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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

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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 , Pt 3 by John R. Barrett JJBabbitt.com MaxwellDrums.com

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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!

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LightningLightning Fast,Fast, WayWay BetterBetter ResultsResults && FarFar LessLess ExpensiveExpensive ThanThan DirectDirect--Mail,Mail, Print,Print, RadioRadio && TVTV AdsAds——ComprehensiveComprehensive Analytics!Analytics! CALL: 215-600-1850 www.SellMoreTicketsFast.com To Advertise CALL: 215-887-8880 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, , 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 , Eric 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 , , 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 , 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 . 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 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. He beauty of music, I had better start by changing pair early on. We often stayed up late into the was very eloquent, and he liked fine cuisine— myself. I first moved to Malibu, California – night talking about music, but he also told me and he was serious in the kitchen himself. and then a few years later I moved to the more how important character is. I came to under- When we went through Memphis we would reclusive and beautiful Big Sur, further up the

6 November-December 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 us even more elasticity which I had been Memphis and that contributed to your career Charles Lloyd longing for. So it was organic and we just pursuit? keep going. I met Jason [Moran] backstage at coast. I fasted and meditated and hiked the Carnegie Hall when we performed there in CL: I was nine when I got my first saxo- mountains. The years stretched on. It was a 2006 with Sangam, the group with Eric and phone. Soon I had gigs with musicians difficult and wonderful period for me. Zakir Hussain. I went to Eric’s dressing room in Memphis—Howlin’ Wolf, Bobby Blue to say hello to his mother who had come up Bland, B.B. King, Roscoe Gordon, Johnny JI: How did your work with — from Texas to hear the concert. There was Ace, Jr. Parker. Memphis had a long tradition the Beach Boys—impact your creativity and Jason glowing. I had not met him until Eric of great jazz musicians from Jimmy Lunce- musical development? Mike Love was a introduced us. He said “your music touched ford, W.C. Handy, Bill Harvey, Willie Mitch- friend of mine. We share the same birthday, me all the way to my back bone.” And being ell—and a lot of jazz bands came through March 15th. I had recorded on a couple of from the South I knew what that meant. Last town: , , their – and I think he thought it would be novel if I went on the road with them from time to time, since at that time I wasn’t per- forming publicly with my own group. “I realized that if I wanted JI: What was it about Michel Petrucciani that inspired you to emerge in the 1980s from what appeared to be a sabbatical from per- to change the world forming and public involvement with your music?

CL: Michel inspired me to come down off the through the beauty of mountain, to leave my retreat. I wanted to help him, as the elders had helped me. I saw a fragile being and heard a strong, great talent. He had the gift. So my friend Steve Cloud, music, I had better start who had been trying to get me to perform for a few years, organized several California con- certs and then we took him to Europe in the summer and fall of 1982, and again in the by changing myself.” summer of 1983. Later, I went back to the mountain, but after a near death experience in spring we had a scheduling problem with Geri , Cab Calloway, Louis Armstong, 1986, I rededicated my self to this indigenous Allen who had been playing with me for sev- , , Dinah Wash- art form called jazz. I returned to recording in eral years. Eric let me know that Jason want- ington. Since there were no hotels for Blacks, 1989 with ECM and Fish Out of Water. ed to play with me – “He understands.” I said my mother rented out rooms to musicians “Welcome.” Jason was the missing piece of when they came through. I would get up at the JI: Could you talk about your current group the puzzle. We have deep conversations every crack of dawn every morning waiting for and how they provide the elements you are night in the music. And he brings his own them to come down. Then I would pounce on seeking to be inspired, at your creative best? unique perspective and language, reflecting them to try and learn everything about the his deep knowledge and understanding of all music. Duke and Hamp were always very CL: I met Eric [Harland] shortly after Master that came before and what is happening at this kind to me. This is the music I grew up listen- Higgins passed away in 2001. I was to have very moment. It is a blessing to have this level ing to, along with the blues I heard on my opened at the Blue Note on 9/11. When we of clarity to interact with each time we play. grandfather’s farm in Mississippi, the songs of did finally play on September 14, he was my great grandmother, Sallie Sunflower playing with a midnight jam band. I would sit JI: What kind of direction have you received Whitecloud and the “shake in your shoes” and listen because something about Eric drew if any, and/or freedom or latitude have you gospel singing on Sundays. I was about nine me to him. I knew that from the other side been afforded in your recording efforts with when Phineas Newborn turned me on to Bird Higgins had sent him. Higgins had said he ECM Records? and gave me a record, “Relaxin’ at Camaril- would “always be with me”, so, I recognized lo.” Bird stole my heart with his modern ap- Eric immediately. Eric has been with me the CL: From the beginning, big freedom and proach and flight. This is what I wanted to longest and he has grown immensely. Our latitude. Much mutual respect and care be- do. Phineas was a mentor to me. He grabbed level of communication and understanding tween Manfred and myself. I was not just me after I won an amateur show and told me I has nothing to do with words. When Robert starting out as a musician when I recorded needed lessons bad. So, right away, I came Hurst left to perform with Diana Krall, I was Fish Out of Water. But since I had been gone back to earth after so much applause and adu- at a low point because I thought it was a great so long from the music scene, there have been lation. He took me by the hand and lead me 4tet. Check out “Jumping the Creek.” Eric a couple generations of music lovers who are around the corner to Irvin Reason on Beale said, “You know the things you love in Bob, just now discovering my music. Street, who became my teacher. But Phineas and the things you miss in Bob’s playing? I was a beautiful soul, with a great gift. A cou- know a bass player who will give you all of JI: Could you talk about the kinds of inspir- ple years later, he had me join his father’s that.” He was speaking of Reuben Renwick ing sounds, sights, people, situations, and op- band. Knowing Phineas and having him look Rogers from the islands. And sure enough he portunities, especially involving jazz, that after my development was a great blessing in brought it. When Reuben came aboard, it gave played a significant part in your upbringing in (Continued on page 8)

To Advertise CALL: 215-887-8880 November-December 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com 7 Charles Lloyd

(Continued from page 7) my life. Phineas was a genius. He was our Bach and Beethoven rolled into one. He was in the lineage of and Bud Powell. George Coleman lived a block from my high school. He was very helpful to Booker [Little] and myself. He was another great Memphis musician who developed early and was very encouraging to us. When I got out to Califor- nia in the mid 50s to study at USC, I had 300 years of European during the day, but at night, I found people to jam with like , Bobby Hutcherson, Or- nette Coleman, Don Cherry. Horace Tapscott and I, along with Cherry, , , , Clifford Jordan, were in ’s . And , who is the spiritual fa- ther of Mingus, and Eric [Dolphy], began to mentor me and send me on gigs. He is respon- sible for my joining Chico.

JI: Having developed your sound and skills as an improviser over many years, in many dif- ferent inspiring situations, what kinds of prac- tice, perspectives or approaches do you cur- rently undertake to stay fresh, and constantly expand your approach?

CL: I spend a lot of time in my laboratory and hiking the mountains, swimming under water, walking along the sea and reading. I am a solitary creature, so when I am not touring, people don’t see me around much. It’s been said I play a mean game of ping pong.

JI: Could you discuss the kinds of processes and challenges that you go through and expe- rience in composing a new composition?

CL: That is such an internal process, it is not something I can not discuss with fluidity. It is beyond words. older I get, the less I know. JI: Are there words of wisdom or a quote JI: Discuss the temptation to focus on or be that has significantly influenced you that drawn to technique over the music itself that JI: What are some of the things that you’d you’d like to share with the readers? some artists experience. How have you like to do musically and artistically that you worked to balance the two? have not yet done or otherwise accomplished? CL: “Truth is one, sages call it by various names.” Rig Veda CL: I am a sound seeker, and I am in service. CL: My next concert. I try to have a begin- I still have to row the boat. ner’s mind. JI: If there is one for you, what is the connec- tion between music and spirituality? JI: Dan Boorstin, former Librarian of Con- JI: How do you stay balanced—as an artist, gress stated that “The greatest obstacle to dis- as an individual in contemporary society in CL: All this is that. We are all spirits on a covery is not ignorance, it is the illusion of the face the stress and sensory overload that human journey and music is the best way I knowledge.” How have you experienced and surrounds us? know to communicate more directly and most dealt with this in your life? In dealing with deeply to the heart. others? CL: Who told you I am balanced? I just do the best I can and put one foot in front of the CL: As a young man I knew too much, the other and try not to trip.   

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To Advertise CALL:Experience 215-887-8880 November Results-December 2018In 24-48 Jazz Inside Magazine Hours!  www.JazzInsideMagazine.com CALL 215- 887-8880 9 biographies how he agonized over the bridge to “Sophisticated Lady.” I think the book actually showed two or three or four different bridges he INTERVIEWINTERVIEW wrote – representing different tonal modulations.

HS: Oh my goodness. That’s so fascinating.

Helen Sung JI: But, you have to decide on something –commit to it – and move forward. What are you going to “keep being true to yourself” do, write fifteen versions?

HS: That’s the great thing because back in the day, Interview By Eric Nemeyer label. was our Artistic Director at the Monk Photo by Kat Villacorta Institute and he would say that they [’ JI: I heard you get a little anxious there when you group] would be playing these songs for months, JI: Could you talk about your new album on Con- used the word but. Maybe try the word “and” in- five to six nights a week, sometimes seven nights a cord and the transition or expansion you have made stead. week, two or three sets a night. They’d be working from Classical music to jazz. all of this stuff out – and a lot of their recordings HS: “And” [laughter]. Thank you. I’ve got to re- are the product of this continuous accumulation of HS: I feel like I’m treading water finally. I feel like member that one. I don’t mean to denigrate the songs or performance. That’s what I think makes I had failed all of my classical stuff. I played classi- former albums or the labels associated with them those recordings so rich and so complex. Unfortu- cal for so long but I failed it because I was really because I’m so grateful for those labels who be- nately, the way things are done these days is a little chasing this jazz thing. I did do a CD that was kind lieved in me as an artist to release my work. I’m so bit different. It seems like it’s almost backwards: of a mix of the classical and jazz and I’ve been thankful. Like you said, sometimes when I go back you record and then you tour the music, which I introduced to a whole bunch of other music. But and listen I’m like “Wow, that wasn’t as bad as I accept. That’s our world and we have to deal. I those are the big pillars I would say—kind of the thought.” That’s very fortuitous because Concord didn’t mean to wait this long to make a recording, running theme. Then the goal of any artist, any is great. They have such amazing history and just to make my next recording. But in a way it was a leader, is to have a consistent band—and that’s this incredible roster of artists and I’m really hon- blessing because I had a chance to - I guess the hard. From my experience it hasn’t been the easiest ored to be a part of that. They have an amazing term is workshop - workshop the music on a lot of thing because everybody’s so busy doing different platform for introducing me to hopefully a whole my gigs. So I did try out some of the fourth or fifth things. But I’ve gradually kind of formed a pool of bigger audience and a level of exposure, and I’m or sixth versions [laughter]. musicians I’d really love to work with. These are excited. I’m excited to see how this album is re- the musicians that I’ve selected for this recording ceived. JI: That means things evolve. Everybody is in because I felt like the music for this recording rep- process. resented—because the process never ends. You’re JI: Well, I think that being with Concord is a really a fellow artist, you know that. good development for you. Over the last fifteen HS: Yes, I know. Band members were like, “Okay, years of publishing Jazz Improv and Jazz Inside Helen, what’s different this time?” [laughter] So JI: The process is endless. When we stay on the Magazines, I’ve had the opportunity to observe and that’s maybe one way I try to get some of that pro- path of mastery, we definitely can reach levels of experience how every record label, publicist, pro- cess in before I record. I think it’s important. I subtlety that we never could have imagined when moter, and manager works — or doesn’t work. The think both ways can work. But for me, it takes a we first started out. positive, upbeat attitudes among the staff at Con- while for it to reach where I feel like this is kind of cord are palpable. Their clarity of communication the form that I want it to be. But even then, one of HS: Yes, exactly. The more you get into swing, and responsiveness is noteworthy. And, the percep- the songs I performed on the album … I don’t play there are just more and more levels of that. That to tiveness and business savvy at the company repre- it that way anymore. So it’s just a big mess some- me is one of the most wonderful and infuriating sent models of success that industry participants times. It’s messy but that’s what I love about jazz. things about music [laughter because I’m a perfec- could derive benefit for themselves—and for those It’s real life. It’s grounded. It’s earthy. It’s messy tionist and it’s never perfected. It’s a balance I have artists and industry participants who may have in but full of great surprises, and it’s life. That’s why I to hold. It’s a tension, I guess, one has to hold. good faith signed over their masters and their mar- feel like this music will always be relevant and keting in hopes of getting the service and results always alive. JI: So I guess when you listen back after recording, they were promised. do you sometimes want to jump off a bridge when JI: During my first few years in college, I was a you hear certain things that weren’t quite as you HS: [laughter] Oh dear. Well that makes me feel Biology major. During the first class, the first ques- expected? It’s happened with me and numerous good because my experience with them has been tion that one of the biology professors asked was, artists with whom I’ve spoken. Astonishingly, really positive too. So I’m really grateful. I was so “What distinguishes life from what is not living? when you let it go for weeks or months and you lucky that all these people came together, were He proceeded to answer his own question saying come back to it, it’s not uncommon to say, “Wow, available, and then also, of course, to have Paquito that life is distinguished by spontaneous movement that’s really good.” [D’Rivera] and Regina Carter—what an icing on – isn’t that what improvisation is predicated upon? the cake. I appreciate their individuality and their HS: [laughter] Yes, I know exactly what you’re artistry. I also love how they play my music - what HS: Absolutely. I love that. talking about. I do. Yes, that’s hilarious. Once you they bring to the table. They bring it alive. As a make the record, you’re like “Oh, my God, I don’t classical artist who was never encouraged to write JI: Yes. By the way, in reference to what you were want to listen to that anymore.” With this album, as music when I grew up, I’m just floored. I have to saying about what Ron Carter said about develop- my first five albums—I am proud of them, and the laugh that, “Wow, I wrote this and I played and ing the music on the bandstand …. In an interview recording of them. I hear many voices, well- people played.” It’s such a great feeling. I know with Lou Donaldson, Lou emphasized that all those meaning, from teachers, mentors and what not, just you know what I’m talking about. Blue Note albums that he did with Lonnie Smith “Helen, you need to check this out, Helen, you and others were the product of several months of need to be more that, Helen did you think about JI: Yes, to hear something that you’ve struggled touring on the “Chitlin’ Circuit.” Then they’d come this?” Even though every album I had an idea for with ... Sometimes it comes easy, sometimes you back to New York and they’d record for Blue Note it, I feel like with this album it’s the beginning of struggle with writing the music, and you think, based on having worked out those tunes on the me being more confident about who I am as an “Well gee, should the bridge be maybe a whole road. artist and where I’m headed. So I’m so excited and step up or a third down? I wonder what that sounds thankful that this coincided with my first major like.” I remember reading in one of Ellington’s (Continued on page 28)

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To Advertise CALL: 215-887-8880 November-December 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com 11 New CD Release from Dallas Area Pianist John A. Lewis

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

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

All compositions by John A Lewis

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Flail; Brooklyn Circle; Small's, 183 W. 10th St. Thursday, November 1  Pat Martino Trio + Horns; , 116 E. 27th St.  Andy Laverne Quartet; Troy Roberts Quartet; Charles Goold "After- Sunday, November 11 hours"; Small's, 183 W. 10th St.  Marcus Strickland's Twi-Life; Jazz Standard, 116 E. 27th St.  Jon Batiste & Friends - Jon Batiste, Piano/Vox/Harmonabord; Joe  Vocal Masterclass with Marion Cowings; Fat Cat Big Band swings the Saylor, Drums; Phil Kuehn, Bass; Tivon Pennicott, Tenor Sax; Patrick work of J.S. Bach, Strayhorn, Ellington, Basie, & Synstelien; Tim Bartley, Alto Sax; Giveton Gelin, ; Village Vanguard 178 7th McCall Quintet; Alon Near Trio "After-hours"; Small's, 183 W. 10th St. Ave S. Monday, November 12 Friday, November 2  Palladium: Celebrating ; Joe Farnsworth Trio featuring  Yotam Silberstein Quartet; Joe Farnsworth Trio; Corey Wallace ; Jon Elbaz Trio "After-hours" DUBtet "After-hours"; Small's, 183 W. 10th St.  Jon Batiste & Friends - Jon Batiste, Piano/Vox/Harmonabord; Joe Saylor, Drums; Phil Kuehn, Bass; Tivon Pennicott, Tenor Sax; Patrick Tuesday, November 13 Bartley, Alto Sax; Giveton Gelin, Trumpet ; Village Vanguard 178 7th  Steve Nelson Quartet; Abraham Burton Quartet; Malik McLaurine Trio Ave S. "After-hours"; Small's, 183 W. 10th St.

