert Glasper: Houston Nights ft Kendrick Scott & More; Blue Note, Saturday, October 6 131 W. 3rd St.  Willie Jones iii Quintet; Dizzy’s Club, Jazz At Lincoln Center, 60th &  Kevin Eubanks Quartet With Terri Lyne Carrington, Nicholas Payton, Bdwy Ben Williams; Alan Broadbent Trio; Birdland, 315 W. 44th St.  Smokestack Brunch: Oscar Perez Cuban Afro-Fusion; Kenny Werner Quartet; Jazz Standard, 116 E. 27th St. (Continued on page 14)

To Advertise CALL: 215-887-8880 October-November 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com 13 with Larry Grenadier and Nate Smith; Jazz Standard, 116 E. 27th St. Thursday, October 11 Friday, October 12  Tom Harrell Quartet - Tom Harrell, Trumpet; Danny Grissett, Piano;  Dayramir Gonzalez & Habana Entranceé; Dizzy’s Club, Jazz At  Matt Wilson’s Honey And Salt; Dizzy’s Club, Jazz At Lincoln Center, Ugonna Okegwo, Bass; Adam Cruz, Drums; Village Vanguard 178 7th Lincoln Center, 60th & Bdwy 60th & Bdwy Ave S.  Pérez, Cohen, Potter Quintet with Larry Grenadier and Nate Smith;  Pérez, Cohen, Potter Quintet with Larry Grenadier and Nate Smith;  Smalls Showcase: Fima Chupakhin Quintet; Brandon Lee Sextet; Jazz Standard, 116 E. 27th St. Jazz Standard, 116 E. 27th St. Seamus Blake Quartet; Brooklyn Circle; Small's, 183 W. 10th St.  Tom Harrell Quartet - Tom Harrell, Trumpet; Danny Grissett, Piano;  Brandon Lee Sextet; Seamus Blake Quartet; Corey Wallace Dubtet  Robert Glasper Trio ft Special Guest Yasiin Bey (Formerly Mos Def); Ugonna Okegwo, Bass; Adam Cruz, Drums; Village Vanguard 178 7th "After-Hours"; Small's, 183 W. 10th St. Blue Note, 131 W. 3rd St. Ave S.  Robert Glasper Trio ft Special Guest Yasiin Bey (Formerly Mos Def);  Kevin Eubanks Quartet With Terri Lyne Carrington, Nicholas Payton,  Will Bernard Quartet; Noam Wiesenberg Quintet; Endea Owens "After Blue Note, 131 W. 3rd St. Ben Williams; Alan Broadbent Trio; Birdland, 315 W. 44th St. -Hours"; Small's, 183 W. 10th St.  Kevin Eubanks Quartet With Terri Lyne Carrington, Nicholas Payton,  Robert Glasper Trio ft Special Guest Yasiin Bey (Formerly Mos Def); Ben Williams; Alan Broadbent Trio; Birdland, 315 W. 44th St. Blue Note, 131 W. 3rd St. Sunday, October 14  Kevin Eubanks Quartet With Terri Lyne Carrington, Nicholas Payton,  Matt Wilson Quartet Plus Steve Nelson; Dizzy’s Club, Jazz At Lincoln Ben Williams; Alan Broadbent Trio; Birdland, 315 W. 44th St. Saturday, October 13 Center, 60th & Bdwy  Matt Wilson’s Honey And Salt; Dizzy’s Club, Jazz At Lincoln Center,  Jazz For Kids; Allan Harris: The Genius of Eddie Jefferson; Jazz 60th & Bdwy Standard, 116 E. 27th St.  Smokestack Brunch: Arianna Neikrug; Pérez, Cohen, Potter Quintet  Tom Harrell Quartet - Tom Harrell, Trumpet; Danny Grissett, Piano; Ugonna Okegwo, Bass; Adam Cruz, Drums; Village Vanguard 178 7th Ave S.  Vocal Masterclass With Marion Cowings; Ai Murakami Quartet Feat. Sacha Perry; Dave Glasser Quartet; Bruce Harris Quintet; After-Hours Jam Session; Small's, 183 W. 10th St.  Robert Glasper Trio ft Special Guest Yasiin Bey (Formerly Mos Def); Madeleine Peyroux @ Sony Hall; Blue Note, 131 W. 3rd St.  Afro Latin Jazz Orchestra; Birdland, 315 W. 44th St.

Monday, October 15  Julliard Jazz Ensembles; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy  Mingus Orchestra; Jazz Standard, 116 E. 27th St.  Vanguard Jazz Orchestra; Village Vanguard 178 7th Ave S.  Ari Hoenig Quartet; Joe Farnsworth Group; After-Hours Jam Session; Small's, 183 W. 10th St.  Robert Glasper Trio ft Special Guest Yasiin Bey (Formerly Mos Def); Blue Note, 131 W. 3rd St.  Ice On The Hudson Featuring: Rene Marie, Janis Siegel, Darius De Haas, Karen Oberlin; Birdland, 315 W. 44th St.

Tuesday, October 16  Dan Nimmer Trio; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy  Rodney Green Trio + Special Guest; Jazz Standard, 116 E. 27th St.  Fred Hersch Duos - Fred Hersch, Piano; Anat Cohen, Clarinet ; Village Vanguard 178 7th Ave S.  Steve Nelson Quartet; Cody Moffett's Jambalaya; After-Hours Jam Session; Small's, 183 W. 10th St.  Cory Henry: First Steps Band ft Jay White & Carlin White; Blue Note, 131 W. 3rd St.  Ron Carter's Great Big Band; Birdland, 315 W. 44th St.

Wednesday, October 17  Dan Nimmer Trio; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy  Ralph Peterson's Aggregate Prime; Jazz Standard, 116 E. 27th St.  Fred Hersch Duos - Fred Hersch, Piano; Anat Cohen, Clarinet ; Village Vanguard 178 7th Ave S.  Or Bareket Quintet; Danton Boller Quintet; Davis Whitfield "After- Hours"; Small's, 183 W. 10th St.  Robert Glasper X Christian McBride X Nicholas Payton; Blue Note, 131 W. 3rd St.  Ron Carter's Great Big Band; Birdland, 315 W. 44th St.

Thursday, October 18  Juan Andrés Ospina Big Band; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy  Ralph Peterson's Aggregate Prime; Jazz Standard, 116 E. 27th St.  Fred Hersch Duos - Fred Hersch, Piano; Anat Cohen, Clarinet ; Village Vanguard 178 7th Ave S.  Allyn Johnson Quartet; Jeremy Manasia Quintet; Jonathan Thomas - "After-Hours" Jam Session; Small's, 183 W. 10th St.  Robert Glasper X Christian McBride X Nicholas Payton; Boney James @ Sony Hall; Blue Note, 131 W. 3rd St.  Ron Carter's Great Big Band; Birdland, 315 W. 44th St.

Friday, October 19  Scott Colley Quartet; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy  Life Cycles, Featuring Brian Blade, Jon Cowherd, Monte Croft, John Hart, Myron Walden, Doug Weiss; Jazz Standard, 116 E. 27th St.  Fred Hersch, Piano; Esperanza Spalding, Vocals ; Village Vanguard 178 7th Ave S.  Joey Alexander With Strings - Pianist Joey Alexander Performs With A 20-Piece String Section Under The Direction Of Music Director/ Arranger Richard Derosa; 8PM, Rose Theater; Jazz At Lincoln Center, (Continued on page 16)

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

WayneWayne ShorterShorter 2018 Kennedy Center Honoree

To Advertise CALL: 215-887-8880 October-November 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com 15 60th & Bdwy Hours"; Small's, 183 W. 10th St.  Adam Birnbaum Quartet; Charles Ruggiero Octet; JD Allen "After-  Robert Glasper: Mulgrew Miller Tribute ft Derrick Hodge & Rodney Hours"; Small's, 183 W. 10th St. Green; Tigran Hamasyan @ Sony Hall; Blue Note, 131 W. 3rd St.  Robert Glasper: Miles Davis Tribute "Everything's Beautiful" w/ Bilal;  Ron Carter Quartet; Birdland, 315 W. 44th St. Kenneth Whalum; Blue Note, 131 W. 3rd St.  Ron Carter's Great Big Band; Birdland, 315 W. 44th St. Friday, October 26  Mostly Monk: Mike Ledonne Trio; Dizzy’s Club, Jazz At Lincoln Cen- Saturday, October 20 ter, 60th & Bdwy  Scott Colley Quartet; Dizzy’s Club, Jazz At Lincoln Center, 60th &  Christian Sands Trio with Special Guests Caio Afiune and Keyon Bdwy Harrold; Jazz Standard, 116 E. 27th St.  Life Cycles, Featuring Brian Blade, Jon Cowherd, Monte Croft, John  Ravi Coltrane, Saxophone; Gadi Lehavi, Piano; Scott Colley, Bass; Hart, Myron Walden, Doug Weiss; Jazz Standard, 116 E. 27th St. Johnathan Blake, Drums ; Village Vanguard 178 7th Ave S.  Fred Hersch, Piano; Esperanza Spalding, Vocals ; Village Vanguard  The Jazz At Lincoln Center Orchestra Plays Monk - Wynton Marsalis 178 7th Ave S. Performs Brand New Thelonious Monk Arrangements With Music  Joey Alexander With Strings - Pianist Joey Alexander Performs With A Direction By Saxophonist Ted Nash; 8PM, Rose Theater; Jazz At 20-Piece String Section Under The Direction Of Music Director/ Lincoln Center, 60th & Bdwy Arranger Richard Derosa; 8PM, Rose Theater; Jazz At Lincoln Center,  Thelonious Monk Festival - Monk’s Dream Featuring Bassist Russell 60th & Bdwy Hall, Pianist Barry Harris, Drummer Jeff “Tain” Watts, Vocalist Vuyo  Smalls Showcase: Teodross Avery; Adam Birnbaum Quartet; Charles Sotashe, Tap Dancer Michela Marino Lerman, And More; 7PM & 9:30 Ruggiero Octet; Philip Harper Quintet; Small's, 183 W. 10th St. PM, The Appel Room; Jazz At Lincoln Center, 60th & Bdwy  Robert Glasper: Miles Davis Tribute "Everything's Beautiful" w/ Bilal;  Dave Stoler Quartet; Stafford Hunter & Continuum; Corey Wallace Kenneth Whalum; Blue Note, 131 W. 3rd St. Dubtet "After-Hours"; Small's, 183 W. 10th St.  Ron Carter's Great Big Band; Birdland, 315 W. 44th St.  Robert Glasper: R+R=NOW; Taylor McFerrin with Marcus Gilmore  Ron Carter Quartet; Birdland, 315 W. 44th St. Sunday, October 21  Carlos Henriquez Octet; Dizzy’s Club, Jazz At Lincoln Center, 60th & Saturday, October 27 Bdwy  Mostly Monk: Mike Ledonne Trio; Dizzy’s Club, Jazz At Lincoln Cen-  Life Cycles, Featuring Brian Blade, Jon Cowherd, Monte Croft, John ter, 60th & Bdwy Hart, Myron Walden, Doug Weiss; Jazz Standard, 116 E. 27th St.  Smokestack Brunch: Michael Kanan Trio; Christian Sands Trio with  Fred Hersch, Piano; Esperanza Spalding, Vocals ; Village Vanguard Special Guests Caio Afiune and Keyon Harrold; Jazz Standard, 116 E. 178 7th Ave S. 27th St.  Vocal Masterclass With Marion Cowings; Ai Murakami Quartet Feat.  Ravi Coltrane, Saxophone; Gadi Lehavi, Piano; Scott Colley, Bass; Sacha Perry; Ralph Lalama & "Bop-Juice"; Joe Magnarelli Quartet; Johnathan Blake, Drums ; Village Vanguard 178 7th Ave S. After-Hours Jam Session; Small's, 183 W. 10th St.  The Jazz At Lincoln Center Orchestra Plays Monk - Wynton Marsalis  Robert Glasper: Miles Davis Tribute "Everything's Beautiful" w/ Bilal; Performs Brand New Thelonious Monk Arrangements With Music Blue Note, 131 W. 3rd St. Direction By Saxophonist Ted Nash; 8PM, Rose Theater; Jazz At  Afro Latin Jazz Orchestra; Birdland, 315 W. 44th St. Lincoln Center, 60th & Bdwy  Thelonious Monk Festival - Monk’s Dream Featuring Bassist Russell Hall, Pianist Barry Harris, Drummer Jeff “Tain” Watts, Vocalist Vuyo Monday, October 22 Sotashe, Tap Dancer Michela Marino Lerman, And More; 7PM & 9:30  Monday Nights With WBGO - Emilio Solla Tango Jazz Orchestra; PM, The Appel Room; Jazz At Lincoln Center, 60th & Bdwy Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy  Robert Glasper: R+R=NOW; Taylor McFerrin with Marcus Gilmore;  Mingus Big Band; Jazz Standard, 116 E. 27th St. Blue Note, 131 W. 3rd St.  Vanguard Jazz Orchestra; Village Vanguard 178 7th Ave S.  Ron Carter Quartet; Birdland, 315 W. 44th St.  Josh Evans Quintet; Lucas Pino Nonet; After-Hours Jam Session; Small's, 183 W. 10th St.  Cory Henry: The 4 Deacons Sharay Reed, TaRon Lockett & Isaiah Sunday, October 28 Sharkey; Blue Note, 131 W. 3rd St.  Alexander Claffy Quartet; Dizzy’s Club, Jazz At Lincoln Center, 60th &  Renee Rosnes & Bill Charlap - Duo Piano; Birdland, 315 W. 44th St. Bdwy  Christian Sands Trio with Special Guests Caio Afiune and Keyon Harrold; Jazz Standard, 116 E. 27th St. Tuesday, October 23  Ravi Coltrane, Saxophone; Gadi Lehavi, Piano; Scott Colley, Bass;  Under One Sun; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy Johnathan Blake, Drums ; Village Vanguard 178 7th Ave S.  Jakob Bro Trio; Jazz Standard, 116 E. 27th St.  Vocal Masterclass With Marion Cowings; Ai Murakami Quartet Feat.  Ravi Coltrane, Saxophone; Gadi Lehavi, Piano; Scott Colley, Bass; Sacha Perry; Tardo Hammer Trio; Brandon Sanders Quartet; After- Johnathan Blake, Drums ; Village Vanguard 178 7th Ave S. Hours Jam Session; Small's, 183 W. 10th St.  Robert Edwards Quintet; Frank Lacy Group; After-Hours Jam Session;  Robert Glasper: R+R=NOW; Kandace Springs @ Sony Hall; Blue Small's, 183 W. 10th St. Note, 131 W. 3rd St  Robert Glasper: Mulgrew Miller Tribute ft Derrick Hodge & Rodney Green; Blue Note, 131 W. 3rd St.  Ron Carter Quartet; Birdland, 315 W. 44th St. Monday, October 29  Josh Lawrence & Color Theory; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy Wednesday, October 24  Mingus Big Band; Jazz Standard, 116 E. 27th St.  Rodney Whitaker Sextet; Dizzy’s Club, Jazz At Lincoln Center, 60th &  Vanguard Jazz Orchestra; Village Vanguard 178 7th Ave S.  Monday, October 29

