Victor Lewis by Ken Weiss

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Jazz Inside Magazine ISSN: 2150-3419 (print) • ISSN 2150-3427 (online) April-May 2018 – Volume 9, Number 2

Cover Photo and photo at right of Victor Lewis by Ken Weiss

Publisher: Eric Nemeyer Editor: Wendi Li Marketing Director: Cheryl Powers Advertising Sales & Marketing: Eric Nemeyer Circulation: Susan Brodsky Photo Editor: Joe Patitucci Layout and Design: Gail Gentry Contributing Artists: Shelly Rhodes Contributing Photographers: Eric Nemeyer, Ken Weiss Contributing Writers: John Alexander, John R. Barrett, Curtis Daven- port; Alex Henderson; Joe Patitucci; Ken Weiss.

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CONTENTS 4 Victor Lewis by Ken Weiss INTERVIEWSINTERVIEWS PHOTOS CLUBS, CONCERTS, EVENTS Jazz History FEATURE 24 Manuel Valera 12 Houston Person 13 Calendar of Events 30 Art Blakey, Part 5 by John R. Barrett 26 Javon Jackson 29 Frank Morgan 18 Clubs & Venue Listings 36 Kenny Garrett

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VL: Yes, that’s a sequence that deals with first gravitation and puberty. The first instru- Victor Lewis ment I gravitated towards, and to this day I still love it but I was too small, was the acoustic Effort & Reward bass. That’s how I ended up with the cello. I have a photo of me at five-years-old standing there on Christmas day with a cello that was Interview and photo by Ken Weiss tricking them into learning about effort and my bass that Santa had brought me. Propor- reward. He’d ask us if there was an instrument tionately it worked. So they sent me to take Victor Lewis (b. May 20, 1950) moved on from that we liked from the radio and when my lessons and the first thing the teacher made me his Omaha, Nebraska roots to become one of brother said horn, he went out and got an alto do was pull out the bow and start playing arco. jazz’s most in demand drummers. He’s toured sax for my brother. A few days went by and No, that wasn’t what I wanted to do, I wanted and recorded with Art Farmer, J.J. Johnson, my brother went to him and said, “Daddy, the to get to pizzicato like the walking jazz bass Grover Washington Jr., Bobby Hutcherson, horn doesn’t play!” [Laughs] So my father players. I studied it about a year or two but was Kenny Barron, Mike Stern, John Abercrombie, said, “Well, would you like to take a lesson?” disillusioned because I never got to the pizzica- Carla Bley, James Carter, Eddie “Lockjaw” “Oh, well maybe I should daddy. Would that to thing. I took classical piano from seven to Davis, Dexter Gordon, Oliver Lake, Carmen help the horn play better?” And so he went to a eleven and then at eleven puberty started to Lundy, David Murray, David Sanborn, Antho- teacher and as time went by, he got better at it kick in and all of a sudden it wasn’t manly ny Braxton and Gary Bartz, while spending and it taught him about life. If you put the time enough for me to be a brother taking classical significant time in the bands of Woody Shaw in, you’ll get better. When I chose to be a mu- piano lesson. I mean that’s all bull but now I and Stan Getz, as well as serving a co-leader sician I had an idea of what it would be like. In thank God that I took classical piano lessons. in the Bobby Watson & Horizon band that was my early life it was a fantasized dream based Then came the Fourth of July Parade that they very popular in the late ‘80s-into the ‘90s. on what I saw. My family worked day jobs and used to have in the black neighborhood of Lewis is also a highly skilled composer with then went and played at night. So that set me Omaha and I saw this drum corp in the parade many sterling compositions under his name. In up for an all-day/all-night work ethic. My fa- – Boom! Talk about a calling. I got to junior person, he’s extremely personable and animat- ther had two day jobs before he went to his gig high and after I convinced my folks, they rent- ed, and he’s renowned for his storytelling. Jazz at night. He busted his fanny so that I could go ed a snare drum and a pair of sticks for me. I Inside Magazine caught up with him on De- to college during the “free love” era! But, alt- wanted to be in the school band and play cember 30, 2017 in his Philadelphia hotel hough he wanted to teach us [through music], drums so I went to the band director but he room prior to performing with Kurt Rosenwin- he didn’t want any of us to pursue a career in said, “We’ve got too many drummers, what we kel’s band later that night at Chris’ Jazz Café. music. He said, “Yeah, all black people play need is French horn players.” So I played sports and music.” He was trying to look down French horn in junior high. I just wanted to be Jazz Inside Magazine: You grew up in a mu- the line at the opportunities that African Amer- in the band. Christmas came, my second year in junior high, and I got my first drum set. I lobbied hard for that and I’m bonkers, I’ve got “If you put the time in, you’ll get better. my first drum set and I had no idea of how to put it together. It took me all afternoon and I When I chose to be a musician I had an just could not wait to get busy. So I finally get it set up in the basement and then Slam-Bam- Boom-Boom-Boom-Kapieya-Chuum-Bla-Bla- idea of what it would be like. In my early Boom. So that went on for a couple of months and then all of a sudden one day I came to a life it was a fantasized dream based on screeching halt. ‘There’s something wrong with this picture.’ Finally it hit me. I didn’t what I saw. My family worked day jobs and want to be down in the basement by myself, I wanted to play with a band! That was a heavy revelation so from that point on I started to then went and played at night. So that set tailor all of my efforts to convincing guys to let me play in a band. It put a selflessness perspec- me up for an all-day/all-night work ethic.” tive on how I viewed my participation in the band. It’s a team effort and that’s how that sical household, both of your parents were icans could go into. My family had some doc- calling began. classically trained musicians who toured with tors, nurses and accountants, but I’m baby territory bands. What was your impression of brother, I just had to do music, and my father JI: Those early years of classical training how life would be as a musician when you said, “Okay, you made your choice.” I ended taught you to read music which ended up set- chose that as your career? up finding my day job after I moved to New ting you apart from many of the other drum- York. I got there at the tail end of the real re- mers in Omaha and you got a lot of commer- Victor Lewis: Both of my parents considered cording industry in New York, so my day job cial work as a result. What commercial work learning an instrument as part of your growth was recording. I worked all day and all night, were you doing? in life. It was their way of showing us the con- but it was all music and that cooled my father cept of effort and reward. My father knew that out. VL: I did jingles. They needed a drummer music gets kids more than arithmetic, as far as who could read music because you had to start

6 April-May 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 record with a new drummer on it named Tony and I’ve got my eyes closed. At times, Joe Far- Victor Lewis Williams. I told him, ‘I never heard of rell would play a novice cowbell from his Lat- him.’ [Laughs] He said, “He’s got some stuff, in jazz days. The guitar player is taking a solo and stop together. I did my first jingle when I man. It’s different.” So we ran slipping to his and I hear this killin’ cowbell kick in and I’ve was like eighteen and it was a great experience. house and his father puts on Miles’ Four & still got my eyes closed and I’m saying, ‘Okay, It was a Union Pacific Railroad jingle and I More record and Boom it was everything my I know that’s not Joe Farrell on cowbell. I was really proud of it because it was repre- man said it was and more. I grew up during wonder who this is?’ I open my eyes and turn sentative of an accomplishment of mine in part of the Midwest territory big bands and I to my left and it’s Tony right up on me. Whoa! music that I could listen to. My first time had checked out all the cats. I saw Basie, So that’s how I met Tony Williams. Fast for- checking myself out. Duke, Buddy Rich, Woody Herman, Stan Ken- ward a year after that, I played with Jackie ton, all several times, so I had an imprint on McLean on what might have been the last gig JI: You also worked for the circus? me from the big band drummers but this was a at the last Five Spot in New York. In those

VL: Yes, and I talk a lot about the circus a lot to my students. The first mistake that they can make is to think that they can only get good at “I talk a lot about the circus a lot to playing jazz in a so-called “hip” jazz situation. No, they don’t realize that you take stuff from all different areas. The circus had to do with my students. The first mistake that what I experienced from working with the clown in terms of participating with the dialogue and responding and keeping the tether. they can make is to think that they The clown is going to do something funny on the tightrope and the band plays a waltz for can only get good at playing jazz him so I had to watch him and make some sort of response to what he did to be funny and then go back to the waltz. It gave me a great experi- in a so-called “hip” jazz situation. ence at responding and going back to the tether. That’s something you’d never think could be applied to your “hip” jazz situation. No, they don’t realize that you take

JI: What did you do for the Bob Hope Show? stuff from all different areas.” VL: I got hooked up with contractors because I could read music and they would call me small ensemble drummer that resonated with days I was never happy with my playing be- when the shows would come to town. I did the me because of the freedom and the dialogue. cause I was trying to get to something. And I Bob Hope Show and the Redd Fox Show with I’m a rebel at heart and the reason I chose jazz look out and see Tony Williams and Billy Hart the great, bless her soul, Melba Liston playing was because I like to play how I’m feeling that sitting in the audience and it’s, ‘Oh, man, what trombone and musical conductor. I did a Las day. I’d had enough of reading exactly what’s am I gonna do? I’m gonna be exposed as an Vegas topless review and tried to keep my on the page. So hence my decision not to be imposter!’ [Laughs] So we played the set, and I place in the music! [Laughs] I also played a what my professors at University of Nebraska wanted to go and hide, but I have to go over month with a Turkish belly dancer named Özel envisioned for me to be, maybe the first Afri- and pay my respects to these cats and say hel- Türkbaş who came to play in Lincoln, Nebras- can American tympani player in the New York lo. So I walk over — a little puppy dog, all sad ka around 1969. I got to the rehearsal and she Philharmonic. I got another calling and I pur- – “Hi guys, how ya’ doing?’ And the thing is, said, “Veektor, what I want from you is mad, sued exploring smaller ensembles. Fast for- Tony said something to me that for sure he passionate mallets on the tom-toms. Just watch ward from fourteen to age twenty-one. I heard would know, but humbly speaking, I was me.” And she proceeded to dance and I that Tony was playing in New York with Stan blown away with the fact that he said it to me! watched her and thought, ‘Oh, man, this is a Getz but my funds were poor so I only had I didn’t feel that I was at that level yet but To- chance I can try to explore my Art Blakey mal- enough money for a one-way ticket. I bought ny said, “You may not have been happy with lets on tom-tom stuff!’ That was a wonderful the ticket to see Tony but then I had to figure your playing because you never heard it played experience I tell my students about. how to get back home. That’s where big both- before,” meaning I was on a path to my own ers come in. If your family is half-way func- innovation of being me. And there’s no refer- JI: How did hearing Tony Williams’ drum- tional, your first heroes should be your father ence for that and although I felt not worthy, he ming change the course of your playing and and big brothers. [Laughs] When I went to see planted a seed that I’ve milked to this day. And career direction? Tony I didn’t say anything to him. I just sat in part of that seed that he nourished, I had a cou- the corner. That was around 1970. I moved to ple of events that helped give me a kick to- VL: That’s a very deep story in terms of my New York in 1974 and in the beginning of ’75, wards it. So here I am, highly influenced by development. I’m fourteen-years-old, 1964 in I got the gig with Joe Farrell and I played the Tony and I’m playing a club back in the day Omaha, Nebraska. One of my best buddies, Village Vanguard for the first time. There was called the Tin Palace and Clifford Jordan, who who was a drummer also, his father was a jazz a waitress that worked there who came to me lived in that neighborhood, happened to walk trumpet player who was heavily into Miles and after the second night and said, “You sound in to hear the set. On the break he came to me would buy his records as soon as they came okay. I’m gonna tell my boyfriend about you. and said, “Yeah, youngblood, you sound pretty out. So here it was in February with snow up to He’s a drummer, you might know him, may- good but I hear who you’ve been listening to. here and I happen to look out my window and be.” She said he was Tony Williams. I forgot It’s time to cut him loose and get your own saw my buddy running and slipping on the way about it and four nights later, we’re playing shit.” Boom! And that started that. Thank God to my house to tell me about the new Miles one of the tunes of the day “Captain Marvel,” (Continued on page 8)

To Advertise CALL: 215-887-8880 April-May 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com 7 Go to New York and take lessons from the cats York. Victor Lewis and go and listen to them play.” And the point that he made that really gave me a boost was, JI: How did you get your career started after (Continued from page 7) “The time that you spend there will be acceler- landing in New York? ated growth.” So I moved to New York Sep- that I paid attention to the stepping stones in tember 16, 1974 with two hundred dollars, my VL: I met Woody Shaw in my early days in my life because what you gonna do when you drum set and a little suitcase with some New York after I stumbled upon a few gigs. I end up playing opposite Tony Williams trying clothes. That was forty three-years-ago and I’m sat in on this gig that Buster Williams was to play all of Tony’s licks cheaply? You better still waiting for my luck to run out. [Laughs] playing and Buster said, “Alright, I’ll see if I have some of your own self. So when that hap- can shoot anything your way.” So a few weeks pened I was me. Studying the legacy is an es- JI: You actually had to make the decision went by and I go to see Buster’s band with Al sential part but the doctorate that you get in between moving to New York or Los Angeles. Foster playing drums at a club called Boomers. this art form is when you get your own style. Los Angeles offered you more commercial The club owner asked Buster to also play the work opportunities. next week but Sonny Fortune and Al could not JI: How did the transition to New York City make the next week because they were playing in 1974 come about? How did you know you VL: I loved the intensity of New York. I grew with Miles so he got Woody and he got me. were ready? up in Omaha, Nebraska with neighborhoods Now this is an important story [in my career]. and backyards. I had a great childhood. It was This is like my first heavyweight gig in New VL: I spent a year in Minneapolis working a a wholesome era that I grew up in. I decided to York. It was a Friday and Saturday and that steady gig playing in the backup band in a club come to New York instead of Los Angeles, Friday night, I’m gonna be honest about it, I that did Broadway reviews with the goal of where I could have worked in a house band essentially froze. Maybe the laymen didn’t saving as much money as I could to move to and with the film score scene, because in L.A. notice it but I almost blew it. I was awestruck. New York and stay as long as I could to learn. you could only club hop one place a night be- I had maybe a ‘I’m from Omaha, Nebraska’ A year went by and I hadn’t really saved any cause it took too long to get to another club, inferiority complex, which is bullshit, [Laughs] money but I had bought two drum sets! but in New York you could walk to all these and just doubting whatever it was that I had [Laughs] Suddenly, I felt the clock ran out and clubs and you felt the energy of the closeness learned. So I froze. The guys kind of tolerated I moved to New York to stay with one of the of the scene. The final capper on my decision me and at one point Buster goes, “Come on guys I went to school with, who was now mar- to move east came the August before I moved man, relax.” Which made me more nervous! [Laughs] I finished the gig and went home all depressed. I said, ‘Oh man, Victor, you didn’t come all this way to fizzle out.’ I went through “Thank God that I paid attention to the many fazes of emotion - disappointment – to feeling that I had blown it all and needed to go stepping stones in my life because what back to Omaha – to, ‘Man, you blew your shot! Are you gonna blow your shot?’ I went you gonna do when you end up playing through this cycle and I said, ‘No!’ and I got my conviction up and the next night I went in opposite Tony Williams trying to play and went for broke because I realized that I couldn’t fuck it up any more than I had already and that’s when the cats said, “Okay,” and all of Tony’s licks cheaply? You better that’s what led to me doing my first record in New York with Woody Shaw. Had I not have some of your own self. So when [fought through my nerves] I might have blown my history. Like Elvin [Jones] used to that happened I was me. Studying the say, “You know how one thing can lead to another?” legacy is an essential part but the JI: What surprised you the most about Woody Shaw after you got to know him? doctorate that you get in this art form VL: Man, I had been into Woody for a long is when you get your own style.” time. One was how vulnerable his life was which had a strong impetus in his life. The fact ried with a baby and had his own apartment. I to New York. I was there visiting my buddy that music was his life. This was a man who came to New York with the seed of encourage- and we came out of a record store and were was legally blind but could see a little bit but ment that Bennie Maupin planted in me when I sitting in a diner looking at our LPs and a guy had perfect pitch and a photographic memory. met him after my little band played backup comes in and sits next to me. He kept looking So he was very vulnerable and was self- band to Herbie [Hancock’s] Sextet, which also over at the record and finally he said, “Excuse conscious about it because he should have been included Buster Williams, at the University of me sir, could I take a look at that?” He looked walking with a cane for the blind but he didn’t Nebraska. I had a healthy fear of respect for at it and goes, “Uh ha,” and hands it back to want to do it. He was a very strong force in the the music and Bennie Maupin gave me the me and extends his hand and says, “Hi, my belief of the power of music and I learned a lot right perspective. He said, “People don’t think name is Bob Cranshaw, I’m the bass player on of great tough love lessons with him. twice about moving to a city they’ve never that record,” and proceeded to invite me and lived in before to go to college. They do it all my boy to a private taping with Horace Silver. JI: Would you share some memories of the time and you’ve got to look at it that way. Here we are! That was it, I moved to New (Continued on page 10)