Saturday, November 3 Wednesday, November 14  Smalls Showcase: Corin Stiggall Quintet; Yotam Silberstein Quartet;  Remy Le Boeuf Quintet; Akiko Tsuruga Quartet; Aaron Seeber "After- Joe Farnsworth Trio; Philip Harper Quintet; Small's, 183 W. 10th St. hours"; Small's, 183 W. 10th 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 Thursday, November 15 Ave S.  Sean Jones Quartet; Jazz Standard, 116 E. 27th St.  Samir Zarif Sextet; Benny Benack Band; Endea Owens "After-hours"; Small's, 183 W. 10th St. Sunday, November 4  Vocal Masterclass with Marion Cowings; Trio; David Gibson Quintet; Ben Zweig Trio "After-hours"; Small's, 183 W. 10th St. Friday, November 16  Jon Batiste & Friends - Jon Batiste, Piano/Vox/Harmonabord; Joe  Sean Jones Quartet; Jazz Standard, 116 E. 27th St. Saylor, Drums; Phil Kuehn, Bass; Tivon Pennicott, Tenor Sax; Patrick  Paul Nedzela Quartet; George Coleman Jr. Quintet; JD Allen "After- Bartley, Alto Sax; Giveton Gelin, Trumpet ; Village Vanguard 178 7th hours"; Small's, 183 W. 10th St. Ave S. Saturday, November 17 Monday, November 5  Sean Jones Quartet; Jazz Standard, 116 E. 27th St.  Joel Frahm Trio; Jonathan Barber Quartet; Jon Elbaz Trio "After-  Smalls Showcase: Ben Barnett Quintet; Paul Nedzela Quartet; George hours"; Small's, 183 W. 10th St. Coleman Jr. Quintet; Jon Beshay "After-hours"; Small's, 183 W. 10th St. Tuesday, November 6  Shai Maestro Trio; Jazz Standard, 116 E. 27th St. Sunday, November 18  Spike Wilner Trio; Group; Malik McLaurine Trio "After-  Sean Jones Quartet; Jazz Standard, 116 E. 27th St. hours"; Small's, 183 W. 10th St.  Vocal Masterclass with Marion Cowings; Nick Hempton Band; JC Stylles/Steve Nelson "Hitting the Hutch"; Ben Zweig Trio "After-hours"; Small's, 183 W. 10th St. Wednesday, November 7  Trio; Jazz Standard, 116 E. 27th St.  Loren Stillman & Steve Cardenas Quartet feat. Ben Allison and Matt Monday, November 19 Wilson; Sam Dillon Quartet; Giveton Gelin Quintet "After-hours";  Lucas Pino Nonet; Jonathan Michel Quintet; Jon Elbaz Trio "After- Small's, 183 W. 10th St. hours"; Small's, 183 W. 10th St.

Thursday, November 8 Tuesday, November 20  James Francies Band; Jazz Standard, 116 E. 27th St.  Maria Schneider Orchestra; Jazz Standard, 116 E. 27th St.  Carl Bartlett Jr. Quartet; Brian Melvin's Sacred Geometry; Sean  Robert Edwards Quintet; Frank Lacy Group; Malik McLaurine Trio Mason "After-hours"; Small's, 183 W. 10th St. "After-hours"; Small's, 183 W. 10th St.

Friday, November 9 Wednesday, November 21  James Francies Band; Jazz Standard, 116 E. 27th St.  Maria Schneider Orchestra; Jazz Standard, 116 E. 27th St.  Vocal Masterclass with Marion Cowings; Ehud Asherie Trio; David  Marshall McDonald Jazz Project; Trio; Julius Rodri- Gibson Quintet; Ben Zweig Trio "After-hours"; Small's, 183 W. 10th St. guez "After-hours"; Small's, 183 W. 10th St.  Dizzy Gillespie All-Stars: Dizzy's Birthday Celebration Saturday, November 10 Marcus Strickland's Twi-Life; Jazz Standard, 116 E. 27th St. Thursday, November 22  (Continued on page 14)  Smalls Showcase: Jon Roche & Friends; Mike Boone Quartet; The  Wycliffe Gordon; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy

To Advertise CALL: 215-887-8880 November-December 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com 13  Maria Schneider Orchestra; Jazz Standard, 116 E. 27th St.  Eric Comstock; Birdland, 315 W. 44th  Mingus Big Band; Jazz Standard, 116 E. 27th St.  Carlos Abadie Quintet; Davis Whitfield "After-hours"; Small's, 183 W.  Smalls Showcase: Michael Wang Quintet; John Fedchock Quartet;  Bonnie Milligan; Birdland, 315 W. 44th 10th St. Jason Marshall Group; Brooklyn Circle; Small's, 183 W. 10th St.  Ari Hoenig Trio; Joe Farnsworth Trio; Jon Elbaz Trio "After-hours";  Dizzy Gillespie All-Stars: Dizzy's Birthday Celebration  Dizzy Gillespie All-Stars: Dizzy's Birthday Celebration Small's, 183 W. 10th St.  Sheila Jordan's 90th Birthday Celebration Friday, November 23 Sunday, November 25  Wycliffe Gordon; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy  Wycliffe Gordon; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy Tuesday, November 27  Maria Schneider Orchestra; Jazz Standard, 116 E. 27th St.  Maria Schneider Orchestra; Jazz Standard, 116 E. 27th St.  David Berger Orchestra with Harry Allen Celebrate the Four Brothers:  Birdland Big Band; Birdland, 315 W. 44th  Ken Peplowski Big Band; Afro Latin Jazz Orchestra; Birdland, 315 W. , , and ; Dizzy’s Club, Jazz  John Fedchock Quartet; Jason Marshall Group; JD Allen "After-hours"; 44th At Lincoln Center, 60th & Bdwy Small's, 183 W. 10th St.  Vocal Masterclass with Marion Cowings; Lezlie Harrison Quartet; Tad  Willerm Delisfort Project; Dizzy’s Club, Jazz At Lincoln Center, 60th &  Dizzy Gillespie All-Stars: Dizzy's Birthday Celebration Shull Quartet; Alon Near Trio "After-hours"; Small's, 183 W. 10th St. Bdwy  Dizzy Gillespie All-Stars: Dizzy's Birthday Celebration  Frank Kimbrough: Monk's Dream; Jazz Standard, 116 E. 27th St.  Curtis Stigers; Birdland, 315 W. 44th Saturday, November 24  Phillip Johnston & The Silent Six; Abraham Burton Quartet; Malik  Wycliffe Gordon; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy Monday, November 26 McLaurine Trio "After-hours"; Small's, 183 W. 10th St.  Maria Schneider Orchestra; Jazz Standard, 116 E. 27th St.  Terry Waldo; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy  , ; Jason Palmer, trumpet; David Virelles, piano; Matt Brewer, bass; Nasheet Waits, drums; Village Vanguard 178 7th Ave S.  John Scofield Quartet ft Gerald Clayton, Vicente Archer & Bill Stewart

Wednesday, November 28  David Berger Orchestra with Harry Allen Celebrate the Four Brothers: Stan Getz, Zoot Sims, Al Cohn and Gerry Mulligan; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy  Willerm Delisfort Project; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy  Frank Kimbrough: Monk's Dream; Jazz Standard, 116 E. 27th St.  Curtis Stigers; Birdland, 315 W. 44th  Tyler Blanton Trio; Patrick Octet; Jovan Alexandre "After- hours"; Small's, 183 W. 10th St.  Mark Turner Quartet; Village Vanguard 178 7th Ave S.  John Scofield Quartet ft Gerald Clayton, Vicente Archer & Bill Stewart

Thursday, November 29  Willerm Delisfort Project; Dizzy’s, Jazz At Lincoln Ctr, 60th & Bdwy  Mary Stallings with the Emmet Cohen Trio; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy  Aaron Goldberg Trio with Matt Penman & Leon Parker; Jazz Standard, 116 E. 27th St.  Curtis Stigers; Birdland, 315 W. 44th  Landline; Luca Santaniello Trio; Mike Troy "After-hours"; Small's, 183 W. 10th St.  Mark Turner, tenor saxophone; Jason Palmer, trumpet; David Virelles, piano; Matt Brewer, bass; Nasheet Waits, drums; Village Vanguard 178 7th Ave S.  John Scofield Quartet ft Gerald Clayton, Vicente Archer & Bill Stewart

Friday, November 30  Willerm Delisfort; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy  Mary Stallings with the Emmet Cohen Trio; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy  Aaron Goldberg Trio with Matt Penman & Leon Parker; Jazz Standard, 116 E. 27th St.  Mark Turner, tenor saxophone; Jason Palmer, trumpet; David Virelles, piano; Matt Brewer; Nasheet Waits; Village Vanguard 178 7th Ave S.  John Scofield Quartet ft Gerald Clayton, Vicente Archer & Bill Stewart

Saturday, December 1  Eric Comstock; Birdland, 315 W. 44th  Steve Slagle Quartet; Joel Ross Quartet; Eric Wyatt "After-hours"; Small's, 183 W. 10th St.  Mark Turner, Tenor Saxophone; Jason Palmer, Trumpet; David Virelles, Piano; Matt Brewer, Bass; Nasheet Waits, Drums; Village Vanguard 178 7th Ave S.  John Scofield Quartet Ft Gerald Clayton, Vicente Archer & Bill Stew- art; Blue Note, 131 W. 3rd St. Sunday, December 2  Mary Stallings with Emmett Cohen Trio; Willerm Delisfort; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy  Afro Latin Jazz Orchestra; Birdland, 315 W. 44th  Vocal Masterclass with Marion Cowings; Tardo Hammer Trio; Angela Roberts Quartet; Ben Zweig Trio "After-hours"; Small's, 183 W. 10th  Mark Turner, Tenor Saxophone; Jason Palmer, Trumpet; David Virelles, Piano; Matt Brewer, Bass; Nasheet Waits, Drums; Village Vanguard 178 7th Ave S.  John Scofield Quartet Ft Gerald Clayton, Vicente Archer & Bill Stew- art; Blue Note, 131 W. 3rd St.

(Continued on page 16)