Bdwy  Jakob Bro Trio; Jazz Standard, 116 E. 27th St.  Cory Henry & Friends; Blue Note, 131 W. 3rd St.  Ravi Coltrane, Saxophone; Gadi Lehavi, Piano; Scott Colley, Bass; Johnathan Blake, Drums ; Village Vanguard 178 7th Ave S.  Wayne Tucker Sextet; Harold Mabern Trio; Isaiah J. Thompson "After- Tuesday, October 30 Hours"; Small's, 183 W. 10th St.  David Chesky: Jazz In The New Harmonic; Dizzy’s Club, Jazz At  Robert Glasper: Mulgrew Miller Tribute ft Derrick Hodge & Rodney Lincoln Center, 60th & Bdwy Green; Tigran Hamasyan @ Sony Hall; Blue Note, 131 W. 3rd St.  Camille Bertault; Jazz Standard, 116 E. 27th St.  Ron Carter Quartet; Birdland, 315 W. 44th St.  Jon Batiste & Friends - Jon Batiste, Piano/Vox/Harmonabord; Joe Saylor, Drums; Phil Kuehn, Bass; Tivon Pennicott, Tenor Sax; Patrick Bartley, Alto Sax; Giveton Gelin, Trumpet ; Village Vanguard 178 7th Jazz Lovers’ Thursday, October 25 Ave S.  Rodney Whitaker Sextet; Dizzy’s Club, Jazz At Lincoln Center, 60th &  Michel Camilo Trio; Blue Note, 131 W. 3rd St. Bdwy  Ron Carter’s Golden Striker Trio; Birdland, 315 W. 44th St.  Christian Sands Trio with Special Guests Caio Afiune and Keyon  Wednesday, October 31 Harrold; Jazz Standard, 116 E. 27th St.  Cristina Pato Quartet  Ravi Coltrane, Saxophone; Gadi Lehavi, Piano; Scott Colley, Bass;  Scott Robinson’s Heliotones: A Halloween Spectacular

Lifetime Collection Johnathan Blake, Drums ; Village Vanguard 178 7th Ave S.  Jon Batiste, Piano/Vox/Harmonabord; Joe Saylor, Drums; Phil Kuehn,  The Jazz At Lincoln Center Orchestra Plays Monk - Wynton Marsalis Bass; Tivon Pennicott, Tenor Sax; Patrick Bartley, Alto Sax; Giveton Performs Brand New Thelonious Monk Arrangements With Music Gelin, Trumpet ; Village Vanguard 178 7th Ave S. Direction By Saxophonist Ted Nash; 8PM, Rose Theater; Jazz At Lincoln Center, 60th & Bdwy JazzMusicDeals.com JazzMusicDeals.com (Continued on page 17)  Vince Ector Trio; Carlos Abadie Quintet; Giveton Gelin Quintet "After-

16 October-November 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 Saturday, November 10 Saturday, November 24  Marcus Strickland's Twi-Life; Jazz Standard, 116 E. 27th St.  Wycliffe Gordon; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy

 Smalls Showcase: Jon Roche & Friends; Mike Boone Quartet; The  Maria Schneider Orchestra; Jazz Standard, 116 E. 27th St. “Some people’s idea of Flail; Brooklyn Circle; Small's, 183 W. 10th St.  Eric Comstock; Birdland, 315 W. 44th St.  Smalls Showcase: Michael Wang Quintet; John Fedchock Quartet; free speech is that they are free Jason Marshall Group; Brooklyn Circle; Small's, 183 W. 10th St. to say what they like, but if anyone Sunday, November 11  Dizzy Gillespie All-Stars: Dizzy's Birthday Celebration  Marcus Strickland's Twi-Life; Jazz Standard, 116 E. 27th St. says anything back that  Vocal Masterclass with Marion Cowings; Fat Cat Big Band swings the work of J.S. Bach, Strayhorn, Ellington, Basie, & Synstelien; Tim Sunday, November 25 is an outrage.” McCall Quintet; Alon Near Trio "After-hours"; Small's, 183 W. 10th St.  Wycliffe Gordon; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy  Maria Schneider Orchestra; Jazz Standard, 116 E. 27th St.  Ken Peplowski Big Band; Afro Latin Jazz Orchestra; Birdland, 315 W. Monday, November 12 44th St. - Winston Churchill  Palladium: Celebrating Wayne Shorter; Joe Farnsworth Trio featuring  Vocal Masterclass with Marion Cowings; Lezlie Harrison Quartet; Tad Buster Williams; Jon Elbaz Trio "After-hours" Shull Quartet; Alon Near Trio "After-hours"; Small's, 183 W. 10th St.  Dizzy Gillespie All-Stars: Dizzy's Birthday Celebration Wednesday, October 31 Tuesday, November 13  Michel Camilo Trio; Blue Note, 131 W. 3rd St.  Steve Nelson Quartet; Abraham Burton Quartet; Malik McLaurine Trio Monday, November 26  Ron Carter’s Golden Striker Trio; Birdland, 315 W. 44th St. "After-hours"; Small's, 183 W. 10th St.  Terry Waldo Sextet; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy Thursday, November 1 Wednesday, November 14  Mingus Big Band; Jazz Standard, 116 E. 27th St.  Bonnie Milligan; Birdland, 315 W. 44th St.  Pat Martino Trio + Horns; Jazz Standard, 116 E. 27th St.  Remy Le Boeuf Quintet; Akiko Tsuruga Quartet; Aaron Seeber "After-  Ari Hoenig Trio; Joe Farnsworth Trio; Jon Elbaz Trio "After-hours";  Andy Laverne Quartet; Troy Roberts Quartet; Charles Goold "After- hours"; Small's, 183 W. 10th St. Small's, 183 W. 10th St. hours"; Small's, 183 W. 10th St.  Jon Batiste & Friends - Jon Batiste, Piano/Vox/Harmonabord; Joe  Sheila Jordan's 90th Birthday Celebration Saylor, Drums; Phil Kuehn, Bass; Tivon Pennicott, Tenor Sax; Patrick Thursday, November 15 Bartley, Alto Sax; Giveton Gelin, Trumpet ; Village Vanguard 178 7th  Sean Jones Quartet; Jazz Standard, 116 E. 27th St. Tuesday, November 27 Ave S.  Samir Zarif Sextet; Benny Benack Band; Endea Owens "After-hours";  David Berger Orchestra with Harry Allen Celebrate the Four Brothers: Small's, 183 W. 10th St. Stan Getz, Zoot Sims, Al Cohn and Gerry Mulligan; Dizzy’s Club, Jazz

Friday, November 2 At Lincoln Center, 60th & Bdwy  Yotam Silberstein Quartet; Joe Farnsworth Trio; Corey Wallace Friday, November 16  Willerm Delisfort Project; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy DUBtet "After-hours"; Small's, 183 W. 10th St.  Sean Jones Quartet; Jazz Standard, 116 E. 27th St.  Frank Kimbrough: Monk's Dream; Jazz Standard, 116 E. 27th St.  Jon Batiste & Friends - Jon Batiste, Piano/Vox/Harmonabord; Joe  Paul Nedzela Quartet; George Coleman Jr. Quintet; JD Allen "After-  Curtis Stigers; Birdland, 315 W. 44th St. Saylor, Drums; Phil Kuehn, Bass; Tivon Pennicott, Tenor Sax; Patrick hours"; Small's, 183 W. 10th St. Bartley, Alto Sax; Giveton Gelin, Trumpet ; Village Vanguard 178 7th  Phillip Johnston & The Silent Six; Abraham Burton Quartet; Malik Ave S. McLaurine Trio "After-hours"; Small's, 183 W. 10th St. Saturday, November 17  Mark Turner, tenor saxophone; Jason Palmer, trumpet; David Virelles,  Sean Jones Quartet; Jazz Standard, 116 E. 27th St. piano; Matt Brewer, bass; Nasheet Waits, drums; Village Vanguard 178 7th Ave S. Saturday, November 3  Smalls Showcase: Ben Barnett Quintet; Paul Nedzela Quartet; George  Smalls Showcase: Corin Stiggall Quintet; Yotam Silberstein Quartet; Coleman Jr. Quintet; Jon Beshay "After-hours"; Small's, 183 W. 10th  John Scofield Quartet, Blue Note, 131 W. 3rd St. Joe Farnsworth Trio; Philip Harper Quintet; Small's, 183 W. 10th St. St.  Jon Batiste & Friends - Jon Batiste, Piano/Vox/Harmonabord; Joe Saylor, Drums; Phil Kuehn, Bass; Tivon Pennicott, Tenor Sax; Patrick Wednesday, November 28 Bartley, Alto Sax; Giveton Gelin, Trumpet ; Village Vanguard 178 7th Sunday, November 18  David Berger Orchestra with Harry Allen Celebrate the Four Brothers: Ave S.  Sean Jones Quartet; Jazz Standard, 116 E. 27th St. Stan Getz, Zoot Sims, Al Cohn and Gerry Mulligan; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy  Vocal Masterclass with Marion Cowings; Nick Hempton Band; JC Stylles/Steve Nelson "Hitting the Hutch"; Ben Zweig Trio "After-hours";  Willerm Delisfort Project; Dizzy’s Club, Jazz At Lincoln Center, 60th & Sunday, November 4 Small's, 183 W. 10th St. Bdwy  Vocal Masterclass with Marion Cowings; Ehud Asherie Trio; David  Frank Kimbrough: Monk's Dream; Jazz Standard, 116 E. 27th St. Gibson Quintet; Ben Zweig Trio "After-hours"; Small's, 183 W. 10th St.  Curtis Stigers; Birdland, 315 W. 44th St.  Jon Batiste & Friends - Jon Batiste, Piano/Vox/Harmonabord; Joe Monday, November 19  Tyler Blanton Trio; Patrick Cornelius Octet; Jovan Alexandre "After- Saylor, Drums; Phil Kuehn, Bass; Tivon Pennicott, Tenor Sax; Patrick  Lucas Pino Nonet; Jonathan Michel Quintet; Jon Elbaz Trio "After- hours"; Small's, 183 W. 10th St. Bartley, Alto Sax; Giveton Gelin, Trumpet ; Village Vanguard 178 7th hours"; Small's, 183 W. 10th St.  Mark Turner, tenor saxophone; Jason Palmer, trumpet; David Virelles, Ave S. piano; Matt Brewer, bass; Nasheet Waits, drums; Village Vanguard 178 7th Ave S. Tuesday, November 20  John Scofield Quartet, Blue Note, 131 W. 3rd St. Monday, November 5  Maria Schneider Orchestra; Jazz Standard, 116 E. 27th St.  Joel Frahm Trio; Jonathan Barber Quartet; Jon Elbaz Trio "After-  Robert Edwards Quintet; Frank Lacy Group; Malik McLaurine Trio hours"; Small's, 183 W. 10th St. "After-hours"; Small's, 183 W. 10th St. Thursday, November 29  Willerm Delisfort Project; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy Tuesday, November 6 Wednesday, November 21  Mary Stallings with the Emmet Cohen Trio; Dizzy’s Club, Jazz At  Shai Maestro Trio; Jazz Standard, 116 E. 27th St.  Maria Schneider Orchestra; Jazz Standard, 116 E. 27th St. Lincoln Center, 60th & Bdwy  Spike Wilner Trio; Frank Lacy Group; Malik McLaurine Trio "After-  Marshall McDonald Jazz Project; Harold Mabern Trio; Julius Rodri-  Aaron Goldberg Trio with Matt Penman & Leon Parker; Jazz Standard, hours"; Small's, 183 W. 10th St. guez "After-hours"; Small's, 183 W. 10th St. 116 E. 27th St.

 Dizzy Gillespie All-Stars: Dizzy's Birthday Celebration  Curtis Stigers; Birdland, 315 W. 44th St.  Landline; Luca Santaniello Trio; Mike Troy "After-hours"; Small's, 183 Wednesday, November 7 W. 10th St.  Gilad Hekselman Trio; Jazz Standard, 116 E. 27th St. Thursday, November 22  Mark Turner, tenor saxophone; Jason Palmer, trumpet; David Virelles,  Loren Stillman & Steve Cardenas Quartet feat. Ben Allison and Matt  Wycliffe Gordon; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy piano; Matt Brewer, bass; Nasheet Waits, drums; Village Vanguard Wilson; Sam Dillon Quartet; Giveton Gelin Quintet "After-hours";  Maria Schneider Orchestra; Jazz Standard, 116 E. 27th St. 178 7th Ave S. Small's, 183 W. 10th St.  Carlos Abadie Quintet; Davis Whitfield "After-hours"; Small's, 183 W.  John Scofield Quartet, Blue Note, 131 W. 3rd St.

10th St. Thursday, November 8  Dizzy Gillespie All-Stars: Dizzy's Birthday Celebration Friday, November 30  James Francies Band; Jazz Standard, 116 E. 27th St.  Willerm Delisfort Project; Dizzy’s Club, Jazz At Lincoln Center, 60th &  Carl Bartlett Jr. Quartet; Brian Melvin's Sacred Geometry; Sean Friday, November 23 Bdwy Mason "After-hours"; Small's, 183 W. 10th St.  Wycliffe Gordon; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy  Mary Stallings with the Emmet Cohen Trio; Dizzy’s Club, Jazz At

 Maria Schneider Orchestra; Jazz Standard, 116 E. 27th St. Lincoln Center, 60th & Bdwy  Birdland Big Band; Birdland, 315 W. 44th St.  Aaron Goldberg Trio with Matt Penman & Leon Parker; Jazz Standard, Friday, November 9 116 E. 27th St.  James Francies Band; Jazz Standard, 116 E. 27th St.  John Fedchock Quartet; Jason Marshall Group; JD Allen "After-hours"; Small's, 183 W. 10th St.  Mark Turner, tenor saxophone; Jason Palmer, trumpet; David Virelles,  Vocal Masterclass with Marion Cowings; Ehud Asherie Trio; David piano; Matt Brewer; Nasheet Waits; Village Vanguard 178 7th Ave S. Gibson Quintet; Ben Zweig Trio "After-hours"; Small's, 183 W. 10th St.  Dizzy Gillespie All-Stars: Dizzy's Birthday Celebration  John Scofield Quartet, Blue Note, 131 W. 3rd St.