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To Advertise CALL:Experience 215-887-8880 ResultsApril-May 2018 In Jazz 24-48Inside Magazine Hours!  www.JazzInsideMagazine.com CALL 215- 887-8880 9 What were you conveying with that tune? Thomas Jr. on percussion. I did a couple tours Victor Lewis with that band and then Stan changed bands VL: I used his intervallic concept. Woody’s but kept me. The next band was Lou Levy and (Continued from page 8) style on the trumpet was not naturally condu- Monty Budwig which recorded The Dolphin cive to the natural bugle partial series. He told record. Then there was Marc Johnson and Jim Woody Shaw? me that he checked out all the trumpet players McNeely, and then George Mraz and Jim and after checking them all out he went to McNeely, and eventually Kenny Barron and VL: I’ve got so many memories and I share McCoy and Trane for inspiration and therefore Rufus Reid. After I left, Stan was mainly them when I talk about tough love in terms of embracing intervallic concepts that aren’t natu- working duet with Kenny. I developed some- the level of the music and what it takes to play ral to the trumpet. He worked it out. So “The thing working with Stan. Working with Stan it. This is a great story that I tell my students. I Shaw of Newark” has that intervallic concept. I did a lot for my touch in terms of what I call had made The Moontrane with Woody, and always liked that from when I played Bartok – playing on simmer. To where you’re not bash- this was before he signed with CBS and got the 4th intervals and the dissonance always ing out, you don’t have the laws of physics really busy, we did occasional gigs. This hap- resonated with me. The melody of that song is intensity of bashing out. And when you have to pened in 1977. We were in Knoxville and I had right up in his alley. Woody was also a great play a softer volume, and still want to get that just broken up with my first New York girl- drummer on the trumpet. His time was impec- same intensity, you have to recalibrate how friend. Woe is me, heartbroken, deflated, unin- cable and very rhythmic and high articulation. you deal with the laws of physics because spired, and I go to play with Woody. We play The trumpet’s a hard instrument. I don’t play playing the drums is seriously about the laws the first set and on the intermission Woody the trumpet but I own a trumpet and I mess of physics – distance, velocity. Stan liked the asked to speak with me and he took me way around. dialogue, he liked for me to stretch out, he just away from the rest of the band and turned to didn’t want me to bash too hard, so I really me and said, “Motherfucker, what the fuck is JI: You made one recording with Eddie Lock- developed another part of my touch spectrum wrong with you?” I said, ‘Well, I broke up jaw Davis – The Heavy Hitter in 1979. He was with him. There’s a Charlie Parker song called with my lady,’ and he said, “Fuck a girl- known for his unusual performance style of “Sippin’ at Bell’s” that Stan used to like to friend… Fuck all that,” and stepped off and left playing “backwards,” using the opposite phras- play. He and Marc Johnson would play the me in a spin. So here I am like the first night I ing. Was it difficult to play for him? melody together and McNeely wouldn’t come froze at Boomers, and I went through the same in until the solo started, so it’s me, Stan and cycle until I got my life force back by trigger- VL: No, it wasn’t and in fact the way that Marc Johnson, and I wasn’t happy just [hitting ing my vibrations and spinning my chakras. I recording session went down was he was on a a steady pattern] while they were playing the went out to play the second set and went for mission to get it down with, with dignity, and melody so I decided to play the melody with broke and you know what Woody did to get out of there. And thank God he felt that them. I started it off by thinking about the acknowledge it? He stopped in the middle of way because earlier that same day I was re- wording and played the melody on the bells of his solo and turned around to me and said, cording the Woody III record with Woody the cymbal but I wasn’t satisfied with the in- “Yeah, that’s what I’m talkin’ about, play for Shaw so I had back-to-back dates so by the tensity, so one day I decided to play on the your mf’n life.” So that was a lesson that may- time I got to Eddie Lockjaw’s date I was al- rims of the cymbals and in that way I could dig be you can’t learn until you’re there. ready tired. It’s the quickest record date I’ve in and accent it and it wasn’t overbearing. That ever done in my life. Do you know we did that kind of became a trademark of my style, play- JI: You mentioned that your very first record- record in an hour and a half? No rehearsals, no ing on the sides of the cymbals. ing was Woody Shaw’s 1974 classic The rundown, just talk down – “roll em.” All one Moontrane. Would you talk about that session? takes. We had to stop one time because of me! JI: Do you have a memory of Stan Getz to [Laughs] It was all medleys. This was the one share? VL: Once again, nervous like a big dog, my and only time I got the chance to play with the first record. ‘Oh man, oh man,’ and Buster was great George Duvivier. This was a hero if you VL: Let me think about that and edit myself, on that too. Buster said, “Well, it’s just another ever saw one. So elegant and just used to an- like they say to protect the innocent. [Laughs] gig.” [Laughs] Conceptually he’s right but I other day in the office, playing great music. You may want to leave this out. Stanford Uni- didn’t have the time under my belt like Buster And there was also the great Albert Dailey. It versity at Palo Alto used to have a summer jazz did. It came out alright. Something I learned was over so fast I was delirious trying to figure workshop with Stan as the figurehead artist-in- from Woody is, I do a lot of composing, and out what happened. Are we done? residence and mascot for the program. We with jazz musicians a lot of the time the tunes used to do three-week workshops every sum- are triggered from something, an event, some- JI: Would you share a memory of Lockjaw mer and in the summer of 1984 there was a big body, and I learned not to put the name on the Davis? He was known to be a rough character. event where they invited all of the chancellors, tune. Find something that makes the same regents and deans to the lobby to get a full statement but doesn’t announce the direct VL: I never played any gigs with him. He was curriculum jazz program for the school year. It meaning because Woody wrote songs for his always nice to me. It was another day at the was a big concert with Dizzy Gillespie. So it girlfriends. They were great songs but when office for him. It was a great thing to witness. was Stan Getz and Dizzy Gillespie, first time they would break up, he didn’t want to play the These were like professional artists, hired doing a recording together in twenty five years. song anymore. We’d ask him to play them and guns. It was a big thing. Before we did the sound- he would say, “No, man, later for her!” I only check, Dizzy did a master class and he turned named one tune kind of directly but it’s still JI: You were part of Stan Getz’s quartet it out. Now Stan never finished high school, he camouflaged. It’s called “P.D. on Great Jones through the ‘80s. went on the road instead, and he felt like he Street,” and who she is is Patricia Dow, mother didn’t have anything to say [as a teacher] and of my two daughters, and we lived on Great VL: Those were great bands, it was like driv- meanwhile we’re saying, “Come on man, this Jones Street at the time. ing a Rolls Royce playing with those bands. is Stan Getz. You got a lot to say, just start The first band was kind of a fusion band with talking.” But watching Dizzy’s prowess at giv- JI: You wrote a composition in honor of Mark Egan on electric bass, Mitchell Foreman ing a formal education presentation kind of Woody Shaw called “The Shaw of Newark.” on keyboards, Chuck Loeb on guitar, Bobby took him out. Immediately afterwards we do a

10 April-May 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 genre such as Anthony Braxton, Paul Bley and worse in the wintertime when it’s cold. I’ve Victor Lewis Oliver Lake. How much do you resonate with done enough tours where you’re standing on jazz’s avant-garde? the corner with a drum set waiting for the pro- (Continued from page 10) moter’s guy to pick you up and hasn’t showed VL: I like everything and opportunity some- up yet and you’re freezing to death. I don’t soundcheck and then between the soundcheck times comes that embraces whatever your de- want to do those six –week tours anymore. A and the concert, Stan disappears and doesn’t sires are, put the ripple-effect into the cosmos couple of weeks for me is enough at one time. show up at the gig or the after party. There was and so on. A lot of people don’t know this Because I’m getting older there’s maintenance a wrecking ball of events that happened as a about Tony Williams, he was very influenced stuff I have to do to my body when I’m at result of that. Of course, the recording got by the avant-garde in his early days. I used to home that I can’t do on tour. For example, my screwed up, so we didn’t get paid for that! listen to Ornette and all that stuff. I used to do hang upside down Teeter [inversion table], Hey, I got a couple of kids and responsibilities. duet concerts with Julius Hemphill, who was because I’ve had back surgery, it’s essential. I Stan turns up three days later, and of course part of the World Saxophone Quartet, and it hang upside down, it’s one of the first things I there’s a wrath of hell from Jane, his girlfriend, would be – ready, set, go! [Laughs] So I like do when I get up in the morning. These days who gives him hell. Now, they were staying in that but I like the challenge of it’s not a free- performing two or three times a week is one of the professor’s houses who was away for-all, there has to be music, a focal point, a enough, not even every week. I’m in an in- on sabbatical and Stan gets mad and starts to tether between the people playing whatever it spired composing period now and it’s hard to trash the professor’s house. What happened as is, as abstract as it may be, there’s still a disci- compose on the road because you got to schlep a result is that they started a new study about pline involved. Yeah, it was a great experience so much stuff. Also I have to travel light now, alcoholism at Stanford University! [Laughs] doing a record with Oliver Lake. That record that’s what the surgeon told me. He told me They tried to figure out Stan Getz after he fell Heavy Spirits was either my second or third without a lumbar 4-5 fusion I was headed for a off the wagon. I like to tell these stories to peo- record and came shortly after The Moontrane wheelchair. He gave me new life! ple who may look at somebody up there on with the same producer Michael Cuscuna. It stage playing, and it seems so effortless for was my first avant-garde record and I just went JI: You’ve only made four recordings as a them that you think this shit is easy, but it’s from what I had listened to and Oliver, who’s a leader. Why haven’t you focused more on that? not. It takes more than prowess on the instru- master at playing avant-garde and other genres, ment and studying jazz. It takes a lot and the the way he set it up…For example, there’s a VL: The industry hustle, that along with the biggest element about it that creates a distor- tune on there called “While Pushing Down record labels basically becoming extinct, tion of what guys go through is that for this art Turn” and he said, “Imagine the sound of [a which means they’re scrambling to find the form, you can’t depend on how you played last prescription container opening]. It’s a point of next lucrative artist. I understand it’s business. night because every time it’s different. You departure to convey some kind of picture in What I want to do is produce my next record have to call “the spirit” every night, and if you your mind, to tailor where it goes with some myself, meaning pay for it myself, because I don’t, it’s gonna stay in the mundane or lower kind of communal goal together. think the future of this industry is not gonna be and once you’ve experienced a drop, you’ll do record labels. That’s just gonna be for the anything to keep it from dropping like that JI: You’ve been one of jazz’s busiest free- hyped artists. Kids these days are putting out again. I like to call it the commitment that a lancers since the late ‘80s. Who were you most their stuff on the Internet. The reason it’s been jazz artist makes to getting it across to the au- surprised to hear wanted to hire you? awhile since I recorded is that my younger dience. Our job is to open people’s hearts and daughter got out of college eight years ago so raise their vibrations and resonate different VL: Steely Dan, I passed on it though. People I’m saving up again! [Laughs] I want to have emotions through the abstract intellect of notes couldn’t believe it. I was honored that they full control and do it the way I want which is and beats and harmony. Guys know that and called in to consider me but at that time, I did- what I was able to do with past records, but guys do what they do just to be in the right n’t want to do the getting back in shape of times have changed. zone to do what they’re supposed to do, and playing that style that would require for me to sometimes things can go awry. Charlie Parker do the job I wanted to do. And I had too much JI: You’re an acclaimed drum master but died young by doing what he did so that he going on swinging. I was a part of a couple of what do you feel you still need to work on and could make the presentation that he wanted to groups and with a gig like Steely Dan there’s a when’s the last time you took a drum lesson? make and move people’s hearts. He paid a chunk of time that you can’t commit to any- heavy price, but check this out – we still riding thing else because you’re for hire. You can’t on him like a big dog! Don’t feel bad that he commit to anything because if they call, you (Continued on page 20) died at 33, so did Jesus Christ. [Laughs] People got to go. So I turned that down and I said, are still riding on him too! It’s what you do ‘Wow, I’m at a point where I can artistically while you’re here that’s important. And that’s pass on the Steely Dan gig. Huh, wouldn’t a big issue for me with the jazz legacy because never thought that back in the day in Omaha, at 67, I’m older than maybe eighty percent of Nebraska as a kid.’ I had a few choices and the

my early heroes were when they died and we choices I made didn’t have anything to do with

still riding on them. money at all. “The greatest discovery JI: You’re not exposing Stan Getz here, Don- JI: You play with so many different people, of any generation is that ald Maggin’s biography Stan Getz: A Life in how do you arrange your schedule and how human beings can alter Jazz details many stories such as this. many gigs a year is ideal for you? their lives by altering the attitudes of their minds.” VL: Okay. VL: It’s changed the older I get. I don’t like to work every day. I like to think about and prac- JI: You’re not thought of as a free jazz drum- tice music every day but I don’t like to work or

mer but you’ve recorded with artists in that travel every day. It’s too taxing. I hate it even - Albert Schweitzer

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HoustonHouston PersonPerson Hear Houston at Jazz Standaard April 19-22, 2018