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

PatPat MartinoMartino && JimmyJimmy HeathHeath

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To Advertise CALL: 215-887-8880 November-December 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com 15  Stacey Kent; Birdland, 315 W. 44th Monday, December 3  Jonathan Kreisberg Quartet; Josh Lawrence "Color Theory"; Micah  Manhattan School of Music Jazz Orch with Paquito D'Rivera; Dizzy’s Thomas "After-hours"; Small's, 183 W. 10th St. Club, Jazz At Lincoln Center, 60th & Bdwy  Quintet - Mike Rodriguez, Trumpet; Dayna Stephens,  Jason Kravits; Birdland, 315 W. 44th Saxophone; Kenny Barron, Piano; Kiyoshi Kitagawa, Bass; Johnathan  Joel Frahm Group; Joe Farnsworth Group; Jon Elbaz Trio "After- Blake, drums; Village Vanguard 178 7th Ave S. hours"; Small's, 183 W. 10th St.  Chris Botti; Blue Note, 131 W. 3rd St.  Vanguard Jazz Orchestra; Village Vanguard 178 7th Ave S.  Arturo Sandoval; Blue Note, 131 W. 3rd St. Thursday, December 13  Riley's Red Hot Holidays; Dizzy’s, Jazz At Lincoln Ctr, 60th & Bdwy Tuesday, December 4  Stacey Kent; Birdland, 315 W. 44th  NY Youth Sympony Jazz with Roxy Coss; Alexander Claffy; Dizzy’s  Jonathan Kreisberg Quartet; Joe Sanders Trio; Aaron Seeber "After- Club, Jazz At Lincoln Center, 60th & Bdwy hours"; Small's, 183 W. 10th St.  ; Birdland, 315 W. 44th  Kenny Barron Quintet; Village Vanguard 178 7th Ave S.  Spike Wilner Trio; Frank Lacy Group; Malik McLaurine Trio "After-  Chris Botti; Blue Note, 131 W. 3rd St. hours"; Small's, 183 W. 10th St.  Peter Bernstein Trio - Jim Hall Birthday Celebration - Peter Bernstein, Friday, December 14 Guitar; Doug Weiss, Bass; Leon Parker, Drums; Village Vanguard 178  Joe Farnsworth; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy 7th Ave S.  Stacey Kent; Birdland, 315 W. 44th  Arturo Sandoval; Blue Note, 131 W. 3rd St.  Birdland Big Band; Birdland, 315 W. 44th  James Barbour Celebrates the Holidays; Birdland, 315 W. 44th Wednesday, December 5  Mark Soskin Quartet; Freddie Bryant Quintet; JD Allen "After-hours";  Alexis Cuadrado; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy Small's, 183 W. 10th St.  Pharoah Sanders; Birdland, 315 W. 44th  Kenny Barron Quintet - Mike Rodriguez, Trumpet; Dayna Stephens,  DIVA Project; Birdland, 315 W. 44th Saxophone; Kenny Barron, Piano; Kiyoshi Kitagawa, Bass; Johnathan  Kenny Brooks Quartet; Mike Karn Quartet; Davis Whitfield "After- Blake, drums; Village Vanguard 178 7th Ave S. hours"; Small's, 183 W. 10th St.  Chris Botti; Blue Note, 131 W. 3rd St.  Peter Bernstein, Guitar; Sullivan Fortner, Piano; Doug Weiss, Bass; Leon Parker, Drums; Village Vanguard 178 7th Ave S. Saturday, December 15  Arturo Sandoval; Blue Note, 131 W. 3rd St.  Joe Farnsworth; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy  Stacey Kent; Birdland, 315 W. 44th Thursday, December 6  James Barbour Celebrates the Holidays; Birdland, 315 W. 44th  Obba Babatunde & Friends; Dizzy’s Club, Jazz At Lincoln Center, 60th  Smalls Showcase: Kristina Koller Quintet; Mark Soskin Quartet; & Bdwy Freddie Bryant; Jon Beshay "After-hours"; Small's, 183 W. 10th St.  Pharoah Sanders; Birdland, 315 W. 44th  Kenny Barron Quintet - Mike Rodriguez, Trumpet; Dayna Stephens,  Michael Feinberg Quintet; Dan Aran's New York Family: Album Saxophone; Kenny Barron, Piano; Kiyoshi Kitagawa, Bass; Johnathan Release Show; Jonathan Thomas; Small's, 183 W. 10th St. Blake, drums; Village Vanguard 178 7th Ave S.  Peter Bernstein; Village Vanguard 178 7th Ave S.  Chris Botti; Blue Note, 131 W. 3rd St.  Arturo Sandoval; Blue Note, 131 W. 3rd St. Sunday, December 16 Friday, December 7  Joe Farnsworth Quartet; Dizzy’s Club, Jazz At Lincoln Center, 60th &  Ben Allison; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy Bdwy  Pharoah Sanders; Birdland, 315 W. 44th  Afro Latin Jazz Orchestra; Birdland, 315 W. 44th  Birdland Big Band; Birdland, 315 W. 44th  Vocal Masterclass with Marion Cowings; Ralph Lalama & "Bop-Juice";  Myron Walden Quartet; Dmitry Baevsky Quartet; Corey Wallace Bruce Harris Quintet; Ben Zweig Trio "After-hours"; Small's, 183 W. DUBtet "After-hours"; Small's, 183 W. 10th St. 10th St.  Peter Bernstein, Guitar; Sullivan Fortner, Piano; Doug Weiss, Bass;  Kenny Barron Quintet - Mike Rodriguez, Trumpet; Dayna Stephens, Leon Parker, Drums; Village Vanguard 178 7th Ave S. Saxophone; Kenny Barron, Piano; Kiyoshi Kitagawa, Bass; Johnathan  Arturo Sandoval; Blue Note, 131 W. 3rd St. Blake, drums; Village Vanguard 178 7th Ave S. Saturday, December 8  Chris Botti; Blue Note, 131 W. 3rd St.  Ben Allison; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy Monday, December 17  Pharoah Sanders; Birdland, 315 W. 44th  Dick Hyman; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy  Eric Comstock; Birdland, 315 W. 44th  Steve Ross; Birdland, 315 W. 44th  Myron Walden; Dmitry Baevsky; Small's, 183 W. 10th St.  Ari Hoenig Trio; Joe Farnsworth Group; Jon Elbaz Trio "After-hours";  Peter Bernstein, Guitar; Sullivan Fortner, Piano; Doug Weiss, Bass; Small's, 183 W. 10th St. Leon Parker, Drums; Village Vanguard 178 7th Ave S.  Vanguard Jazz Orchestra; Village Vanguard 178 7th Ave S.  Arturo Sandoval; Blue Note, 131 W. 3rd St.  Chris Botti; Blue Note, 131 W. 3rd St. Sunday, December 9 Tuesday, December 18  Ben Allison; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy  Dick Hyman; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy  Eyal Vilner Big Band; Birdland, 315 W. 44th  Isaiah J. Thompson; Dizzy’s, Jazz At Lincoln Center, 60th & Bdwy  Vocal Masterclass with Marion Cowings; Marianne Solivan Quartet;  Steve Ross; Birdland, 315 W. 44th JC Stylles Organ Quartet; Alon Near Trio "After-hours"; Small's, 183  Landline; Malik McLaurine Trio "After-hours"; Small's, 183 W. 10th St. W. 10th St.  Kenny Barron Trio – Kenny Barron, piano; Regina Carter, Violin;  Peter Bernstein, Guitar; Sullivan Fortner, Piano; Doug Weiss, Bass; Kenny Barron, Piano; Kiyoshi Kitagawa, Bass; Johnathan Blake, Leon Parker, Drums; Village Vanguard 178 7th Ave S. Drums; Village Vanguard 178 7th Ave S.  Arturo Sandoval; Blue Note, 131 W. 3rd St.  Chris Botti; Blue Note, 131 W. 3rd St. Monday, December 10 Wednesday, December 19  Juilliard Jazz Ensembles Play Lennie Tristano, ; Dizzy’s  Jason Marsalis; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy Club, Jazz At Lincoln Center, 60th & Bdwy  Freddy Cole Quartet Featuring Special Guest Joel Frahm; Birdland,  Michael Longoria; Birdland, 315 W. 44th 315 W. 44th  Ari Hoenig; Jonathan Michel; Small's, 183 W. 10th St.  New York Jazz Nine; Harold Mabern Trio; Micah Thomas "After-  Vanguard Jazz Orchestra; Village Vanguard 178 7th Ave S. hours"; Small's, 183 W. 10th St.  Chris Botti; Blue Note, 131 W. 3rd St.  Kenny Barron; Village Vanguard 178 7th Ave S.  Chris Botti; Blue Note, 131 W. 3rd St. Jazz Lovers’ Tuesday, December 11  Matt Wilson's Christmas Tree-O + Special Guest Aaron Diehl; Jazz  Sullivan Fortner; Alphonso Horne; Dizzy’s Club, Jazz At Lincoln Standard, 116 E. 27th St. Center, 60th & Bdwy  Stacey Kent; Birdland, 315 W. 44th Thursday, December 20  Ian Hendrickson-Smith Quartet; Abraham Burton Quartet; Malik  Jason Marsalis; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy McLaurine Trio "After-hours"; Small's, 183 W. 10th St.  Freddy Cole Quartet Featuring Special Guest Joel Frahm; Birdland, Kenny Barron Quintet; Village Vanguard 178 7th Ave S. 315 W. 44th

Lifetime Collection   Chris Botti; Blue Note, 131 W. 3rd St.  Russ Nolan Quartet; Caleb Curtis Quartet; Jonathan Thomas "After- hours"; Small's, 183 W. 10th St. Wednesday, December 12  Kenny Barron Trio; Village Vanguard 178 7th Ave S.  Sullivan Fortner; Alphonso Horne; Dizzy’s Club, Jazz At Lincoln JazzMusicDeals.com JazzMusicDeals.com (Continued on page 17) Center, 60th & Bdwy

16 November-December 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880  Freddy Cole; Birdland, 315 W. 44th  Champian Fulton; Birdland, 315 W. 44th Friday, December 28  Alex Hoffman Quintet; Charles Owens Quartet; Alon Near Trio "After-  Carlos Henriquez; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy

hours"; Small's, 183 W. 10th St.  Birdland Big Band; Birdland, 315 W. 44th “Some people’s idea of  Kenny Barron Trio – Kenny Barron, piano; Regina Carter, Violin;  Quintet; Dezron Douglas Group; JD Allen "After- Kenny Barron, Piano; Kiyoshi Kitagawa, Bass; Johnathan Blake, hours"; Small's, 183 W. 10th St. free speech is that they are free Drums; Village Vanguard 178 7th Ave S.  Chris Potter, Saxophone; David Virelles, Piano; , Bass; to say what they like, but if anyone  Chris Botti; Blue Note, 131 W. 3rd St. Marcus Gilmore, Drums; Village Vanguard 178 7th Ave S. says anything back that  Houston Person Quartet; Jazz Standard, 116 E. 27th St.  Chris Botti; Blue Note, 131 W. 3rd St. Monday, December 24  Raul Midón; Jazz Standard, 116 E. 27th St. is an outrage.”  Trio; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy Saturday, December 29  Jake Ehrenreich with the Roger Kellaway Trio; Birdland, 315 W. 44th  Carlos Henriquez; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy  Ehud Asherie Trio; Mike Troy Quartet; Jon Elbaz Trio "After-hours";  Birdland Big Band; Birdland, 315 W. 44th Small's, 183 W. 10th St.  Billy Mintz Quintet; Dezron Douglas Group; Eric Wyatt "After-hours"; - Winston Churchill  Vanguard Jazz Orchestra; Village Vanguard 178 7th Ave S. Small's, 183 W. 10th St.  Chris Potter, Saxophone; David Virelles, Piano; Joe Martin, Bass;  Chris Botti; Blue Note, 131 W. 3rd St.  Chris Botti; Blue Note, 131 W. 3rd St. Marcus Gilmore, Drums; Village Vanguard 178 7th Ave S.  Houston Person Quartet; Jazz Standard, 116 E. 27th St. Tuesday, December 25  Chris Botti; Blue Note, 131 W. 3rd St. Friday, December 21  Jake Ehrenreich with the Roger Kellaway Trio; Birdland, 315 W. 44th  Raul Midón Band; Jazz Standard, 116 E. 27th St.  Barry Harris Trio; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy  Steve Nelson Quartet; Malik McLaurine; Small's, 183 W. 10th St. Sunday, December 30  Freddy Cole Quartet Featuring Special Guest Joel Frahm; Birdland,  Chris Potter, Saxophone; David Virelles, Piano; Joe Martin, Bass;  Carlos Henriquez; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy 315 W. 44th Marcus Gilmore, Drums; Village Vanguard 178 7th Ave S.  Birdland Big Band; Birdland, 315 W. 44th  Randy Johnston Trio; Group; Corey Wallace DUBtet  Chris Botti; Blue Note, 131 W. 3rd St. "After-hours"; Small's, 183 W. 10th St.  Deborah Davis; Neal Caine Group; Ben Zweig Trio "After-hours"; Wednesday, December 26 Small's, 183 W. 10th St.  Kenny Barron; Village Vanguard 178 7th Ave S.  Carlos Henriquez; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy  Chris Potter, Saxophone; David Virelles, Piano; Joe Martin, Bass;  Chris Botti; Blue Note, 131 W. 3rd St.  David Ostwald's Eternity Band; Birdland, 315 W. 44th Marcus Gilmore, Drums) ; Village Vanguard 178 7th Ave S.  Houston Person Quartet; Jazz Standard, 116 E. 27th St.  Itamar Borochov; Small's, 183 W. 10th St.  Chris Botti; Blue Note, 131 W. 3rd St. Saturday, December 22  Chris Potter; Village Vanguard 178 7th Ave S.  Raul Midón Band; Jazz Standard, 116 E. 27th St.  Barry Harris Trio; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy  Chris Botti; Blue Note, 131 W. 3rd St. Monday, December 31  Freddy Cole Quartet Featuring Special Guest Joel Frahm; Birdland,  Michael Leonhart Orchestra "Holiday Show" with Special Guests; Jazz  Carlos Henriquez; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy 315 W. 44th Standard, 116 E. 27th St.  Birdland Big Band; Birdland, 315 W. 44th  Smalls Showcase: Ben Barnett Quintet; Randy Johnston Trio; Robin Eubanks Group; Brooklyn Circle; Small's, 183 W. 10th St. Thursday, December 27  Chris Potter; Village Vanguard 178 7th Ave S.  Kenny Barron Trio – Kenny Barron, piano; Regina Carter, Violin;  Carlos Henriquez; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy  Chris Botti; Blue Note, 131 W. 3rd St. Kenny Barron, Piano; Kiyoshi Kitagawa, Bass; Johnathan Blake,  Birdland Big Band; Birdland, 315 W. 44th  New Year's Eve with Mingus Big Band; Jazz Standard, 116 E. 27th St. Drums; Village Vanguard 178 7th Ave S.  Keith Brown Group; Carlos Abadie Quintet; Aaron Seeber "After-  Chris Botti; Blue Note, 131 W. 3rd St. hours"; Small's, 183 W. 10th St.  Smokestack Brunch: David O'Rourke Trio featuring Jim Ridl and Lorin  Chris Potter, Saxophone; David Virelles, Piano; Joe Martin, Bass; Cohen; Houston Person Quartet; Jazz Standard, 116 E. 27th St. Marcus Gilmore, Drums; Village Vanguard 178 7th Ave S.     Chris Botti; Blue Note, 131 W. 3rd St. Sunday, December 23  Raul Midón; Jazz Standard, 116 E. 27th St.  Barry Harris Trio; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy

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Eric Nemeyer Corporation P.O. Box 30284 Elkins Park, PA 19027 | 215-887-8880

To Advertise CALL: 215-887-8880 November-December 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, 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 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 Turnpike @ Normandy Heights Galapagos, 70 N. 6th St., Brooklyn, NY, 718-782-5188, galapago- mccarter.org Road, east of downtown Morristown. 973-744-2600 sartspace.com Merkin Concert Hall, Kaufman Center, 129 W. 67th St., 212-501 Birdland, 315 W. 44th, 212-581-3080 Garage Restaurant and Café, 99 Seventh Ave. (betw 4th and -3330, ekcc.org/merkin.htm Blue Note, 131 W. 3rd, 212-475-8592, bluenotejazz.com Bleecker), 212-645-0600, garagerest.com Metropolitan Room, 34 West 22nd St NY, NY 10012, 212-206- Bourbon St Bar and Grille, 346 W. 46th St, NY, 10036, Garden Café, 4961 Broadway, by 207th St., New York, 10034, 0440 212-245-2030, [email protected] 212-544-9480 Mezzrow, 163 West 10th Street, Basement, New York, NY Bowery Poetry Club, 308 Bowery (at Bleecker), 212-614-0505, Gin Fizz, 308 Lenox Ave, 2nd floor. (212) 289-2220. 10014. 646-476-4346. www.mezzrow.com bowerypoetry.com www.ginfizzharlem.com Minton’s, 206 W 118th St., 212-243-2222, mintonsharlem.com BRIC House, 647 Fulton St. Brooklyn, NY 11217, 718-683-5600, Ginny’s Supper Club, 310 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 , 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 ( 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, . 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 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 November-December 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 , 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 , 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 , 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 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 November-December 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com 19 those two things JI: Indisputably, as closed off as you’ve been clear. regarding talking about yourself in public, your INTERVIEWINTERVIEW songs are some of the most revealing and persona- Jazz Inside Maga- ble pieces on record. Would you talk about being zine: The inter- able to completely bare your soul onstage but not view you men- off? tioned labeled you Patty Waters the “Priestess of PW: Oh, gosh, I think that’s common with artists, the Avant-Garde.” not unusual at all. I took a risk How comfortable are you with that JI: In previous interviews, you’ve repeatedly Interview by Ken Weiss label? mentioned that you save write-ups from your per- Photo by Chuck Stewart, Courtesy of Patty Waters formances. Are you very affected by what’s writ- PW: That’s fine, I like it. No problem. ten about you? Patty Waters (b. March 11, 1946, Council Bluffs, Iowa) is a groundbreaking avant-garde vocalist/ JI: Your fame came with a song that doesn’t rep- PW: Yes, that’s an easy, easy yes! Everything composer/pianist who made two arresting ESP- resent the great majority of your work. Your ren- else has been so complimentary. I’m really happy Disk recordings in the 1960s – Sings (1965) and dition of “Black is the Color of My True Love’s that I took a risk and it wasn’t negative like I College Tour (1966) – and then disappeared for Hair” was the first extended free-vocal solo on feared. 30-years. Waters’ career was kick- record. The bulk of your music has been very started with the help of saxophonist , intimate and introspective. What do you make of JI: ’s life and singing have had a who recognized her uniqueness and introduced that irony, how do you view yourself as a singer? profound influence on you. What is it about her her to of ESP-Disk. She is best that resonates with you? known for her shocking rendition of the tradition- PW: I think that’s not right. I think that song and al song “Black is the Color of My True Love’s the rest of my songs go together very well. That’s PW: It’s her singing and the songs that she sang, Hair,” which was delivered with haunted wails of another thing that people have gotten wrong too. It was of the times that she was singing those anguish centered on the word “black.” That re- through the years. I’m the same singer for both songs. I loved all of it, everything she ever sang. cording, with the aggressive piano trio backing and they do sound like one person. For a while I had a huge record collection, and I led by innovative pianist , was the still have at least 25 Billie Holiday albums in vi- first extended free-vocal solo on record. Waters’ JI: I asked that because you seem drawn to cover- nyl. I just love her. You know how you listen to original compositions are melancholic works that ing standards. something and you just don’t want to stop? That’s are so openly pure and honest that they’re almost with her. I just can’t get enough, I love her. unsettling to listen to. She has released a handful PW: Well, if I don’t write something, I love of recordings over the years but has remained a standards. I’ve always known a lot of standards. JI: Billie Holiday lived a very hard life. Is that mystery, partly because she has eschewed inter- something you relate to about her? views. Waters, who would like to reenter the per- JI: The same Jazz Times interview used the words PW: I don’t think so. I’ve never been attracted to her [use of] drugs, I’ve avoided that kind of thing. I don’t know about that, I just have lots of love for “Do you know how there’s a her.

