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196650_HH_Nov_0 10/23/18 4:18 PM Page 1 DE The only jazz magazine THE LATIN SIDE in NY in print, online P32 and on apps! OF HOT HOUSE P31 November 2018 www.hothousejazz.com Studios of the Paul Taylor Dance Company Dizzy's Club Coca-Cola Page 17 Page 21 Eri Yamamoto Ellis Marsalis Roxy Coss Ken Peplowski Smoke Jazz Club & Lounge Page 10 Birdland Page 10 Where To Go & Who To See Since 1982 196650_HH_Nov_0 10/23/18 4:18 PM Page 2 2 196650_HH_Nov_0 10/23/18 4:18 PM Page 3 3 196650_HH_Nov_0 10/23/18 4:18 PM Page 4 4 196650_HH_Nov_0 10/23/18 4:18 PM Page 5 5 196650_HH_Nov_0 10/24/18 12:26 PM Page 6 6 196650_HH_Nov_0 10/24/18 12:26 PM Page 7 7 196650_HH_Nov_0 10/23/18 4:18 PM Page 8 8 196650_HH_Nov_0 10/23/18 4:18 PM Page 9 9 196650_HH_Nov_0 10/23/18 4:18 PM Page 10 WINNING SPINS By George Kanzler WO REED PLAYERS, ONE WHO'S Eternal Triangle," in a barnburner been a fixture on the scene since the arrangement by Mark that also features 1980s,T and the other who has established two tenor saxophones, Ken's trading fours herself in the last decade, are leaders on with the ensemble, and an assertive piano this month's Winning Spins. Ken solo from Ehud Asherie. “Come Back to Peplowski, a stalwart of the late 20th Me,” recalling the Frank-Duke swinger, Century swing revival, pays tribute to the closes the album with a flourish. big band era, and sticks to just clarinet on The Future Is Female, Roxy Coss his album. Even though she's been a (Posi-Tone), is that rarity, a jazz album Rising Star in polls for soprano sax for five consisting entirely of compositions by the years, Roxy Coss mostly plays tenor sax as leader that is not pedestrian or boring. she showcases her original compositions Roxy's tunes are far from ho-hum, built on with a quintet on her latest. a firm foundation of contemporary, main- Sunrise, The Ken Peplowski Big stream-modern forms and rhythms, yet Band (Arbors Records), finds the clar- original enough to be as arresting as her inetist taking oblique inspiration from two overtly feminist referential titles. of his heroes, Frank Sinatra and Duke Roxy isn't just a formidable young Ellington. But this CD doesn't try to recre- (early 30s) reed player and composer, she's ate the music of either since Ken commis- also the founder of the Women in Jazz sioned all but three of the dozen arrange- Organization. The band here, though, is ments; the exceptions being adaptations of not an all-women group, it's a quintet with tunes arranged by Billy May for the pianist Miya Yamanaka joined by the male Sinatra-Ellington album of 1967. rhythm section of Alex Wintz, guitar; Rick What incited him, as he explains in the Rosato, bass, and Jimmy MacBride, notes, is the way both artists worked in the drums. Roxy sticks mainly to tenor sax but studio, recording "live" with all the musi- plays soprano on two tracks and alto and cians in the same room, often working out bass clarinet on one each. Lucas Pino's final preparations on the spot. Also evident bass clarinet trades solos with her tenor on is the close rapport achieved in Duke's the closer, "Ode to a Generation." band between written and improvised, solo Roxy's originals vary from a long form and ensemble parts. "Nevertheless, She Persisted" with ele- His clarinet is prominent in both lead ments of modal jazz, to the programmatic and solo roles, and Ken is the only soloist "Mr. President," an ominous beginning on half of the tracks. Some of the melding (bowed bass) giving way to a martial beat of clarinet and ensemble verges on the tenor sax theme