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

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Sunday, April 1 Sunday, April 8  The Smokestack Brunch: Easter Brunch With Carmen Intorre Jr.;  Randy Weston's African Rhythms Sextet, 92nd Birthday Celebra- Jazz Standard, 116 E. 27th St. tion; Jazz Standard, 116 E. 27th St.  Ravi Coltrane Trio; Plus Ralph Alessi; Jazz Standard, 116 E.  Jazz For Kids; Randy Weston African Rhythms: Blues Night; Jazz 27th St. Standard, 116 E. 27th St.  Andrew Cyrille; Village Vanguard 178 7th Ave S.  Renee Rosnes; Village Vanguard 178 7th Ave S.  Afro Latin Jazz Orchestra; Birdland, 315 W. 44th St.  Vocal Masterclass With Marion Cowings; Sacha Perry Trio; Tardo  DIVA Jazz Orchestra's 25th Anniversary Celebration and CD Hammer Trio; Ken Fowser Quintet; Jon Beshay "After-Hours"; Release Party; Dizzy’s Club, 60th & Bdwy Small’s, 183 W. 10th St.  John Scofield Quartet; Blue Note, 131 W. 3rd St.  The Afro Latin Jazz Orchestra; Birdland, 315 W. 44th St. Monday, April 2  Monk: High Priest Of Bebop Helen Sung Quartet With Special  Mingus Big Band; Jazz Standard, 116 E. 27th St. Guest Dr. Eddie Henderson; Dizzy’s Club, Jazz At Lincoln  Vanguard Jazz Orchestra; Village Vanguard 178 7th Ave S. Center, 60th & Bdwy  Scott Alan "Home Again"; Birdland, 315 W. 44th St.  Brubeck Institute Jazz Quintet with Special Guest Carl Allen; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy Monday, April 9  Mingus Big Band; Jazz Standard, 116 E. 27th St.  Vanguard Jazz Orchestra; Village Vanguard 178 7th Ave S. Tuesday, April 3  Ari Hoenig Trio; Joel Frahm Trio; After-Hours Jam Session;  Mary Halvorson: Code Girl; Jazz Standard, 116 E. 27th St. Small’s, 183 W. 10th St.  Renee Rosnes; Village Vanguard 178 7th Ave S.  Natalie Douglas Tributes: Elvis; Birdland, 315 W. 44th St.  Jane Monheit; Birdland, 315 W. 44th St.  MSM Jazz Orchestra: A Love Supreme By John Coltrane; Diz- zy’s Club, Jazz At Lincoln Center, 60th & Bdwy Wednesday, April 4  Mary Halvorson: Code Girl; Jazz Standard, 116 E. 27th St. Tuesday, April 10  Louis Armstrong Eternity Band; Birdland, 315 W. 44th St.  Walter Smith III "TWIO"; Jazz Standard, 116 E. 27th St.  Renee Rosnes; Village Vanguard 178 7th Ave S.  Enrico Pieranunzi; Village Vanguard 178 7th Ave S.  Lew Tabackin Trio with special guest Randy Brecker; LATE  Spike Wilner Quartet; Frank Lacy Group; After-Hours Jam Ses- NIGHT SESSION: Joel Wenhardt; Dizzy’s Club, 60th & Bdwy sion; Small’s, 183 W. 10th St.  Eliane Elias: Music From Man Of La Mancha; Birdland, 315 W. 44th St. Thursday, April 5  Christian Mcbride’s New Jawn; Dizzy’s Club, Jazz At Lincoln  Renee Rosnes; Village Vanguard 178 7th Ave S. Center, 60th & Bdwy  John Scofield Quartet; Blue Note, 131 W. 3rd St.  Charles Turner; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy Wednesday, April 11  Randy Weston's African Rhythms Sextet, 92nd Birthday Celebra-  Manuel Valera Trio; Jazz Standard, 116 E. 27th St. tion; Jazz Standard, 116 E. 27th St.  Enrico Pieranunzi; Village Vanguard 178 7th Ave S.  John Stetch Quartet; Troy Roberts Quartet; Isaiah Thompson "After-Hours"; Small’s, 183 W. 10th St. Friday, April 6  Eliane Elias: Music From Man Of La Mancha; Birdland, 315 W.  Crescent City Monk, with Herlin Riley, Eric “Elew” Lewis, Ellis 44th St. Marsalis, Todd Williams, Reginald Veal, Pedrito Martinez, Mela-  Christian Mcbride’s New Jawn; Dizzy’s Club, Jazz At Lincoln nie Charles, And More, 7PM, 9:30 PM, The Appel Room Center, 60th & Bdwy  Renee Rosnes; Village Vanguard 178 7th Ave S.  John Scofield Quartet; Blue Note, 131 W. 3rd St.  Monk/Sung - Helen Sung Quartet With Special Guest Catherine Thursday, April 12 Russell; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy  SFJAZZ Collective: The Music Of Miles Davis; Jazz Standard,  Randy Weston's African Rhythms Sextet, 92nd Birthday Celebra- 116 E. 27th St. tion; Jazz Standard, 116 E. 27th St.  Enrico Pieranunzi; Village Vanguard 178 7th Ave S.  Philip Dizack Quintet; Steve Hall Sextet; Davis Whitfield "After- Hours"; Small’s, 183 W. 10th St. Saturday, April 7  Michel Legrand Trio Featuring Ron Carter; Blue Note, 131 W.  Crescent City Monk, with Herlin Riley, Eric “Elew” Lewis, Ellis 3rd St. Marsalis, Todd Williams, Reginald Veal, Pedrito Martinez, Mela-  Eliane Elias: Music From Man Of La Mancha; Birdland, 315 W. nie Charles, And More, 7PM, 9:30 PM, The Appel Room 44th St.  Renee Rosnes; Village Vanguard 178 7th Ave S.  Christian Mcbride’s New Jawn; Dizzy’s Club, Jazz At Lincoln  John Scofield Quartet; Blue Note, 131 W. 3rd St. Center, 60th & Bdwy  Monk On Tap - The “Monk Mob” With Special Guest Michela Marino Lerman; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy Friday, April 13  Randy Weston's African Rhythms Sextet, 92nd Birthday Celebra-  SFJAZZ Collective: The Music Of Miles Davis; Jazz Standard, tion; Jazz Standard, 116 E. 27th St. 116 E. 27th St. (Continued on page 14)

To Advertise CALL: 215-887-8880 April-May 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com 13  Enrico Pieranunzi; Village Vanguard 178 7th Ave S.  Michel Legrand Trio Featuring Ron Carter; Blue Note, 131 W.  The Afro Latin Jazz Orchestra; Birdland, 315 W. 44th St.  Scott Neumann & "Spin Cycle"; Rob Scheps Core-Tet; JD Allen 3rd St.  Christian Mcbride’s New Jawn; Dizzy’s Club, Jazz At Lincoln "After-Hours"; Small’s, 183 W. 10th St.  Eliane Elias: Music From Man Of La Mancha; Birdland, 315 W. Center, 60th & Bdwy  Michel Legrand Trio Featuring Ron Carter; Blue Note, 131 W. 44th St. 3rd St.  Christian Mcbride’s New Jawn; Dizzy’s Club, Jazz At Lincoln  Eliane Elias: Music From Man Of La Mancha; Birdland, 315 W. Center, 60th & Bdwy Monday, April 16 44th St.  Mingus Big Band; Jazz Standard, 116 E. 27th St  Christian Mcbride’s New Jawn; Dizzy’s Club, Jazz At Lincoln  Vanguard Jazz Orchestra; Village Vanguard 178 7th Ave S. Center, 60th & Bdwy Sunday, April 15  Lucas Pino Nonet; Jonathan Michel Group; After-Hours Jam  Jazz For Kids; SFJAZZ Collective: The Music Of Miles Davis; Session; Small’s, 183 W. 10th St. Jazz Standard, 116 E. 27th St.  Frank Wildhorn & Friends; Birdland, 315 W. 44th St. Saturday, April 14  Enrico Pieranunzi; Village Vanguard 178 7th Ave S.  MONDAY NIGHTS WITH WBGO, Emmet Cohen Trio Featuring  The Smokestack Brunch: Ted Chubb Band; SFJAZZ Collective:  Vocal Masterclass With Marion Cowings; Sacha Perry Trio; David Tootie Heath; Dizzy’s Club, Jazz At Lincoln Center, 60th & The Music Of Miles Davis; Jazz Standard, 116 E. 27th St. Schnitter Quartet; David Gibson Quintet; Hillel Salem "After- Bdwy  Enrico Pieranunzi; Village Vanguard 178 7th Ave S. Hours"; Small’s, 183 W. 10th St.  Smalls Showcase: Ark Ovrutski Quartet; Mark Zaleski Band; Rob  Michel Legrand Trio Featuring Ron Carter; Blue Note, 131 W. Scheps Core-Tet; Philip Harper Quintet; Small’s, 183 W. 10th St. 3rd St. Tuesday, April 17  Ethan Iverson; Jazz Standard, 116 E. 27th St.  Linda Oh; Village Vanguard 178 7th Ave S.  Steve Nelson Quartet; Abraham Burton Quartet; After-Hours Jam Session; Small’s, 183 W. 10th St.  Dizzy Gillespie Afro Cuban Experience; Blue Note, 131 W. 3rd St.  Curtis Stigers; Birdland, 315 W. 44th St.  James Morrison Quartet; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy  Evan Sherman; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy

Wednesday, April 18  Roxy Coss; Jazz Standard, 116 E. 27th St.  Linda Oh; Village Vanguard 178 7th Ave S.  Adam Larson Quartet; Harold Mabern Trio; Theo Hill "After- Hours"; Small’s, 183 W. 10th St.  Dizzy Gillespie Afro Cuban Experience; Blue Note, 131 W. 3rd St.  Curtis Stigers; Birdland, 315 W. 44th St.

Thursday, April 19  Mike McGinnis / Art Lande / Steve Swallow; Jazz Standard, 116 E. 27th St.  Linda Oh; Village Vanguard 178 7th Ave S.  Brockowitz Quartet; Carlos Abadie Quintet; Charles Goold "After- Hours"; Small’s, 183 W. 10th St.  Kenny Garrett; Blue Note, 131 W. 3rd St.  Curtis Stigers; Birdland, 315 W. 44th St.  Christian McBride Big Band; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy

Friday, April 20  Mingus Big Band; Jazz Standard, 116 E. 27th St.  Linda Oh; Village Vanguard 178 7th Ave S.  Paul Nedzela Quartet; Quincy Davis Sextet; Corey Wallace Dubtet "After-Hours"; Small’s, 183 W. 10th St.  Kenny Garrett; Blue Note, 131 W. 3rd St.  Curtis Stigers; Birdland, 315 W. 44th St.  Christian McBride Big Band; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy

Saturday, April 21  Smokestack Brunch: Andrew Gould; Mingus Big Band; Jazz Standard, 116 E. 27th St.  Linda Oh; Village Vanguard 178 7th Ave S.  Paul Nedzela Quartet; Quincy Davis Sextet; Brooklyn Circle; Small’s, 183 W. 10th St.  Kenny Garrett; Blue Note, 131 W. 3rd St.  Curtis Stigers; Birdland, 315 W. 44th St.  Christian McBride Big Band; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy

Sunday, April 22  Jazz For Kids; Mingus Big Band; Jazz Standard, 116 E. 27th St.  Linda Oh; Village Vanguard 178 7th Ave S.  Vocal Masterclass With Marion Cowings; Sacha Perry Trio; Nick Hempton Band; JC Stylles/Steve Nelson Hutcherson Band; Jon Beshay "After-Hours; Small’s, 183 W. 10th St.  Kenny Garrett; Blue Note, 131 W. 3rd St.  Gunhild Carling; Birdland, 315 W. 44th St. (Continued on page 16)

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

To Advertise CALL: 215-887-8880 April-May 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com 15  Christian McBride Big Band; Dizzy’s Club, Jazz At Lincoln  Irakere 45; Blue Note, 131 W. 3rd St. Center, 60th & Bdwy  The Afro Latin Jazz Orchestra; Birdland, 315 W. 44th St.

Monday, April 23 Monday, April 30  Mingus Orchestra; Jazz Standard, 116 E. 27th St.  Temple University Jazz Band; Dizzy’s Club, Jazz At Lincoln  Vanguard Jazz Orchestra; Village Vanguard 178 7th Ave S. Center, 60th & Bdwy  Ari Hoenig Trio; Jonathan Barber Group; After-Hours Jam Ses-  Mingus Big Band; Jazz Standard, 116 E. 27th St. sion; Small’s, 183 W. 10th St.  Vanguard Jazz Orchestra; Village Vanguard 178 7th Ave S.  Maureen Mcgovern; Birdland, 315 W. 44th St.  Ari Hoenig Trio; Joe Farnsworth Quartet; After-Hours Jam Ses-  Purchase Jazz Orchestra With Special Guest Mike LeDonne; sion; Small’s, 183 W. 10th St. Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy  Max Von Essen In Concert With Billy Stritch; Birdland, 315 W. 44th St.

Tuesday, April 24 Tuesday, May 1  Nate Smith + Kinfolk; Jazz Standard, 116 E. 27th St.  Kenny Barron Quintet; Jazz Standard, 116 E. 27th St.  Javon Jackson; Village Vanguard 178 7th Ave S.  Eric Reed Quartet, Village Vanguard, 178 7th Ave S.  Ian Hendrickson-Smith Quartet; Frank Lacy Group; After-Hours  Chucho Valdés; Blue Note, 131 W. 3rd St. Jam Session; Small’s, 183 W. 10th St.  Fleurine & Boys From Brazil Featuring Brad Mehldau  Irakere 45; Blue Note, 131 W. 3rd St.  William Paterson University Jazz Orchestra and Ensembles;  Karrin Allyson; Birdland, 315 W. 44th St. Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy  9:30pm: Chimy Presents: “Four By Four”; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy Wednesday, May 2  Michael Feinstein: The Enchanting Lena Horne with Michael Wednesday, April 25 Feinstein, Tedd Firth Big Band, and Guest Vocalists Christine  Nate Smith + Kinfolk; Jazz Standard, 116 E. 27th St. Ebersole, Nnenna Freelon, Alexis Morrast; 7PM, Appel Room  Javon Jackson; Village Vanguard 178 7th Ave S.  Kenny Barron Quintet; Jazz Standard, 116 E. 27th St.  Massimo Farao Quartet; Arcoiris Sandoval Sonic Asylum Quintet;  Eric Reed Quartet, Village Vanguard, 178 7th Ave S. Aaron Seeber "After-Hours"; Small’s, 183 W. 10th St.  Chucho Valdés; Blue Note, 131 W. 3rd St.  Irakere 45; Blue Note, 131 W. 3rd St.  David Ostwald's Louis Armstrong Eternity Band  Karrin Allyson; Birdland, 315 W. 44th St.  Darcy James Argue Secret Society; Dizzy’s Club, Jazz At Lin- coln Center, 60th & Bdwy Thursday, April 26  Black, Brown & Beige &The Best Of Basie Featuring The Jazz At Thursday, May 3 Lincoln Center Orchestra With Wynton Marsalis; Program Is  Michael Feinstein: The Enchanting Lena Horne with Michael Presented As Part Of The Ertegun Jazz Concert Series. 8PM, Feinstein, Tedd Firth Big Band, and Guest Vocalists Christine Rose Theater Ebersole, Nnenna Freelon, Alexis Morrast; 7PM, 9PM, Appel  Houston Person Quartet; Jazz Standard, 116 E. 27th St. Room  Javon Jackson; Village Vanguard 178 7th Ave S.  Kenny Barron Quintet; Jazz Standard, 116 E. 27th St.  Chet Doxas Quartet; Matt Chertkoff Quintet; Asaf Yuria "After-  Eric Reed Quartet, Village Vanguard, 178 7th Ave S. Hours"; Small’s, 183 W. 10th St.  Chucho Valdés; Blue Note, 131 W. 3rd St.  Irakere 45; Blue Note, 131 W. 3rd St.  Savion Glover Featuring Marcus Gilmore; Birdland, 315 W. 44th  Karrin Allyson; Birdland, 315 W. 44th St.  Bruce Forman Trio; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy Friday, April 27  Black, Brown & Beige &The Best Of Basie Featuring The Jazz At Friday, May 4 Lincoln Center Orchestra With Wynton Marsalis; Program Is  Zakir Hussain and Dave Holland: Crosscurrents - Jazz Legend Presented As Part Of The Ertegun Jazz Concert Series. 8PM, Dave Holland, Tabla Percussion Master Zakir Hussain, Chris Jazz At Lincoln Center, Rose Theater Potter, Amit Chatterjee, Louiz Banks, Gino Banks, and Shankar  Joe Locke “Subtle Disguise”; Dizzy’s Club, Jazz At Lincoln Mahadevan. This Program Is Presented As Part Of The Ertegun Center, 60th & Bdwy Jazz Concert Series. 8PM, Rose Theater  Houston Person Quartet; Jazz Standard, 116 E. 27th St.  Kenny Barron Quintet; Jazz Standard, 116 E. 27th St.  Javon Jackson; Village Vanguard 178 7th Ave S.  Eric Reed Quartet, Village Vanguard, 178 7th Ave S.  John Ellis Quartet; Lew Tabackin Trio; JD Allen "After-Hours";  Chucho Valdés; Blue Note, 131 W. 3rd St. Small’s, 183 W. 10th St.  Savion Glover Featuring Marcus Gilmore; Birdland, 315 W. 44th  Irakere 45; Blue Note, 131 W. 3rd St.  Birdland Big Band; Birdland, 315 W. 44th St.  Karrin Allyson; Birdland, 315 W. 44th St.  Elio Villafranca: On Any Given Night In Havana featuring Claudia Acuna; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy

Saturday, April 28  Black, Brown & Beige &The Best Of Basie Featuring The Jazz At Lincoln Center Orchestra With Wynton Marsalis; Program Is

Presented As Part Of The Ertegun Jazz Concert Series. 8PM, Rose Theater “Encroachment  Joe Locke “Subtle Disguise”; Dizzy’s Club, Jazz At Lincoln of freedom will not come Center, 60th & Bdwy  Smokestack Brunch: Theo Hill Trio; Houston Person Quartet; about through one violent action Jazz Standard, 116 E. 27th St. or movement but will come about  Javon Jackson; Village Vanguard 178 7th Ave S. Jazz Lovers’ through a series of actions that appear  Irakere 45; Blue Note, 131 W. 3rd St.  Karrin Allyson; Birdland, 315 W. 44th St. to be unrelated and coincidental, but that were all along systematically Sunday, April 29 planned for dictatorship.”  Joe Locke “Subtle Disguise”; Dizzy’s Club, Jazz At Lincoln

Lifetime Collection Center, 60th & Bdwy  Jazz For Kids; Houston Person Quartet; Jazz Standard, 116 E. — John Adams, 2nd President 27th St. of the United States— Anton Chekhov  Smalls Showcase: Ben Barnett; John Ellis Quartet; Lew Tabackin JazzMusicDeals.com JazzMusicDeals.com Trio; Philip Harper Quintet; Small’s, 183 W. 10th St. (Continued on page 17)

16 April-May 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880  Jeff Hamilton Trio; Dizzy’s Club, Jazz At Lincoln Center, 60th &  Bill Charlap; Birdland, 315 W. 44th St. Bdwy  Sunday, May 13

 Jazz For Kids; Fred Hersch Duo Invitation Series With Esperanza

Spalding; Jazz Standard, 116 E. 27th “Some people’s idea of Tuesday, May 8  Steve Coleman & Five Elements, Village Vanguard, 178 7th Av free speech is that they are free  Fred Hersch Duo Invitation Series With Anat Cohen; Jazz Stand- S ard, 116 E. 27th St.  Bill Charlap; Birdland, 315 W. 44th St. to say what they like, but if anyone  Steve Coleman & Five Elements, Village Vanguard, 178 7th Ave says anything back that S.  Bill Charlap; Birdland, 315 W. 44th St. Monday May 14 is an outrage.”  Mingus Big Band; Jazz Standard, 116 E. 27th St.  Vanguard Jazz Orchestra; Village Vanguard 178 7th Av S Wednesday, May 9  Bill Charlap; Birdland, 315 W. 44th St.  Fred Hersch Duo Invitation Series With Kate Mcgarry; Jazz  Javon Jackson's Berklee Sextet; Dizzy’s Club, Jazz At Lincoln - Winston Churchill Standard, 116 E. 27th St. Center, 60th & Bdwy  Steve Coleman & Five Elements, Village Vanguard, 178 7th Ave S. Saturday, May 5  Bill Charlap; Birdland, 315 W. 44th St. Tuesday, May 15  Essentially Ellington Alumni Band; Dizzy’s Club, Jazz At Lincoln  Broken Shadows; Jazz Standard, 116 E. 27th St.  Zakir Hussain and Dave Holland: Crosscurrents - Jazz Legend Center, 60th & Bdwy  Vijay Iyer, Village Vanguard, 178 7th Av S Dave Holland, Tabla Percussion Master Zakir Hussain, Chris Potter, Amit Chatterjee, Louiz Banks, Gino Banks, and Shankar  Bill Charlap; Birdland, 315 W. 44th St. Mahadevan. This Program Is Presented As Part Of The Ertegun Thursday, May 10  Glenn Zaleski Trio; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy Jazz Concert Series. 8PM, Rose Theater  Fred Hersch Duo Invitation Series With Miguel Zenon; Jazz  Late Night Session: Anthony Hervey; Dizzy’s Club, Jazz At  Smokestack Brunch: The Ladybugs; Kenny Barron Quintet; Jazz Standard, 116 E. 27th St. Standard, 116 E. 27th St. Lincoln Center, 60th & Bdwy  Steve Coleman & Five Elements, Village Vanguard, 178 7th Ave  Eric Reed Quartet, Village Vanguard, 178 7th Ave S. S.  Chucho Valdés; Blue Note, 131 W. 3rd St.  Bill Charlap; Birdland, 315 W. 44th St. Friday, May 18  Dida Pelled; Birdland, 315 W. 44th St.  Celebrating Ornette Coleman, Featuring The Jazz At Lincoln Friday, May 11 Center Orchestra With Wynton Marsalis And Music Director Ted Sunday, May 6 Nash; 8PM, Jazz At Lincoln Center, Rose Theater  Fred Hersch Pocket Orchestra; Jazz Standard, 116 E. 27th St.  Jazz For Kids; Kenny Barron Quintet; Jazz Standard, 116 E.  Steve Coleman & Five Elements, Village Vanguard, 178 7th Av 27th St. S Saturday, May 19  Eric Reed Quartet, Village Vanguard, 178 7th Ave S.  Bill Charlap; Birdland, 315 W. 44th St.  Celebrating Ornette Coleman, Featuring The Jazz At Lincoln  Chucho Valdés; Blue Note, 131 W. 3rd St. Center Orchestra With Wynton Marsalis And Music Director Ted  The Afro Latin Jazz Orchestra; Birdland, 315 W. 44th St. Nash; 8PM, Jazz At Lincoln Center, Rose Theater Saturday, May 12

 Smokestack Brunch: Carmen Staaf's "Day Dream"; Fred Hersch Monday, May 7 Pocket Orchestra; Jazz Standard, 116 E. 27th St.     Mingus Big Band; Jazz Standard, 116 E. 27th St.  Steve Coleman & Five Elements, Village Vanguard, 178 7th Av  Vanguard Jazz Orchestra; Village Vanguard 178 7th Ave S. S

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

5 C Cultural Center, 68 Avenue C. 212-477-5993. www.5ccc.com City Winery, 155 Varick St. Bet. Vandam & Spring St., 212-608- 212-539-8778, joespub.com 55 Bar, 55 Christopher St. 212-929-9883, 55bar.com 0555. citywinery.com John Birks Gillespie Auditorium (see Baha’i Center) 92nd St Y, 1395 Lexington Ave, New York, NY 10128, Cleopatra’s Needle, 2485 Broadway (betw 92nd & 93rd), 212-769- Jules Bistro, 65 St. Marks Pl, 212-477-5560, julesbistro.com 212.415.5500, 92ndsty.org 6969, cleopatrasneedleny.com Kasser Theater, 1 Normal Av, Montclair State College, Montclair, Aaron Davis Hall, City College of NY, Convent Ave., 212-650- Club Bonafide, 212 W. 52nd, 646-918-6189. clubbonafide.com 973-655-4000, montclair.edu 6900, aarondavishall.org C’mon Everybody, 325 Franklin Avenue, Brooklyn. Key Club, 58 Park Pl, Newark, NJ, 973-799-0306, keyclubnj.com Alice Tully Hall, Lincoln Center, Broadway & 65th St., 212-875- www.cmoneverybody.com Kitano Hotel, 66 Park Ave., 212-885-7119. kitano.com 5050, lincolncenter.org/default.asp Copeland’s, 547 W. 145th St. (at Bdwy), 212-234-2356 Knickerbocker Bar & Grill, 33 University Pl., 212-228-8490, Allen Room, Lincoln Center, Time Warner Center, Broadway and Cornelia St Café, 29 Cornelia, 212-989-9319 knickerbockerbarandgrill.com 60th, 5th floor, 212-258-9800, lincolncenter.org Count Basie Theatre, 99 Monmouth St., Red Bank, New Jersey Knitting Factory, 74 Leonard St, 212-219-3132, knittingfacto- American Museum of Natural History, 81st St. & Central Park 07701, 732-842-9000, countbasietheatre.org ry.com W., 212-769-5100, amnh.org Crossroads at Garwood, 78 North Ave., Garwood, NJ 07027, Langham Place — Measure, Fifth Avenue, 400 Fifth Avenue Antibes Bistro, 112 Suffolk Street. 212-533-6088. 908-232-5666 New York, NY 10018, 212-613-8738, langhamplacehotels.com www.antibesbistro.com Cutting Room, 19 W. 24th St, 212-691-1900 La Lanterna (Bar Next Door at La Lanterna), 129 MacDougal St, Arthur’s Tavern, 57 Grove St., 212-675-6879 or 917-301-8759, Dizzy’s Club, Broadway at 60th St., 5th Floor, 212-258-9595, New York, 212-529-5945, lalanternarcaffe.com arthurstavernnyc.com jalc.com Le Cirque Cafe, 151 E. 58th St., lecirque.com Arts Maplewood, P.O. Box 383, Maplewood, NJ 07040; 973-378- DROM, 85 Avenue A, New York, 212-777-1157, dromnyc.com Le Fanfare, 1103 Manhattan Ave., Brooklyn. 347-987-4244. 2133, artsmaplewood.org The Ear Inn, 326 Spring St., NY, 212-226-9060, earinn.com www.lefanfare.com Avery Fischer Hall, Lincoln Center, Columbus Ave. & 65th St., East Village Social, 126 St. Marks Place. 646-755-8662. Le Madeleine, 403 W. 43rd St. (betw 9th & 10th Ave.), New York, 212-875-5030, lincolncenter.org www.evsnyc.com New York, 212-246-2993, lemadeleine.com BAM Café, 30 Lafayette Av, Brooklyn, 718-636-4100, bam.org Edward Hopper House, 82 N. Broadway, Nyack NY. 854-358- Les Gallery Clemente Soto Velez, 107 Suffolk St, 212-260-4080 Bar Chord, 1008 Cortelyou Rd., Brooklyn, barchordnyc.com 0774. Lexington Hotel, 511 Lexington Ave. (212) 755-4400. Bar Lunatico, 486 Halsey St., Brooklyn. 718-513-0339. El Museo Del Barrio, 1230 Fifth Ave (at 104th St.), Tel: 212-831- www.lexinghotelnyc.com 222.barlunatico.com 7272, Fax: 212-831-7927, elmuseo.org Live @ The Falcon, 1348 Route 9W, Marlboro, NY 12542, Barbes, 376 9th St. (corner of 6th Ave.), Park Slope, Brooklyn, Esperanto, 145 Avenue C. 212-505-6559. www.esperantony.com Living Room, 154 Ludlow St. 212-533-7235, livingroomny.com 718-965-9177, barbesbrooklyn.com The Falcon, 1348 Rt. 9W, Marlboro, NY., 845) 236-7970, The Local 269, 269 E. Houston St. (corner of Suffolk St.), NYC Barge Music, Fulton Ferry Landing, Brooklyn, 718-624-2083, Fat Cat, 75 Christopher St., 212-675-7369, fatcatjazz.com Makor, 35 W. 67th St., 212-601-1000, makor.org bargemusic.org Fine and Rare, 9 East 37th Street. www.fineandrare.nyc Lounge Zen, 254 DeGraw Ave, Teaneck, NJ, (201) 692-8585, B.B. King’s Blues Bar, 237 W. 42nd St., 212-997-4144, Five Spot, 459 Myrtle Ave, Brooklyn, NY, 718-852-0202, fivespot- lounge-zen.com bbkingblues.com soulfood.com Maureen's Jazz Cellar, 2 N. Broadway, Nyack NY. 845-535-3143. Beacon Theatre, 74th St. & Broadway, 212-496-7070 Flushing Town Hall, 137-35 Northern Blvd., Flushing, NY, 718- maureensjazzcellar.com Beco Bar, 45 Richardson, Brooklyn. 718-599-1645. 463-7700 x222, flushingtownhall.org Maxwell’s, 1039 Washington St, Hoboken, NJ, 201-653-1703 www.becobar.com For My Sweet, 1103 Fulton St., Brooklyn, NY 718-857-1427 McCarter Theater, 91 University Pl., Princeton, 609-258-2787, Bickford Theatre, on Columbia Turnpike @ Normandy Heights Galapagos, 70 N. 6th St., Brooklyn, NY, 718-782-5188, galapago- mccarter.org Road, east of downtown Morristown. 973-744-2600 sartspace.com Merkin Concert Hall, Kaufman Center, 129 W. 67th St., 212-501 Birdland, 315 W. 44th St., 212-581-3080 Garage Restaurant and Café, 99 Seventh Ave. (betw 4th and -3330, ekcc.org/merkin.htm Blue Note, 131 W. 3rd, 212-475-8592, bluenotejazz.com Bleecker), 212-645-0600, garagerest.com Metropolitan Room, 34 West 22nd St NY, NY 10012, 212-206- Bourbon St Bar and Grille, 346 W. 46th St, NY, 10036, Garden Café, 4961 Broadway, by 207th St., New York, 10034, 0440 212-245-2030, [email protected] 212-544-9480 Mezzrow, 163 West 10th Street, Basement, New York, NY Bowery Poetry Club, 308 Bowery (at Bleecker), 212-614-0505, Gin Fizz, 308 Lenox Ave, 2nd floor. (212) 289-2220. 10014. 646-476-4346. www.mezzrow.com bowerypoetry.com www.ginfizzharlem.com Minton’s, 206 W 118th St., 212-243-2222, mintonsharlem.com BRIC House, 647 Fulton St. Brooklyn, NY 11217, 718-683-5600, Ginny’s Supper Club, 310 Malcolm X Boulevard Manhattan, NY Mirelle’s, 170 Post Ave., Westbury, NY, 516-338-4933 http://bricartsmedia.org 10027, 212-792-9001, http://redroosterharlem.com/ginnys/ MIST Harlem, 46 W. 116th St., myimagestudios.com Brooklyn Public Library, Grand Army Plaza, 2nd Fl, Brooklyn, Glen Rock Inn, 222 Rock Road, Glen Rock, NJ, (201) 445-2362, Mixed Notes Café, 333 Elmont Rd., Elmont, NY (Queens area), NY, 718-230-2100, brooklynpubliclibrary.org glenrockinn.com 516-328-2233, mixednotescafe.com Café Carlyle, 35 E. 76th St., 212-570-7189, thecarlyle.com GoodRoom, 98 Meserole, Bklyn, 718-349-2373, goodroombk.com. Montauk Club, 25 8th Ave., Brooklyn, 718-638-0800, Café Loup, 105 W. 13th St. (West Village) , between Sixth and Green Growler, 368 S, Riverside Ave., Croton-on-Hudson NY. montaukclub.com Seventh Aves., 212-255-4746 914-862-0961. www.thegreengrowler.com Moscow 57, 168½ Delancey. 212-260-5775. moscow57.com Café St. Bart’s, 109 E. 50th St, 212-888-2664, cafestbarts.com Greenwich Village Bistro, 13 Carmine St., 212-206-9777, green- Muchmore’s, 2 Havemeyer St., Brooklyn. 718-576-3222. nd Cafe Noctambulo, 178 2 Ave. 212-995-0900. cafenoctam- wichvillagebistro.com www.muchmoresnyc.com bulo.com Harlem on 5th, 2150 5th Avenue. 212-234-5600. Mundo, 37-06 36th St., Queens. mundony.com Caffe Vivaldi, 32 Jones St, NYC; caffevivaldi.com www.harlemonfifth.com Museum of the City of New York, 1220 Fifth Ave. (between Candlelight Lounge, 24 Passaic St, Trenton. 609-695-9612. Harlem Tea Room, 1793A Madison Ave., 212-348-3471, har- 103rd & 104th St.), 212-534-1672, mcny.org Carnegie Hall, 7th Av & 57th, 212-247-7800, carnegiehall.org lemtearoom.com Musicians’ Local 802, 332 W. 48th, 718-468-7376 Cassandra’s Jazz, 2256 7th Avenue. 917-435-2250. cassan- Hat City Kitchen, 459 Valley St, Orange. 862-252-9147. National Sawdust, 80 N. 6th St., Brooklyn. 646-779-8455. drasjazz.com hatcitykitchen.com www.nationalsawdust.org Chico’s House Of Jazz, In Shoppes at the Arcade, 631 Lake Ave., Havana Central West End, 2911 Broadway/114th St), NYC, Newark Museum, 49 Washington St, Newark, New Jersey 07102- Asbury Park, 732-774-5299 212-662-8830, havanacentral.com 3176, 973-596-6550, newarkmuseum.org Highline Ballroom, 431 West 16th St (between 9th & 10th Ave. New Jersey Performing Arts Center, 1 Center St., Newark, NJ, highlineballroom.com, 212-414-4314. 07102, 973-642-8989, njpac.org Hopewell Valley Bistro, 15 East Broad St, Hopewell, NJ 08525, New Leaf Restaurant, 1 Margaret Corbin Dr., Ft. Tryon Park. 212- 609-466-9889, hopewellvalleybistro.com 568-5323. newleafrestaurant.com Hudson Room, 27 S. Division St., Peekskill NY. 914-788-FOOD. New School Performance Space, 55 W. 13th St., 5th Floor (betw hudsonroom.com 5th & 6th Ave.), 212-229-5896, newschool.edu. Hyatt New Brunswick, 2 Albany St., New Brunswick, NJ New School University-Tishman Auditorium, 66 W. 12th St., 1st “A system of morality IBeam Music Studio, 168 7th St., Brooklyn, ibeambrooklyn.com Floor, Room 106, 212-229-5488, newschool.edu INC American Bar & Kitchen, 302 George St., New Brunswick New York City Baha’i Center, 53 E. 11th St. (betw Broadway & which is based on relative NJ. (732) 640-0553. www.increstaurant.com University), 212-222-5159, bahainyc.org emotional values is a mere Iridium, 1650 Broadway, 212-582-2121, iridiumjazzclub.com North Square Lounge, 103 Waverly Pl. (at MacDougal St.), Jazz 966, 966 Fulton St., Brooklyn, NY, 718-638-6910 212-254-1200, northsquarejazz.com illusion, a thoroughly vulgar Jazz at Lincoln Center, 33 W. 60th St., 212-258-9800, jalc.org Oak Room at The Algonquin Hotel, 59 W. 44th St. (betw 5th and conception which has nothing  Frederick P. Rose Hall, Broadway at 60th St., 5th Floor 6th Ave.), 212-840-6800, thealgonquin.net  Dizzy’s Club Coca-Cola, Reservations: 212-258-9595 Oceana Restaurant, 120 West 49th St, New York, NY 10020 sound in it and nothing true.”  Rose Theater, Tickets: 212-721-6500, The Allen Room, Tickets: 212-759-5941, oceanarestaurant.com 212-721-6500 Orchid, 765 Sixth Ave. (betw 25th & 26th St.), 212-206-9928 Jazz Gallery, 1160 Bdwy, (212) 242-1063, jazzgallery.org The Owl, 497 Rogers Ave, Bklyn. 718-774-0042. www.theowl.nyc The Jazz Spot, 375 Kosciuszko St. (enter at 179 Marcus Garvey Palazzo Restaurant, 11 South Fullerton Avenue, Montclair. 973- Blvd.), Brooklyn, NY, 718-453-7825, thejazz.8m.com 746-6778. palazzonj.com Jazz Standard, 116 E. 27th St., 212-576-2232, jazzstandard.net Priory Jazz Club: 223 W Market, Newark, 07103, 973-639-7885 — Socrates — Anton Chekhov Joe’s Pub at the Public Theater, 425 Lafayette St & Astor Pl., Proper Café, 217-01 Linden Blvd., Queens, 718-341-2233