JI: Most singers employ musicians to accompany and support them but it seems you’ve taken the kaleidoscope sometimes in approach of including and improvising with your bandmates.

life when things just kind of PW: Yes, I think that’s so, I think that’s especial- ly part of my recent performances. I like doing that and you can hear it if you listen to my newest move, a bunch of things move recording from Cafe OTO in . The whole concert is for sale through Cafe OTO’s digital label - OTOROKU. There are a couple more re- cordings coming. One from Blank Forms is due in at once, those little pieces?” December [2018]. My concert in Houston will also be coming out but I don’t know who will release it. Both concerts each had their own flavor forming arena, graciously took part in this exten- “pathological shyness” to describe you. and energy. sive phone interview on August 18, 2018 from her Santa Cruz, California home. Her website is pat- PW: [Laughs] I don’t think pathological, but I JI: Would you talk about your early years grow- tywaterssings.com. agree with shyness. He [Gavin] has a tendency to ing up on a dairy farm in Logan, Iowa, outside of add a little flourish. Omaha, Nebraska? Patty Waters: Before we start, I’d like to clear up some inaccuracies in James Gavin’s Jazz JI: You’ve shunned doing interviews through the PW: I moved there with my family when I was in Times article [5/1/04] which seems to be a popular years. fourth grade after living in Council Bluffs, Iowa article on the Internet. I mean it keeps re- before that. So I started school in Council Bluffs occurring through the years. He portrayed my PW: Yes, and the example is that Jazz Times and I would visit friends after school and I’d walk mother as mean, but she wasn’t mean, and he sort article, because when they don’t get anything right home or ride my bike. I was becoming social and of portrayed Clifford [Jarvis] as deserting me, and it bothers me. [Laughs] I can’t do much about it then we moved to Logan when I was 9, to a dairy that was not the case. We were always friends and but I did write a letter to the editor, as did Bernard he came to visit us in California. I want to make Stollman [of ESP-DISK Records]. (Continued on page 22)

20 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 21 JI: So you’re saying that you had to leave home training or not. Patty Waters and go to Council Bluffs? PW: I didn’t ever have formal voice training. PW: My mother set it up that my senior year of (Continued from page 20) high school was to be done in Council Bluffs and JI: Do you see that as a benefit or a downside? farm that was very isolated. I went to a country I sang four nights a week at a staff headquarters school with 14 people in it. I walked a mile to the on a big military base. My parents saw this as PW: A benefit. There’s a basic first lesson you school and then back home. There were fun things preparation for my career. They thought I’d be a get when you sing. You need to sing from the roof about it because the weather was so extreme. singer. I don’t understand it but I was just sort of of your mouth and use your abdomen. Those are We’d skate on the ice on the creeks and things expected to be a singer, and they used to tell me the basics, but I didn’t have lessons. like that but it was a very isolated life from 9- that I was lazy when I couldn’t survive. [Laughs] years-old until I was out of high school. I started They were very religious, Catholic converts. They JI: You spent some time in Los Angeles in the traveling with dance bands when I was a teenager didn’t know anything about how to help me so I early ‘60s. Were you pursuing work in the film but I had an isolated childhood. was really on my own. It was kind of tough. industry?

JI: Did you want to talk about your mother? You JI: Why did you have to spend you last year of PW: No, I was pursuing a singing career. I lived mentioned that you wanted to set the record high school in Council Bluffs? Was that to pre- at the Hollywood Studio Club [a chaperoned dor- straight about her. pare you for life away from your family? mitory usually for young women involved in the motion picture business] which was kind of fa- PW: There’s been lots of stage mothers, and she PW: Yes, I guess so. I was singing four nights a mous. I was going out to hear music and working was like a stage mother, but she wasn’t like a week and keeping my grades up, but I was driving as a waitress. After living there, I found work as a cruel stage mother. [Laughs] She devoted lots of from our farm to clubs in Omaha, so my mother singer at a nightclub in Ventura called the Royal time to me, helping me learn lines for dramatic thought it would be better for me to leave home Lion. They set me up in an apartment with a pool contests. She sewed all my clothes and spent a lot then and move to Council Bluffs to go to school and a piano. That experience lasted only a few of time on me. Her life was devoted to having me [and sing locally there]. They just thought it was months. perform and preparing me for performances. I right for me to move at that time. It must have wasn’t aware then that she and my stepfather real- been so important to them for me to continue JI: By 1963, you were living in and ly felt that they couldn’t afford college for me, singing four nights a week. [Laughs] ended up meeting Miles Davis who became a and that eighteen was a cutoff point, so I was pret- mentor to you. How did you meet him and how ty shocked when they said I had to move away JI: Do you feel that you were pressured by your did he help you?

PW: That’s been exaggerated, I think. He just helped me notate some music, which was fantas- tic, and he advised me. His quote to me was, “People appreciated that I “Don’t be afraid,” and “Accent your strengths,” and it was good advice. After that I remember him saying, “There are no mistakes,” that was how he was trying to make an art felt about things. I was very shy and he told me not to be afraid.

piece, like painting a painting. JI: It seems that you had a romance with Miles?

PW: You know, I’m sure he had lots of other You paint a picture, it’s done, ones. I don’t care to say.

JI: Do you have a memory of Miles to share?

and that’s how I feel about PW: Helping me with notation was my favorite memory.

‘Black is the Color of My True JI: You knew [comedian] Lenny Bruce when you lived in San Francisco.

Love’s Hair.’ That was it, it PW: Yes, we dated. We both lived at the Swiss American Hotel and he invited me to attend his shows. He liked jazz and he liked for me to read was a complete picture.” books to him. He never heard me sing.

JI: Were you performing in San Francisco? from home [when I turned eighteen]. I’d done family to be a singer? As someone who is so shy some traveling but I didn’t expect that. I hadn’t in the public eye, would you have chosen a career PW: No, I was just listening to music. It’s kind of thought of anything like that. They couldn’t afford as a performer on your own? a blur now but I was just friends with a lot of mu- college but I didn’t expect that I had to move sicians. I’d go to hear music all the time. away. When I was in high school, my mother met PW: I don’t know, that’s a good question. I really with the school superintendent and I was moved don’t know. I really did love music so it was a JI: What spurred your move to New York City in to Council Bluffs. I lived in a rooming house there pleasure to sing or think about music. That was 1964? By all accounts you were low in self- when I was a senior and that was the start of the fine but, no, I have no idea. confidence so was your plan to make a career as a lonely years away from home. There were a lot of performer? rooming houses after that, moving from place to JI: There’s some discrepancy in previous inter- place. views over whether you ever had formal voice PW: I think it was an odd kind of thing. Do you

22 November-December 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 located in what was known to be a very rough PW: Well, yes, I think so. Patty Waters neighborhood. Did you ever have any problems there? JI: The last song on Sings is your shocking ver- sion of the traditional folk song “Black is the Col- know how there’s a kaleidoscope sometimes in PW: No, I was lucky. I must have had a very or of My True Love’s Hair.” What was your plan life when things just kind of move, a bunch of protective aura around me because I had no prob- going into the studio to record this tune with a things move at once, those little pieces? A group lems. quartet led by pianist Burton Greene? Greene has of us from San Francisco moved to New York in said that you planned to sing it in the traditional 1964. We were all jazz hopefuls [Laughs] and JI: You’re best known for your two 1966 ESP- way and that he intentionally pushed you out of everybody had a career after that. It was Dewey DISK recordings – Sings [recorded 1965] and your comfort zone. Did he surprise you with how Redman, Pharoah Sanders, Monty Waters, Joe College Tour [recorded 1966]. Those recordings he played or had you practiced that with the band? Lee Wilson, Jimmy Lovelace, Art Lewis, Henry were made possible with the help of Albert Ayler Grimes and Jane Getz. We didn’t talk about it, it who took you to meet Bernard Stollman of ESP- PW: [Laughs] No, that’s not true. It’s funny how just happened. One year we were in San Francisco DISK. There’s conflicting reports in previous in articles people write things that aren’t accurate. and the next year we were in New York. We’d see interviews regarding how Ayler “discovered” you. I did read where Burton said he encouraged me, each other in New York. My apartment was just a Did he hear you performing on stage or in a pri- and I even read where Richard Alderson, who was piano and a bed. [Laughs] vate setting? the engineer in the sound booth, said, “I don’t remember what I did but I must have told her to JI: Did you move with the intention of working as PW: I guess he heard me on stage. I don’t remem- loosen up.” That’s a farce. [Laughs] He didn’t do a jazz vocalist in New York? ber the very first time we met but we became that, he didn’t do anything. He was just there do- friends and he came to my apartment a lot, he and ing the sound. He didn’t say, “Hey, loosen up PW: Yes. his brother. Patty.” Those stories get sort of crazy embel- lished. [Laughs] I remember going to Burton’s JI: Once in New York, you jammed on stage a lot JI: How would you describe your relationship loft and we talked very briefly about what I want- and privately with many star players including with Albert Ayler? ed to do. It was fantastic to find the sound that he , , , Herbie did use inside the piano. That had a great deal to Hancock, Mingus, Jaki Byard, Roland Hanna and PW: We were simply friends. do with how I sang, but in my head I was an or- Kirk Lightsey. Would you share some memories chestra, and I was singing a composition. I was from that? JI: Did you perform with him in clubs? creating a composition.

PW: I was in the clubs a lot. I worked lunch hour PW: No, I never performed or sang with him. JI: So you’re saying, you went into the studio in Wall Street as a waitress so I was in the clubs with the intention of singing the song the way you hearing music all the time [at night], every minute JI: That was very nice of him to bring you to the actually sang it? I could. I don’t remember how it happened but I record company. Did he do that for many other took a long subway ride with Bill Evans. We went people? PW: Yes, absolutely. I planned that. to his house and I met who I thought was his wife. We rehearsed at his house and then I sang at the PW: I don’t think so. JI: Greene used a garbage can cover on the piano Village Vanguard with him one night. Also, I kind strings for that eerie effect. of knew Herbie [Hancock] a little and he let me JI: Your first recording Sings includes eight use his piano to practice when I moved to New songs, the first seven of which are self-composed PW: I guess so. I don’t remember seeing one or York. He lived on Riverside Drive. All the musi- and self-accompanied on piano. They’re all short, realizing that. I really don’t recall a garbage can cians were nice. I did sing a little. I sang at loft most not even two minutes long, and are best lid. I just remember hearing him play inside the parties sometimes. I used to love hearing Keith described as hushed, sad, delicate pieces. Talk piano and I liked that. Jarrett practice. I’ve been very fortunate to meet about those compositions and where that inner nice people, they were all sweet. torment, those extreme emotions, came from? JI: How did you put together the quartet that you used to record that song? JI: Which musician helped you the most in New PW: It’s difficult to talk about because I was in York? love and felt like writing them. I just enjoyed PW: It was such a very short notice to go into the them. I don’t think they’re very sad. You know studio for the Sings album. I put the word out that PW: I’m tempted to say Bill Evans but they were like how you say blues makes some people happy, I wanted to ask Clifford to play drums for me but all very kind. I don’t even understand how it hap- well sad songs also make me happy. [Laughs] I had no luck in contacting him. So Burton found pened or why it happened sometimes. Blues and sad songs both make me happy. Tom Price, who was wonderful. I only wish there [Laughs] had been time enough on the recording for Tom to JI: It must have been quite a thrill to perform at play a drum solo. When I returned home to my the Village Vanguard with Bill Evans. JI: Is there significance to why all the songs were apartment that night, there was a note at my door written at night? from Cliff saying he had been there. Clifford Jar- PW: Yeah, but I was so shy and I was disappoint- vis was the great love of my life, and of which I ed in my singing. PW: I guess because I was such a night owl. No, wrote most of my songs to side one of the Sings there wasn’t [a reason]. I was a total night owl. album. And best of all, we had a beautiful baby JI: You had an early experience with Salvador boy together. I wanted him to play on the Sings Dali at Slugs. JI: Sings opens with “Moon, Don’t Come up To- album but couldn’t find him. He did visit us a few night,” a song that you’ve continued to sing times in California before he moved to Europe, PW: Yes, Salvador Dali and his entourage, maybe throughout your career. Does that song have spe- and I visited him in London in 1991. We had fi- 9 or 10 people, walked into Slugs one night. I was cial meaning to you? nally reached a point of calmness being together there so much. [Laughs] They walked in holding and it felt really good. candles. It was quite a beautiful entrance. They sat PW: Yes, I like it, I like the song. It was one of at a big table and listened to jazz. I think he made my first songs. I was 18 when I wrote most of that JI: Your repeated blood curdling shrieks of the entrances at other places like that as well. song. word “black” made you an immediate vocal inno- vator and spurred a cult following. Was your in- JI: So you spent a lot of time at Slugs. That was JI: Is that your favorite song that you’ve written? (Continued on page 24)