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To Advertise CALL: 215-887-8880 October-November 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 October-November 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.

Prospect Wine Bar & Bistro, 16 Prospect St. Westfield, NJ, RECORD STORES 908-232-7320, 16prospect.com, cjayrecords.com Academy Records, 12 W. 18th St., New York, NY 10011, 212-242 “It is curious that physical courage Red Eye Grill, 890 7th Av (56th), 212-541-9000, redeyegrill.com -3000, http://academy-records.com should be so common in the world Ridgefield Playhouse, 80 East Ridge, parallel to Main St., Downtown Music Gallery, 13 Monroe St, New York, NY 10002, and moral courage so rare.” Ridgefield, CT; ridgefieldplayhouse.org, 203-438-5795 (212) 473-0043, downtownmusicgallery.com Rockwood Music Hall, 196 Allen St, 212-477-4155 Jazz Record Center, 236 W. 26th St., Room 804, Rose Center (American Museum of Natural History), 81st St. 212-675-4480, jazzrecordcenter.com (Central Park W. & Columbus), 212-769-5100, amnh.org/rose MUSIC STORES — Mark Twain Rose Hall, 33 W. 60th St., 212-258-9800, jalc.org Roberto’s Woodwind & Brass, 149 West 46th St. NY, NY 10036, Rosendale Café, 434 Main St., PO Box 436, Rosendale, NY 12472, 646-366-0240, robertoswoodwind.com Queens College — Copland School of Music, City University of 845-658-9048, rosendalecafe.com Sam Ash, 333 W 34th St, New York, NY 10001 NY, Flushing, 718-997-3800 Rubin Museum of Art - “Harlem in the Himalayas”, 150 W. 17th Phone: (212) 719-2299 samash.com Rutgers Univ. at New Brunswick, Jazz Studies, Douglass Cam- St. 212-620-5000. rmanyc.org Sadowsky Guitars Ltd, 2107 41st Avenue 4th Floor, Long Island pus, PO Box 270, New Brunswick, NJ, 908-932-9302 Rustik, 471 DeKalb Ave, Brooklyn, NY, 347-406-9700, City, NY 11101, 718-433-1990. sadowsky.com Rutgers University Institute of Jazz Studies, 185 University Avenue, Newark NJ 07102, 973-353-5595 rustikrestaurant.com Steve Maxwell Vintage Drums, 723 7th Ave, 3rd Floor, New newarkrutgers.edu/IJS/index1.html St. Mark’s Church, 131 10th St. (at 2nd Ave.), 212-674-6377 York, NY 10019, 212-730-8138, maxwelldrums.com SUNY Purchase, 735 Anderson Hill, Purchase, 914-251-6300 St. Nick’s Pub, 773 St. Nicholas Av (at 149th), 212-283-9728 SCHOOLS, COLLEGES, CONSERVATORIES Swing University (see Jazz At Lincoln Center, under Venues) St. Peter’s Church, 619 Lexington (at 54th), 212-935-2200, 92nd St Y, 1395 Lexington Ave, New York, NY 10128 William Paterson University Jazz Studies Program, 300 Pompton saintpeters.org 212.415.5500; 92ndsty.org Rd, Wayne, NJ, 973-720-2320 Sasa’s Lounge, 924 Columbus Ave, Between 105th & 106th St. Brooklyn-Queens Conservatory of Music, 42-76 Main St., RADIO NY, NY 10025, 212-865-5159, sasasloungenyc.yolasite.com Flushing, NY, Tel: 718-461-8910, Fax: 718-886-2450 WBGO 88.3 FM, 54 Park Pl, Newark, NJ 07102, Tel: 973-624- Brooklyn Conservatory of Music, 58 Seventh Ave., Brooklyn, Savoy Grill, 60 Park Place, Newark, NJ 07102, 973-286-1700 8880, Fax: 973-824-8888, wbgo.org NY, 718-622-3300, brooklynconservatory.com WCWP, LIU/C.W. Post Campus Schomburg Center, 515 Malcolm X Blvd., 212-491-2200, City College of NY-Jazz Program, 212-650-5411, nypl.org/research/sc/sc.html WFDU, http://alpha.fdu.edu/wfdu/wfdufm/index2.html Drummers Collective, 541 6th Ave, New York, NY 10011, WKCR 89.9, Columbia University, 2920 Broadway Shanghai Jazz, 24 Main St., Madison, NJ, 973-822-2899, shang- 212-741-0091, thecoll.com Mailcode 2612, NY 10027, 212-854-9920, columbia.edu/cu/wkcr haijazz.com Five Towns College, 305 N. Service, 516-424-7000, x Hills, NY ADDITIONAL JAZZ RESOURCES ShapeShifter Lab, 18 Whitwell Pl, Brooklyn, NY 11215 Greenwich House Music School, 46 Barrow St., Tel: 212-242- Big Apple Jazz, bigapplejazz.com, 718-606-8442, gor- shapeshifterlab.com 4770, Fax: 212-366-9621, greenwichhouse.org [email protected] Showman’s, 375 W. 125th St., 212-864-8941 Juilliard School of Music, 60 Lincoln Ctr, 212-799-5000 Louis Armstrong House, 34-56 107th St, Corona, NY 11368, Sidewalk Café, 94 Ave. A, 212-473-7373 LaGuardia Community College/CUNI, 31-10 Thomson Ave., 718-997-3670, satchmo.net 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. Kaplan Penthouse, 165 W. 65th St., 10th Floor, 212-721-6500, lincolncenter.org The Stone, Ave. C & 2nd St., thestonenyc.com th Strand Bistro, 33 W. 37 St. 212-584-4000 SubCulture, 45 Bleecker St., subculturenewyork.com PAY ONLY FOR Sugar Bar, 254 W. 72nd St, 212-579-0222, sugarbarnyc.com Swing 46, 349 W. 46th St.(betw 8th & 9th Ave.), 212-262-9554, swing46.com Symphony Space, 2537 Broadway, Tel: 212-864-1414, Fax: 212- 932-3228, symphonyspace.org Tea Lounge, 837 Union St. (betw 6th & 7th Ave), Park Slope, Broooklyn, 718-789-2762, tealoungeNY.com Terra Blues, 149 Bleecker St. (betw Thompson & LaGuardia), RESULTS 212-777-7776, terrablues.com Threes Brewing, 333 Douglass St., Brooklyn. 718-522-2110. www.threesbrewing.com Tito Puente’s Restaurant and Cabaret, 64 City Island Avenue, City Island, Bronx, 718-885-3200, titopuentesrestaurant.com Tomi Jazz, 239 E. 53rd St., 646-497-1254, tomijazz.com Tonic, 107 Norfolk St. (betw Delancey & Rivington), Tel: 212-358- 7501, Fax: 212-358-1237, tonicnyc.com Town Hall, 123 W. 43rd St., 212-997-1003 PUBLICITY! Triad Theater, 158 W. 72nd St. (betw Broadway & Columbus Ave.), 212-362-2590, triadnyc.com Tribeca Performing Arts Center, 199 Chambers St, 10007, [email protected], tribecapac.org Trumpets, 6 Depot Square, Montclair, NJ, 973-744-2600, Get Hundreds Of Media Placements — trumpetsjazz.com Turning Point Cafe, 468 Piermont Ave. Piermont, N.Y. 10968 ONLINE — Major Network Media & Authority Sites & (845) 359-1089, http://turningpointcafe.com Urbo, 11 Times Square. 212-542-8950. urbonyc.com OFFLINE — Distribution To 1000’s of Print & Broadcast Village Vanguard, 178 7th Ave S., 212-255-4037 Vision Festival, 212-696-6681, [email protected], Networks To Promote Your Music, Products & Watchung Arts Center, 18 Stirling Rd, Watchung, NJ 07069, Performances In As Little As 24 Hours To Generate 908-753-0190, watchungarts.org Watercolor Café, 2094 Boston Post Road, Larchmont, NY 10538, Traffic, Sales & Expanded Media Coverage! 914-834-2213, watercolorcafe.net Weill Recital Hall, Carnegie Hall, 57th & 7th Ave, 212-247-7800 Williamsburg Music Center, 367 Bedford Avenue, Brooklyn, NY www.PressToRelease.com | MusicPressReleaseDistribution.com | 215-600-1733 11211, (718) 384-1654 wmcjazz.org

To Advertise CALL: 215-887-8880 October-November 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com 19 come back and listen to it again and you say, Buster with Sphere. I knew Monk’s music and Sonny Fortune where in the world was I? Glad I heard this. Billy knew the music. It was just me trying to How did I miss this? You mean to tell me all grab a hold of it. this was going on and I didn’t hear it? That is (Continued from page 11) what I thought with Monk. Before I did Four JI: Sounds like you did an incredible job. You In One, I had no idea that Monk was as great know years ago I studied and transcribed a And someone told me they said that you know as he is, or was and still is. I also didn’t real- whole bunch of those. I’ve got to revisit all when most people think of Monk they think ize that he swung as much as he did. I never that stuff—because if you’re not on top of of Monk vertically, but evidently you heard asked for clarity but I think that is what the them, it gets away from you. Monk horizontally. I said, “Absolutely.” person was referring to. When they think of Much to my surprise I didn’t realize it until I Monk, they think of him vertically. JI: Talk a little bit about your composing and did the Four In One date. Out of all he times the sources of inspiration that you get and that I saw Monk, and the listening to Monk I JI: “Four In One” is a challenging tune. some of the methods that you undertake when had no idea that Monk was as lyrical and hori- you’re composing. I know it’s always differ- zontal as he was. We captured that, in my SF: Yeah [laughs], and that was one of the ent for everybody. I might get an idea for a estimation very well on that Four In One” tunes I had never heard before prior to around rhythm thing—some little two bar rhythm, not date. I feel very strong about that whole band. the time that I recorded it. I mean it’s kind of even know what to do with it and suddenly an hard to believe that some of those tunes got idea hits me two weeks later and I’ve got the JI: Who was in that band? away from me and I never even heard them whole thing. Or not. until around the time I was getting ready to do SF: Kirk Lightsey, Billy Hart and Buster Wil- that date. SF: I think I’ve run the whole gamut. I like an liams. idea that’s like, “wow”, and there’s maybe JI: Buster Williams was playing with Sphere one or two tunes that kind of goes like that. JI: Great band. at the time—the band that was interpreting But more often than not they come from ideas Monk’s compositions. that I just come up with and sit and work with SF: Yeah that’s a great band and I thought we … and work with in terms of “I like this,” “I played and its been a while since I listened to SF: Yes. Buster had been working with don’t like this,” “I’m not too certain about that CD but a few of the tunes on there, I Sphere and I think he knew all of the music. this.” Then sometimes I’ll just say, “I can’t thought we played very well. Actually about even think of anything.” Then I’ll walk away three or four of those tunes I never even heard JI: How about the composition “Criss from it for hours or days or whatever. It prior to recording them. I mean three or four Cross”? comes back. I mean, I got a million tries. I’ve months prior to recording that album. So it got many four bar, two bar or eight bars that was a wake up call for me—which is another SF: Yeah. We played it with a six bar bridge. just don’t survive the test of time. Usually an idea has to endure the time thing for me. In other words I’ve got to hear it and then I’ve “Usually an idea has to endure the time thing got to come back to it and feel something for it. Because I’ve gotten alot of stuff where it for me. In other words I’ve got to hear it sounds great and then I come back to it and say man, I can’t stand this. Or I may work at it and then I’ve got to come back to it and feel and say, I don’t like this at all. Or something like that…I mean I tear up a lot of stuff something for it. Because I’ve gotten alot of [laughs] When I finish with my stuff, there’s not much criticism left. [laughs] stuff where it sounds great and then I come JI: Do you do your composing at the piano?

back to it and say man, I can’t stand this. Or SF: Yeah, yeah.