18 April-May 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 Prospect Park Bandshell, 9th St. & Prospect Park W., Brooklyn, Zankel Hall, 881 7th Ave, New York, 212-247-7800 NY, 718-768-0855 Zinc Bar, 82 West 3rd St.

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Post Campus Schomburg Center, 515 Malcolm X Blvd., 212-491-2200, City College of NY-Jazz Program, 212-650-5411, nypl.org/research/sc/sc.html WFDU, http://alpha.fdu.edu/wfdu/wfdufm/index2.html Drummers Collective, 541 6th Ave, New York, NY 10011, WKCR 89.9, Columbia University, 2920 Broadway Shanghai Jazz, 24 Main St., Madison, NJ, 973-822-2899, shang- 212-741-0091, thecoll.com Mailcode 2612, NY 10027, 212-854-9920, columbia.edu/cu/wkcr haijazz.com Five Towns College, 305 N. 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To Advertise CALL: 215-887-8880 April-May 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com 19 ditties on the piano that I could teach the cats and the whole band felt a vibe of diss. I was thinking, Victor Lewis then we could play them. Over the years, I just like ‘Oh, man, the vibe is screwed up. It’s gonna kill it,’ creating music, expressing a feeling. I didn’t just but it did just the opposite. It made everybody in want to be a drummer, I wanted to be a musician. the band arch up and say, “Look, until we play the (Continued from Page 11) In my early days in New York, I got chumped off first note there ain’t nothin’ for you to do. We as a composer because the scene wasn’t evolved come first!” That’s the spirit that we had to get to VL: Oh, man, I take unofficial drum lessons every enough to embrace drummers who were compos- rally to transcend how Rudy fucked up the vibe. day and I’m always practicing in my head. I’m at ers. When I hit New York there were only a few And John Stubblefield, who he dissed the most, the point now that I can work out [in my mind] cats who were composers – Joe Chambers, Jack every time I listen to his solo on it, I start to cry what I want to do and I know what the movement DeJohnette, Tony Williams, but Woody encour- because it was such a challenge. Everyone arched is gonna be. Now what I’m working on is really aged me to bring in music when I joined his band. up so much, the tune ended up being fifteen exploring me to the fullest extent without feeling He told me the reason why was because when he minutes and Kenny kept all of it. that I have to add more chops to my arsenal. They was a young man, playing with Horace Silver, he say every generation runs faster and jumps higher was always up in Horace’s ear asking to play one JI: Do you have a 9/11 experience to share? and there’s a lot of young cats now that have more of his tunes and Horace wouldn’t play them. chops than they’ll ever need but they’re still seek- Woody kept hassling him so finally Horace agreed VL: Indeed I do. I was supposed to go to Bogotá, ing for more chops thinking that’s gonna get them to play one. So they rehearsed it and played it and Columbia the day after 9/11. On 9/11 I woke up musically to what they’re trying to do, but not nec- it got a standing ovation. He didn’t play the tune around 7:30 with a mission to buy a new pair of essarily. I had a revelation. I’ve been playing the anymore after that! Woody said he vowed that once shoes to take with me. I put on NY1 to see what drums for 55 years and say, maybe for 25 or 30 of he got his own band that he wouldn’t just play his was happening in the world and I saw this plane them, I tried to collect all the licks and beats and own stuff. He almost demanded other’s bring mu- crash into the World Trade Center. I figured it was rhythms. The last 25 years I’ve been trying to fig- sic in and lucky me. You can’t buy that kind of a trailer for a new movie and then I realized it was ure out how to play one lick a thousand different opportunity at Berklee. live. Boom! It was on! I had a daughter who was at ways. I’m trying to use the facility that I have be- City College and her campus was right next to the cause I used to be a practice-aholic. I’d be scared to JI: One of your most popular tunes is “Big Girls.” World Trade Center. My daughter still has an im- go to the gig if I didn’t at least put a couple hours What’s the story behind that title? print of what she saw. She said, “Daddy, they had in and then life threw me a wonderful curve ball us come out of the building and we looked at the where my living situation changed and I couldn’t VL: “Big Girls” is all about grownup women who World Trade Center and at first, I thought that they practice before I had to go to the gig. That was a are really responsible little girls at heart and the were throwing valuables out of the windows but great thing for me because that meant that I had to relationship between men and women. Sometimes then I realized they were jumping.” Can you imag- play music with what I had, whatever I showed up the girlfriend is kind of motherly to the guy and ine a twenty-year-old girl seeing that? Needless to with, and that’s the whole point, which is to play sometimes the guy is kind of fatherly to the girl in say, I never made it to Bogotá the next day because music as opposed to playing facility. terms of looking out for each other. It has to do nothing was flying. But the thing that was disas- with the dance of the relationship and how the trously beautiful about it was it made the comara- JI: In addition to drumming, you’ve excelled as a pendulum can swing to either side. When we rec- drie level in New York go up tenfold. Everyone “They say every generation runs faster and jumps higher and there’s a lot of young cats now that have more chops than they’ll ever need but they’re still seeking for more chops thinking that’s gonna get them musically to what they’re trying to do, but not necessarily.”

composer. Your songs have rich, memorable melo- orded that with Kenny Barron’s Quintet was being nice to each other until that wore off but dies. What stimulates you to compose? [Quickstep, 1991, Enja] there was an incident that for about a month it was intensely unified. you would think would have killed the vibe. It was VL: One is that it’s cheaper than seeing a shrink recorded at Rudy Van Gelder’s and Rudy, who was JI: The final questions have been given to me by and you might make some money with royalties. an analog genius, bless his soul, but eccentric and a other artists to ask you: It’s a vent, it’s a purging, it’s a mission. Really I little cocky and could be a drag sometimes, but he started composing from getting bored with my was good at what he did. Somedays he was cranky. Herlin Riley (drums) said: “Thanks for reaching classical piano lesson for the week and just started So we’re getting ready to record “Big Girls” and out to me for my input in interviewing my well screwing around on the piano when I was eleven. John Stubblefield mentioned something to Rudy respected friend, colleague and fellow drummer - Then when I got my drum set and I assembled about the sound of the horn in his headphones and the great Victor Lewis. I checked out a few of some cats to come and play at the crib in the base- Rudy says the wrong thing. He said, “And is this Vic’s interviews and performances on YouTube. ment, it got to the point of, ‘Ok, here we are, what your record? Then don’t worry about it!” It wasn’t One of his interviews talked about intellect vs. are we gonna play?’ I started coming up with little cool. [Laughs] He roughed off Stubblefield and (Continued on page 22)

20 April-May 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 Photo of Victor Lewis performing with Sonny Rollins, Damrosch Park, New York City, August 26, 2006

To Advertise CALL: 215-887-8880 April-May 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com 21 playing music, it’s just that I do it with the drums. VL: My girl, yeah, I’ve done some small vocal Victor Lewis A pitfall for the younger musicians is that the ac- parts on my recordings. I have never done a record- cess to the vocabulary is so easy now with the In- ing singing lyrics but I come from, not only a fami- ternet. Herlin knows that you have to balance the ly of instrumentalists but a family of singers too (Continued from page 20) intellect with the emotional and the spirit. When I and everybody used to sing a lot! I used to sing doo spirit in musicians. He said Woody Shaw chal- play or compose my best, it’s not just me playing, -wop on the corner with my boys imitating Smokey lenged him on that issue! Today’s musicians go to I’m a vessel, I’m a channel. Robinson and the Miracles. Actually, my folks college to study with different teachers to develop didn’t want me to make a career out of music but their musical intellect. I’d like to ask you Vic, how Herlin Riley also asked: “Where do you start when they accepted the idea, they wanted me to be does a musician develop the spiritual component of when composing a tune? Do you start from the a vocalist – you may as well be out in front. But playing jazz music?” bass line or do you hear the chord structure first back then I didn’t feel that I had the personality to and fill in the melody, or the opposite - the melody be out in front, working the crowd, talking stuff. I VL: That’s a great question, Herlin, my man! first and fill in the chords. What’s your method?” wanted to just be behind the drums, close my eyes, Yeah, I’ve studied. Yeah, I went to college. Yeah, I playing music. I didn’t have much to say back then know what a flatted 5th chord is, I know a bunch of VL: It comes through either one of those channels. but now, with most of the legacy gone, somebody’s stuff, but that doesn’t always give you a ticket to There are some tunes where I had a bassline and I got to say something so here I is! make music. These are tools and you need to put as found some chords to put around it and a melody to many tools into your bag as you can so that when put on top of it. Some tunes, I heard the melody Carmen Lundy also asked: “Who creatively in- your heart decides what you musically want to first, and other tunes I had a drum groove I wanted spires you now?” play, you look in the bag and see which tool you to explore. I used to do it methodically, just check- need. That comes from a non-detached spiritual ing to see what I stumbled on but now I’ve come to VL: She does! The music that I listen to at any ceremony when you play. I believe there’s a spirit realize those inspirational moments when it went time is something that raises my vibrations and that you have to call when you play that helps you somewhere, it was channeled. I hear the band play- inspires me and the last couple of weeks, I’ve been distribute your tools purely as opposed to it being ing [in my head], I hear all the parts, and then I sit revisiting a record I did with Carmen called This is

“Yeah, I’ve studied. Yeah, I went to college. Yeah, I know what a flatted 5th chord is, I know a bunch of stuff, but that doesn’t always give you a ticket to make music. These are tools … so that when your heart decides what you musically want to play, you look in the bag and see which tool you need. That comes from a non-detached spiritual ceremony when you play. I believe there’s a spirit that you have to call when you play that helps you distribute your tools purely as opposed to it being calisthenics…”

calisthenics, and these are things that I would like down and write it out. I hear what I want to play - Carmen Lundy [Afrasia, 2001] There are three to be addressed more in the educational institu- the melody and potential solos. I like to through- women of my generation that I call jazz high tions. Eddie Henderson tells a story about the time compose the vision of it. I won’t bring a tune to be priestesses – Geri Allen, who just passed away, Miles Davis came to his house for dinner when improvised on if I haven’t already explored hearing Cassandra Wilson and Carmen Lundy. Me and Eddie was five-years-old and he played his little an improvised solo in my head on it to see where it Carmen go back to the eighties and I watched her horn for Miles and Miles said, “Okay, good kid. I’ll can go, what mood it conjures up. In that sense I’m grow. Carmen is one of my favorite composers see you in twenty years.” Twenty years go by and a medium when I compose but don’t tell everybody because all of her tunes are messages about life, little Eddie has grown up and worked on his stuff, that, I don’t want to be hung as a heretic, ha! she’s deep. For my money, she’s the greatest jazz and low and behold, another opportunity for Miles [Laughs] vocalist alive today, and I’m serious about that. to hear him. He came to a gig Eddie was playing and Eddie played his heart out. On the break he Carmen Lundy (vocalist) asked: “I know that you Curtis Lundy (bass) asked: “We’re both in the went over to Miles hoping to fetch some kudos and sing. Would you talk about your connection to same generation, we were both blessed to be able Miles said, “When you gonna stop playing the singing and have you ever sung on any record- to know and sweat and bleed with the masters of trumpet and start playing music?” So I stopped ings?” this music. How do you approach imparting that to playing the drums twenty years ago and started the younger musicians who need to understand