To Advertise CALL: 215-887-8880 November-December 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com 23 JI: Did you know that Beyoncé has been opening an instinctual composition. As far as other songs Patty Waters her recent concerts with that song? that have come since then, there hasn’t been that intensity when I sing. I just want to be as pure as I PW: No way! I didn’t know that. [Laughs] Very can be without copying [myself]. tent to make a statement on civil rights? cool. JI: In that same Cadence interview, regarding the PW: Yes, I mean that was the side effect of sing- JI: Your free vocalization on that song laid the time when Sings came out, you said, “I didn’t ing the word “black.” Sure, for whoever heard it, foundation for future jazz and contemporary ex- relate to people other than musicians that much.” they would take that out of it. perimental vocalists. You predated , Can you explain why you felt that way and does Linda Sharrock, , Patti Smith and Dia- that still hold true today? JI: Did you get angry feedback after the song’s manda Galas. Have any of them reached out to release? Any threatening situations? you? PW: No, it’s not true anymore but that was exact- ly how I felt at the time. It was all music, all the PW: Never, never, never. No, in fact it was so PW: No. time [Laughs] in my life. I was happy to be in that nice to be positively received. People appreciated jazz community, to feel like I was possibly a part that I was trying to make an art piece, like paint- JI: Are you drawn to any other free vocalists? of it. ing a painting. You paint a picture, it’s done, and that’s how I feel about “Black is the Color of My PW: No. JI: ESP-DISK arranged a tour of New York col- True Love’s Hair.” That was it, it was a complete leges in 1966 and you got to spend significant picture. JI: In your March, 1995 Cadence Magazine inter- time on a bus with , Ran Blake, Giuseppi view, you noted that after you made that first al- Logan and Burton Greene. What sort of things JI: How many times have you xxxxxxxxxx performed that bum, “I took it to Jackie McLean, and I asked him were going on in that bus during that tour? song during your career? I would imagine that if he felt it was valid. When he said yes, I was audiences might expect you to sing it. happy.” Why was Jackie McLean the validator of PW: That’s another one where James Gavin add- your work? ed his own interpretation because I certainly did- PW: That was it, only that one time in the studio. n’t ever sleep on the bus. We stayed in hotels. The I don’t want to do it anymore. Like I said, the PW: Yes, that’s true. I just thought he’d be a good Sun Ra Arkestra was also there, and Clifford was complete painting is done. I don’t think that peo- one to tell me and I respected his opinion. My the drummer in the band. It wasn’t an unpleasant ple expect me to do that song. I think people are son’s father was working and recording with him experience, just kind of a normal bus experience, more evolved and they appreciate an artist decid- at the time. really. It wasn’t anything exciting. I don’t have ing what they want to do. I’m certainly not going any stories or funny memories from the bus. It to repeat myself or say, ‘Well, this is a hit. I’ll JI: So honestly speaking, what was your reaction was mostly some conversations. I do remember a sing my hit over and over.’ No. listening to “Black is the Color” for the first time couple of the Sun Ra Arkestra band members after recording it? when we were in Syracuse, New York, I think, JI: What drew you to record “Black is the Col- there was a question/answer period after the per- or?” PW: I kind of scared myself. [Laughs] Yeah, but formance, and then when we got back to the bus “I’ve never had anyone discourage me from sing- ing. I guess I just can’t do any more than what I’m doing. Back to the phrase, following my bliss …. I try to follow my bliss but I don’t work at promoting myself. It’s really difficult for me. I’m excited for the future, life is unfolding as it should.”

it was important. I knew that it was okay for me, I they said, “You know you should speak up. You PW: I just thought it was a good idea. I liked the was good with it. Everyone there was excited after can represent yourself, you don’t have to be so song and I thought it was a great idea. I didn’t talk we finished the song, especially Bernard shy.” So it was nice of them to say that but I was to people about it. It was a good idea and I knew Stollman. I could tell that they liked it and I was too shy to answer questions at that time. it. glad about that. JI: Your second album College Tour was com- JI: So you were drawn to it through an attraction JI: How do you follow that piece up without hav- piled from the tour’s live shows and the material for it as a traditional Scottish folk song or because ing future experimental vocalizations sound was all new and considerably more aggressively you wanted to make a heavy societal statement? forced? How do you push the envelope in the experimental than the bulk of your first recording. future without sounding the same? Was that the direction you wanted to head to- PW: Both. wards? Where did you view your future to be? PW: I like the question but I’m not sure how to JI: Nina Simone also famously sang that song. answer it. I think when I imagined that song being PW: I didn’t feel that way, I didn’t think the mu- Did you have any contact with her? a composition, I felt that I was sort of paying re- sic was different. I didn’t think like that, I didn’t spect to and Albert Ayler in my plan anything. invited me to To- PW: No. vocal composition the day I was singing it. It was (Continued on page 25)

24 November-December 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 JI: Did you perform at all in Europe? PW: He was a friend. He used to come to my Patty Waters apartment to visit, same as the Ayler brothers. We PW: No, I don’t know how to get singing work. I were just friends. still don’t know how to do it. [Laughs] ronto and I performed at the Cellar Café there, and JI: You had a couple of very negative experiences the owner asked to have me come back, but I JI: So it wasn’t that you feared success? in New York at that time that helped lead to you think I didn’t follow through. I was just so very relocating to California. One came during the time shy. I didn’t follow through on things. I wasn’t PW: No. you were out of the country. The person you had thinking about trying to find things or do things. I sublet your apartment to didn’t pay the rent so haven’t followed through on a lot of things. There JI: Eventually you returned to New York City and your piano got thrown out on the street and your were invitations… while dating , who was in the Sun tapes and music were stolen. Ra Arkestra at the time, you became pregnant JI: Is there a reason for that? with his child. Did that create any tension between PW: Right, that’s true. Also, someone put a knife you and Sun Ra? You must have had a relation- to my throat and robbed me. That was scary. It PW: I don’t know. I really never have been able ship with Sun Ra since you spent time on the bus was just someone on drugs. You could tell they to promote myself or introduce myself. [Laughs] I with him. He didn’t like his Arkestra members weren’t even seeing clearly in their eyes. They never could say, ‘I’m a singer, I want to sing.’ dating, he wanted them focused on the music. weren’t there, really. That was about the time I left New York. JI: Although your two ESP-DISK recordings PW: That’s very true, but I didn’t know that at the were released the same year, your cover photos time. No, there wasn’t anything negative, except JI: You ended up leaving New York for Califor- couldn’t have been much more dynamically op- for one time, and that was before I was pregnant. nia to raise your son and were off the music scene posed. Your first album photo looksxxxxxxxxxx like it was It’s not on the College Tour recording but one for 30 years. Did you always have the intention of pulled from a Catholic high school yearbook time the audience called me back on stage to sing returning to your career? while the second album cover looks like an out- an encore and I sang a cappella. I had asked if Sun take from the movie “Carrie.” Were you comfort- Ra would give his permission for Clifford to play PW: I think maybe I did, yes. I think so. I think able with how you were being presented? drums behind me as I sang and he did not agree to that’s just how it happened. that. PW: Yes, I was comfortable, although the ink on JI: The Cadence interview includes you mention- the first album photo was a little too heavy. There JI: Your son Andrew Miles Giuseppi Waters was ing a sad occurrence but it’s not clear when it were a couple editions of that album reprinted that born in 1969. Would you comment on naming occurred. You point out that in high school you were lighter photos. There were about three differ- him after Miles Davis and ? were an honor student, class president, and a band ent versions of that first album cover. Other peo- queen, but eventually your family disowned you, ple told me that they liked the dark one the best, that it was sort of a haunted look, and I agree. I don’t think it’s an innocent looking photo. I think it’s appropriate for the music, it’s sort of dark looking. So I didn’t mind, and then the second “Some people like album cover – it was the same photographer, Chuck Stewart.

JI: The only other recording you made while in to talk and they New York was one tune – “Lonely Woman”- on The Marzette Watts Ensemble [Savoy, 1968] al- bum. Why was another vocalist, Amy Schaeffer, credited on the album and not you? don’t have anything

PW: I don’t know but it took a long time to straighten that one out. [Laughs] I don’t know, people make mistakes. valuable to say, they

JI: You never got paid for that recording?

PW: No. just think they have

JI: Your two ESP-DISK recordings were well- received and created a buzz for you but you soon split for Europe and Canada for a period of time. to say something.” Why would you leave New York at a time that you had just produced two recordings and your career was starting? PW: Well, I guess I thought I was doing the right “because I was a bad girl, but I wasn’t really. It PW: I didn’t know how those things worked. I thing but I’m not sure if I should have included was soon after I left home. I was told not to come mean, I didn’t do anything to ruin my career, in Clifford’s name. I probably should have but I was home again, that I’d never loved them, and I never my opinion. I just thought I had an opportunity to a little afraid to. He has in his family, three would be capable of love.” When and why did go to Europe and who wouldn’t take it? It was my Cliffords. I did it myself. I probably made a mis- that happen and have you had contact with your first trip over there. It was wonderful, I went all take there… family since then? Do they know about your ca- over Europe. It was fantastic, no regrets. I saw my reer? Sings album in record store windows in Amster- JI: We talked about the importance of Miles Da- dam and London. vis in your career but not Giuseppi Logan. Would PW: No, I don’t think they know about my ca- you talk about him? (Continued on page 26)

To Advertise CALL: 215-887-8880 November-December 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com 25 JI: I was just going to ask you if that was the best view to be your target audience at this point of Patty Waters paying gig of your career. So you didn’t get resid- your career? uals every time the commercial aired? PW: Oh, gosh. I think European audiences might (Continued from page 25) PW: [Laughs] No, and I still don’t know anything be the most receptive to me because they’ve fol- reer. It was a permanent kind of disowning. In about things like that. lowed me and the ESP records have continued to fact, I haven’t been back to Iowa since I was 19. sell. I have lovely scrapbooks full of nice reviews I’m still in touch with some nice people from JI: Have you ever tried a Jax beer? from around Europe and Russia. I’ve had a really there, by way of Christmas cards, but that’s how it fantastic reception through the years there. happened. They were very religious and that’s PW: No, I never have. [Laughs] how they felt. I think they felt I would influence JI: How often are you performing now? the children of the family, and that if I was think- JI: In 2004 you reported earning only a total of ing a certain way, it would influence the children $350 from your recordings. PW: I’m not. I did two concerts this past April – in a negative way. They thought that I was think- in New York and Houston. They were both rec- ing negatively. That’s what I think but I don’t PW: I guess so, I don’t remember. That’s some- orded. I’d love to perform a lot, especially in Eu- know. I don’t understand it. thing you’ve read and I think it’s accurate. I think rope. that’s in Bernard Stollman’s ESP Records book JI: When did they disown you? Was it when you [Always in Trouble: An Oral History of ESP-Disk, JI: What are your pleasures outside of music? became pregnant or was it earlier when you were Jason Weiss, Wesleyan, 2012] maybe, I think, in an interracial relationship? because I re-read it yesterday a little to try to pre- PW: I love where I live. There’s nice weather. I pare for this interview. love to travel, number one, now that my family is PW: It was when I was dating, I wasn’txxxxxxxxxx pregnant not living with me anymore. Good food, good yet. I had no idea that they would react like that. It JI: I thought I was the one who had to prepare for living, good music. I listen to everything. was a shock but I always knew that I hadn’t done this interview. anything that wrong. I still feel that way. I hadn’t JI: The last questions were given to me by other done anything wrong. No one else gave me any PW: [Laughs] Could I tell you something that I artists to ask you: trouble except my family. read in the book? Bernard said that he was disap- pointed that I didn’t want to participate in the Kirk Lightsey (piano) asked: “Would you talk JI: You mounted a short comeback with 1996’s book but he did say on page 82 that he said that he about your studies with Nat Jones at 9 Great Jones Love Songs (Jazz Focus), a recording of standards appreciated when I spoke to Robert Campbell Street? That’s where I met you. I had a space in with pianist Jessica Williams. What prompted the [1995 Cadence interview] and I was quoted to Nat’s loft in the late ‘60s to early ‘70s and you took a lesson with Nat once or twice a week.”

“They had nice parties at Nat Jones’ loft PW: Wow! Hi Kirk, I’d love to sing with you! Well, it’s not true that I ever took vocal lessons and one evening, Kirk Lightsey played from Nat Jones. He was a friend. Yes, Kirk was living there, and I recall that Kirk was eating piano as I sang ‘Come Rain or Come health food at the time, and I was very im- pressed—brown rice and things. Nat was lovely Shine’ while holding the hand of Roland and Kirk was wonderful. I wish I could have sung with Kirk. I think I was too shy to ask him. They Kirk. This was before he named himself had nice parties at Nat Jones’ loft and one even- ing, Kirk Lightsey played piano as I sang “Come . Afterwards, Rain or Come Shine” while holding the hand of Roland Kirk. This was before he named himself Roland Kirk said, ‘This girl is a singer!’” Rahsaan Roland Kirk. Afterwards, Roland Kirk said, “This girl is a singer!” Years later, I went to the Keystone Korner after moving to Marin Coun- resurgence? say, and I still agree, ‘I really think ESP has a ty in the ‘70s. I went to hear Roland Kirk play. He fantastic place in history, and it put me in a posi- remembered me and invited me up to sing, but I PW: She invited me to sing with her and I was tion where I was making history…I’m very, very was too shy. The same thing happened with Bob- happy about that. It was great to record with Jessi- grateful to Bernard’ and I definitely feel now like by Hutcherson when he played there one night ca. I wanted to do more. It was too short and I’m happy that he recorded me. during that time. He remembered me from New sweet. I’d love to make another album with her. York and also invited me up to sing, but again I [Note: Jessica Williams has married and retired JI: I wasn’t going to mention this but since you was too shy. from performing] brought up the ESP book, I will. Richard Alderson is quoted to say that he asked you years later for JI: There was a lot of missed opportunity there. JI: Your next recording came in 2004 with your new material but that he was disappointed when self-released You Thrill Me, a collection of unis- he heard what you gave him. He said, “This stuff PW: Yes, there’s been a lot of missed opportuni- sued songs from 1962-79 on your own label – sounded as if Patty was on some mood stabilizer.” ties. Tom Wilson took me to Columbia rec- Water. It opens with a Jax Beer commercial ords. The piano there was beautiful but I had no [including trumpeter Joe Newman] that you made PW: That’s very cruel, I don’t appreciate that. I confidence and sort of apologized and thanked the in 1964, the year before your first album was rec- haven’t ever had any kind of [medicine like that]. people there and left feeling defeated. It had been orded. Did you do a lot of commercial work? He’s a cruel person, I guess. That’s fine. Some a big chance to record for Columbia. I also felt people like to talk and they don’t have anything that same way when I felt defeated after singing PW: That’s the only commercial work I did. It valuable to say, they just think they have to say with Bill Evans at the Village Vanguard. I hurried was a Texas beer. I was asked to do it. Malcolm something. out after singing with him and felt so defeated. I Dodds was the arranger and he invited me to sing. had wanted so much to make a success of singing I remember I got paid 43 dollars. JI: Your last release was Happiness is a Thing with him that evening. He was so kind. It was Called Joe [DBK Works, 2005]. Who do you very special that he invited me to sit in and

26 November-December 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 Patty Waters JI: So you never had any problems with club owners or musicians with unwanted attention?