I may work at it and say, I don’t like this at JI: I guess you probably had a lot of words of encouragement or support from influential all. Or something like that…I mean I tear up a artists when you were coming along to develop your playing. Do you remember any of lot of stuff [laughs] When I finish with my those or do you want to share any of those with us? stuff, there’s not much criticism left. [laughs]” SF: I think one of the things that may have one of the things that I love about this music. I I remember Bruce commenting that he kind of helped me a lot was my appearance of often tell people this analogy and hopefully thought I left out two bars. I told him, nope. I confidence [laughs]. I used to look and act the listener will kind of identify with. When said that Monk recorded it with a six bar like “I got it,” even when I felt like I didn’t you were younger you were into something. bridge. And it later turned out to be that Monk have it or whatever. So as an end result I don’t When you got older and you when you were a recorded it with a six bar bridge and an eight recall people saying too much to me. I’m very young adult, you said Jesus Christ why in the bar bridge. But I choose the six bar bridge. I hard on myself and you’ll never, you haven’t world was I even listening to something like think everybody knew the music but me. Be- and you won’t in the future hear me say some- this? Whereas in this music—jazz—you lis- cause Kirk is a piano player, he knew Monk. thing as simple as, “how do I sound” - be- tened to it when you were younger and you

20 October-November 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 said and that was up until five or six years ago a point right now where I want to say when Sonny Fortune because in all those years of madness, it did Rasheed and I do what we do, I’m going to have a silver lining. It wasn’t like I drove my- play my old horn and when I work in other cause I’ve always felt like if I can’t hear myself nuts with no rewards. I have arrived at a contexts I’m going to play this new horn— self than, I’m in real trouble. So, the conversa- place where I’m playing better now than I’ve which makes no sense at all. I can’t complete- tions that I had with Coltrane or Sonny Rol- played all my life. ly walk away from either one of them. lins, Miles or Frank Foster and I’m mention- ing these people because these are horn play- JI: That’s the thing about this music. Wherev- JI: Are you using that to challenge yourself? ers that I’ve sat down with a number of times, er you are, you always know that as long as I never asked them how do you do this or you got your nose to the grindstone and SF: Well, I’m in pursuit of it. If I could find whatever because I always felt like, I can fig- you’re committed to it, you’re always going something that plays just as good or better, ure this out. It doesn’t seem to be something to improve and grow—unlike an athlete who than I’m interested in it. Well, this horn is as simple as well get up tomorrow morning kind of peaks at thirty-five. hovering in that zone and I can’t really come and turn to the east and do fifty push ups and up with an answer. But the notion or the idea you’ll have it. People will say stuff to you like SF: Absolutely, absolutely. And that’s one of came from … yeah, I’m still trying. Some- man you got to practice. Hey, I already know the great things about it. It is, if not a lifetime body in the audience overheard me talking to about that one. But that’s the truth. That is the pursuit, it is damn near a lifetime pursuit. I the bartender asked me last week when we truth. And so as an end result I never heard just bought me a new horn. I mean this horn were down at Sweet Rhythm, where I played much more than that. You know you got to has been wearing me out. Today is no excep- it for the first time. The guy sitting at the bar practice. John kind of said that without giving tion. said something about why would you want to it as advice. John used to practice all the time. buy a new instrument at this time? He may I felt from seeing him and knowing his atti- JI: What kind of horn did you buy? have worded in a different way. I’m para- tude and seeing what he did with that, that phrasing—but he was putting a time and a made it somewhat clear in terms of here’s SF: A new Selmer alto. I just got it about a desire, and I said, “Well hey, because I still what I have to do and how do I get there. And week ago, two weeks ago. I been messing got a lot of music I’m trying to play.” I want a I tell you man, as long as I been playing—I’ve around with them for a couple of months. This horn to come in line with where I’m trying to been playing a long time too Jack—I’ve only horn here, well, I think I like it [laughs]. I’m go. arrived in the past five, six seven years or less working on it. My frustration is I’m still play- JI: You’ve had a lot of experiences with different labels and different performing situa- “I’m very hard on myself and you’ll never, tions and bands. Talk about the understand- ings you’ve gained about human nature and you haven’t and you won’t in the future about business from some of those numerous situations you’ve been in. hear me say something as simple as, ‘how SF: Business is complicated. Human nature is do I sound’ - because I’ve always felt like complicated as well.

JI: More complicated. if I can’t hear myself than, I’m in real SF: I have learned a lot, but could I give you trouble. So, the conversations that I had a list? No. One of the things that I’ve learned is I’ve worked with a lot of different people with Coltrane or Sonny Rollins …. I never and I’ve been in a lot of kinds of situations. I’ve learned that we live in a plural world. asked them how do you do this or This is not a singular world. This is a plural world. This is a people’s planet—not a per- whatever because I always felt like, son’s planet. In terms of the business. There’s the music and then there’s the music business. ‘I can figure this out.’” The musician, no matter what his expression happens to be—he’s got to look at the busi- or a little more at a comfortable place with ing my old horn that plays so great that I’m ness in this music as well. The jazz musician myself. comparing this horn. That’s what’s been keep- definitely has to, especially now because jazz ing me so bogged down for the past couple of is being thrown into a whole lot of different JI: How do you define that comfortable months. Just trying to find out what’s going kinds of realities. There’s light jazz, smooth place? on and yet it seems as if the more I play the jazz. There’s all the other alternatives to jazz. horn something is happening and I’m not too But I called this expression on my Continuum SF: Well, I can tolerate hearing myself. Prior sure what it is. But it’s feeling better and bet- CD spontaneous improvisational music. That to that I was having real issues with what I ter. I’m still wrestling with my horn. was actually an idea that I created Max was hearing and what I was doing. People Roach, had mentioned that years ago. This who saw me or know me would probably JI: Your old horn? music, this spontaneous improvisational mu- have trouble seeing that. Maybe they would- sic, on a higher order, is something that you n’t. I don’t know. One of the great things SF: My old horn in comparison ... I’m still definitely have to know business to handle it. about what I just said was to repeat what I just trying to figure out where to go with it. I’m at (Continued on page 22)

To Advertise CALL: 215-887-8880 October-November 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com 21 ever is important in that area. In terms of criti- blend in an ensemble. But this music wants Sonny Fortune cism, at the end of the day, you got to kind that and you got to stand up and solo too. So know where you need to be on all of this— it’s something that it asks for how well are (Continued from page 21) where someone’s opinion isn’t what you’re you doing. It certainly keeps me busy trying asking for or looking for or will effect where to get it together. That’s the reason why I One of the things that I feel very good about, you’ve got to go. It’s not that you disregard, it wanted to get this horn. And much to my sur- is the fact that the recordings that I feel very just that you have an assignment or an agenda prise, a pleasant surprise, this horn is definite- very good about—I’m able to have some that kind of moves off of what you set for ly giving me something else to look at. That’s oversight on them. The Blue Note stuff as yourself. why I’ve been so busy with it ... making some well as the album Continuum that started my things a little clearer to me. label off. So, you’ve got to put your business JI: With the new label that you have created, hat on to some degree as well. and being in business, it’s challenging to be JI: So with all of your musical activities and able to focus on composing and arranging, business, what kinds of things do you do to JI: What are some of the challenges you ex- practicing music and so forth. relieve the sensory overload and stress that we perienced a leader? experience in our contemporary society? SF: Because of the label? SF: One of the biggest challenges is to keep a SF: [laughs] Well, performing music, the pur- band together that I’d really want to have to JI: Because of the label. suit of music for me is the thing that really work—especially now to work that band, to does a lot. It does a whole lot. I mean Rashied keep that band together. I work a lot, but I SF: Absolutely. [Ali] and I do our duos and they’re complete- work as a soloist. Sometimes I’m taking a ly insane, but those events are and my own. band, but a lot of times I’m working as a solo- JI: Do you have a schedule or structure of Pursuing music especially right through now ist. And I work with a rhythm section in the things or delegation of activities to people that with all of this madness going on out here—it town that I’m going into. Sometimes that’s are helping you? really gets me through these weird messed up good …sometimes that isn’t. It’s almost never times that we’re living in. Music is innocent, as good as a band that I could put together and SF: I try to organize some of this stuff, but at which I’ve always said. The pursuit of music work with. It’s never that good because the end of the day although I’m trying to is innocent. That’s a pure spiritual thing right you’re not together long enough. You don’t tighten it up especially for this trilogy collec- there—if you really set yourself in that zone, get a chance to know each other well enough. tion that’s getting ready to come out, but at in the name of the surprises and the adven- That’s one of the biggest challenges. the end of the day I keep telling everybody, tures in music. Not everybody is a musician. you know, I’m a horn player. Whatever else I Not everybody wants to be a performer. JI: I guess it takes a day or two unless you’ve may be doing I’m giving it a shot. Basically played with people a lot before, to get that you know, I’m a saxophone player, trying to JI: Any words of wisdom you received from dialogue going. play this music. I try to do a lot of things. I a teacher, or a mentor that you’d like to share? don’t have a lot of time for other things be- Is there a quotation or fragment of wisdom SF: Well there’re are degrees and at a certain cause by the time I finish doing whatever I got that inspires you. point it takes longer than that. Guys have got to do and then do all of this, it’s time to go to to be together for a while. Certainly six nights bed. [laughs] Being an older man, it’s not as SF: [laughs] Certainly the pursuit is where the would help as a good starter but more often hard as it was when I was younger. You just fun is. That’s what I’ve learned. Just the jour- than that you need more time than that. I go to bed get up and do it again. So it’s a lot ney of being alive and enjoying being alive. mean you need more than the time that’s al- of … it’s definitely some extra weight. But For me being in New York doing this music is lotted to us out here now. Most often we’re it’s weight that I’m not allowing to overload really what I want to be doing. working two nights There are only a few six me. At this point in time, I’m not trying to be night places left. There’s a hurdle in trying to the record executive I’m trying to be the mu- overcome that. sician that has a label. 

JI: Compliments and criticism are both like JI: Just controlling your own destiny. perfume they are meant to be inhaled not swallowed. We all love compliments. We are SF: I know enough about the business to ma- all our best and or worst critics if we are in neuver some of this stuff to make some sense touch with what we do. With enough experi- out of it and actually things are going well for ence we each know best when we’re playing me right now.

is good or not so good. I tend to take what

somebody who’s not doing what I do with a JI: That’s great. It seems that in this music large grain of salt. you wait years and years and years until “”In the beginning of a change you’re old enough to be recognized. the patriot is a scarce man, SF: Criticism is an option. Everyone has a and brave, and hated and scorned. right to either like or dislike something. I of- SF: There’s this expression. There’s a lot of When his cause succeeds, the ten tell people I’ve been in many situations vagueness or uncertainty around this music timid join him, for then it costs where I didn’t think the music sounded that but one thing that still kind of prevails: how nothing to be a patriot.” good and the people thought it sounded good. well do you do it? I don’t know of a musical But I’ve never been in a situation where I expression that embraces that. Classical mu- thought the music sounded great and the peo- sic—you got to on a certain level to just be a - Mark Twain ple didn’t. I use that as my yardstick for what- part of that—to read the chart to be able to

22 October-November 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 lective helped us be a good idea. From an artistic perspective, it all define those can be an enriching experience. Lovano’s INTERVIEWINTERVIEW roles and try out recent recording of Charlie Parker’s music different things as comes to mind – it’s a great, imaginative pro- composers – it ject. If a producer thinks of it, run the other was a great sup- way as fast as possible – it’ll never work. I Frank Kimbrough port system for never ever begin any musical endeavor from a each of us, as business perspective…that would come later. “Playing music is a way of life - not simply a business transaction” players and as composers. JI: You’ve recorded and performed with Ma- ria Schneider’s Orchestra for some time. By Eric Nemeyer JI: A few years ago you recorded a Herbie Could you talk about the dichotomy between Nichols Project. Could you talk a little bit working with a big band, or hers in particular, JI: Talk about your album, Rumors, and how about Nichols and your motivation for focus- and how that works for you as an improviser that developed from concept to completed ing on his music? by comparison to a small group setting? work of art—the compositions, personnel, etc. FK: Herbie Nichols’ recordings were all out FK: I usually prefer to work in small group FK: The session that produced Rumors took of print when I heard his music on a WKCR settings, but Maria’s music is undeniable. Her place with less than one day’s notice – I got a birthday broadcast in 1985. I taped the broad- music is incredibly rich, and being in her band call from Jimmy Katz telling mexxxxxxxxxx that he had cast, and was so taken with it that I started has introduced me to many wonderful people four hours of studio time available the next transcribing the tunes the next day. Six years that I probably wouldn’t have met otherwise. day, so I called bassist Masa Kanaguchi and or so later I took the tunes to sessions with the The lesson here is that it’s always in one’s drummer Jeff Hirshfield. We recorded the musicians that later formed the Collective, best interest to work with people with a true next morning with no rehearsal, and little or and as the Collective developed, we decided generosity of spirit. Half the guys that were no conversation about the music. We recorded that Herbie’s music would make a great pro- there when it began 20 years ago are still there eighteen takes – sixteen tunes, all first takes ject. His music was unknown to most people – how often does that happen? It’s practically except two tunes that required a second take. at the time, and we felt that the music needed a family, so whether we’re traveling or in the 24 hours after Jimmy called; the CD was in to be heard. We recorded three CDs – two for studio, it’s always a pleasure. There’s a lot of the can. We picked the music we liked, that Soul Note, and one for Palmetto. We also love in the band. She writes with the players made the best program, and the album was toured quite a bit in the U.S. and Europe. in mind; sometimes she’ll just turn me loose – done. All of the tunes are originals except one solo – nothing written out, and let me do my that I adapted from a composition by the Cat- JI: There have been a proliferation of tribute thing. Other times I may not have a solo at all, alan composer Federico Mompou. albums that, in the recent past, producers and and that’s fine with me because the quality of “I think in general that tribute albums are a bad idea, but I think that recording another composer’s music because you love it and think you can bring something new to it can be a good idea. From an artistic perspective, it can be an enriching experience.”

JI: Could you discuss your work and associa- record labels have apparently imposed upon the music and players in the band is so amaz- tion with the Jazz Composers Collective and artists to do (with the mindset that well known ing. associates such as Ben Allison, Ted Nash? past artists might help sell more albums), and certain artists have chosen to do - by compari- JI: Over the past few years, the jazz FK: The Jazz Composers Collective started son to the 60s and 70s and earlier when there world has been a contracting niche. There with four guys combining their mailing lists were far fewer of those. Could you comment is more and more supply being created - and each guy throwing seventy five bucks into on this phenomena - the upside and down speaking of recordings - but supply doesn’t a shoebox, and took it from there – for thir- from an artistic perspective, and business one? create demand, It’s always the other way teen years. It was a non-profit organization, around. What ideas do you have - given your which helped in applying for grants, produc- FK: I think in general that tribute albums are activity as a sideman and leader - about the ing our concerts and tours, and publishing our a bad idea, but I think that recording another challenges impacting interest in this music newsletter. It put us all on the map. We were composer’s music because you love it and and what might be done? all leaders, and we were all sidemen - the Col- think you can bring something new to it can (Continued on page 24)

To Advertise CALL: 215-887-8880 October-November 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com 23

“Musicians practice preventative medicine – we excite, we console, we manipulate peoples’ emotions, hopefully in a good way, we relieve stress, we help heal battered psyches. Playing music is a way of life - not simplyxxxxxxxxxx a business transaction, and certainly not just a ‘show’”.

and that’s real, and it’s reciprocal – the stu- is distracted people trying to figure out how to Frank Kimbrough dents are very inspiring, so I get a lot out of it operate their latest toy, and ignoring the peo- too……..every day I’m there is a blessing. ple they’re actually with. If I’m with you, then (Continued from page 23) Maybe this generation can figure it out. I’m with you. Without all those distractions, life can be pretty good!