yielding to brisk swing for magical. Dennis Mackrel's chart of the the tenor and piano solos. Roxy, on bass non-Brazilian bossa (Italians wrote it) clarinet, and Alex interact on the moody, "Estate" blends a spare clarinet lead into slinky "#MeToo;" an Afro-Latin feel lights harmony with the reed section in the open- up "Nasty Women Grab Back," a soprano ing, and has Ken enveloped by high brass sax feature, while "Choices" recalls Duke and low reeds during his solo. Ellington's creamy alto saxophonists in Duke is represented by Marks Roxy's alto lead, which gives way to her Lopeman's inventive expansion of "Duet," tenor sax (one of the choices?). Roxy also originally written for clarinet and bass, proves capable of fine, driving hard bop, on into a bounding big band chart; and "I Like "Little Did She Know," and swinging a riff the Sunrise," with Ken sharing solo space piece: "Females Are Strong as Well." with Adrian Cunningham’s tenor sax. The late Allan Ganley's take on "When Ken Peplowski leads his big band You Wish Upon A Star" has a liquid-toned for a CD release concert at Birdland clarinet poured over backgrounds of reeds Nov. 25; he is also at Dizzy's Club and muted brass. One of the most gorgeous Coca-Cola Nov. 1-4 with his quintet. numbers is Mark's chart of the Rodgers Roxy Coss brings her quintet with and Hart standard, "Spring Is Here," done Alex Wintz, guitar; Miki Yamanaka, in pastel shades contrasting with deep piano; Rick Rosato, bass, and chiaroscuro, all sans rhythm section. Jonathan Barber, drums at Smoke Ken's clarinet, with its supple tone and Jazz & Supper Club Nov. 29. She's easy, legato flow, is wonderful on ballads, also a featured soloist with the New but he's also a committed swinger, as well York Youth Symphony Jazz Band for as adept at the challenges of bebop. He Ken's gig at Dizzy's on Nov. 4. proves the latter on Sonny Stitt's "The 10 Coss cover photo by Desmond White, Marsalis by Zack Smith, Peplowski by Stephen Pariser, Yamamoto by Jimmy Katz. 196650_HH_Nov_0 10/23/18 4:18 PM Page 11 Sign-up for our E-ALERT at www.hothousejazz.com and be the 1st to know when the latest Hot House is available on line PUBLISHER/MANAGING EDITOR: For advertising requests and listing Gwen Kelley (formerly Calvier) information contact Gwen Kelley [email protected] 203-434-4646/[email protected] Hot House Jazz Magazine is published monthly and all COPY EDITOR: Yvonne Ervin copyrights are the property of Gwen Kelley. All rights [email protected] reserved. No material may be reproduced without written PRODUCTION & ART DIRECTOR: permission of the President. No unsolicited manuscripts Karen Pica [email protected] will be returned unless enclosed with a self addressed CONTRIBUTING WRITERS: stamped envelope. Domestic subscriptions areavailable for Ken Dryden, Nick Dunston, $37 annually (sent first class). For Canada $39 and Yvonne Ervin, Ken Franckling, international $50. Raul da Gama, Seton Hawkins, PUBLISHER EMERITUS: Dave N Dittmann Eugene Holley Jr., Stephanie Jones, CO-FOUNDERS: Gene Kalbacher, George Kanzler, Elzy Kolb, Michael G. Nastos, Lynn Taterka & Jeff Levenson Don Jay Smith, Eric Wendell For press releases and CD revues send a copy to CONTRIBUTING PHOTOGRAPHER: Fran Kaufman Gwen Kelley: PO Box 20212 - New York, NY 10025 11 196650_HH_Nov_0 10/23/18 4:18 PM Page 12 CLUBS & HALLS UPPER MANHATTAN (Above 70th Street) 449 LA: 449 Lenox Av (bet 132nd & 133rd Sts). 212-234-3298. Sun: 4-7pm Patio Jazz; Thurs: 1-3:30pm Jazz & Dessert; Fri-Sat: 8:30pm. AARON DAVIS HALL: At City College. 