PW: Never, never, never, they’ve all been good to (Continued from page 26) me. It may seem hard to believe, but this has been “Time makes heroes sing. Those were both discouraging experiences. I true in my case. I can’t thank them enough, they and dissolves celebrities.” couldn’t ever face Bill Evans or Tom Wilson were supportive and kind and still are. again. I regret that I couldn't have faced them

again and should have apologized to them after- Warren Smith (percussion) asked: “I first saw wards. I ran away rather than believing in their you in London while I was working with Janis - Daniel Boorstin, Past Librarian of Congress friendship as I should have done. I am also re- Joplin in 1968. Did Janis Joplin have much of an minded of how I always struggled to have a piano influence on your singing?” as well as the current day. How do you feel about wherever I lived in Manhattan. I went through what you are doing with your vocals now as com- moving each time I moved into a new tiny PW: Oh, Warren, I’d love to talk with him! He pared to what you were doing in the ‘60s?” apartment. Sometimes they were hoisted through wrote some arrangements for me. Janis Joplin, no, the windows on cables. she had no influence on me at all, but I liked her. PW: Hi Burton, he’s wonderful. I can’t compare to the ‘60s, I was in better voice. The ‘60s were Amirtha Kidambi (vocals) asked: “What was it Ran Blake (piano) asked: “It’s been so many when I was singing well. like being a vocalist in a predominantly instru- years but I remember you as being multitalented mental scene of avant-garde improvised music? and your music could be raging and yet in person JI: But now you have a lifetime of experience Was it isolating or empowering? What were the you could be so gentle, so considerate. I keep behind you. Doesn’t that enter into it? challenges you faced or the avenues that opened thinking of Jeanne Lee, Billie Holiday, Chris Con- up to you as you forged your path? In a communi- nor, , , Robert PW: Maybe, I guess so. Some people say I’m ty that is still dominated by instrumentalists, I Johnson, , , and espe- hired because I have a legacy. [Laughs] So I have think it is important for us young singers to hear cially Mahalia Jackson. My heart belongs to them. a legacy now. I can’t wait to get on the road and from those who came before us as we hone our Have any of them been of special importance to do more. craft and demand space.” you?” [Since Billie Holiday was addressed earli- er, Waters was asked to address the other artists Sheila Jordan (vocals) asked: “You always sang PW: It was empowering. Even in high school, I mentioned] with such passion and depth so my question is liked being the one woman in a big band. I’ve why did you stop giving yourself and the world never minded the percentage of one women to a PW: Ran! I hope I get to ask you after this inter- your profound messages? I have had lovers try to bunch of guys. I like it, [Laughs] I never thought view how to get in touch with these people. Wow, discourage me for years not to sing but I never there was anything wrong with it. I’m making that’s some list, he named so many. I like all of gave up or gave into their demands. Music is part light of this and maybe I shouldn’t because she’s them. I didn’t grow up listening to Mahalia. I like of me and is an extension of my being. Did some- asking seriously. She deserves her place in music, them all very much. I can say that I’ve always one discourage you? I hope not. I hope you come and all women do, absolutely. As far as what chal- liked Anita O’Day, I saw in person back on the scene with your beautiful songs. The lenges I faced? I don’t know. [Author] Joseph in New York. Every singer is interesting to me. I world needs you and you need you. Best to you Campbell said, “Follow your bliss.” I was follow- admire , Ella, I loved . I always....Sheila” ing my bliss [Laughs] before he made that phrase. wrote her a fan letter, [Laughs] I got back an 8 x 10 signed glossy. PW: Oh, gosh. I’ve never met her and I respect Amirtha Kidambi also asked: “In terms of vocal her so much. Oh, I’m gonna cry and fall apart. Oh, health, do you have any advice for vocalists who Jessica Williams (piano) said: “Love and happi- that’s so sweet. My goodness, so sweet. Well, I’m are working with extreme or harsh techniques and ness to you. I haven’t seen you in almost two dec- a Pisces, if that helps explain anything. I’m al- want to be singing for a long time?” ades but I enjoyed our project together. My ques- ways confused about what I’m doing. [Laughs] tion is important and pertinent for all jazz musi- Two fish – opposite directions! I don’t know what PW: Good question, I do not have a very good cians at this time in the music’s history – How do to say? These questions - incredible questions. I answer. I’ve read what other singers have done, you make a living now, Patty? Dialogue is what love her and I appreciate it. I’ve never had anyone like concoctions of herbal teas that have worked our world needs now and I am sure that you, my discourage me from singing. I guess I just can’t do for them. I don’t think alcohol is a good solution friend, will give us some items to think about. I any more than what I’m doing. Back to the but I use honey if I’m worried about my throat. I just turned 70, got married, and am very happy phrase, following my bliss …. I try to follow my think it’s about really just trying to relax. The and lucky.” bliss but I don’t work at promoting myself. It’s throat is most important so try not to strain. Don’t really difficult for me. I’m excited for the future, stress and remember to breathe right. PW: No! Jessica, oh, my gosh! I don’t really talk life is unfolding as it should. [Laughs] Pretty about it but I’m a senior and I’m grateful to be corny, huh? I’ve probably had more pleasure than JI: Would you address the gender issue? You receiving Social Security in order to survive. I deserve during my life. I do feel extremely were a woman in a heavily male predominated lucky. field, especially at that time. JI: Let’s expand her question to ask about your  years in California. You earned three degrees at a PW: I never objected to any of that. I’ve always community college. Was that done as a challenge

thought of myself as a singer in a band, a big band to yourself?

that’s the world of musicians. I have no problem

being part of a predominantly male community of PW: Yes, I think so. It was perfect timing. My musicians. We all play music together and music son was in elementary school at the time and I ““The greatest discovery of any is our focus. There's always room for a good mu- enjoyed going to school. I have a B.A. in Fine Art generation is that human beings sician, male or female. I honestly think it will and Art History. I did a variety of things while I can alter their lives by altering the continue. I think women will always be appreciat- lived out here. A pre-school assistant working attitudes of their minds.” ed in music for the talents they offer. Men musi- with kids. I never did anything with my degrees. cians have been a great support to me through the years. Burton Greene (your past and occasionally pre- sent pianist) asked: “I played with you in the ‘60s, - Albert Schweitzer

To Advertise CALL: 215-887-8880 November-December 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com 27 that. He gave me a chance to play and a chance the Jazz department. They moved to USC for a Helen Sung to experience that whole world. You have to be good while then they went to Loyola and now on your toes. You don’t know what he’s going they’re back at UCLA. So, yes, I was a student to play next and if he doesn’t like what he’s of both I guess. (Continued from page 10) hearing he’s going to let you know it in no un- certain terms—no mincing of any words. He JI: So talk a little bit about some of the other HS: Yes. That’s so awesome. I bet those dates was also always so encouraging. He always influential artists with whom you’ve either stud- were like bam, bam, bam, bam, thank you. asked “Well what are you up to? Let me hear ied or worked. Perhaps, give a broad view of your record.” And the stories he would tell … I some of the conversations you might have had JI: The first time I saw you play was with Clark really appreciated that about that generation or things that they might have said that made a Terry’s Big Band around 2006 at the Blue Note. which unfortunately is passing. Just being with significant impact on your own development as Why don’t you talk a little bit about your associ- them, spending time with them, that’s part of the an artist or your life. ation with Clark and the kind of advice or guid- music too. It’s not just the technical nuts and ance he might have given you during the time bolts of chord changes and stuff like that. Just HS: As a student I learned so much from Ron you played with him. him letting me be a part of his musical world Carter - the rigors of being on the band stand. I and life was such a privilege. Hearing him play remember him saying “You want to develop HS: Sure thing. Yes. Well, I think if I hadn’t is like a lesson. That big band thing, besides your own voice? Then you need to write music.” gone to the Institute of Jazz— being so much fun, it was also just a really great He would come through maybe once every two weeks and be there for two or three days with us, and we would have to have a new song every time he came. We would perform the song and “Jon Faddis was the one who he would critique it and give suggestions. That was such an invaluable experience. Jon Faddis said ‘Helen, I don’t hear was the one who said “Helen, I don’t hear enough blues in your playing. You need to check out the blues.” He made me learn Ray Bryant’s enough blues in your playing. solo on “After Hours” on that album Eternal Triangle or was it Sunny Side Up, sorry?

You need to check out the JI: With and ?

HS: Exactly, and Dizzy. Oh no, no, no. I’m go- blues.’ He made me learn ing to get the two albums confused.

Ray Bryant’s solo on ‘After JI: I think it was the Eternal Triangle.

HS: Yes, that’s right. So for years after he’d Hours’ on that album [by Dizzy seen me, “Helen, let me hear that soul.” That was just also so important; and Barry Harris unlocking be-bop for me. What a guy, what a Gillespie] Eternal Triangle master and beautiful spirit and soul. And for me is always the biggest challenge because it’s the one thing I can’t fake. If you don’t un- or was it Sunny Side Up…” derstand it … I remember when I was trying to learn it, it was the one I couldn’t fake. So I’m so it was at the New England Conservatory when I learning experience, a history lesson every night. indebted to him for helping unlock some of that. attended—I wouldn’t be doing what I’m doing Besides telling you the truth and kicking your Be-bop is another thing that just gets deeper and today. I am so indebted to that program and their behind and all that stuff, they would also always deeper, right. I also studied with Kenny Barron special vision of recreating a University environ- encourage you: “Look, you need to move the and Danilo Perez while I was a student and both ment the way jazz had been taught for most of music forward too.” So I’m so grateful for of them were just so fantastic. its history—which is on the bandstand from Clark. master to apprentice. Clark was our very first JI: Do you remember anything in particular that teacher. Besides being an unbelievable trumpet JI: I remember attending a clinic of his one time Kenny suggested to you? player, player, he makes everything and somebody was starting to get into analyzing sound and look so easy. I remember one time I the music to the point of being a musical scien- HS: Kenny was the type of teacher where he tried to play basketball myself and I’m like, tist. Clark asked, “What are we doing here? Are would play for me and I would listen, and he “Dang, they make it look so easy on TV.” I al- we trying to figure out the square root of B would talk through his playing and comment on most cracked my nail just trying to catch a re- flat?” I’ll never forget that. that. I was trying to absorb this new music that bound. So he’s just a phenomenal instrumental- to me had such a different approach at least ini- ist and his swing—he’s so woven into the histo- HS: [laughter] ] Oh my God, that’s great. I nev- tially versus classical music. One thing he said, ry of jazz. He’s also unique in that he really er heard of that one. I’ve got to remember that “Well Helen, the difference between classical pioneered jazz education. That to me is one of one. music and jazz is that in classical, you perfect it his special qualities. He has such an amazing in the practice room, and jazz you perfect on the legacy of people that he’s touched. I’m grateful JI: Where was the Thelonious Monk Institute stage.” It made a deep impact on me because I’d to him because I think he’s one of the band lead- located when you were a student? get very anxious, like “I hope this will be a great ers who made it a point to hire women musicians performance.” It’s still something that I have to back in the day. Sylvia Cuenca was his long HS: They were housed at the New England watch - because of that perfectionist in me and time drummer, and Terri Lyne Carrington before Conservatory of Music, but they weren’t part of the whole classical aesthetic, where you practice

28 November-December 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 this is the track. It’s a different process. That and person. Going back to Wayne really quick Helen Sung happened with some of my songs. before I forget it again … I was talking to him about his approach to writing, and he said some- JI: Did you have any discussions with Wayne times he would sit there at the piano all day just and you practice until it’s perfect. If you can Shorter that you’d like to share? By the way, one trying to find what chord or note comes next. So reproduce that perfect performance in the prac- of the albums of his on which I am fascinated by that to me was like, “Wow.” Sometimes I’ll be tice room on stage, then that constitutes a suc- the orchestrations is Atlantis. trying, just banging out the chord here … no cessful performance. But jazz is not like that— here …. let me try this …. hear that again. It’s a especially if you’re playing with a band— HS: Oh yes. That blew me away. That’s one of very organic way of composing. He is not going because you’re dealing with at least two to three my favorite albums. I really think Wayne’s mu- to move on until that chord comes, until that to four other different conscious beings who sic is not defined by any genre anymore. It’s note comes. Just to think that Wayne Shorter have their ways of hearing music, and you have him, and when you hear him play you know it’s does that! [laughter] Wayne has been so encour- to allow that to impact you and work together him. I know when I hear Wayne on the radio— aging too. He was just saying, “Keep doing what with that. That’s a whole different ball of wax. I and not just because I know all of his recordings. you’re doing.” He would say it in his own very just love Kenny’s touch, his sound. It’s so in- His writing—I admire someone who has persist- cool, unique, peculiar way. To have someone spiring and how he is as a human being. I really ed through to find that purity. That’s his music. like that say something like that - to me, it was looked up to him – not just as an artist but just Even though you look through his history, just really …. and Herbie too! Gosh, these guys everything about him. After that, I really learned there’s that sense that what he writes is not de- are my heroes! I can’t tell you how much it the most from . He’s such an rivative, it’s just him. Monk is another person means. The business is hard enough—just to amazing musician and I learned so much from like that who was like that out of the gate. I struggle artistically. They’re like a drink of wa- him, not just from playing his crazy music. He think that is remarkable because he never sound- ter in the desert when you’re needing that extra has such vast experience and knowledge in mu- ed like anybody but himself. That takes so much little push to help you keep going sometimes. I sic. I can’t tell you how much music he lent courage and perseverance. I loved hearing really treasure those moments and just remind me—everything—the whole gospel, R&B to Wayne talk about his influences. A lot of it was myself how very fortunate I am. fusion to funk—everything he liked, all the Mo- about movie music. I’d hear that, like on that town stuff—Marvin Gaye, Aretha Franklin, all album . He loved scary movies. JI: When you got to New York, what kinds of that stuff through Parliament and Sly and the He loved Dracula. He loved The Blob and The gigs were you playing? What were some of the Family Stone, Larry Graham, Stevie Wonder, all Sting and The Werewolf and all that stuff. He challenges that you were experiencing? that. I didn’t know any of that stuff. I kind of gave me some advice. I had just moved to New peripherally did. So I was just like a crash music York. He said when he was in New York, he HS: I was not one of those people who came to course with him. Then to early tribe and floated around. He said there were many musical New York and already had a gig. I hung out at fusion, Weather Report, Light as a Feather, cliques and circles but he called himself an ob- all the jam sessions I could find. There was one Tower of Power was one of his favorite groups. server. He liked floating around in these differ- in Brooklyn that I went to a lot. The club is no It’s just fascinating to see how all of that comes ent circles, not necessarily being firmly en- longer there—the Up and Over Jazz Club. Then out in his writing. But that was such an incredi- trenched in any of them but just observing. So of course, Small’s, Cleopatra’s Needle. That’s ble experience for me. Playing with Wayne that’s something I did, because I’m the type of how I got to meet a lot of musicians. I started Shorter was a milestone experience—seeing person where I like to feel like I belong. It’s hard doing little gigs here and there. I worked a lot how he works, and spending time with him and as a jazz artist sometimes – for me, because I with vocalists. I don’t do that as much anymore - listening to him talk about his influences. What a came to the music so late. I didn’t really go to and I would love to again. I love playing with privilege. He’s such a big influence on me in school four years like a lot of artists did. So vocalists. I’d play at African American social terms of writing and harmonies. Working with sometimes I feel like a bit of an outsider. I feel clubs and I would look up and I’m the only Terri Lyne Carrington—what an incredible mu- like a lot of people’s connections for the rest of Asian person there. But they were so cool, so sician and artist. I recorded that Mosaic project their musical career, they make in school. accepting. That’s another really important part CD with her back in 2010 I’d say, in the sum- of jazz I want to acknowledge. It is an African mer—I didn’t realize how much it had influ- JI: I understand how you would kind of feel a American art form. It came from that culture and enced me in the making of this record, Anthem little bit outside. Of course, everybody is strug- I always say jazz is one of the most generous art for a New Day. gling with their own music and careers and al- forms. I think it’s able to take in so many differ- most narcissistically in a mode of thinking that ent influences and treatments, but it’s jazz. It JI: In what ways did recording with Terri Lyne doesn’t go beyond themselves: “Do I sound still retains what it is. I think that’s very special. Carrington influence your new record? good? Did I sound good tonight? What did he That’s very unique. I think that’s what makes think, what did she think?” And there’s this kind jazz so timeless because somehow it’s still jazz. HS: She has so much experience in funk, urban of paranoia now and then. I am just so grateful that jazz had room for me. I music, R&B, all that stuff. My jazz experience is really feel like that experience of being around that you record in the studio and that’s it. I re- HS: No, that continues for me. I think it’s a life- , hanging out with them, ob- member we recorded a trio track with her, me long struggle. Sometimes when I’m feeling like serving their culture—really helped me so much and Esperanza. I was like. “Wow, that’s a nice “Oh man, where do I fit in,” it’s like, “It’s in being able to be a better jazz player too. It’s recording.” But then when I heard the final prod- okay.” You just have to keep being true to your- not just about the technical things. There’s the uct, she had added so much stuff in post produc- self and being honest about what you hear. I whole spiritual, cultural—that’s all so much a tion — additional things she was hearing, that it think the worst thing we could do as artists is to part of the music too. was almost a different piece. change ourselves to try and fit in somewhere because it’s not honest and it can’t be real. JI: What was the culture like for you growing JI: You mean she added things that she played? That’s one thing jazz has taught me. That’s why up? I’m so grateful. I feel like jazz has been used in HS: No, she added a clarinet, she added vocals my life at least to help make me hopefully the HS: Well, I’m the oldest of four kids and my and background stuff too, layering stuff which is best or better version of who I could be. The parents were immigrants. They were born in very present day with the hip hop. So just that masters would say you play who you are. So I [Mainland] China. Their families were on the idea that a track is the starting point - and that’s had to deal with myself, work through a lot of wrong side when the Communist revolution how she goes into the studio thinking, versus stuff in order to feel like an authentic musician (Continued on page 30)