22 April-May 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 Tony Williams you’ll notice efficiency of move- that manifest in the way you play the composition Victor Lewis ment, no superfluous movement what so ever. It and groove. I suspect this may have something to was like a Ferrari steering wheel! Yeah, when it’s do with the way in which you listen to and learn my gig, I’ll add a few things, because it’s my gig. music. How do you typically go about learning a what that means?” I’ll put my Chinese cymbal way up in the air but I new tune and how can others develop this intimate just got to make sure I Tiger Balm up the night knowledge and relationship to a tune?” VL: That’s a really important issue. I’ve been before. trying to convey to them what it takes to get out of VL: When you deal with a tune, from the point of the mundane. There’s a lot of generic because it’s Yoron Israel also asked: “The last time that I saw view of a drummer, the first thing you gotta not do easy to get facility and vocabulary but guys are not you perform was at the Berklee Performance Cen- is look at it as a drummer, you’ll only derive a innovating because it is not coming from their ter in Boston a few years ago. It was a project that limited amount of information. I always ask them heart, they’re emulating. There’s a spiritual ele- you led, featuring your compositions. Interestingly, not to give me a drum part that says, “Play fifteen ment to this music that’s not being addressed in the you did not play any drum solos the entire set, yet bars and play a fill on the sixteenth bar and then schools. I tell my students that you are dealing with as a drummer, your presence, personality and indi- play another eight bars.” Meanwhile when you’re things that you cannot see and I learned it from the viduality spoke so clearly through the music. Is this reading the chart down, you’re hearing all kinds of “Miles Davis came to his house for dinner when Eddie [Henderson] was five-years-old and he played his little horn for Miles and Miles said, ‘Okay, good kid. I’ll see you in twenty years.’ Twenty years go by and little Eddie has grown up and worked on his stuff, and …. another opportunity for Miles to hear him. He came to a gig Eddie was playing and Eddie played his heart out. On the break he went over to Miles hoping to fetch some kudos and Miles said, “When you gonna stop playing the trumpet and start playing music?” So I stopped playing the drums twenty years ago and started playing music …”

guys that I grew up under. That’s what Curtis is an intentional concept within your presentations as things that are going on in the band that you should talking about. I tell them stories about rubbing a leader? If so, please speak about the origin, phi- be addressing but it’s not on your part. So I want a shoulders with the cats and I think that the younger losophy and development of this concept.” lead sheet like everybody else has. I want to be generation has to be hungry to get that wisdom, looking at the same thing as everybody else. If that’s part of their lesson. Access is so easy for VL: Great question, man. I want to say that one of there’s a bassline, I want to be aware of it. I want to them that they are complacent about that and they the many things that I like about Yoron is how he internalize the melody as soon as I can. I want to miss the spiritual part of it. They’re really getting tunes his drums and the sound he gets. It’s like they see how the chords go by. It’s all essential infor- good at emulation but they’re getting stuck there. say – it takes one to know one because he really mation for you to have an overview of the tune in The original guys of this music were not spoon-fed gets a great sound and has a great touch. About the order to accentuate the melody and feel the colors the music, they had to hunt for it and be in a crea- soloing, probably if you come to one of my gigs, of the different chords. I have to say something tive zone. maybe you’ll see a solo but most likely not. There about Edward. He is such a masterful musician. are two reasons for that. One is that I’m kind of He’s a master at having a vision that’s off the pa- Yoron Israel (drums) asked: “I have always en- soloing through the whole thing! [Laughs] The per. It’s so important to have the right guys in the joyed the tone that you produce from your drums other part is that I hate it when it’s like this is the band. With cats like Ed, you give them the music, and cymbals, whether you’re using sticks, brushes drummer’s gig so we’re gonna listen to frickin’ and you start playing it, and you say, ‘Yeah man, or mallets. Could you talk a bit about the personal drum solos all night. “Oh, it’s the drummer’s gig – that was just the way I heard it! Oh, boy, you’re a development of your touch and sound?” drums, drums, drums!” I like to make sure that the genius!’ [Laughs] John Stubblefield played my success of my gig is on the merits of my compos- tunes just like I wrote it. Joe Henderson played my VL: I think that comes from my classical percus- ing. It’s me trying still to solidify getting chumped tunes like he wrote them. sion days [and training] in specific textures and off as a composer back in the day. It’s not gonna be working with the tympani being at the right pitch. a drum solo where the band leaves the bandstand to  Pitch and touch and tambour comes out of there. I go have a drink, smoke a cigarette, and the audi- went through the fusion period, I love it all, and in ence goes, “Okay, that was good but enough. the fusion era, cats had all kinds of stuff to hit. Somebody cut him off!” I never want to be seen as They would have one thing to hit for every sound that. I call it “drums obnoxiousness.” I swing to the they wanted to get to. Necessity is the mother of other side of the pendulum, I want to make sure invention, and to tell you the truth, I got tired of that they don’t get enough of my drum solos. “”A man’s character may carrying all that stuff around. I had to have back be learned from the adjectives surgery from carrying drums for fifty-five-years. Edward Simon (piano) asked: “Besides your great It’s kind of a badge of honor, I wouldn’t have it sense of swing, one of the many features of your which he habitually uses any other way, but it took its toll. I started to travel playing that I always enjoy is your ability to incor- in conversation.” lighter to the gigs and I began to try to find all porate the melody and other parts of the tune into

those sounds that you had one thing to hit for, find the groove. You always know the melody of the all those sounds on three things. If you look at tune intimately and have a unique way of letting - Mark Twain

To Advertise CALL: 215-887-8880 April-May 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com 23 never heard anything Western – Mozart, Michael Jackson, nothing. And he played Mozart for them INTERVIEW and they started crying. So I think music has a INTERVIEW stronger message that we think.

JI: Everybody is responding to music as you said ... yes, it’s a universal language. And maybe Manuel Valera some people like different types of music more than others,, or in different ways, or maybe there From Cuba to the United States is more of a universal connection that somehow Bach and Beethoven and Mozart hit us a certain ple of years of high school in Miami and then I way because there’s a universal kind of logic to Hear Manuel Valera at Jazz Standard with moved up here. There are many challenges other the way that the frequencies and the tones are laid Hans Glawischnig, Mark Whitfield Jr., than that by being in New York and being in the out. But either way, we’re all made up of different April 11, 2018 states; it’s just a different culture than Cu- chemicals so your body would be different than ba. Fortunately for me, I didn’t have that much of mine and maybe therefore the cells would reso- JI: Talk a little bit about how you discovered your a hard time adapting to the new culture, but I nate in different ways and we’d each like different interest and passion for jazz and the opportunities know a lot of Cubans do have a tough time adapt- types of music based on the way our cells are kind that opened the door for your development in this ing because the system is completely differ- of responding to a feel from those resonance. music. ent. We come from a place that if you’re a musician, there’s never a lot of money involved in MV: Right. There’s definitely something like that MV: Well, since a very early agexxxxxxxxxx in Cuba I was Cuba of course. But if you’re a musician you have happening, I’m certain of it. Because some of the exposed to jazz, straight-ahead jazz, via my father work. And musicians are musicians. There is no places that we’ve gone to play, people hardly have who’s a very well-known saxophonist in Cu- need to get a day job or anything like any idea of what we we’re doing on any intellec- ba. His name is also Manuel Valera. He played that. Musicians are just musicians. And here, a lot tual level like they do here. They just hear stuff with people like Gonzalo Rubalcalba and with of people feel that they have to get a job and stuff and they’re like “Oh, yes. We like that.” Also it Chucho Valdés. So jazz was always around the like that. For me fortunately, that was not the helps that my music is very rhythmic, and a lot of house. At a very early age I was introduced to case. But it can be a very difficult switch for a these places, they’re very strong rhythmic plac- people like Ted Baker, Paul Desmond. He liked a Cuban to come to the States. es. Like India, for example, is a very strong rhyth- lot of the West Coast guys, but he also liked Char- mic place. Between Africa and India, I think lie Parker and Chick Corea and there was some JI: Yes. Now that you’ve lived in Cuba, you’ve they’re the two strongest rhythmic places in the Michael Brecker stuff in the 80s. When the fusion live in Miami, you’ve lived here in New York, so world probably. We got to connect there, and also thing started going, he also listened to a lot of the you’ve lived in three rather different places and when I went to Nepal, the same thing hap- 80s stuff like Chick Corea’s Three Quartets, Steps you’ve traveled around the world and had a pened. Nepal is even more distanced from India, Ahead, stuff like that. I always had an ear for chance to come in contact with lots of people and it’s even further away from Western music than it. And in 94, when I moved to the United States, I observe different cultures and so on and so forth. India is. So I guess that’s what it comes down to; really started playing with people and furthering What kinds of interesting discoveries have you there’s a mystical power to music. discovering jazz. And I got a chance to get into made about human nature in your travels? the New School in Manhattan. That’s when it JI: Yes, for sure. Can you talk about your experi- really opened my ears – being in New York City MV: The most interesting discovery is that every- ences working with Arturo Sandoval and Paquito and being able to play with a lot of people and just body likes good music. And it could be jazz, it D’Rivera who also, like you, hail from Cuba? thriving and all the stuff that everybody does. could be whatever you want, but when you go – like last year we went to India which doesn’t have MV: Yes. Working with both of them was very JI: When you came to the United States, you went a huge jazz culture. But people seemed to have an interesting and I learned quite a bit. With Paquito, to New School and you already had a lot of stuff appreciation for I guess what they call intelligent I’ve done over the years things with Paquito. I together. But what kinds of challenges did you music or whatever, like jazz, classical music or never really played in his band but we’ve done a experience when you first arrived in the United something. I’ve found that those things are really lot of things together like I’ve done arrangements States? universal. You can connect with many people for him. We’ve played dual concerts. We’ve done even if they’ve never heard jazz. A lot of the a bunch of projects and things like that together. Back in the day, he was sort of like a mentor to me in some ways. He’s also very good friends “...when you write something for with my father from Cuba so he’s almost like family. And as far as Arturo, I played with Arturo for four years in his band, and we did travel a lot somebody, it will take shape really all over the world. I learned a lot about the music business from him; he’s a great business man. He quickly because you really hear how has a way of just staying busy all the time. I think people seem to like what he does. they’re going to do it and you hardly JI: What is it about Paquito and about Arturo ever have to say anything.” Sandoval, the kinds of things that you picked up in terms of leadership and business things in addition to the music that was a valuable experience MV: The first one is the language. I couldn’t real- times, they find it interesting because of the inter- for you? What kinds of things did you pick up that ly speak English so that was a really hard chal- play and – it’s hard for me to explain but they kind of gave you some larger perspectives? lenge for me and I would imagine for anybody somehow can sense that something is that’s from a different country that travels cool. There’s something there that’s really open MV: It’s kind of hard for me to generalize it like here. English, that’s a ginormous chal- and it lets people in. I saw something on the Dis- that. Arturo liked to get paid. So there was always lenge. Fortunately for me, I really caught on quite covery Channel some years ago; this explorer emphasis on that– you must get paid. He had quickly to the English and I finished my last cou- brought Mozart to this tribe in Africa that they’d some aspects that I’m not going to relate it to

24 April-May 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 Manuel Valera

music like he has showmanship. His concerts, they always have a show element to them. And really entertaining; he could definitely play the trumpet. He has a way of grabbing people’s attention via just being himself really. He played some piano, keyboards, played the trumpet of course. There’s an element of showmanship from Arturo that a lot of people could learn from. As far as Paquito, I always found really inspiring his need to always move forward musically. He’s always writing, he’s always composing, he’s always applying for grants, he’s always writing a grant. He’s always doing something new like developing a project with some South American cats or some European people. He’s always moving around. He’s never stagnant.

JI: Right, he’s a showman. xxxxxxxxxx

MV: Right. That has value as well. Arturo’s thing has value as well, but typically I think Paquito is superior in my opinion to Arturo.

JI: Being around all these different artists, what’s your approach to leading your band and teaching the people that you play with your music and what are you looking for from them? How does that communication work for you?

MV: I’ve basically been fortunate that the people that are playing in my band are sort of the ideal people that I want to play in my band. So playing new music and teaching them new music is super easy because I sort of write the music for them in a way because I already know the sound of each of them. So it’s really when you write something for somebody, it will take shape really quickly because you really hear how they’re going to do it and you hardly ever have to say anything. That part is generally really painless for me, mainly for the reason that I write the things for them. When I write something, I write it for just Bonnie and Tom or whoever. So with that in mind, it’s real easy. it in other ways but I don’t have to pay for it mon- JI: Maybe Danilo Perez will let you sit in. JI: Your wife does your artwork for you, so etarily. you’re pretty lucky that you have someone kind of MV: Maybe, I don’t know. Probably not. I really like onboard to handle the design of your album JI: If you could wave a magic wand, what are hope that my career as a leader keeps growing and jackets and all of your stuff. Talk a little bit about some of the things that you’d like to accomplish growing in the next couple of years even what it’s like for you at the world headquarters of in the upcoming couple of years and people that more. We’ve been very fortunate so far. I think Manuel Valera Incorporated. you might want to play with. Give us a quick wish this year, we’re doing the solo thing and the group list here. thing. We’re doing between 40 and 50 MV: Like you said, I’m super fortunate that my gigs. That’s actually much better than last year on wife is such an amazing graphic designer and MV: I can always play more with my band. my own. I’m doing other things with Daphnis and she’s willing to help me get all these things go- Sometimes I feel that people are a little reluctant Yosvany and a bunch of people. But on my own, I ing. We’ve been working on getting sort of a look to book the band even now at this stage and that’s hope to get even more work because I really enjoy on everything that I produce, getting a consistent the one thing that I wish to be a little bit differ- the possibility of writing new music and just play- sort of look with the fonts and other stuff. I have a ent. But people that I want to play with, I don’t ing more live. That would be a great wish. couple of great people on the team that I work know. I’ve been focusing so much on my own with all the time. I have a great booking agent, her thing that that whole thing of playing with other JI: Are you teaching too? name is JoAnne Jimenez, she works with Ron people is a little behind my wish list. I would al- Carter and people like that. So I’m really fortunate ways want to play with people like Wayne Shorter MV: I don’t teach so much. Once in a while I to have people behind me willing to help me get or something like that. I think that would be really teach writing lessons and things like that but it’s everything moving forward. Just the whole graph- fantastic, but I don’t think that’s happen- not something that’s on my schedule too much. ic design thing is a super plus because generally ing. That’s definitely a wish list for real. people would have to pay for that. I get to pay for 

To Advertise CALL: 215-887-8880 April-May 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com 25 salis. We joined together. Donald, Kenny and Wal- lace had been in New York a lot longer. I hadn’t moved to New York yet. They had much more INTERVIEWINTERVIEW experience, and each of them helped me in a certain way, like mentoring. I was very close with