FK: I hate to say this, but after 30 years in JI: You’ve had ample experience working  New York, and 25 years since my first record- with an array of artists. Could you share any ing was released, I don’t care so much about observations or conversations - humorous or the record business any more. The onus is dramatic or interesting - with one or more of always on the artist - we write the music, as- these artists that has influenced you or made semble the musicians, pay for the recording an impact on your artistic or creative ap- sessions, and give the music away to a record proach? company – our only hope for compensation is through royalties from the record companies FK: When we were on the road, Dewey Red- or from broadcasts. Record companies man- man always reminded us to tip the maid – age never to pay royalties, and performing that’s the stuff that’s important! rights organizations in this country are a joke, and then some jerk rips your recording and JI: What have you discovered about human puts it on the internet as a free download the nature in your career in the music business? day it’s released. I have no plans to release a new recording any time in the near future. It’s FK: Most musicians that I know are good, a shame, but I have no enthusiasm for it right caring people. Musicians practice preventative now. I’m hoping that my feelings will change, medicine – we excite, we console, we manip- but recordings are not the most important ulate peoples’ emotions (hopefully in a good thing in life. What’s important is who you way), we relieve stress, we help heal battered touch – Ornette said it very well – “There are psyches. Playing music is a way of life - not many ways to receive, but only one way to simply a business transaction, and certainly give, and that’s in person.” I’m teaching at not just a “show”. Juilliard these days, and I’ve realized that the students I work with are my legacy…I’m JI: What do you do to recharge your batteries handing down what was handed down to me, in the face of the hustle and bustle of our con- Jazz Lovers’ temporary world?

FK: I try to live simply, and try to avoid “Seek not opportunity where you stress. I walk a lot, take public transportation, think it should be, find it where it is.” and haven’t driven a car since 1978. I don’t Lifetime Collection have a cell phone or an iPod. I have nothing against technology, but all these gadgets that JazzMusicDeals.com JazzMusicDeals.com are supposed to bring people together usually - do nothing of the sort – what I see around me

24 October-November 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 FrankFrank KimbroughKimbrough Appearing at Jazz Standard November 27-28

To Advertise CALL: 215-887-8880 October-November 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com 25 vibes and guitar. time I had gotten the gig with Gerry Mulligan. He So, Alan knew me said, “John Abercrombie’s leaving my band, do INTERVIEW and Dave Samuels, you want to join? Next rehearsal is in two days.” INTERVIEW and we got the gig So I was there. I had to tell Gerry, “Look, I’ve got

to play a week at a a chance to go do this steady thing.” He was very jazz workshop with understanding. Then I joined Cobham’s band. Gerry. So, this is John Scofield incredible. Then JI: Did Gerry give you lead sheets or arrange- Gerry called and ments? “… just trying to figure out how to get to the good stuff” wanted to do it again on his next JS: He had arrangements. His idea was that he By Eric Nemeyer gig, which happened to be at Carnegie Hall. I was would augment his regular quartet—piano bass getting ready to move to New York City. I wanted and drums—with vibes and guitar. We had parts JI: You get involved in this music because you to do that, but I wasn’t there yet, so I drove down on a lot of the music and some of the music was feel it. It’s unlikely that most of us had been and made the gig. just lead sheets, and we kind of worked it out. But forced into this. So, when you were with Chet he was Gerry, so he was thinking like an arranger Baker, what kind of discussions did you have with JI: What kinds of discussions did you have with and had parts for us on some of the stuff. Chet about music? Gerry about the music and about arranging or about what he wanted? JI: Billy Cobham’s band was obviously a whole JS: Well, I only played with Chet a little bit, a different experience. couple of times. Chet was really a nice guy. He JS: Well, he was again, fatherly and great to us. I was really nice to me. I don’t remember specific wish I could remember more. I just remember him JS: A whole different thing…it was fusion at the stuff. I remember he—like a lot of the older jazz talking about Charlie Parker. I knew he had height of the fusion thing. musicians I’ve met—was always interested in played with Bird so I wanted to know about that, talking about artistry and how you felt about what because I was a big Charlie Parker fan. He said, JI: What were the rehearsals or instructions like you played. I just remember one time he asked me “Oh yeah, Bird, well you know you couldn’t real- with Billy’s group? if I was nervous, because he said he was nervous ly hear Bird on most of the records he played on - when we were about to play. This was actually a because Bird was always hocking his horn, he JS: Abercrombie had to leave Billy’s band be- recording that I made where I didn’t actually play never had the right horn. It really wasn’t his cause, I think, he wanted to play with Jack with him. He was there to play at Carnegie Hall, sound. But I heard Bird when he was in shape and DeJohnette. They were really tight—and Aber- and I was playing with Gerry Mulligan’s group. on a nice horn…” I was thinking, “Oh my God! crombie’s first album, Timeless, had come out on He was better than he was on the records??” the ECM label. So, Billy decided on me, and sent JI: Was this the CTI recording? me the music and a tape of a gig, which was in JI: And live you wouldn’t hear those three minute San Francisco. It was Mike and Randy Brecker, JS: Yeah. We didn’t end up playing together that tracks that was limited by the technology of pro- who were still in the band at that point, also with night, but it was cool talking to him because he ducing three-minute discs at the time. You’d prob- trombone—Glenn Ferris—and I just had to learn was right into the essence of what we did. I wish I ably hear him play twenty choruses or something. the music and then show up to rehearse a little bit could tell you more Chet stories but he was really in the beginning of January. It was perfect timing nice and very supportive. JS: Exactly, yeah. Things like that. I didn’t play because I was going to move to New York City with Gerry a whole lot either. It was 1974. I was anyway, and my girlfriend at the time, and I were JI: How did some of these associations develop? already kind of out of Berklee and had started to going to get an apartment in Greenwich Village. do other stuff, but I was a member of his group. We already had one. So I moved down with a gig. JS: Well, I went to Berklee, like I told you. I got He wasn’t working all that much. I moved to New I went to the first rehearsal and it was a mind- to meet a whole bunch of people at Berklee. Gary York because I got a gig with Billy Cobham’s blower because it was Mike and Randy Brecker. I Burton came there to teach when I was in my band, which worked all the time—that was with had been a huge fan of Mike and Randy’s playing. second year. He was a huge influence. Alan Daw- the Brecker Brothers. They came out in ‘73, ‘74. I Now I got to be in a band with them, so I was son, the great drummer, was up there. I had an replaced John Abercrombie in ‘75. I actually had pretty elated. But it was definitely like rehearsing ensemble with Alan Dawson. Dave Samuels was a to leave Gerry’s group because I got a steady gig at SIR on the sound stage with big amps and big vibes player in the ensemble, and Chip Jackson and Gerry wasn’t working that much, so it was sound, and it was a rock group. It wasn’t a rock played bass, it was just the four of us. Chip was really weird. I had really been setting myself up to group though, it was a fusion band - really electric my roommate. I had a great trio with him, and a be a Jim Hall, Wes Montgomery type guy—I had and really loud and incredibly powerful. I remem- great drummer named Ted Pease, who lived right a big arch top guitar, and I got the gig with Gerry ber when Mike and Billy would play—it was across the street. He was the best drummer at Mulligan. But then at the same time, fusion was unbelievable the way they would play together. It Berklee, my first year. He was a freshman and he happening, and Dave Samuels was friends with was very happening. Michael really brought an got into the best ensembles. He had been a student Dave Friedman, the vibes player. He got Dave and intensity and Coltrane-esque thing to that music. of Alan’s from stage-band camp and stuff. John me a gig with Horacee Arnold, the drummer, who And Cobham … it was really fast … just drums LaPorta already knew this kid and we somehow had done a record on Columbia at that point. So and bass … just really fast rock beats. Michael became friends. Then Chip, who was also from we came down from Boston, and we played with would just be burning over that … Cobham would Connecticut—Chip Jackson, a great bass player— Horacee. And he said, “Let’s go in the studio after be playing this really fast stuff, and it was an we all lived together in this one apartment. It was this gig.” We played at Richard’s Lounge in New amazing time. Randy played great too. He had a great. It was like a band, right there. Ted went on Jersey, you know, for like ten people, playing beautiful sound. But it was really different from and decided not to pursue music as a full time Horacee’s tunes, but it was great because I was Gerry Mulligan It wasn’t like I was a bebopper career in New York, and moved back to Little getting to play with guys from New York—Alex from 1955 all of a sudden transported to Cobham. Rock, Arkansas. But anyway, we had this ensem- Foster and Mike Richmond and some others … I The way I could do it was because of my early ble with Alan, Dave Samuels, Chip Jackson and was getting away from the Berklee scene and blues roots, really, blues and rock guitar roots. myself. Alan switched off on drums and vibes playing with some guys from New York, and we with Dave, because he liked to play vibes too. He decided to go make a demo. Billy Cobham helped JI: What were some of the challenges for you in played nice vibes. Alan got me the gig with Gerry, make the demo—helped him produce it. Then I playing with that group? because Gerry Mulligan came to Boston the next went back up to Boston and a couple of months year and wanted to augment his regular band with later I got a call from Billy Cobham—at the same (Continued on page 28)

26 October-November 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 JohnJohn ScofieldScofield Appearing at Blue Note November 27-December 2

To Advertise CALL: 215-887-8880 October-November 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com 27 Gary. We really all hung out together and listened he plays four mallets—on his solos. I would just John Scofield to records. He was really the guy—before I met try to make it fit in. He always said, “There’s no Gerry Mulligan, or Billy Cobham, or any of that. problem,” which I don’t really agree with now, It was Gary Burton, when I was nineteen or twen- but I appreciate that to musicians with ears there’s (Continued from page 26) ty years old. no problem. There’s a dialogue, and you lay out, JS: Well, it was loud as hell, so my regular guitar and give the guy his space, and he does the same didn’t work—my ES 175 that I had to play with JI: What did Gary talk with you about? for you. Gerry Mulligan, and gigs that I did in Boston. I had to get a solid body guitar. I did, and that was a JS: He was so in depth - because Gary, as you JI: That must have been a real inspiring time. challenge to make it work sonically. So then I know, is a teacher and very verbal. He talked started thinking about. I couldn’t use a straight about the music with such passion, about improvi- JS: It was great. jazz tone, because when you turn an amp up that sation and of playing and the beauty of jazz and loud there is no straight jazz tone. It becomes—on the beauty of music, period. I can’t pull any things JI: Somewhere between there and ‘82 or ‘83, you its own—BB King, really, is what happens. It’s right out of the hat, but it was very in depth. It was got together with Miles Davis. interesting. So, I was using kind of a more of a great because while he was waiting for the traffic blues, distorted, rock sound. It was a challenge to to ease up, we would sit around and listen to rec- JS: What happened was I played with Cobham’s play the tempos really, because I didn’t have that ords and jam. It was a real education. It was the band on the road non-stop through the years of kind of technique— still don’t, really—so I had to same thing that we all do. It was more like when ‘75 and ‘76. We worked all the time. We went to develop some sort of chops that were really differ- I’m on the road with musicians. That’s where I’ve Europe, my first to trip to Europe, and we toured ent from what I could do, and I remember I prac- really learned – which is what it’s like when the States. It was a popular band, so we were play- ticed a lot just on trying to play fast lines, you you’re traveling and hanging out with somebody ing big concerts and a lot of tours with Weather know, to keep up with the band. xxxxxxxxxx and playing every night. It was a little like that Report and Herbie Hancock’s Headhunters - big with Gary, because we’d play a few tunes and fusion package tours. JI: What kind of practicing did you undertake to then talk about stuff. I’d have my Mingus records do that? and say, “Oh I always liked that tune” We’d listen JI: I remember seeing the band at The Main Point to Coltrane and say, there you go. It was pretty in Philadelphia, in Bryn Mawr, Pennsylvania. JS: I always just practiced the same kind of jazz much the standard jazz hierarchy of stuff. He stuff that I’d always played, but I always thought loved Duke and Miles and Bird and Bill Evans JS: I remember when we played there, because I of, well, Coltrane and Miles’ band in the sixties, and paid homage to those people. But, you know, went and took a lesson from Pat Martino. I had when they would play free or play on vamps, like he also brought with him his book that his band been down to Philly before that when I was back- “So What.” I used that as my basis of stuff to played and we played that music - Steve Swallow ing up a pop singer in ‘74 probably, and I’d gone draw from. I used that as my basis of stuff from which to draw from, because Miles had played real fast tempos. So I just played in the key of D “We can learn it from records and we do, but minor real fast and tried to work on that with a metronome, you know, so it didn’t slow down. it’s really the contact with the other musicians— Because when I’m left to my own, still to this day, I’ll slow to this medium nice groove where it feels when we’re playing together… You hear what good to play. they’re doing and then you hang out on the

JI: We always want to feel good… break, and at the rehearsal, and after the gig

JS: Yep. And sometimes you can’t, when you’re you get a ride home from this guy or that guy. playing with a band that wants to play at a tempo that doesn’t feel good, so you have to shed it. This kind of interplay is very spiritual. It’s a wonderful, human thing.” JI: What was the evolution of the band? Eventual- ly you parted ways… tunes, Keith Jarrett tunes, Gary Burton tunes, to Pat’s house. I played non-stop with Cobham’s JS: You know, I don’t want to skip one thing, if Chick Corea tunes, Michael Gibbs tunes. It was band, I was living in New York, and I was starting we’re going to do the definitive John Scofield. some really different harmonic stuff, and starting to get some calls to play on other things and get- When I was at Berklee, I met Gary Burton. He to become different rhythmic stuff…more Latin ting to go to the clubs, and be part of the New came there to teach. This was really important for rhythms and not all swing. So, we’d play stand- York scene. After that I just hung out, and got to me and for a lot of other musicians. As I said, I ards, but we also played his music. It was great for play on the jazz scene in the late ‘70s in New roomed with Ted Pease, the drummer, and Chip a guitar player because, as you know, the guitar- York. Jackson, the bass player. We had a set of vibes set vibes combination is a unit. All this was influ- up in one of our rooms, and the drums. During the enced by the Beatles or Bob Dylan as well as the JI: I recently got an album that you and John first semester Gary came there to teach, he came MJQ, and that was very important too—to see that Abercrombie did together, which has been re- over to hang out with us one day because Ted was he was also coming from a different place, as well released on Quicksilver records…it was originally already the hot drummer. Gary somehow came as the standard orthodox jazz. on Palo Alto. over to our apartment, because he was waiting for the traffic to subside. He started to jam with us. JI: When you were playing in his group did you JS: It’s been on about ten different labels. Here was this rhythm section that he could jam talk about how you might work together or the with. After his last class was over at five, he conflicts between two chord instruments? JI: What were your lessons like with Pat Martino? would hang until seven, almost every day. He’d say, “Well I’ll go play with these kids, they’re JS: I think he did, but you know what? We didn’t JS: I was a big fan of Pat Martino’s. I just thought okay.” And we got to play with Gary Burton. I got have a horn player to comp on, so there wasn’t of him as a big freak of nature, and I just wanted to be the sub guitar player for Mick Goodrick, ever a conflict. As long as I played the right to play a standard with him. But when I got to his who Gary had used in his group. That was really changes…I was comping behind him, and he house, he was on a whole other thing. He wanted my very first professional stuff—hanging out with would lighten his stuff up, harmonically—because to show me his theoretical world. We didn’t play.