To Advertise CALL: 215-887-8880 November-December 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com 29 and Madonna. But I always felt a little guilty also informs my writing. And like you said, tran- Helen Sung [laughter] ]. That was it—pretty one dimension- scribing has helped me, like “What is that [chord al artistically. I used to get really bent out of or melody line]?” shape when I felt, “Why don’t my parents sup- (Continued from page 29) port me and blah, blah, blah…” not just “Why JI: Yes, sure. You’re trying to figure out that can’t they get into the music, why can’t they one note that’s obscured by some other instru- happened. So their families fled to Taiwan when understand.” I have so much appreciation for ment or chord, or whatever. they were both young. That’s where they met. them now. Wow, how do you do it? You come My dad came here for graduate schooling and to a country where you don’t speak the lan- HS: Yes, because it all goes inside in the big my mom eventually also. That’s how I came to guage. You’ve studied it at home but it’s differ- mix and it comes out at different times. I think be born in Houston, Texas. They were tradition- ent when you’re there. And you started a life and music is such a great responsibility. There’s a al. We call it “Chinesey.” They were Chinesey you raised a family. They never had the chance creative aspect, but there’s also an emotional and in some ways, or traditional. But in a lot of ways to cultivate an appreciation. That was a luxury spiritual aspect. I feel like we’re receivers of they weren’t—meaning that we didn’t celebrate really. I’m so grateful that they worked so hard beauty that we are meant to transmit to the Chinese New Year. I remember we didn’t get to give me a life where I could make a living as world. It’s always like, “Oh, gosh, I wish I could upset about that until we found out our Chinese a musician. I get down like everybody else but do more. Why didn’t I blah, blah, blah?” It is friends got money on Chinese New Year — remind myself to be grateful. important to be faithful to that because music is “Wait a second, what is this?” It wasn’t like we a gift. I’ve been given this gift and I want to be a always ate Chinese food. One thing I really ap- JI: What is it that are attractors for you about faithful steward. preciate about Houston is that it’s a huge city this music? and it’s diverse and it’s urban. We attended JI: In an article that I read years ago about Mas- magnet schools. Magnet schools were a big tool HS: I was talking about this with a friend of tery, a primary idea was that you’re on this path back in the day to help desegregation. So I re- mine, the drummer Donald Edwards yesterday. of mastery as opposed to being a master at what- member always being around different ethnici- He was saying that we get into the music so ever you do. Also, we spend most of our time on ties growing up. Unfortunately I did experience much in terms of the breadth. He felt like when plateaus. For example, you’re practicing and my own little racism against Asians. So it wasn’t he worked within other genres it was very fo- practicing and practicing and you feel like like I only grew up around Chinese people or I cused – and they don’t want anything else but you’re not going anywhere. only grew up around white people. that. But jazz is just a big mess I guess, in a good way. It’s so wide ranging. What got me HS: Oh lord have mercy, yes. JI: The racism against Asians that you were into jazz was that feeling that swing gave me. experiencing—was that verbal? That it made me want to move, made me want to JI: Then suddenly, you put it down for a day, a jump up out of my seat. It’s so alive. At the week, maybe months, or maybe not at all, and HS: Yes, verbal. You know, the stupid calling same time jazz has grown and it will continue to suddenly there’s this jump up to another level. “chink” and all the words like that, and “jap”. I evolve, and that’s the beautiful thing about jazz. was like “Wait, first of all I’m not Japanese so We get into all of it - that complexity, the nu- HS: Breakthrough. why are you saying that?” [laughter] ] ance, the layers upon layers upon layers [laughter] ]. JI: Yes. This breakthrough is a jump up to this JI: Like, get your ethnicities together, okay. next level, but you don’t stay at that next level. JI: What were some of the albums that you first You drop back to a level that’s a little bit lower HS: Yeah. Like “slanty-eyed,” awful stuff like listened to that got you interested in the music? than the one you’ve jumped to, but higher than that. Kids can be mean. They learn it from their where you just were. So the path of mastery is parents or whatever. HS: ’s Night Train. Miles Davis, an ongoing series of spending most of your time Kind of Blue, I think that’s the first album I ever on plateaus, interspersed with jumps up to a JI: Like in the book Lord of the Flies, did you bought. Bill Evans, Jazz Explorations. Herbie higher level and retreat back to somewhere in ever read that? Hancock, Maiden Voyage. Keith Jarrett - ow, between – until the next jump up. what is he doing? This solo piano thing - it was HS: Yes, oh my God, awful, right? Gee whiz. just so remarkable. You could probably see HS: I like that. Wow. Cool. But then I grew up in the tradition in the way these all have kind of a classical shading to that we were expected to have straight A’s, nev- them. That’s how I made my way in. er get in trouble at school.  JI: What’s composing like for you? What kinds JI: I think it’s really good to develop responsi- of inspirations do you experience? bility and experience a quality upbringing. HS: Well, I’ll never forget something Gil Gold- HS: Yes. When I was young, I had a little red stein said. He said there’s always stuff going toy piano that I always tucked under my arm. through your head. There’s stuff going through

My mom said that she would hear me play melo- your ears. But there are a few seeds that you

dies I heard on the TV or the radio. That’s why know you need to pay attention to – and that if “What baffles and even they were like, “Well maybe she likes this and you don’t pay attention to them it’s going to be frightens most people are mere ought to start taking lessons.” So I started piano lost. That’s not consciously what I thought about smokescreens. You’ll see these events and violin at around age five. They were tradi- what I was doing. But it’s so true. Most of my as simply the illusions they actually are tional. They never expected me to choose it as a songs come from an idea. It can be rhythmic, it and begin to walk right through them. profession. They really wanted me to be a doctor can be melodic, it can be a harmonic progression You’ll understand that your success or something like that. Then I got into it and that somehow I see where this is going to lead. I lies just beyond your thoughts studied under a very strict teacher from Russia. never took composition lesson - which I want to about these walls.” “ worth listening to except classical do at some point – to have a more systematic music.” So that was basically my life until I left way of looking at things. Sometimes textures are

for college. Of course, I had some friends so we a source of inspiration for me - chamber music - A Rich Man’s Secret would sneak in and listen to Michael Jackson textures, orchestral textures. Chamber music

30 November-December 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 was a potent album, full of good solos and a showcase for Clifford’s songwriting. When the FEATUREFEATURE disc was reissued as a 12” LP, more tunes were needed, and these would be recorded later. Several standards were planned on August 10: “Stompin’ at the Savoy” is almost sedate, going slower than usual. Clifford starts the Clifford Brown theme, Harold completes it, and the theme gets His Life & Music — Part 3 varied, almost from the start. (It sounds like Brown is egging Land on.) Harold buzzes through a happy solo; Powell’s turn is clever, By John R. Barrett, Jr. range of tonal color barely hinted on the GNP and Clifford’s is a warm whisper. “String Along sides. Land is alone for “,” with You” is a solo for Richie, glistens with Clifford’s July session for Pacific Jazz choking up on those trembling, breathy notes. romantic echo, and “I Get a Kick” is a storm (Clifford Brown Ensemble - Pacific Jazz PJ-19) The accompaniment is like a celeste, or a music where the heat keeps building. Land takes the was unlike any he had made up to that point. box. bridge, and it’s impressive…but not like The band was an octet, with people he had nev- contributed a tune of his Clifford. He begins by running through the er played with before (Zoot Sims, Carson brother’s, “Parisian Thoroughfare”: the cymbals depth of his range, followed by some high pat- Smith, .) The result was a blend of go crazy and the horns honk. (Powell quotes terns, and then he goes faster. Land’s solo is East and West Coasts: the group swung like a “La Marseillaise” on the theme.) Harold shouts great, and Powell’s very good, but they can’t big-scale bop unit, and the sound palette was his solo while Clifford finesses his—a nice, compete with Clifford. After all, very few richer than anything you’d find in the East. Two relaxed gait. Despite the bluster, there’s no real could. Clifford Brown standards were recorded for the hurry here; the group simply lets the beauty of The next day was totally unplanned: a herd first time, including “,” a tune he start- the tune display itself. of musicians in a massive , to be ed while in Algeria. Arranger August 3 saw work on three tunes; Duke called Best Coast Jazz. (It was later reissued as put the group into sections: Brown plays, then Jordan’s “Jordu” is taken at a crawl. The horns Clifford Brown All-Stars—Emarcy MG 36132). the reeds in a separate line, and the two rarely work together before Brown’s creamy solo; Present were , , Walter intersect. Pianist is Benton, , Curtis Counce, used as a percussionist, chiming in with Brown and Roach. The numbers between the horns. Clifford’s solo are very long (the shortest exceeds seems “cooler” than usual, each fifteen minutes!); there are good so- phrase having the same precision los, but you have to wait for them. As you’d find in the chart. (Montrose Nick Catalano remarks in his book said “[I]n Brownie’s improvisations Clifford Brown: “This session goes all the notes were correct—like they right for the gut before pausing at the were written down by Beethoven.”) brain.” “” begins with a sun- On August 14, Emarcy called ny walk—Brown starts gently and the again: it was another jam session, band answers with a chord. Here the only more organized. Dinah Wash- horns seem intrusive, obscuring the ington was making a live album in tune’s clean lines; Clifford is nice but the studio (fifty guests were admitted, his turn is too short. “Tiny Capers” for a “party” atmosphere) and she has the feel of a classical piece, with wanted an all-star band. When its contrapuntal lines and resonant Clifford arrived, he was awed: he’d brass. Brown stays near the theme, be playing beside and wistful and calm; ’s (neither were fa- trombone is more active, with a tone mous yet, but would soon be.) He close to Clifford’s. Zoot plays Lester told LaRue, “I won’t be able…” and on his wonderful solo, and Freeman went to talk with Dinah Washington. romps it back home. It’s an interest- When he asked, “Do you really want ing experiment; if the session proves me to do this?”, her reply was anything it’s that Clifford has no “You’re going to save me!” “coast”—he is everyone’s. The results were put into two On August 2 the quintet was at the Capitol Land’s is slippery and sly. “Sweet Clifford” is a albums, Jam Session and (Emarcy Tower in Hollywood, cutting their first session “Georgia Brown” variant, very fast and not MG 36000). If Dinah needed confidence, she for Emarcy. Some tunes would appear on much else. There’s a quote of “High Society,” doesn’t show it: her voice bubbles and stings, Clifford Brown and (Emarcy MG which Clifford did often. Brown’s ballad is with a hint of Billie Holiday. She is sweet and 26043), the rest on Brown and Roach Incorpo- “Ghost of a Chance,” told in hard, slightly wea- serene on “No More.” And in the distance you rated (Emarcy MG 36008). “Delilah” is sensu- ry tones. He yawns, then he wails— it’s a great hear Clifford, murmuring, slow and sad. Harold ous, with Powell’s chords washing over a baião- feeling. Four tunes came three days later: a tri- has a long, lyrical solo on “Darn That Dream”, like bass. Clifford has a mute, snaking over the umphant “Daahoud” (brass pitted against and “I’ll Remember April” is a box of riches. desert sand; Land has a grainy voice and a drums, with Powell deep in the mix), a spar- Max sets up a mambo rhythm, Dinah has a forceful attack. (His model was Lucky Thomp- kling “Joy Spring” (Land uncorks a gritty gem smile in her voice, Terry growls through a son, and you can hear some of that here.) of a solo), the earthy “Mildama” (a tom-tom mute…and before he ends, Clifford explodes, Brown’s solo is open-horn, and works from a spotlight for Max), and the delicate “These with some devastating high notes. He might not soft mumble into roof-raising shouts. Max holds Foolish Things” (a feature for Morrow, not re- have saved Dinah, but he made her session a clinic, going over everything in his kit: a leased until the Brownie box set.) The result (Continued on page 32)

To Advertise CALL: 215-887-8880 November-December 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com 31 with Chris Powell. The other horns are Herbie career get started. Clifford Brown, Part 3 Mann and Paul Quinichette; the arranger was Brown-Roach started 1955 on the road, Ernie Wilkins, who was beginning his long run playing Philly and Toronto before returning to (Continued from page 31) with Count Basie. New York. The entire group, minus Land, was This album (Sarah Vaughan—Emarcy MG on hand for Clifford’s next project: an album of memorable. 36004) is full of small delights: Sarah scatting ballads with a nine-piece string section. (And he The end of August was as memorable as low of “Lullaby of Birdland,” followed by was still 24 years old; some jazzmen wait their the beginning. Clifford won his first major Brown in a similar tone. ’ warm whole lives for a string album.) award: Down Beat’s New Star on trumpet, on piano on “April in ,” enfolding Vaughan as The arranger was . A trumpeter August 25. He also placed fourth in the trumpet she moans her regret. Quinichette, called “The himself, Hefti knew of Brown but hadn’t yet poll, behind Gillespie, Armstrong, and Eldridge, Vice President” for his resemblance to Lester met him: “I was conducting the orchestra, but I but ahead of Miles Davis. Young, shows why in his solo of beautiful sad- was really conducting Clifford. My eye contact On August 30th the group played its final ness. Sarah’s duet with Mann on “Jim,” leading was more with him than anyone else…[W]hen I concert for Gene Norman, at the Pasadena Civic to Clifford’s bright solo in hopeful escalation. heard Clifford Brown go into sixteen bars of Auditorium. The music was transmitted, by (Herbie and Paul then whisper together, sound- beautiful improvisation [on “Stardust”] after the telephone line, to Radio Recorders in Holly- ing like one instrument.) Her mannered verse on final chorus, I thought ‘Gosh, I never heard wood, where it was mastered directly onto 16- “I’m Glad There Is You,” with the horns weav- anyone do it like that.’” inch discs. (The engineer also did some on-the- ing through at odd moments. Brown’s muted The strings had already been rehearsed spot editing, against Norman’s wishes; many chorus on “September Song,” relaxed yet when Brown entered the Fine Recording studio. sax solos were lost in the process.) These tunes busy—his impact is loud while his tone is soft. By all accounts, it went smoothly: the strings are similar to the Emarcy versions, perhaps with Wilkins makes this small group sound like a open “Yesterdays” lushly, then recede as a little more polish. “Jordu” is now faster, and choir, a lovely fog through which Sarah’s star Clifford unleashes big, creamy notes. Max’ the peaks higher; Clifford triggers two waves of can shine, and the glow is impressive. cymbals are the anchor, along with the light applause with his loud, percussive solo. Barely a week later, on December 22, guitar of . Brown trembles on “What’s New?”, sounding frail even as his tone is strong. Powell adds dramatic chords, and the “On August 14, Emarcy called again: it was strings sort of sneak in. While the charts can be heavy-handed, Clifford is understated; his sim- another jam session, only more organized. ple lines on “Blue Moon” outdo the grandeur around him. “Lovin’ Dat Man” shows the Dinah Washington was making a live album strings at their jazziest, while Clifford comes on like a sax. One note slides into another, and his breath never falters; the command he displays in the studio (fifty guests were admitted, for here is impressive. He’s loud and soft on “Willow Weep for Me” in a duet with himself, a ‘party’ atmosphere) and she wanted an all- and “Stardust” is all Hefti says it is. The end result was Clifford’s best-selling album star band. When Clifford arrived, he was (Clifford Brown with Strings - Emarcy MG 36005) and it’s the record which inspired awed: he’d be playing beside Clark Terry to become a trumpeter. The quintet spent much of February in Bos- and Maynard Ferguson (neither were ton, where they played the Storyville club on a bill with the . (It was dur- ing this stay that Clifford and LaRue had their famous yet, but would soon be.)” third wedding ceremony.) On February 23 they arrived at Mercury Sound Studios in New York (There’s an abrupt cut to the exchanges, which Clifford returned to the studio for another sing- to make their next album for Emarcy, Study in is the only place we hear Harold Land.) Clifford er: Helen Merrill in her first album, arranged by Brown. (Emarcy MG 36037.) Leftover tracks is then announced, playing “I Can’t Get Start- . (Helen Merrill with Clifford from this session were added to Clifford Brown ed”; he’s fine, but there’s a bad ring in his mi- Brown - Emarcy MG 36006.) With a great and Max Roach when that disc was reissued as crophone. (His final flourish sounds like a rain- rhythm section (again led by Jimmy Jones) be- a 12” album. storm; the crowd eats it up.) hind him, Clifford was the main solo voice. “Gerkin for Perkin” is a fast bopper with “I Get a Kick” is very close to the studio Helen Merrill was so affected by this session “wrong” chords—it sounds modern even today. version; Land has a mellower tone, and Clifford that forty years later she produced Brownie, an Land has a lusty solo, full of grit; Clifford’s is flutters his notes in a way you won’t believe. album-length tribute to the man who helped her tightly wound, with high notes on top for deco- “Parisian Thoroughfare” is taken up a notch; ration. “Take the ‘A’ Train” arrives in a crowd-

