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Patty Waterswaters Eric Nemeyer’s WWW.JAZZINSIDEMAGAZINE.COM November-December 2018 JAZZ HISTORY FEATURE CiffordCifford Brown,Brown, PtPt 33 Interviews PattyPatty WatersWaters Helen Helen SungSung Jazz Standard, December 13 Comprehensive DirectoryDirectory of NY ClubS, ConcertS CharlesCharles LloydLloyd Appearing at Jazz At Lincoln Center, Rose Room, December14-15 Spectacular Jazz Gifts - Go To www.JazzMusicDeals.com To Advertise CALL: 215-887-8880 December 2015 Jazz Inside Magazine www.JazzInsideMagazine.com 1 COVER-2-JI-15-12.pub Wednesday, December 09, 2015 15:43 page 1 MagentaYellowBlacCyank ORDER THIS 200+ Page Book + CD - Only $19.95 Call 215-887-8880 To Advertise CALL: 215-887-8880 November-December 2018 Jazz Inside Magazine www.JazzInsideMagazine.com 1 Eric Nemeyer’s Jazz Inside Magazine ISSN: 2150-3419 (print) • ISSN 2150-3427 (online) November-December 2018 – Volume 9, Number 9 Cover Photo and photo at right of Charles Lloyd By Eric Nemeyer Publisher: Eric Nemeyer Editor: Wendi Li Marketing Director: Cheryl Powers Advertising Sales & Marketing: Eric Nemeyer Circulation: Susan Brodsky Photo Editor: Joe Patitucci Layout and Design: Gail Gentry Contributing Artists: Shelly Rhodes Contributing Photographers: Eric Nemeyer, Ken Weiss Contributing Writers: John Alexander, John R. 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Opinions expressed in Jazz Inside by contrib- this publication may be copied or duplicated in any form, by any means without prior CONTENTS 4 Charles Lloyd INTERVIEWSINTERVIEWS Visit these websites: CLUBS, CONCERTS, EVENTS 10 Helen Sung 20 Patty Waters by Ken Weiss JazzStandard.com 13 Calendar of Events Jazz History FEATURE Jazz.org 18 Clubs & Venue Listings 32 Clifford Brown, Pt 3 by John R. Barrett JJBabbitt.com MaxwellDrums.com PAY ONLY FOR RESULTS LIKE US PUBLICITY! www.facebook.com/ JazzInsideMedia Get Hundreds Of Media Placements — ONLINE — Major Network Media & FOLLOW US Authority Sites & OFFLINE — Distribution To 1000’s of Print & Broadcast www.twitter.com/ Networks To Promote Your Music, Products & Performances In As Little As JazzInsideMag 24 Hours To Generate Traffic, Sales & Expanded Media Coverage! WATCH US www.PressToRelease.com | MusicPressReleaseDistribution.com | 215-600-1733 www.youtube.com/ JazzInsideMedia 2 November-December 2018 Jazz Inside Magazine www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 To Advertise CALL: 215-887-8880 November-December 2018 Jazz Inside Magazine www.JazzInsideMagazine.com 3 Charles Lloyd Feature Charles Lloyd 4 November-December 2018 Jazz Inside Magazine www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 Concert Halls, Festivals, Clubs, Promoters PAYPAY ONLYONLY FORFOR RESULTSRESULTS CONCERTCONCERT && EVENTEVENT MARKETING!MARKETING! Fill The House In Hours For Your Next Performance LightningLightning Fast,Fast, WayWay BetterBetter ResultsResults && FarFar LessLess ExpensiveExpensive ThanThan DirectDirect--Mail,Mail, Print,Print, RadioRadio && TVTV AdsAds——ComprehensiveComprehensive Analytics!Analytics! CALL: 215-600-1850 www.SellMoreTicketsFast.com To Advertise CALL: 215-887-8880 November-December 2018 Jazz Inside Magazine www.JazzInsideMagazine.com 5 eat at my folks house, and in Florida, we al- ways ate at his parents house. He gave me a INTERVIEWINTERVIEW lot of space to grow in the music. We traveled coast to coast in two station wagons, 50 weeks a year. The rhythm section was very special to play with—Joe Zawinul, Sam Jones, Louis Charles Lloyd Hayes. Playing with them every night made me pick up the tempo in terms of develop- “...how important character is” ment. Cannon told me he wanted to be able to hear that growth from night to night. In 1964 By Eric Nemeyer stand what they used to tell me on my grand- there were labor exchange laws and when the father’s farm when I was growing up - “Every Beatles came here, we were the exchange JI: Could you discuss some of what you ex- tub’s got to have it’s own bottom.” I learned a group that went to England—where we