28 October-November 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 were doing when they took it out a little bit, and I John Scofield JI: It appears that when the attitude you’re ex- always went to tenor players for that—you know, plaining about John Abercrombie is prevalent, it’s because of the Coltrane tradition. I love Coltrane. a function of people having developed a modicum I had met Mike Brecker before, and he was into He showed me these really involved—I thought— of inner confidence and kind of connection to that. I was trying to figure out the stuff from what circles of harmony and stuff that he was teaching some other deeper spirit that the music is about - he was playing. Dave Liebman was the natural at the time. He is a sweetheart and we’ve become instead of feeling threatened or jealous or whatev- next step. So I got to play with Dave a lot then, friends since then. But in his approach at that er, that’s debilitating in the music, and in the busi- and that was really a great learning experience. time, he had a whole system. I was already into ness. Is that something that you immediately ob- more of the standard system. It turns out they’re served about John? JI: Did you ask Dave questions about the things probably exactly the same. He’s just got a differ- that you were trying to figure out? ent way of looking at it. I wanted to play. I had JS: All the guys that I’ve met: Jim Hall, Jon taken some lessons from Jim Hall too. Gary said, Abercrombie, Pat Martino—Steve Swallow, espe- JS: Yeah. He was really articulate. And we played “Just call him, he’s an okay guy.” So I went down cially early on—Gary Burton, my teachers at his music, which would be his reharmonizations to take a couple of lessons from Jim Hall. That Berklee, John LaPorta … It’s a beautiful thing, of standards, which I’ve got to say, were really was awesome. you know—the way we show each other the mu- hard. You know, because they were his particular sic. Because I know now that I’m older and meet language. We talked about Miles and Coltrane and JI: Could you talk about the qualities of Jim’s like-minded young kids who can play but are not Herbie and the way Chick would do it, and, you playing that inspired you? there yet, it’s just a natural thing to help them, and know, this whole thing of trying to … Basically, it’s so rewarding. I was so lucky to meet those there’s no system. Everybody kind of has their JS: I think Jim took the guitar to a new level of guys. We all meet people that can be nasty too. own version of taking it out. But with Dave, beauty, sonically and just with his xxxxxxxxxxplaying. He did But mainly, it’s a wonderful give and take with again, it was just further jazz education. You that from the moment he started recording and the older musicians and the younger musicians, know, you can’t ever really say okay, we’re going playing as far as I can tell. He’s got something and I wonder if in other kinds of music there’s this to master the real changes and then we’re going to special about his sound and his approach, and the kind of nurturing. Because something about jazz take it out/ That’s not the way it works. You just voicings, his whole concept of the guitar. So, I really is handed down, you know? We can learn it learn bits of jazz from different eras, different was one of his big fans and tried to emulate him. from records and we do, but it’s really the contact harmonic vocabularies, as you go along and put it I went to his house and there we just played. He with the other musicians—when we’re playing together and do your own thing. But Dave was said a few things. He showed me this one great together. I’ve been lucky to play gigs with older really articulate and wonderful. The free music thing that I still use, which is dividing the penta- guys. That’s even different because when you that always interested me were the guys that were tonic scale up into thirds…no just a triad with a play, you take your solo on the tune, and they take coming out of jazz, you know, Ornette and Don ninth, like: C—D—E—G. If you take those and theirs. You hear what they’re doing and then you Cherry and Paul Bley and those guys especially. play them in thirds, it becomes this thing called hang out on the break, and at the rehearsal, and French horn fifths. I remember he showed me after the gig you get a ride home from this guy or JI: How did you make the transition from Dave that. I’ve never stopped playing that. He had a that guy. This kind of interplay is very spiritual. Liebman’s band to Miles Davis’ band? lead sheet on “Careful”, his tune, in his handwrit- It’s a wonderful, human thing. ing, which he gave me and that was wonderful. I JS: Well, I was just on the scene in New York. I have that here somewhere. It was just really cool JI: After your connection with John Abercrombie, played with Dave, and I was doing whatever. to hang out and play with him, and the feeling of you moved on. There were fusion kinds of gigs, too. I remember playing with somebody … because it was very all different kinds of things. During that time, I relaxed and advanced, you know? I said I really JS: You know what happened, there’s another was getting my own gigs, too. I made my own want to move to New York and he goes, “Well, I guy too, who you know. And that’s Dave Leib- record as a leader in 1977. It was on Enja Rec- don’t know it’s a jungle down here.” He sort of man. I joined Dave’s band, and there were two ords, and the way that happened was that Billy discouraged me from moving to New York, but I things that happened. In 1978 I met Terumaso Cobham’s manager arranged for me to do a demo did it anyway. There are a lot of people that are Hino, the jazz trumpet player from Japan who was for ABC Records, which was still around—the big not really there to teach, they’re there to show off living in New York at the time. He played with ABC Records. They were looking to have a fusion or something. Jim’s not like that. You can tell if Jackie McLean’s group at the time, and he moved guitar player, and so I made kind of a fusion you’re trying to challenge someone in order to to New York. But he was already a big star in demo, and they didn’t go for it, but this demo was help them improve or if you’re challenging some- Japan. He had moved to New York at that time to sitting around. It was in a recording studio where body to make yourself feel like you can blow hang out and play with Jackie McLean, I think. Matthias Winkleman, from Enja Records heard it. them away. He heard me and he got me on a recording session This is a really weird reversal of things. He called with Tony Williams and Ron Carter—a quartet me up, and he said, “I want to do a record with JI: To make them wrong. date. Then after that we all went over to Japan, you, because I like your playing.” He’d heard me with his brother, Motohiko Hino, who’s a great in some different things. “But,” he said, “I don’t JS: Yeah, right. It’s an ego thing. Teaching’s drummer. We were playing kind of in the Miles, want you to do fusion, I want you to do acoustic tricky. You were asking me about that thing with sixties, open style, which was something I was jazz.” At the time it was sort of funny because Abercrombie. He was my direct predecessor in the really interested in. That was a great break for me. fusion was the thing that was selling. At the same groups. John was already really on the scene in It wasn’t maybe as public as some of the things in time, also, in 1977, George Gruntz from Switzer- New York, and I met him, and he was very sup- my discography have been, but we played togeth- land, who was then artistic director of The Berlin portive of me. Actually the other guy who I met— er a lot. Then at the same time, Dave Liebman Jazz Festival, came to New York. I was playing at who I still play with—was Steve Swallow. I met was starting a new group. Dave hired me and Sweet Basil’s, with Mike Nock, the piano player him when I was still at Boston. We started to play Terumaso Hino to play in his band, with Adam from Australia, who was still in New York then. together. He was really supportive, and Aber- Nussbaum on drums and Ron McClure on bass. He had a bunch of work around New York, and I crombie was really nice. He wasn’t competitive at For two years—probably ‘79 and ‘80, or ‘78 and made some recordings with him, too. Gruntz all, like “here’s this new kid coming to town.” He ‘79—we worked a lot. We did a lot of European heard me with Mike Nock, at Sweet Basil’s and was really supportive and became a good friend. work and played all the clubs that we could in he said, “I heard you with Cobham and Duke and We recorded a couple of years after that for Palo America. We did two records on Timeless Rec- stuff. Would you put together a group and come to Alto, but we’d already been hanging out on the ords, the Dutch label. That was a big thing for me, The Berlin Jazz Festival?” This all happened scene in New York, and he played so beautifully during that time. Dave really was a teacher. I was around the same time. I was a Dave Liebman/ and inspired me. really interested in trying to learn what these guys (Continued on page 30)

To Advertise CALL: 215-887-8880 October-November 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com 29 how has it changed? and then you have to play, too. John Scofield JS: Well, you just have to organize the music for JI: What kinds of suggestions or instructions or the group. The challenges were: okay … you’ve oversight, or whatever you want to call it, have (Continued from page 29) got your idea of what you want the stuff to sound you received from record producers that have Richie Beirach fan, and had started to play with like, and you get the players whose playing you either enhanced or impeded your creativity or Dave around this time. I was actually in Gary like. Adam Nussbaum was always on drums then, production? Burton’s group, because in 1977 I played for a in the seventies. I was lucky to have a great drum- year with Gary’s band. I called Richie Beirach, I mer. Then you write the music. Then you re- JS: There’s always the feeling that you could said, “Do you want to make this tour, we’re going hearse. To me, back then, it was always frustrat- have done something better. Whether there’s a to go to the Berlin Jazz Festival, and play at a club ing, because it never sounded the way I had pic- producer there or not. So, I’d like to be able to in Munich and make a live recording?” He said, tured it at the moment. It never sounded exactly blame it all on producers. Mostly, producers in “Sure.” We got Joe LaBarbera on drums, who like that. So, I realized right away that of course it jazz that I’ve met are really… They want it to was in Gary’s group at that time. Joe and I played doesn’t. These are human beings that I’m playing work. They have the artist’s best interests in mind. with Gary in ‘77, after Pat Metheny left. Pat Me- with that have their own way of playing, and On the other hand, the idea that the producer only theny and Danny Gottlieb left to start the Pat Me- they’re really good musicians. So, I immediately wants the stuff to sell, and the artist only wants to theny group. We never recorded because Gary learned that I have to let it sort of be what it is. make his art, that’s a little one sided. Because was going in a different direction and had done all Since then—and still to this day—I’m trying to artists want the music to be received, so they’re that stuff with Pat Metheny. But we were on the figure out how to write the music so that every- always thinking, how can I make this as beneficial road. Swallow was on bass. We never recorded at body can do something that works together—to to me as I can and still do my music? In other that point. I recorded with Gary in the ‘80s. Any- make it loose enough for everybody to be able to words, play the shit, but also have people like it so way, I got to go to Germany and playxxxxxxxxxx at the Berlin play their thing. Because, I think, in this music, that I can get a gig. [Laughter] I think the thing Jazz Festival, and do a week at a jazz club, and we everybody has to feel their part. You know, you with the producers is, as I’ve had some guys try to recorded live, and I felt like a real jazz player can’t just write some stuff they can’t feel. But, at put their ideas on me, and I’ve felt like it didn’t then, rather than just playing in Billy Cobham’s the same time, you’ve got a direction where you really work—that’s happened, but I’ve had other band or something like that. We got to play origi- want it to go in and you want to impart that some- producers who looked at it from a different per- nal tunes and it was with upright bass. We were how. Hopefully just by the music itself, you’ll do spective and helped me. That’s happened a num- swinging. that. But that’s the challenge. The other challenge ber of times too. On one hand, it’s hard for me to is coming up with a set of music. We’re so used to give up control of the music. On the other hand, JI: And, of course, everything leads to other practicing with one song at a time. Coming up there’ve been times when I have allowed a pro- things, so… with an hour set in the club, you’ve got to pace it ducer’s input to come in, and it’s really helped it. and hopefully hold the audience’s attention—and Just like I’ve let other musicians. I’ve taken their JS: Yeah. So Enja wanted to keep recording me, hold your own attention, and the attention of other ideas and it’s really helped. I try to let the good and I made a few records for them. So in the 70’s musicians with whom you’re playing. Because stuff in, and realize that we’re human beings and I was going to Europe as a leader. I got Hal once the guys you’re playing with or you start to usually nobody in the room is there to hurt you.

JI: So then you made your transition to Miles “We’re so used to practicing with one Davis’ band.

JS: Yes, that’s the big one. I had met Miles when song at a time. Coming up with an hour I was playing with Liebman. This was in the early eighties, maybe. I was still with Dave. We were set in the club, you’ve got to pace it playing Seventh Avenue South, and Miles came in, and I met him. Then it was two years from and hopefully hold the audience’s atten- then, I guess, that I got a call to be in his band. When Miles came back out of his retirement, he tion—and hold your own attention, and had a band with Mike Stern and Bill Evans and Al Foster and Marcus Miller. Bill Evans brought up the attention of other musicians’ with my name when Miles wanted to get a second guitar player. I knew Marcus and Mike and Al, too. whom you’re playing. Because once We all knew each other; we were all playing together in New York a lot. There was a club called the guys you’re playing with or you 55 Grand Street, where Mike Stern kind of talked this bar into having music every night, and we start to drift, then how can you expect used to play down there a lot. So, I was playing with the guys in Miles’ band and a lot of other people to listen to it?” musicians too at this club. I was friends with Mi- chael. But Bill Evans, I think, really got me the gig. He was really close to Miles at that point. Galper to be in my group. I would do tours of drift, then how can you expect people to listen to Europe. In 1977, I met Susan—my wife. She it? Then there are the business challenges of get- JI: When you began the association with Miles, came with us on huge tours where we’d play just ting work, and that’s another area altogether. what kinds of dialogues ensued about your partici- Germany for five weeks—Germany, Austria, pation? Switzerland … maybe Copenhagen. Just little JI: What’s different now compared to years gone clubs, you know? I was able to put together my by? JS: [Laughter] It was hilarious, you know. I got own group and play my own music. It was great. I the call. Bill Evans called and I was to fly to got Hal to play piano, Wayne Dockery on bass. JS: Well, it’s amazing. It’s the same thing. I’m Cleveland that day. still just trying to put together a set of music with JI: What were the challenges that you faced in some musicians. It’s exactly the same. I’ve just JI: That was Miles’ challenge—to go to Cleve- managing being the leader of the band then—and gotten better at it. The challenges are the same, land.