Kenny and still am. Wallace, not as much, because Wallace lived in Harlem and I was commuting back and forth. I learned a lot being around Wal- Javon Jackson lace. Very dedicated musician, very serious, and a guy who is willing to help with information. Wal- Mastery By Ear lace was working with Tony Williams at the time too, so he was kind of in between. If I called any one of those individuals right now, and said I need jazz music and life, there is no separation. He lived some help, they would be right there for me. It was Hear Javon Jackson’s Berklee Sextet at jazz. It wasn’t about money. It wasn’t about acco- like a family. It was a nice college fraternity. We Dizzy’s Club, May 14; lades. He was one of the originators of the art form. were all good friends. We were young. We were Javon Jackson, Village Vanguard, April 24-29 So the art form was as serious as cancer to him, he interested in music. There was a dialogue about would say. Every time he got behind the drums musicians. Guys were hanging out and hearing Interview & Photo by Eric Nemeyer onstage he treated it as if it was his last time. He other musicians, and you travel all over the world was a very impromptu, in-the-moment musician, together. You spend time with those guys that you JI: Can you talk a little bit about how earlier jazz which is something that can’t be said for every- don’t even spend with family members. And that’s musicians like Coleman Hawkins, Lester Young, body. You’d see him do these openings before we what it was. It was like a family. Duke Ellington may have impacted and influenced did the songs. People would say that they had seen you? xxxxxxxxxxthey same openings for ten, fifteen years in some JI: With the expansive repertoire that the group way. But, they always sounded like it was the first had accumulated over many years, did you have JJ: Lester Young was a guy who’s always telling a time, because he had that zest. The big thing I access to parts in advance? Or, were you working story. It’s always swinging no matter how fast or learned from Art was how much he valued people, out the music in hotel rooms? how slow he’s telling the story. There were certain how much he valued the audience. He would al- things that he did on saxophone—things like false ways take the time to say “I thank you for coming. JJ: No, what happened was when you joined Art fingering [hums example]. He was the guy that was We appreciate you.” He always stressed to us never Blakey’s band, all the musicians said, “ I play this at the forefront of those kind of things. He just had to play down to the audience. Play to them and and this and this.” Your job was to go and learn a pretty sound. Hawk, Coleman Hawkins was a guy respect them—because the audience heightens your your part. But there was no music. Either they with a strong muscular tone—very aggressive, lots ability to go for things you might not go for. And taught it to you themselves, or you went to the of facility. Lester came another way. You hear professionalism—he always wanted us to wear a recording. If a guy had his own original, he’d teach these fast tempos, and you wonder how is he going tie and look professional. He’d always say they see you his music. In general, you just had to learn on to make these tempos. They are so fast, but it was you before they hear you. He was just a supportive your own. So that was a challenge. And then if you just effortless, and all these beautiful melodies. He guy for young people. His only goal was swing got there and you learned it and it was wrong, seemed to use the common tones of chords. Sonny them to death, and make sure that we have some someone would say, “well it’s not quite that note, Rollins was a guy who played the common tones fun. He also didn’t want you to be like anyone else. blah blah blah.” But that’s how it worked. There like Lester, but he had the muscular sound like That’s the thing I loved. When you think of all the was no music. Art Blakey’s thing was that there Coleman Hawkins. So, those guys were very im- different groups, all of the varied musicians that was no music on stage. If you’d have brought a portant for me. I listened to them and I still listen to were in his band—Chuck Mangione, Wynton Mar- Real Book on stage, you’d have been fired immedi- them. I loved the record with Lester young, Nat salis, Freddie Hubbard, Lee Morgan… All of these ately. I’m serious. I don’t think I’ve ever worked Cole and Buddy Rich. Or The President Plays. I different people—but he never tried to put anybody with a band… If I’d have brought a Real Book listen to those records a lot. As you begin to listen into a particular box. onstage with Freddie Hubbard, he wouldn’t have more and more it’s not even about a certain period. fired me, but he’d laugh me to death. He’d laugh because that’s not how music was learned in their “Art Blakey’s thing was that there was no era. Everything they do is by ear. I remember one night Art got on the bandstand and he said let’s music on stage … if I’d have brought a Real play a certain song. Somebody said “I don’t know it,” and Art said “you will after we play it.” And he Book onstage with Freddie Hubbard, he just started playing it. Those kind of experiences— that’s the school of hard-knocks. That’s the way wouldn’t have fired me, but he’d laugh me Art was. He’d say, people come to hear you. They don’t want to look at you—you look all nice and to death. He’d laugh because that’s not how there’s a big sheet of music in front of you. As I get older, I think he’s right. I don’t want to pay $30 to music was learned in their era. see James Brown across the stage with music reading “I Feel Good.” I don’t want to see Prince read Everything they do is by ear.” music. But the difference is nowadays unfortunately, there’s no [regular] band. So guys have to have I think we are influenced by more of the modern JI: That is exactly the way it should be. music, so we can play each other’s repertoire. But melodies in general, of Coltrane, and that period of all these guys that had working bands—Miles, the 60’s. But you’d be surprised at the number of JJ: But everybody’s not like that. He had all these Horace Silver, Art Blakey, Cannonball. There was musicians who actually understand that stuff or different personalities, but the band always sounds no need for [sheet] music. really do appreciate it when you talk to them. We like him. It always sounds like Art Blakey—no are in an era where the further you move up in matter who’s in the band. That’s pretty amazing. JI: Of course, they were working every night. history, the further you go back. JI: Absolutely. Do you want to talk about the dy- JJ: Everything now is transient. Guys get together JI: Talk about your association with Art Blakey namic in Art’s band when you played alongside for one gig. Somebody may call you next week for and some of the ideas you might have picked up. Terence Blanchard, Kenny Garrett, Wallace Roney, a gig. They show you some music. You look at it. Benny Green? You play it one time. You know you may never see JJ: Art was such an incredible human being. He the music again. There were record dates like that comes from an era where music is your life. In JJ: When I joined the band it was Wallace Roney, too. But the bands developed a lot more. I think other words, when you talk about Art Blakey and Donald Brown, Kenny Garrett, and Delfayo Mar- that’s possibly what’s missing from today. It’s just

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JavonJavon JacksonJackson

To Advertise CALL: 215-887-8880 April-May 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com 27 JI: How was your association with Blue Note that process of amassing this vocabulary, many of Javon Jackson different from Criss Cross? us have gone through stages where we feel we need an outlet to express those things we might be work- JJ: Really, it’s about the same. Bruce [Lundvall] ing on in the practice room. Then, in time, and with (Continued from page 26) didn’t tell us who to play with. He gave me artistic experience, we invest much more time trying to different. I think if there were more bands … for freedom. He was a great lover of the music, like grow, making each note mean more, and in some people to develop more and people to hear each Teekens. Criss Cross is probably what Blue Note cases, to that end, striving for an economy of other. Say you went to a gig one night and saw so was in the sixties. Blue Note is a bigger machine, notes—to choose just the tastiest notes. and so and his band, and you had your own band. but Bruce was definitely appreciative of what we You could kind of push each other—like Sonny were trying to do. I never remember him telling JJ: To choose just what’s necessary. And in that Rollins and Trane—kind of pushing each other. any musicians what they had to play. He supported respect Art Blakey always helped. He always said, that artist. If he hired you, if he signed you to the “I don’t care how much you are playing, if it ain’t JI: Can you discuss the difference in leadership label, than he believed in you and he allowed you swinging, it don’t matter.” If it’s not musical it styles between some of the band leaders for whom to do what you wanted to. And if you needed some doesn’t matter how much you’re playing. He told you played? help, if you wanted some artist as a special guest, us that Art Tatum, and Bird all had the greatest of he’d try to make it come together as best he technique, but they were still musical. JJ: Art Blakey was the ultimate band leader. You could—within the numbers. I had a lot of respect felt like he was a General and we were Privates. for Bruce. He was a really special person to me. JI: The music came first. It was what they were The ultimate general. Cedar Walton was a band feeling. leader, but in a different kind of way. Cedar has an JI: Are there any lessons you learned you want to idea of the direction in terms of the way he wants share about your dealings with record labels, pro- JJ: They were one and the same. Nowadays, it’s the music to go. Cedar is definitely a strong band ducers, or managers? not necessarily. Depending on who you are listen- leader. And Elvin was a band leader, but his thing ing to and who’s listening, it may not always sound was that we are going to go out andxxxxxxxxxx swing and have JJ: Well, I can say that I think I have learned not to musical first. It might sound more like an exercise. a good time. It wasn’t that he didn’t take every- take anything personally. It’s business. Sometimes It might have more quantity there, but I don’t know thing seriously. Charlie Haden was a person who we mistake a business decision, or things might about the quality of it. So, we’re saying the same was very open for everybody. He wanted every- happen to us that appear personal, and it’s not nec- thing. body to express themselves. Art Blakey was like essarily that. Under the guise of business things that too, but he was more about the framework: this happen. If you take it personally, you kind of beat JI: Talk a little bit about how your involvement in is the jazz message, it goes like this, and within that yourself up, and that person on the other side of the jazz education, teaching at the college level, at structure, we are going to have some fun. But it fence. SUNY Purchase has contributed to or challenged wasn’t completely wide open. He did want you to your creativity and artistry? be yourself, but there were certain things you had JI: Someone might have had an entirely different to do. There backgrounds. There was going to be reason for their activities than we might perceive. JJ: Well, it helps me actually to be around young some standards, some ballads, some features and it As artists we can be overly sensitive about our people who are inspired and interested to learn. It didn’t really deviate. But within that we took as creations, and deeply impacted by criticism. helps me because it helps me keep things in per- much liberty as we wanted to. Art was just an in- spective and think about some aspect of what they credible band leader. I can’t say enough how in- JJ: Yeah, and the bottom line is, if they don’t like are working on and keep that in my current pro- credible he was—especially for a small band. For a it, that’s okay too. It’s just business. Eddie Harris gress. It’s kind of like Michael Jordan. To me, he guy to have that kind of impact when he really taught me something very, very important. He said was so great because he was the master of the fun- didn’t have the harmonic…When you heard Duke that no matter how good you might sound, there are damentals. Like Coltrane, he was really, really Ellington, it was his sound on music. With Art always going to be people who don’t like you; and great, but he was the master of the fundamentals. Blakey, it was in his drum sound. Any of these no matter how terrible you might sound, there are Same with Elvin Jones, Tony Williams. They had records you put on man—that’s Art Blakey, that’s going to be a bunch of people who love you. As all this great stuff they could play. But they mas- Art Blakey’s band. And that’s pretty amazing com- much as we love Coltrane—and it’s hard to believe tered the fundamentals. When you are around ing from a drummer. He was a bad dude, man. Did that people don’t like Coltrane, but—there are young people and you can express this, it gives you ever see him play? some people who don’t like John Coltrane. This them a way to look at it. It’s a good thing to have a cat gave up everything. Yet there may be another chance to share some of the experiences I’ve had JI: Many times. Could you talk about your first guy who you might think is nowhere near the kind with the great artists with whom I’ve played. These albums—the ones you recorded for Criss Cross, on of musician that Coltrane was, and yet people go are artists that, in some cases, the students won’t which you used different rhythm sections. On one crazy for it. And, it’s not personal. That’s what I have the opportunity to meet, unfortunately. They album you used Kirk Lightsey and Louis Hayes try to work on. Don’t take it personal. Cause it can see Art Blakey as just a guy on a record. They nev- and on Me and Mr. Jones you used James Wil- eat you up if you do, man. er got to meet him, they didn’t get to see him. I was liams, Elvin Jones. Was that a decision by you or lucky enough to see them. I feel like I’m passing the producer? JI: Could you talk a little bit about the temptation something on, and that’s a good thing. Also, I just that some of us run into from time to time—to try to stress to them that school is great, and it’s JJ: No, Jerry Teekens had no claim as to who I had focus on technique over music. How have you great that you are here, and we’re going to share to use. That was my choice. I wanted to play with worked over the years to balance the two? something. But when you really learn, is when you Elvin. I met him a couple of times when I was with get out there on the street, in the club, and hang out Art. He played a gig when Art was sick one time, JJ: I always had nice sound and a pretty good feel. and meet people. That’s where it’s really at. So so I played with him that time. I’d known James You hear certain things, and you think, “I really there’s that balance there, but I don’t really find it a from Boston as well. Christian McBride would want to develop this aspect of it.” Sometimes I challenge. Do you find it a challenge? come by and play all the songs we had just record- think we all think technique is how much stuff we ed. I thought that was amazing. He’s not that much are playing or how busy it is. For instance, Gene JI: No. As a result of teaching, I get ideas—ideas younger than me. It was just amazing that he was Ammons may not be as technical as Trane. But for improvisation, composing, writing articles. already on top of stuff. So I just wanted the oppor- there’s a lot of technique in Ammons’ subtlety. Somebody will ask me a question, and I’ll think: tunity to get Christian up on stage with me to play Miles Davis—there’s a lot of technique required to “Gee, I forgot about that.” Then I realize that just and to record and that’s how that happened. Kirk play very few notes, man. So after we understand because I know something, or I understand some- Lightsey obviously, was a favourite of mine, from that technique is not just actual velocity, we can thing doesn’t mean that I should assume that some- his work with Dexter Gordon. I heard him on rec- understand that soul can be technique. But it takes body who hasn’t been playing for the same twenty- ords with Sonny Stitt as well. And Louis Hayes, awhile for us to get over that masculine, testos- five or thirty years might have the same under- he’s another person who’s been close to me. We terone-based kind of thought. standing. are still very good friends. I was very appreciative of each of these players who came out and played JI: As we try to develop our skills over many  to support me. years, we work on scales, chords, patterns—a body of technical and theoretical understanding. During

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FrankFrank MorganMorgan August 22, 2004 Charlie Parker Jazz Festival

To Advertise CALL: 215-887-8880 April-May 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com 29 Happy”, Hardman has a great time leaping through the bridge. Jackie takes the advice, with FEATURE a very happy solo; Bill goes for baroque, sound- FEATURE ing almost classical with an ornate string of