Powell quotes “Can Can” and Harold is silky ed station: Morrow plays 4/4 as Max goes 6/8.

smooth. Clifford is good, but Max is amazing, Powell crashes down, faster and faster; a train

going over his kit at various speeds and whistle roars through, and now starts the theme. rhythms. The applause is fit for a job well done. “The greatest day in your life Harold starts the bridge slow with Brown in After Pasadena, the band went on its first and mine is when we take total double-time; the roles are reversed by phrase’s tour, centered in the Northeast. They hit Chica- responsibility for our attitudes. end. Harold has oomph on his solo, a drive go, , . When they reached That’s the day we truly grow up.” you’d expect from ; Clifford runs New York on December 16, Clifford had a job fast, bopping between three or four notes. waiting for him. Sarah Vaughan was about to “Land’s End” sneaks up on you, its busy bridge make a new record, and she requested his contrasting with a greasy slow theme. Harold’s horn—they had first met when he was touring - John Maxwell tone has a blunt buzz, where Brown is careful

32 November-December 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 the opening day of the , with the group. Brown may be good here, but Clifford Brown, Part 3 where the group was scheduled to appear. The Sonny takes over. He sounds especially in- Newport show earned some of their best re- spired. In one regard, he was: struggling with views ever; afterwards they proceeded to Philly, addiction at the time, Rollins adapted the prac- and cautious—it’s a beautiful contrast. then to New York’s Basin Street, and back to tice regimen of his bandmate. “Clifford was a The following day was busy, with six dif- the Bee Hive, for six more weeks. As hard as profound influence on my life. He showed me ferent tunes getting cut. (Some alternate takes this seems, the group would soon be busier. that it was possible to live a good, clean life and were saved for More —Emarcy It was in , in Early November, that still be a good jazz musician.” 814637—as was a truncated version of “Land’s Harold Land heard about his ailing grandmoth- “Junior’s Arrival” was titled “Step Lightly” End.”) “Swingin’” is first on the menu: a Silver- er. He wanted to care for her in San Diego, and by its author, ; the name was like bop line, it’s fast and lives up to its name. Clifford needed to find a new sax player. He changed with the birth of Clifford’s son. Brown “George’s Dilemma” was originally called found out that Sonny Rollins was in town, plays high and pure on the theme, deep and “Ulcer Department” and works Morrow’s bass rooming with Billy Mitchell at the YMCA. Rol- speedy on his solo. Sonny tries the same thing,

“[Clifford] found out that Sonny Rollins was in town, rooming with Billy Mitchell at the YMCA. Rollins wasn’t seeking employment at the time; he’d said no to Miles Davis earlier in the year, and was delaying his answer to Clifford. Finally, the silence was broken by Billy Mitchell: ‘Look, if you don’t want the job, I’ll take it.’”

into a calm, exotic environment. Land’s solo lins wasn’t seeking employment at the time; and is slightly garbled; when he slows down, he has no worry, and ambles with a warm assur- he’d said no to Miles Davis earlier in the year, unwinds a beautiful strut. “Flossie Lou” shows ance. (Powell’s turn is drenched in echo, for a and was delaying his answer to Clifford. Final- the horns to great advantage, and a remake of different kind of beauty.) ly, the silence was broken by Billy Mitchell: “Mildama” has a wider range of sound, from “If I Love Again” is intricate and fast, with “Look, if you don’t want the job, I’ll take it.” (A Clifford’s high bleeps to a flood of tympani-like phrases heard on other Brown solos; “Blues tough tenor in his own right, Mitchell is best thumps. Sweet thunder, indeed. Walk” is more like a jog, with everyone getting known for playing with Count Basie in his The itinerant life went on, with weeks in their licks in. (The version on More Study is “atomic” period.) That sentence sped the deci- Detroit (where Brown appeared on a Soupy faster, and I think I like it better.) “What Am I sion process; starting in early November, Sonny Sales Show and played two songs—this may be Here For?” is very fast, sporting one of Rollins was the new horn. the only film footage of Clifford), Boston, Phil- Clifford’s best solos, and “Cherokee” starts on After their stay at the Bee Hive, the band adelphia (Rollins got hurt in a car wreck and the warpath, the band chanting together with moved up the East Coast, returning to Basin had to rest a while), Pittsburgh, and New York, force. Harold is wonderful here, and don’t for- Street. Plans were to record the band live, but where on March 22 a new album was made. get Max— as if you could from that opening. these were interrupted by the birth of Clifford Sonny Rollins was contracted to Prestige Rec- Finishing up on February 25, “Jacqui” Brown, Jr., on December 28, 1955. Brown spent ords when he joined Brown-Roach. In exchange finds the group in a salon, taking a prim theme two weeks at home, changing diapers, playing for Rollins appearing on the Emarcy disc, the from the drawing room to the barroom. Brown music for his son, and talking to him. LaRue whole group would make one for Prestige, with shows off his lower register, while Morrow says, “He was a wonderful father. He would Sonny listed as leader. (Sonny Rollins Plus Four bows an ending which suggests “Con Alma.” take the baby … have a whole conversation - Prestige 7038/ OJC-243.) And the slow blues take us home on “Sandu”: with him about philosophy, art, or music.” The first track makes a statement: it’s a bop Clifford has a good double-time bit, while Land These two weeks would be about the only ex- waltz, at a surprising slow pace. Though seems even faster. This album is less mannered tended time Clifford would have with his child. Clifford has problems with the theme, “Valse than the first, more bluesy, and stronger…in Business resumed on January 16, 1956; the Hot” is a natural beauty, and has become a several different ways. album was titled Clifford Brown and Max standard. Sonny has a richer tone this time, sails In their typically restless manner, the group Roach at Basin Street, although it was taped in through the changes with ease, and stuns with a spent their springtime in transit, passing through a studio. (The outtakes would end up on More wondrous double-time passage. Brown’s solo is Detroit and Toronto before heading to Philadel- Study in Brown, along with some Harold Land decent; with his own rapid fireworks; Powell phia. During their week at the Blue Note, Max tracks.) “I Remember April” opens on a mambo glows with his comping. Both horns charge got hurt in a car crash and had to take five days beat and stutter-riff horns; after two minutes through “Kiss and Run,” smooth as syrup, and off. (During that time, he was replaced by Art they ease into the theme. Rollins doesn’t growl just as sweet. How pure are Clifford’s notes Blakey.) Then came two weeks at Chicago’s like his predecessor: his feathery tone favors the here, how crisp his diction: it is very proper, and Bee Hive; this engagement ended on July 15, high notes—like Harold Land in his early days (Continued on page 35)

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ORDER Start Your Promotion NOW! - PressToRelease.com 34 Experience NovemberResults-December 2018In  24-48 Jazz Inside Magazine Hours!  www.JazzInsideMagazine.com CALL 215- 887-To8880 Advertise CALL: 215-887-8880 ter Jazz Digest, with a photo of the session’s jaw.) Ziggy skates around with finesse, and Clifford Brown, Part 3 personnel, as evidence that the session took Dockery has a reflective solo. “Donna Lee” is a place on May 31, 1955. Don Schlitten, who little ragged at first, but builds into a speed trial purchased the tape from Fred Miles and who for Clifford. (Not as good as “Walkin,’” but it’s unquestionably hot. “I Feel a Song” has a great produced the album The Beginning and the End, close.) Dockery has an extended solo, his best; opening vamp and a “sheets of sound” solo by cited the date on the original tape box—June 26, Brown returns, with better control this time. Brown—and there is nothing wrong with “Pent- 1956—and the testimony of the man who rec- Ending with a flourish, Clifford Brown tells his Up House.” The theme is great, Clifford is intri- orded it. This point might not be so important audience, “You make me feel so…wonderful. I cate, Rollins is earthy, and Max is thunderous. were the music not as essential as it is. really must go now.” If this was his final night After this strong effort, the band packed up and Music City, on 1035 Chestnut Street, was on earth, those words seem positively chilling. headed to their next gig. It would be the last owned by Ellis Tollin, a music teacher and ses- Right after the show, Clifford and Richie album the group would make. sion drummer. (In 1961, he would play on Powell got into Brown’s car, heading towards After a long stay in New York, the band Chubby Checker’s “The Twist.”) Begun as a Chicago. At the wheel was Nancy Powell, went south: a week in D.C., then a concert in drum studio in 1948, it expanded to teach other Richie’s wife. Max Roach believes Clifford Norfolk, . On June 18, LaRue and instruments and, eventually, sell them. On Tues- started driving, then handed the keys to Nancy Clifford, Jr. flew to Los Angeles; Clifford days a part of the store would be cleared away, when he got tired. After a gas stop in Bedford, promised to join them (with the gift of a fur a major star would jam from 7:00 to 8:00 PM, , the car hit a curve on the rain- coat) after the tour was complete. On June 19 and Tollin’s own group would play until 10:00 slicked road—a curve which had taken other Max and Sonny headed to New Jersey to record PM—all for the admission of one or two dol- lives that week. The car leaped a guardrail, hit a , possibly Rollins’ most lars. Clifford played many times here, which led bridge abutment, and ran down a steep embank- important record. Brown and Richie Powell to the confusion of the dates. Many times he’d ment. Richie Powell, Nancy Powell, and headed to Philadelphia, for a few days’ relaxa- stay after the sessions and offer pointers to the Clifford Brown were all killed instantly. Max tried to keep the band going, with in Clifford’s place; Sonny Rol- “… returning to Basin Street. Plans were to record lins soon left, and afterwards the group disband- ed. Sonny would embark on a solo career, yield- the band live, but these were interrupted by the ing albums like Freedom Suite, Sonny Rollins at the Village Vanguard, and the aforementioned birth of Clifford Brown, Jr., on December 28, 1955. Saxophone Colossus. Max would proceed to large-scale projects like It’s Time, Freedom Brown spent two weeks at home, changing Now!, and the percussion group M’Boom. For those who played beside him, knowing Clifford diapers, playing music for his son, and talking Brown was a pivotal moment in their lives. His presence is still felt today: as to him. LaRue says, ‘He was a wonderful father. has stated, “I don’t know if we’ll ever hear the trumpet played like that again.” He would take the baby … have a whole conversa-  tion with him about philosophy, art, or music.’” This article is respectfully dedicated to the tion. trumpeters in the audience, one of whom was memories of Harold Land, who played beside The house was empty, as wife and son . On this session, the players were Clifford Brown for nearly two years, and to were in California. Clifford went fishing with among the best Philly had to offer. The pianist Ellis Tollin, who hosted the final performance his pals, visited the folks in Wilmington, and was Sam Dockery, later to join the Jazz Mes- of Clifford’s life. Ellis Tollin died in Tamarac, did a little nightclubbing. He played with old sengers; on tenor were Billy Root (who would Florida, on March 30, 2001; Harold Land died friends in a bar in Chester, Pennsylvania; he and play in Dizzy’s big band) and Ziggy Vines (who in Los Angeles on July 27,2001. For those who Powell sat in with Cannonball Adderley at only made two records in his lifetime.) The knew them and their music, they will truly be Philly’s Blue Note. On June 26 (LaRue’s birth- drummer, as usual, was Ellis Tollin. The music missed. day and their second wedding anniversary), they produced can, without exaggeration, be Clifford packed his things for a gig in Chicago; called legendary. Special thanks go to Gene Norman, Don Max and Sonny were already there, having ar- “Walkin’” starts at a fast pace, propelled by Schlitten and Jeanette Tollin for participating in rived straight from Hackensack. Before he hit Tollin’s crisp cymbals. Brown takes the first the interviews which contributed to this article. the road, he decided to stop by Music City, a solo, with delicate high notes and low swoops. Their insights were invaluable for the prepara- Philadelphia music store that hosted Tuesday And then he goes fast—someone screams, and tion of this work.—John Barrett night jam sessions. the crowd approves. Root, best known on the This much is clear: Clifford Brown played baritone sax, gives to his tenor the power of the in a jam session at Music City, joined by local big horn. His solo includes the “High Society” players and recorded by a fan named Fred quote Brown sometimes used, perhaps in ac- Miles. What remains in dispute is the date. Billy knowledgment of Clifford. Ziggy is smooth and Root, who played on this session, claims it was sly, a tone so close to it’s scary. “A man can get discouraged not made on June 26, 1956, the date usually The crowd eats it up, and the exchanges are cited. (“So I went over with Clifford and they something special. many times but he is not a failure took a tape and it was 8-9 months, maybe a year Dockery opens a swift “Night in Tunisia” until he begins to blame somebody before he passed away.”) Root, who played with with a tense little riff. Smooth, shiny notes else and stops trying.” Clifford several times, does not cite a specific emerge from Clifford’s horn, and the fans shout

date. Nick Catalano, author of the biography excitedly. This solo could be composed…it is Clifford Brown, offers the Music City newslet- that perfect. (Those high notes will drop your - John Burroughs

To Advertise CALL: 215-887-8880 November-December 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com 35 CarlosCarlos HenriquezHenriquez Appearing at Dizzy’s Club at Jazz At Lincoln Center December 26-31

© Eric Nemeyer

36 November-December 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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