30 October-November 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 him from the building, I had known him for a Miles Davis, and he had that in him. It was work. John Scofield couple of years. So, we would sit down and work He also told me that once. He said it’s always on music. I went into the first recording session going to be work. He said it’s never easy. Don’t that I did with Miles, Star People, it’s called. The expect anything to be easy, was what I think he first day I got in there, and there’s some written would say. There’s a message there too. But I JS: Yeah, just to get there was a challenge. I’d music and stuff—it’s me and Mike and every- think, like you say, when we’re improvising its been playing with these guys. So, I flew to Cleve- body—and Miles said, “Okay, you guys play this not all good, you know? We’re all just trying to land—somehow got on a flight. The road manager line, over this set of changes.” Then Gil came figure out how to get to the good stuff. Just to tell arranged for me to get there, and Miles was play- over to me, and he said, “You know that’s the solo me that he didn’t like what I played on a tune is ing at a big theatre in Cleveland. When I got there, you took yesterday at Miles’ house.” Because not so much of an insult, even though I’d take it I got in a cab and came right to the theatre and Miles had some changes, Gil made up a bass line personally and everything. He would also criticize went in the dressing room with my guitar. It was, on the same Fender Rhodes, and they told me to himself all the time. “Wow what’s Scofield doing here?” That’s what play along, and he was taping it. And all of a sud- Mike Stern thought, because I don’t think he den my solo was written out, as the head. Miles JI: It’s healthy for people to understand that eve- knew I had even gotten the call. Then they ush- said, “Gil, don’t tell him that, he’ll get a big ego.” ryone has self-doubt and some of us might be ered me into Miles’ dressing room. It was winter But that’s a song called “It Gets Better”, which I constantly trying to re-examine ourselves, to too, and my hands were cold and everything. Al did get partial writing credit for…because people grow, and better understand, and more deeply and Foster was in there with Miles. Miles said [in a busted Miles. [Mutual laughter] [Miles had a rep- effectively create. Bertrand Russell said: “The raspy whisper], “Take your guitar out.” So I took utation for taking credit for other musicians’ com- trouble with this world is that the foolish are cock- it out of the case, its cold. Miles said, “Play some- positions.] So, over a year I got a little bit less sure, and the intelligent are all full of doubt.” thing.” Then I played a couple of notes. I started intimidated by Miles, the superstar. Maybe so. Some people think that if they see to play “Nardis” Now Miles had been playing like something in print or on TV or the internet, it has total distorto F#7 vamps for twenty minutes, you JI: There’s one tune from that album, Star Peo- to be true. Some think that if the music is on a know, and here I am playing “Nardis.” Miles just ple…I can’t remember the name of it, but based recording, it’s perfect and mistakeless. Is anything looks…he says, “Okay, we’ve got to play.” And on a turnaround. perfect? Many artists make mistakes. as he’s walking away, he says to Al Foster, “Your man don’t sound too tough.” [Laughter] But Miles JS: Oh yeah, that’s great. It’s not in 4/4, but its JS: And they do. And we do. All the time, and I had me hang out. He said, “Okay, hang out and swinging… [sings the melody]…yeah, it could be guess if you figured out how to play without mis- listen to us for three nights,” and he paid me to the Miles Davis Quintet—but with a backbeat. takes you’d be missing something really crucial to hang out with the band and listen for three nights. And that’s where Miles was at. That was so great the music. After three nights, I was on stage and we kind of because it was the Miles Davis from Workin’ and worked the music out as we went along. Steamin’. It was this incredible character who’d JI: It wouldn’t have that human quality about it. played with Bird, you know, and he would talk to JI: Were you taping it? us all the time about his early days. Constantly. JS: Yeah, because we’re going for it. He had that feeling about the music. This guy JS: Oh yeah, I taped every night. from St. Louis who played with Bird and loved JI: How long did you stay with Miles? jazz, and he brought that excitement to the music JI: So you could go back and figure out what you we were playing with him. It was about swing and JS: I was with him for two and a half years. Star might want to do? phrasing and what was spontaneous and what People, Decoy and You’re Under Arrest, and then wasn’t. He had this incredibly high aesthetic for there was that little soundtrack that he did, called JS: Yeah, because I had to blend in. The band what the real stuff was and what was bogus. His Siesta. was already complete without me. He just wanted bogus meter was always on. He always said funny to have two guitars—so Mike and I worked out a stuff. I heard him say once, “I don’t know what I JI: Miles didn’t ever ask any of the guys to con- way, and Miles was involved in who would play want to play; I just know what I don’t want to tribute anything outside of Marcus Miller? rhythm, who would play the lead lines. We taped play.” Which was great. every show. It was great. JS: I wrote some tunes. The only way anything JI: Connecting to the vast infinity of things, but got played by Miles was by invitation, but I had JI: Could you talk a little bit about your develop- knowing that there’s this little area here that you some stuff, and I think I gave him a tape of some ment during the gig? just don’t want any part of. tunes that I had recorded. I think maybe I initiated that. I was making records, you know. I was giv- JS: Yeah, well at first I was just really nervous to JS: Miles was a one-of-a-kind guy. Then he told ing him my music that I had done with other be playing with Miles, who was my idol. I was us, “You know why I leave so much space? Be- groups, and then I gave him a demo of some new with his band for two and a half years, and I think cause I don’t know what to play” He would get stuff that I had written, and that turned out to be the first year I was kind of nervous every night. It into the jazz thing: “You played good last night, the tune “You’re Under Arrest”—he changed the wasn’t like the other gigs I had played. It was a but what happened tonight?” There was a lot of title. He said I want to use “You’re Under Arrest” big deal when Miles would play a gig. It was a big jockeying, you know… for the name of that tune. Then he did a few of my concert. It was like a rock concert. And he kind of things during the second year. didn’t want to really rehearse that much. The band JI: But was that jive or was it real, like when he  would travel separately from him, and he would said what happened tonight?  just show up at the last minute. There would be this big thing, like when the king comes in. Then JS: It was real but it was also jive—it was both. he would walk on stage and play. Then he would It was like a melodrama, playing with him, at

leave, and he would call you in your hotel room times. I don’t want to say Miles was ever jive. I

and talk to you on the phone about the music. don’t like that word. But there was this constant— “Historically risk takers are people who Then we would rehearse once in a while. But then keeping you on your toes, and I think he wanted shatter the illusion of knowledge. They are he started to invite me up to his apartment, and we that to be happening because he knew it was good willing to try something that everyone would listen to the tapes of the gigs. One day I for the music. Also, I think he enjoyed being thinks is outrageous or stupid.” went up there and Gil Evans was there. Gil and Miles Davis and having us all really care what he Miles were friends, as we know. I knew Gil had thought. One of the things about Miles was that he lived in the same apartment building. So I knew was really examining himself. He was the great - Dan Boorstin, Librarian of Congress

To Advertise CALL: 215-887-8880 October-November 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com 31 Take Two is clearly a run-through, with most efforts weak; Gryce fares the best on this one. FEATUREFEATURE Considering how rushed these efforts were, their success owes a lot to the arrangers—and to the young man on trumpet. The following night, Brown entered the Clifford Brown studio with Gryce and a four-piece French rhythm section. Four tunes were recorded, His Life & Music — Part 2 then Hampton left Paris for a short tour of Germany. On October 8, the band was back in the City of Light—and Clifford was back in By John R. Barrett, Jr. Pierre Michelot. At the drums was Alan Daw- the studio, finishing the sextet album. son, in his first recording. He’d later make his (Clifford Brown Sextet in Paris - Prestige “’Scuse These Blues” is a jam-session name playing for Booker Ervin and Jaki 7794/ OJC-358.) This session was entirely item: the best solos belong to Bengt Hall- Byard. written by Gigi, who’d become very friendly berg’s piano, muted bits by Art and Clifford The tunes were written quickly, two by with Clifford. When Gryce’s child was born, (both equally good) and a short effort by Gryce and two by Jones. As Lionel’s session Clifford would be its godfather. “Minority”, Domnerus. The mock-Dixie ending is pretty went deep into the night, two horns (trumpeter apparently written for Clifford, is probably cute. The trumpets are roughly equal on Walter Williams and trombonist Jimmy Gigi’s best-known tune. Guitarist Jimmy “Falling in Love with Love” and both are Cleveland) left early to join Clifford in the Gourley starts it, sounding like a vibraphone. topped by Arne’s sweetness. Clifford begins studio. Brown solos on two tunes: “Brown Gigi begins tenor-like on his instrument, and “Lover Come Back to Me,” ditching the tune Skins” begins with a bitter crescendo, which slowly spirals upward; Clifford is tense, with almost immediately; he takes it fast, and the then disappears into calm silence. Clifford a “Flight of the Bumblebee” moment. (Take rhythm falls in line. Hallberg is quiet and calls sadly, accented by mutes and warbling Two is slower, with more of a trumpet pres- sweet; Gullin’s solo is his strongest, and reeds. (The chart is probably by Gryce; it ence; Gourley is sweetly cool on Take Three, Farmer’s is mazelike in its intricacy. The sounds like his session for Vogue, done with- while Gryce is impassioned.) trumpets had made their first chal- “Band Box” is a tribute to the lenge; the next would be getting New York club: the horns go coast- back to their hotel. ing, with a very hard bop. Renaud is The tour swung through Bel- slightly clumsy, but Gigi is intense, gium and Switzerland, then landed his notes springing like wire coils. in Paris for five days, starting on Clifford is also heated; Gourley September 26. George Wallington, reacts wonderfully to Henri’s com- the Hampton band’s pianist, men- ping—they sound like a single in- tioned Clifford to Henri Renaud, a strument. The single take of French pianist and record producer. “Strictly Romantic” finds Gryce Renaud was playing the Tabow with a grainy tone, and Brown with Club on September 27 when several a warm, quavering glow. Clearly, no Hamptonites arrived, to jam after remakes were necessary. their own show had ended. Henri “Baby” is a natural swinger: could not believe his ears: “Farmer, Clifford takes a short phrase and Gryce, and others played some very whoops it from side to side. Gigi good things…but, suddenly, real starts hot and keeps steaming—it fireworks exploded from the dark seems that the longer he plays, the end of the stage! That was Brownie better he gets. Take Two is muddy who started playing!…Mr. Cabat, on the harmonies, but Gigi is on the owner of the Vogue Company, was money, more so than on the official there. At the end of Brownie’s solo, take. Brown is excited, descending he came to me on the bandstand and fast in zigzags; Gryce answers in said, ‘We start recording tomor- razor-sharp phrases. The rapport row.’” between the horns is obvious; no This feat was accomplished by daring, out Clifford in the same period.) When the wonder the friendship was growing. and a little deception. On the eve of Septem- tempo goes fast, Brown is ready: his solo On October 9, the big band date was ber 28, Lionel Hampton was invited to a jam seems ruffled, with flourishes you’d expect completed, with a lineup slightly different session at the Salle Pleyel, sponsored by a from a trombone. (Take Two has its moments, from the first session. (It was compiled into music school. (This wonderful session was but the first is more cohesive.) Clifford Brown Big Band in Paris - Prestige recorded by Vogue; it was released by Con- “Keeping Up with Jonesy” has a brassier 7840/ OJC-359.) “Quick Step” is a swift in- temporary Records as He Swings the Most!, chart, a nice chorus by Renaud, a tense swinger, heard in three similar takes; and reissued by RCA as Lionel Hampton in “Moonglow”-like riff from the reeds, and two Gryce wrote it, and goes to town in a light- Paris.) Hampton took a small group to the mutes on parade. Clifford starts and Art fol- hearted scamper. Opinion is mixed on who concert; almost everyone else was at the lows; their work is similar to “’Scuse These took the trumpet solo; my guess is Farmer, as Vogue studio, recording as the Gigi Gryce Blues,” only more cooperative. (Some object the notes lack the hard edge of Clifford’s. Orchestra. Since bassist Monk Montgomery hits the ground on Take One, during the trom- “Bum’s Rush” is another story: written by was playing with Lionel, his seat was filled by bone solo; otherwise this would be perfect.) Quincy, it packs the punch of a Basie chart.

32 October-November 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 land’s solo is simple, but it grows on you. back to Scandinavia, playing some pickup Clifford Brown, Part 2 Hardly great, but it’s a fun way to spend eight gigs before they headed south. He seemed in minutes. good spirits…then it all collapsed at once. Brown is fast, adventurous, and pure—his The 11th was also occupied with another The Vogue sessions began to come out on high screamers on Take Two will make you tune: Clifford’s “All Weird,” performed by a disc, and the jazz press of Europe was flooded take notice. (The first take may be better, nonet. Quincy is at the piano; the harmonies with Clifford Brown stories. Secondly, Lionel though Brown is out-blared by riffing reeds.) are lush and the tune goes unexpected places. got word that another session was planned— Gryce sounds a little timid; he fares better on Gigi is suave and ordered…Brown lashes out, November 10, with Brown, Farmer, Dawson, Take Three, where the ensembles are soft and in swooping lines that snarl. (A slower Take Cleveland, and the Swedish All-Stars. For the Clifford more aggressive. With tunes like this, Two finds Clifford relaxed, taking a walk first time Hampton had the upper hand, and he you knew that big bands would be in with flair.) The musicians went home, and took action. He called the American Federa- Quincy’s future. prepared for a tour of Africa. Clifford, of tion of Musicians, who denied Clifford the The next day saw an octet, co-led by course, had other ideas. permission to record. He also mentioned out Brown and Gryce, take on “Chez Moi,” a His final French session was made in the loud his intention to fire Clifford Brown. French pop song of the day. It gave them a afternoon of October 15, right before the What happened next is testimony to the little trouble, with only one finished take: a band’s departure. This session was totally band’s solidarity, and their loyalty to Clifford. lengthy rehearsal was titled “No Start, No unprepared; the program consisted of stand- As Hampton explained how Brown violated End.” The Prestige album has a four-minute ards and an improvised blues. The backing his contract, Jimmy Cleveland stood up and extract: Clifford is tentative, as if unsure of here is rather basic; all that matters is Clifford. started shouting. “This whole thing is be- the chords. Renaud’s comp is very basic, He stays low on “Blue and Brown,” getting a cause these people didn’t want to record you Brown hits a clinker, and no one takes it too near-trombone sound. He seems plain on [Lionel Hampton.] This is just professional seriously. Near the end Clifford pops some “Come Rain or Come Shine,” but “I Can jealousy, and this is totally ridiculous and you fanfare-like phrases, and Jean-Louis Viale Dream” is polished, with big resonant notes. really shouldn’t be this small.” When Lionel’s wife, Gladys Hampton, asked how this could be resolved, Cleveland answered, “Clifford “The Vogue sessions began to come out on disc, stays. And all the rest of us—we stay. And from now on, we want to get an advance. Oth- and the jazz press of Europe was flooded with erwise tomorrow we’ll be on the plane.” Li- Clifford Brown stories. Secondly, Lionel got word onel cussed, but he didn’t fire anybody. The rest of the tour was uneventful, but that another session was planned—November 10, for one nasty incident. As per the order, Clifford missed the session in Stockholm, but with Brown, Farmer, Dawson, Cleveland, and the the others went anyway, and the result was billed as “Quincy Jones and His Swedish- Swedish All-Stars. For the first time Hampton had American All-Stars.” They then proceeded to Algeria, for a final week of concerts. One the upper hand, and he took action. He called the night outside the hotel, George Hart confront- American Federation of Musicians, who denied ed Clifford, and drew a knife on him. Maybe it was personal; maybe Hampton had given Clifford the permission to record. He also mentioned Hart grief for letting Brown escape his watch. Whatever the reason, a scuffle ensued; out loud his intention to fire Clifford Brown.” Clifford separated his shoulder trying to de- fend himself. Quincy put the arm back in works hard on the drums. The best here is “It Might As Well Be place and he was on stage that night, trading The Vogue issue of the same material Spring,” where the theme is drawn-out and solos with Art Farmer. How did he manage? (Clifford Brown: Complete Paris Sessions - varied in charming little ways. The resulting Jimmy Cleveland had an eloquent answer: Vogue 74321457292) offers a 12-minute ver- album (Clifford Brown Quartet in Paris - “Clifford Brown was tough, man.” sion, which still sounds incomplete. We start Prestige 7761/ OJC-357) may be the weakest The tour finally ended on December 1, in the middle of Gigi’s solo; Renaud shouts Clifford made in France, but as always his 1953. The band arrived home a few days later, instructions to the band. Gryce seems to be horn commands attention. and at that time the troublemakers were fired. trying out phrases; he does the same thing How all this activity escaped Hampton’s While tempers were high at the time, in later even during Renaud’s solo. Brown’s turn is notice is anybody’s guess. He took the band years Lionel Hampton grew nostalgic for this next, followed by Cleveland; his turn is quiet, edition of the band, often considered his and someone talks over it. His ideas are good greatest. On the subject of Clifford, he had but fade near the end; Clifford Solomon this to say: “Brownie set Europe on fire.” romps, totally different from his tone in the “Encroachment of freedom will Brown was unemployed for, at most, two official take. The whole band seems to be not come about through one violent weeks. He picked up some casual gigs in New talking, and the tune fades out in mid-chorus: action or movement but will come about York, where he heard Art Blakey was looking it’s interesting but not essential. Considering through a series of actions that appear to for him. He had decided to form a regular all the groundwork, the finished “Chez Moi” be unrelated and coincidental, but that group, and Lou Donaldson had already might not be worth the effort. The theme, ar- were all along systematically joined—would Clifford fill the trumpet chair? ranged by Gryce, is sweetly slick; the solos planned for dictatorship.” The group already had a recording lined up, a are pleasant but nothing more. The best is live date at Birdland, “the Jazz Corner of the (Continued on page 34) Solomon, with a great mellow sound. Cleve- - John Adams, 2nd President, United States