were perienced or discovered playing in jazz clubs lot about survival during those early years in received very warmly and enthusiastically. in California with Ornette Coleman, Eric New York City. Dolphy, among others, during those times in JI: What kinds of driving forces and criteria the late 1950s while you were pursuing a JI: Could you talk about the kind of musical played a role—in the selection of players Master of Music degree at University of understandings that you developed with Ga- and repertoire—in the creation and organiza- Southern California? bor Szabo while you were in drummer Chico tion of the quartet that you led from 1966- Hamilton’s band from 1960 to 1963, that in- 1969 with Keith Jarrett, Cecil McBee [and CL: Master Higgins and I found each other in spired your compositional direction, and per- later Ron McClure] and Jack DeJohnette? L.A. Billy started playing in my band— formance interplay? with Don Cherry, Bobby Hutcherson, Terry CL: Nature—the laws of attraction. Trotter and Scott La Faro—we gigged all over CL: Gabor and I were both Pisces, both Los Angeles. Master Higgins and I became dreamers. He had been a freedom fighter in JI: How did the immense popularity of the lifelong friends and collaborators. Ornette, Hungary. I brought him to Chico’s group. We 1966-69 group—having a commercial success Eric and I had a lot of interaction as well, dur- were very close. When we played it was al- with the album Forest Flower, and being the ing those years. It was a powerful and rich most telepathic. He already had the guitar first jazz group to play at the Fillmore— cauldron. But New York was calling. playing of the Roma people in his blood and I compare with what expectations, if any, that opened him up to Ravi Shankar and Ali Akbar you might have had initially? JI: What were some of the challenges and Khan. He started bending his notes more. We opportunities you began to experience when had amazing musical moments together. CL: This is not something I was looking for. you moved to New York in the 1960s? It just happened. When we performed “Forest JI: What kinds of discussions did you have Flower” in Monterey, we had no idea it was CL: Just figuring out where to live was a with Cannonball Adderley, or what words of being recorded. But it captured that mo- challenge. When I first got there I went to the advice or suggestions did he offer during your ment. For some reason people in all walks of life identified with “Forest Flower.” It was like an anthem at the time. “The rhythm section was very special JI: By comparison to the 1960s, when your groups had reached a high level of popularity, to play with—Joe Zawinul, Sam Jones, in the 1970s you were less active on the jazz scene. What was your creative life like at that Louis Hayes. Playing with them every point and what kinds of studies and personal development were you pursuing? night made me pick up the tempo in CL: My mother died in 1969, and my best friend Booker Little had died at the age of 23 terms of development. Cannon told in 1961. Scotty [LaFaro] died in the early 60s as well. These deaths affected me profoundly. I started to think that there must be more to me he wanted to be able to hear that life than fame and fortune. My success came very fast as a young man. I began living a life growth from night to night.” of extreme excesses—life in the fast lane which Booker had warned me about. On top of that the music business wanted to control Alvin Hotel where my hero, Prez had tenure with his band in 1964, that made an me and put me in stadiums as a product. I stayed—but fortunately, the first night I was impact on your own music and or career? didn’t see what that had to do with music. there my friend, Booker Little, said, “Oh, no. So I got off the bus, so to speak. I realized that You’re coming home with me.” He saved me CL: Cannon was a great man and very sup- if I wanted to change the world through the from a few roads to destruction and des- portive, encouraging, warm, a humanist.
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