138 Convent Av at W133rd St. www.citycollege centerforthearts.org. 212-650-6900. Sets: 7:30pm. Nov 2: $30 adm Descendants feat Wilson “Chembo” Corniel, Jr. & William Cepeda + Redobles de Cultura; 16: $25 Jazz Conceptions in Classical Arabic feat Tarek Yamani. BILL’S PLACE: 148W 133rd St (bet Lenox & 7th Avs). www.billsplaceharlem.com. 212-281- 0777. Fri-Sat: 8&10pm $20 don Bill Saxton Bebop Band. The CECIL: At Minton's Playhouse. 210W 118th St (bet St. Nicholas Av & Adam Clayton Powell Blvd). 212-866-1262. www.thececilharlem.com. Sat: 12-4pm Jackie West Jazz Band. CLEOPATRA’S NEEDLE: 2485 Bway (bet 92nd & 93rd Sts). www.cleopatrasneedleny. com. 212-769-6969. Sets: Early (E), Late (L); Sun E 4-8pm, L 9pm-1am; Mon-Tues E 8- 9pm, L 10pm-1am; Wed-Thurs E 7-11pm, L 11:30pm-2:30am; Fri-Sat E 8pm-12am, L 12:30-3am. Free adm/$10 min. Trios except Mon&Thurs Duets. L Jam. Residencies: Sun E Open mic w/Keith Ingham, L Benno Marmur; Mon Mark Hagan; Tues Marc Devine; Wed E Open mic w/Les Kurtz, L Nathan Brown; Thurs L Nathan Brown; Fri L Robbie Lee; Sat L T. Kash. Nov 1: Noriko Kamo; 2: Joe Bonacci; 3: Carol Sudhalter; 8: Louise Rogers; 9: Fuku/Chihiro; 10: Julia Banholzer; 15: Matt Baker; 16: Art Lillard; 17: Alan Rosenthal; 22: 8pm-1am Jam & open Mic; 23: Ken Simon; 24: tba; 29: Roland Temple; 30: Jesse Crawford. GIN FIZZ: 308 Malcolm X Blvd at 125th St. 2nd Fl. www.ginfizzharlem.com. 212-289-2220. Fri: 7-8&8:30-9:30pm My Billie Holiday Tribute series 917-863-7854. Nov 2: LaShonda Reese; 9: Irene Blackman; 16: Tommy Campbell; 23: Ayana Lowe; 30: Peter Valera & Jump Blues Band w/Gary Samuels. GINNY’S SUPPER CLUB: At Red Rooster. 310 Lenox Av (bet 125th & 126th Sts). www.ginnyssupperclub.com. 212-792-9001. Sets/adm: 7&9pm/$15. Sun 11am-3pm Jazz Brunch feat Lucy Galliher Band w/Boncelia Lewis.
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  • Jim Rotondi Trumpeter Jim Rotondi Began His Musical Studies at a Very Early Age

    Jim Rotondi Trumpeter Jim Rotondi Began His Musical Studies at a Very Early Age

    Jim Rotondi Trumpeter Jim Rotondi began his musical studies at a very early age. His mother, a piano teacher, encouraged Jim to begin playing the piano at age eight. He took up the trumpet at age twelve. In 1980 Jim graduated from Butte High School in Butte, Montana. He then attended North Texas State University, where he graduated with a degree in trumpet performance. While in Texas, Jim was awarded first place in the International Trumpet Guild's jazz trumpet competition for the year 1984. After college Jim began recording and touring internationally with the Ray Charles Orchestra. Immediately following this he commenced a six year tenure with the Lionel Hampton Orchestra. During this time Jim also became a member of organist Charles Earland's quintet. He currently tours with his own group, as well as with the Carnegie Hall Jazz Band and Grammy-winner Toshiko Akiyoshi and the collective known as One For All, which features a front line of Eric Alexander and Steve Davis. Jim's extensive recording experience most recently includes the release of his fifth date as a leader, titled "Destination Up", for the Sharp Nine label following the successful release of four CDs on the Criss Cross Jazz label. He can also be heard on several of Charles Earland's Highnote Records releases, alongside saxophonist Eric Alexander, with whom Jim made his recording debut on Eric's Delmark release "Straight Up". Other recordings include saxophonist George Coleman's Octet, featuring Harold Mabern, as well as drummer Ray Appleton's Sextet, which features Slide Hampton, Charles McPherson, and John Hicks.