To Advertise CALL: 215-887-8880 October-November 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com 33 en, quoting “Rhythm-a-Ning” and “The Hut- contract, and he scoured the local talent. He Clifford Brown, Part 2 Sut Song,” but the crowd is quiet. Everything found a rhythm section, Sonny Stitt was in the goes still for Clifford’s feature “Once in a area … and he remembered a trumpeter he (Continued from page 33) While”: he gets a little brassy, slurring notes heard on a J.J. Johnson record, who really like Ruby Braff would. Horace gives him ten- excited him. In Max’ words, the rest was easy. World.” The bassist was Curley Russell, who der chords to work with, and the double-time “So I called New York, and asked him how he had played with Charlie Parker; at the piano bits are astounding. (There’s also a mock- felt about it. He said, yes, he’d like to come to was Horace Silver, who in two months would waltz in the middle, where Silver sounds like California and … we got together.” play “Walkin’” with Miles Davis. This offer Guaraldi’s “Skating”!) Roach flew to New York to talk to was too good to pass up. Clifford said yes, From Russell’s walk to Art’s slashing Clifford—they arrived in California on the then went to Wilmington and told the folks cymbals, you know “Tunisia” is going to be same plane. The two hit it off quickly, be- about his good fortune. special. Silver’s chords are cloudy, the ensem- cause they had a common. love: “I was all- Technically speaking, this was not the bles are tense, and Donaldson spins a rapid- city in New York [for chess], and I thought I “… Art Blakey was looking for him. He had decided to form a regular group, and Lou Donaldson had already joined … The group already had a recording lined up, a live date at Birdland, ‘the Jazz Corner of the World’ … Clifford had a promising future with Blakey, if anyone would have hired the band. After Birdland there were no offers, and the players went their separate ways. In March, Brown got a phone call [from Max Roach], and his career got a new direction.”

Jazz Messengers; Blakey wouldn’t name the fire solo. Fast and piercing, he gets some good was killer at that time, but he [Clifford] was group until after this edition had broken up. squeals, in a challenge to Brown. The trumpet murder with that chess board. They played The recording was set for February 21, 1954, starts weary, swooping down low. Art gets the chess as they flew over the country, and and the days before were spent in rehearsing. cowbell going, and Clifford hits the roof— roomed for a while in the same apartment. On one of those afternoons Miles Davis he’s good, but no one was going to surpass Both were composing prolifically, each rush- stopped by. Horace tells the story like this: Donaldson. Clifford had a promising future ing to use the apartment’s piano … and they “This was afternoon down at Birdland. The with Blakey, if anyone would have hired the found that their temperaments matched. place was closed up and we were rehearsing. band. After Birdland there were no offers, and Gene Norman had set a recording date for In the middle of our rehearsal, Miles got up the players went their separate ways. In April, and the group was hashing out arrange- and started to leave. As he started to go out March, Brown got a phone call, and his career ments; alas, Sonny Stitt was not working out the door, he yelled back to Clifford jokingly, got a new direction. To be precise—West. well. He was telling pianist Carl Perkins to lay ‘Clifford, I hope you break your chops!’ And Max Roach was considered “the father of out during his solos, an order that Perkins then Curley Russell said, ‘Man, he ain’t kid- bebop drumming,” playing with Parker at the resented. He was behaving more like a leader din.’ He means that!’” How serious he was, very birth of the music. In 1953 he had sepa- than a sideman; Max didn’t like it, but he tried we can never know. But the youngster had rated from his girlfriend, and had moved to to stay with Stitt. At the same time he named gotten Miles’ attention. L.A. just to get away from New York. He had Brown the group’s co-leader—a move which The resulting albums (A Night at Bird- replaced Shelly Manne in the Lighthouse All- surprised and delighted the trumpeter. land with the Art Blakey Quintet, Volumes Stars, played on their memorable jam session As Clifford got acclimated to the West One & Two - Blue Note 5037/38) were as- with Chet Baker and Miles Davis (released on Coast, a new figure entered his life. LaRue cribed to February 21, although recording disc in the ‘Eighties) and recorded with the Anderson was a classical-music student at may have spread over two days. The crowd is All-Stars. The pay was good, but it wasn’t his USC. She was preparing a thesis which ar- really into it: you hear them buzzing on “Wee kind of music; at the end of Max’s six-month gued that jazz was not an art form. As part of Dot,” marveling at Blakey’s breaks. The contract, he got a call from Gene Norman. her research, she was interviewing jazz musi- horns hit the theme hard, with Brown an oc- The disc jockey had started a record company cians, including Max Roach. He found her tave higher; Lou is nervous, with every note (Gene Norman Presents - GNP) and was pro- interesting to talk to, and played chess with fast, tart, and solid. Clifford is even faster, and moting concerts in the area. Norman offered her often. And it was Max who introduced his diction is as clean as Rafael Mendez.’ His to Roach a gig at the California Club—all he LaRue to Clifford Brown. Romance was not high notes start the audience clapping, and on needed was a group. This sounded good to imminent: “My mother fell in love with later choruses they shout “Go!” Silver is driv- Max; he chose not to renew the Lighthouse (Continued on page 36)

34 October-November 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880

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ORDER Start Your Promotion NOW! - PressToRelease.com To Advertise CALL:Experience 215-887-8880 ResultsOctober-November 2018 In  Jazz24-48 Inside Magazine Hours!  www.JazzInsideMagazine.com CALL 215- 887-8880 35 the horn drowns him out.) Clifford the authority to hire a saxophonist of Clifford Brown, Part 2 Teddy gets to shine on “Sunset Eyes,” the his own choosing; he soon found himself at a most famous of his compositions. Roach pops jam session, at the house of a young Eric Clifford immediately, which meant that any- an exotic rhythm and Edwards roars, in a Dolphy. body Mom liked, of course I didn’t like.” She great raspy tone. Clifford stays gentle, while The drummer at this session was Larance did, however, see his group at the California Teddy pounces: some notes snarl and other Marable. The bassist may have been Harper Club, which changed her mind. Their bassist, slither. (His playing has always deserved Crosby. (It has been suggested that maybe the George Bledsoe, said something rude to more attention; this solo demands it.) Perkins’ bass was George Morrow, who soon replaced LaRue. Clifford walked up to him slowly and solo is probably his best, and the closing George Bledsoe.) The saxes present were said that if he ever talked that way to a lady theme is wonderfully flashy. A sudden edit Walter Benton, Eric Dolphy, and Harold again, he would be fired. This impressed takes us into “Clifford’s Axe,” a Brown com- Land. Clifford played with each one, and LaRue: “So I had to look at Clifford again, position based on “The Man I Love.” He thought hard about his decision. At the ses- and I really think that’s when I started to like blares down low and skitters up high; the final sion was trumpeter Don Cherry, a friend of him.” three choruses are tightly constructed, hinting Dolphy’s. As Cherry put it, “It wasn’t like it Sonny Stitt had a short stay in the group, “The Peanut Vendor” and other things. was a competition, it was just like they were between two and six weeks. (As LaRue ob- There’s a lengthy exchange series, a rumbling all jamming. After the session he decided it served, “I don’t think Sonny could be a side- bass solo, and a closing riff by Clifford which would be Harold Land playin’ in the band.” man.”) While there, Stitt made two contribu- emulates the tag endings of Sonny Stitt. The Land had come to L.A. from San Diego, and tions to the repertoire: the slow-to-fast, 3/4-to- applause should say everything. was trying his fortune as a professional musi- 4/4 arrangement of “I Get a Kick Out of You” As busy as they were, Clifford found time cian. At the time he was living on crackers and the tune “Loose Walk,” which Brown to propose. He took LaRue to the beach at and peanut butter. This would be his first high -profile job, and Land would make the most of it. “As busy as they were, Clifford found time to Clifford’s July session for Pacific Jazz (Clifford Brown Ensemble - Pacific Jazz PJ- propose. He took LaRue to the beach at Santa 19) was unlike any he had made up to that point. The band was an octet, with people he Monica and, trumpet in hand, played her a ballad had never played with before (Zoot Sims, he had written, entitled ‘LaRue.’ (The tune was so Carson Smith, Shelly Manne.) The result was a blend of East and West Coasts: the group personal for him, he decided to never record it.) swung like a big-scale bop unit, and the sound palette was richer than anything you’d find in After he finished, Clifford had a question: ‘Will the East. Two Clifford Brown standards were recorded for the first time, including you marry my music and me?’ She accepted, “Daahoud,” a tune he started while in Algeria. Arranger Jack Montrose put the group into and they were wed on June 26, LaRue’s birthday.” sections: Brown plays, then the reeds in a separate line, and the two rarely intersect. adapted into “Blues Walk.” (The tune is also Santa Monica and, trumpet in hand, played Pianist Russ Freeman is used as a percussion- claimed by Chris Woods, who recorded it as her a ballad he had written, entitled ist, chiming in between the horns. Clifford’s “Someone Done Stole My Blues.”) “LaRue.” (The tune was so personal for him, solo seems “cooler” than usual, each phrase Stitt was replaced by Teddy Edwards, he decided to never record it.) After he fin- having the same precision you’d find in the who had played with Ernie Fields; he had to ished, Clifford had a question: “Will you mar- chart. (Montrose said “[I]n Brownie’s improv- learn the material quickly, as the group was ry my music and me?” She accepted, and they isations all the notes were correct—like they about to record for GNP. This was done live were wed on June 26, LaRue’s birthday. were written down by Beethoven.”) at the California Club, with the results going There was a Catholic ceremony at her church “Joy Spring” begins with a sunny walk— on a 10” album. (This later became half of in Los Angeles. (Red Norvo played the recep- Brown starts gently and the band answers The Best of Clifford Brown and Max Roach in tion, as did the Brown-Roach group.) There with a chord. Here the horns seem intrusive, Concert! - GNP Crescendo GNPD 18.) After would later be a Methodist ceremony for obscuring the tune’s clean lines; Clifford is a gentle theme on “All God’s Chillun Got Clifford’s parents, and still another ceremony nice but his turn is too short. “Tiny Capers” Rhythm,” the horns go wild: Teddy weaves a in Boston. With characteristic wit, the bride has the feel of a classical piece, with its con- string of notes, each leading ecstatically to the remarked, “I am much married.” trapuntal lines and resonant brass. Brown next. He only gets a chorus (possibly the re- At this point things were going very fast. stays near the theme, wistful and calm; Stu sult of an edit) and it’s Clifford’s turn: he The Brown-Roach group signed a contract Williamson’s trombone is more active, with a speaks in five note phrases, all very fast. He with Emarcy Records (they still owed one tone close to Clifford’s. Zoot plays Lester on works an up-and-down pattern, tries a parade concert to Gene Norman, who would record it his wonderful solo, and Freeman romps it riff—all with a wave of cymbals coaxing him for GNP) and Clifford himself inked a one- back home. It’s an interesting experiment; if on. Max’ solo mixes tom-toms into a snare record deal with Pacific Jazz. They were also the session proves anything it’s that Clifford roll; for a moment it sounds like he’s playing breaking in a new band: when the pianist has no “coast”—he is everyone’s. congas. Roach then announces “Tenderly,” a Richie Powell (Bud’s younger brother) be- feature for Clifford: Perkins lays soft chords came available, he replaced Carl Perkins. (Continued in the next issue.) and Brown floats atop them. He’s precise on When Max announced his intentions to tour the high notes and drawls on the low, for a the band, Teddy Edwards had to decline. His  stream of sound. (Perkins is pretty quiet, so wife was about to give birth. Roach gave

36 October-November 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 New CD Release from Dallas Area Pianist John A. Lewis

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