staccato notes. Griffin is restless as usual, and Sam contributes a calm, stylish solo. A solid effort from beginning to end, this sextet proved Art Blakey very cohesive – sadly, this would be their only album. In a month McLean would be gone, His Life & Music — Part 5 soon followed by Dockery and DeBrest – their replacements would start the next great era for By John R. Barrett, Jr. pace. Hardman has an agreeable drawl, quoting the Messengers. But before this happened, the “Dixie” as he runs his own maze. There are group would join forces with another jazz leg- The title cut opens much as “Study in points in this solo when he sounds like Kenny end, to produce a legendary album. Rhythm” did: a go-for-the-throat solo, helped Dorham – high praise indeed. Bill’s effort is the A brief stay at Atlantic gave Blakey anoth- by extra percussion. Art’s work adheres to the cream of this crop; Griffin’s solo is fast, but not er session with Thelonious Monk, this time with mold of the earlier tune, going from cymbals to much else. Jackie is slower on the alternate, and the support of The Messengers. (The predictable toms and back – suddenly the reeds hit the perhaps a little more tuneful. His intertwined title was Art Blakey’s Jazz Messengers with counter riff as Hardman does his best Dizzy. phrases are really outstanding; Bill’s is at least Thelonious Monk.) While Monk often recorded Hearing his soft touch on Reflections, his inten- equal to this, and he shines when Art turns to with guests, this was the first time he played sity here is shocking; also good is McLean, who waltzing. Griffin has a screaming good time, with an established group; unlike a later attempt sounds like a flute in places. Jackie’s solo be- and the whole thing is very cohesive – why with Shelly Manne and His Men, this one was gins, twisting wildly around Sam’s visceral wasn’t this the released take? The label must an unqualified success. comp; Spanky DeBrest has a fun time, walking have a different theory of art. Two tunes were recorded on May 14: fast along the edges. The theme to “Couldn’t It Be You?” is first “Blue Monk” is among Thelonious’ best- Hardman’s turn has an exotic tinge, often played by McLean, the tune’s author. The other known, most accessible tunes. (Legend says returning to the theme and venturing far. Griffin horns make it a rondo, and the rhythm gets into Monk improvised it after a record producer sounds the most “foreign”, his notes bending place. While one horn is the focus, another is asked why the pianist “didn’t play blues”.) Art high like a soprano. In the second opens with a proud roll, and the horns chorus he earns his nickname “The march gravely behind him, sounding Fastest Gun in the West”, going at like a New Orleans funeral. Griffin least triple-time; he also does the hits some jagged lines, then cools into quavering yowl made famous in his a slow ascent; his tone is also cleaner duets with Lockjaw Davis. Dockery than on previous records. Quoting ripples slowly, setting a tension that “Rhapsody in Blue”, Johnny then Blakey enhances. (It’s great hearing moves into the fast lane, while never Sam front and center – he was not losing control: Monk adds solemn served well by the Elektra disc.) A chords where needed, but is otherwise brief interlude by DeBrest returns us silent. to the percussion motif, a tad noisier Nest is Thelonious: his hands do this time. Art takes the bridge alone a call-and-response, volleying back on the end-theme, there’s an unac- and forth against Spanky’s walk. Icy companied bit by Griffin, and it ends and spare, the blues creep in near the in a cloud of cymbals. end of the solo, where he quotes The alternate take is the same, “Misterioso”. Bill’s leisurely turn is with a few exceptions: Art’s intro is accompanied by a “Misterioso” riff; stronger, there is no bass solo, Hard- he’s fairly fast, but not much hap- man fumbles the theme slightly, a riff pens. Spanky’s moment is agile, develops during Bill’s solo, and chorded and deep – probably his high Griffin’s turn is somewhat bland (that mark as a Messenger. doesn’t happen often.) Clearly they The alternate finds Monk more selected the right take for the album, active, striking dissonance into the and clearly this was a “Night” to re- theme statement. Johnny is far busier, member. blowing multiphonics at various “Off the Wall” has the horns in points. There is stride in Monk’s ef- full scream, charging the theme as Blakey gets sure to repeat the theme in the background – fort: instead of “Misterioso”, he quotes “April busy. McLean is assertive, starting his solo priceless. Griffin sways through his turn, laying in Paris”, interspersed with many Monk bleeps. where the theme ends – hear him push the beat off the speed for the most part; Hardman adds a Hardman’s turn is ordinary, but Spanky’s ex- with a blunt, stinging tone. Hardman continues sweet riff in the middle of this. Bill’s solo is cels, more tuneful than the official release. The the thought with a little less tension; his im- somewhat ragged, but soon smoothes out: his first take is sweeter, but this is more “Monkish” provement from the last date is instantly appar- high calls are mellowed by the background riff. – there was no “best” here, as they both are. ent. Griffin raises the bar again, matching Jack- Jackie sounds like Griffin on this, keeping it “I Mean You” offers up unison horns, ie’s ferocity with even more speed. Sam is ele- slow and mellow. And check out DeBrest, who served with a garnish of cymbals. Griffin is on gant, Blakey concise, and the ensemble fade is ends the tune with a groan from his bow. As fire, referring to “’Round Midnight” as he outstanding. McLean is superior on the alternate good as “Tunisia” is, I call this the cram of the whips through a barwalking solo. Monk slows it take, but Bill sounds a little pinched … too bad, album. way down, taking gingerly steps along the since Johnny’s effort tops the released version. “Evans”, credited to Sonny Rollins, was chords. Bill goes racing as Thelonious showers Hardman’s “Theory of Art” is a hot mover, first heard as “Out of the Blue” on Miles Davis’ sour notes on him – later he shoots up high, showing the reeds in full combat. Jackie fills the Dig album, where Miles is the listed composer. inspiring a good double-time sequence. Art’s air with curlicues, airy in tone and relentless in Whoever wrote it, it’s a beauty: based on “Get solo culminates in a mighty roll, easing back to

30 April-May 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 Griffin, filling the chair vacated by John Col- The sound is expansive, a vast improve- Art Blakey trane. ment on the Eckstine dates. A soft echo floats in After Griffin, other Messengers would the background, adding punch to the proceed- leave the group in swift fashion, and when 1958 ings: you can hear this on “Midriff”, as the sec- the theme. The theme is more forceful on the came around, Blakey needed to hire a whole tions go after each other. After a theme with alternate, and Johnny’s turn is super-fast, maybe new band. The new bassist was Jymie Merritt, rollicking trumpets, one of them (Idrees Sulie- too much so. Monk follows with a dainty solo, unknown at the time but prodigiously talented. man, maybe?) angles his way upward, with full of tremolos and other old-fashioned devic- Griffin would be replaced by Benny Golson, a sweet reeds blaring behind him. es; Bill is mellow, and bests his solo on the re- stylish tenor with a gift for composing; the ma- Coltrane is next, unwinding a fast spiral – leased version. This day was fruitful, if not es- jority of his best tunes would be introduced by his “sheets of sound” style, while not mature, is pecially productive; the rest of the disc would the Messengers. Dockery’s chair was filled certainly present. By the second chorus he’s be finished the following day. briefly by Junior Mance and then by Bobby sprinting up the scale, as Art keeps the pace Four songs were recorded on March 15, Timmons, a songwriter whose skills rivaled steady. Trane ends on a ecstatic squeak, a sign completing the Messengers with Monk album. Golson’s – here at last was a successor to Hor- of things to come. Blakey gets a showy break, “Evidence” would become a standard part of the ace Silver. and the band roars home – that’s how you start Blakey repertoire, often retitled “Justice”. But the greatest improvement would come an album! (Referring to Monk in his introductions, Art on trumpet – Lee Morgan, an admirer of “Take One” (included on the CD reissue) is would say “He calls it ‘Evidence’ but we call it Clifford Brown (he briefly studied under rough on the ensembles; Trane’s solo has its ‘Justice’”.) The horns give the theme together, Clifford) who got his professional start in Dizzy moments but is cut short by the ending. “Take harmonies turning sour at unexpected times. Gillespie’s big band. It is hard to underestimate Three” has a calmer, more confident trumpet; Hardman’s convoluted solo again goes through how important these men were to the Messen- this might be Byrd, but I’m far from certain. “Dixie”, his shrill interjections answered by gers – this was like drawing a new poker hand Coltrane lacks the fireworks of the released Monk in kind. The pianist is restrained on his and coming up with four aces. take, but it is beautifully realized – one thought turn; Griffin takes it as a street-corner strut, If the nonet date broadened the Blakey carried seamlessly over two choruses. There’s leading to a metronomic solo by Art. palette, Art Blakey Big Band made it wide as even an allusion to “While My Lady Sleeps”, The alternate begins with a melodramatic the horizon. Cut in New York at the end of Coltrane’s most-used quote of the ‘Fifties. May- gesture by Monk, who adds florid chords to the theming horns. Hardman is very tuneful, with a lengthy excursion into “It Could Happen to You”, followed by harplike figures from Monk, “A brief stay at Atlantic gave Blakey another which lead to “Straight, No Chaser”! Johnny seems restrained here, also playing with “It session with Thelonious Monk, this time Could Happen to You”; Art’s moment is short, but powerful all the same. with the support of The Messengers. (The “In Walked Bud” gets a gentle reading, with Monk fussing at the edges of the tune. predictable title was Art Blakey’s Jazz Mes- With his rustiest tone, Griffin turns it into a speed trial – technique triumphs over melody, which is rarely a good thing. Thelonious lingers sengers with Thelonious Monk.) While Monk on a single chord for most of his solo; he goes silent for half a chorus, revealing Spanky’s walk often recorded with guests, this was the first pattern. This is full of ideas that don’t quite resolve; trimming two minutes would help it time he played with an established group; immensely. DeBrest appears to take the first solo on unlike a later attempt with Shelly Manne …” “Rhythm-a-Ning”, but it really belongs to Monk, who is quieter than usual. Blakey is also reticent, restricting himself to rimshots; this lets 1957, this was Art’s first big band record since be the original track was better than this one, Hardman soar, his hovering notes surrounded the Eckstine sessions, and his first such record- but not by much. by silence. Johnny is agreeable, taking it slow ing as leader. (In their short existence, the Sev- “Ain’t Life Grand” (called “Al’s Tune” in … slower, anyway. The torch is then handed to enteen Messengers had gone unrecorded.) The the outtakes) gives us a battle of the speakers: Art, who is not silent this time: bass drums, cast was full of familiar faces: charts by Eck- reeds coming from the right, brass screaming on toms, and an endless parade of snares leading stine arranger Jerry Valentine; Messengers the left. Byrd lets it rip with dizzying high back to the theme. Byrd, Hardman, Bishop, and Shihab; Melba notes, but the focus is Art, booming the toms in The disc ends with “Purple Shades”, a Liston from the nonet session, and a sax section several short breaks. Two extra tracks appear on blues composed by Griffin. (Philly Joe Jones including Al Cohn and John Coltrane. The po- the CD, with little to distinguish either. would record it a few years later, retitled “Blues tential was immense … as would be the music. “El Toro Valiente”, a romper by Chiefy for Dracula”.) Johnny is the primary voice, Salaam, lets Cohn sail in a rising tide of horns. snaking notes downward as Blakey pounds the There’s a slick, mellow trombone (Liston?) and

low keys. As Spanky makes a menacing walk, a thunderous Blakey spot, tuning his kit as he

Thelonious drops a few solemn notes, then pro- goes. Take One is quite tentative: the ‘bone solo vides variations. Bill calls out like a foghorn, “The greatest day in your life tops the released version, but a horrible trumpet weeping at some private sorrow. Monk lays out and mine is when we take total takes it out of contention. “Late Date” uses har- on this section, leaving Art’s brushes to provide monics to great effect – there are three or four accompaniment. Griffin does his own sobbing, responsibility for our attitudes. layers, each with its own tempo and mood. Ar- in wavelike notes that pick up speed. A chal- That’s the day we truly grow up.” ranged by Melba, this tune gives Art many tex- lenging, confident album, things were looking tures to explore, as well as the only solo. up for Thelonious Monk. In a month he’d make In contrast, “The Kiss of No Return” is all the outstanding Monk’s Music, also with Bla- Coltrane: a gentle pace, a warbling tone, and a key; he year’s end he would employ Johnny - John Maxwell (Continued on page 32)

To Advertise CALL: 215-887-8880 April-May 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com 31 Marshall. (The horns were paired earlier in the Don’s turn is decent, though somewhat Art Blakey year, cutting several discs with Red Garland as aimless; he’s better on Take Six, where his prim leader.) While the band tracks were somewhat diction makes for a leisurely mood. At the start staid, these cuts are loose, impulsive and rather of the take, Trane was told to step closer to the (Continued from page 31) emotional. Byrd’s “Tippin’” is a saucy minor mike; he responds with a lyrical solo, twirling heartfelt, inventive solo. Wendell Marshall’s blues – in fact, “Minor Blues” was its original his lines with vigor. Maybe this take was too bass is warm and buoyant; the trombone is vel- title. The theme is played slowly by Donald; long; otherwise there was no reason to junk it. vet and the tune is golden. Two further takes are Trane ends each chorus with a double-time Trane’s solo is fast on Take Eight, but it’s note- offered: Trane’s solo on each has variations but surge. His solo is even faster, racing to the worthy for Bishop’s good comp – Byrd’s effort all are cut from the same cloth. You can hear heights on a bold, bitter tone. He plays with is nice, though similar to those before. This the band argue on the chatter between takes, as more strength, more fury, than anything with quintet session was the closest Coltrane got to they work out their parts – a quest for a setting the big band … and he was the highlight of that playing in the Messengers. Hearing it now to match Trane’s gem-like effort. session. A half-quote of “While My Lady (currently packaged as John Coltrane: The One tune, “Oasis”, was recorded but not Sleeps” is followed by a pungent squawk, and Bethlehem Years), one wishes that opportunity used until the CD release. The opening is price- in steps Byrd, sailing the high notes as Blakey had come. less: a bored engineer says “’Oasis’, Take hits hard. After this fire Donald calms down, While most Blue Note sessions took ad- Four”, a musician starts singing the theme, Mel- telling his tale with soft murmurs. Next we hear vance planning, including paid rehearsals, the ba joins him, Marshall is consulted … and the Walter (a quiet blues reminiscent of Bobby label took the opposite tack when it came to Jimmy Smith. The organist liked things sponta- neous, often inventing his tunes on the spot; if “At about 10 A.M. the musicians slowly gathered paired with a sympathetic band he could go all night, with little else needed. For a session held before a New York brownstone to have their picture at Manhattan Towers on February 25, 1958, the taken. The event was being organized for Esquire plan was simplicity itself: in the studio were Jimmy’s working trio (Smith, Eddie McFadden, Magazine by the photographer Arthur Kane; and Donald Bailey), an all-star rhythm section (Blakey and Kenny Burrell), and a crowd of incredibly, this was Kane’s first professional special guest horns. Players were shuffled in assignment. He knew it was an early hour for the and out for variety’s sake, and Smith played every tune he could think of. The resulting har- musicians and did not know who would show up: vest was spread out over three albums, one of which was named for the best tune of the ses- he would be stunned the presence of 57 jazz sion. musicians, from all eras and styles of the music.” A low-key blues, “The Sermon” begins with a quiet, wavelike theme by Smith; his bass pedals are strong, marching steadily upward. engineer snarls “’Oasis’! Take Four!” After a Timmons), then Wendell (a pleasant rolling Blakey works the cymbals in light procession; prickly intro the reeds glide together, and Art bounce), then Arthur, with a melodic display on after a minute Burrell drops in, with flashy gets some juicy breaks. Someone says “Yeah” toms. stings at irregular moments. His part starts as a at take’s end, but they were still having trouble Take One is all different but the melody: standard comp and grows from there – the same with it; definitely interesting, though not exactly the tempo is faster than the released version, goes for Smith, whose stutter-notes give way to good. and Coltrane is slower. This time Byrd gets the trebly blues lines. Shrill notes will creep in, and As a sendoff we have Cohn’s “The Outer first solo, and he’s assertive throughout. His rhythmic variations, but the funk is never too far World”, with a swagger you must hear to be- high notes are hard, while down the scale the away. Burrell’s solo stays low, like an electric lieve. The tom-toms are crushed, the reeds creep tone is wrinkled – a friendly sound, and raucous bass; hints of his “sweet” style are present, but at the depth of their range, over a thick cushion too. Trane is in vertical mode, fluttering through mostly he follows what Jimmy is doing. of brass. There’s a call-and-response between the scale on a big sheet of sound. This approach, Tina Brooks is next, in his first recording sections, and a circular theme turning ever fast- which Coltrane made famous, is better heard session: he’s a gruff tenor, with a nice touch of er. Trane has one of his more animated solos, here than anywhere else on the session. Bishop swagger. He drives hard in short phrases, hitting somewhat drowned by the roar behind him. Art is tuneful but morose on his effort; Marshall is the same notes again and again; Jimmy stokes thunders for a spell, Byrd’s turn is calm and delicate and Blakey is not. Take Three has the him with hammered chords. It’s an agreeable raspy, building to a scream as the band goes pace of the released track, and Trane gets the style. Well suited to sessions like this; sadly, into orbit. first solo: he’s slow at first, and turns up the Brooks would be forgotten when the music Take two takes a light approach: the cym- heat in tiny steps. Notes multiply and the tempo changed directions in the ‘Sixties. Morgan bals have a Latin tinge, and the horns are less quickens, all in good melodic order – we have a seems restrained, unsure of what to do – he de- raucous. But not Coltrane: his notes are dark- winner. Don’s solo is rhythmic and quiet, Bish- cides to go quiet, purring phrases beneath the hued, darting with urgency in tight angles. Mak- op packs big blues in a small space, and Art organ’s roar. ing the most of his one chorus, the solo is per- thunders like mad. If there’s a reason why this He ends on a trailing note, picked up by fect … if only the ensembles were. Number take missed the album, I’ve yet to discover it. Lou Donaldson: he develops a wicked little Five is closer to the finished take, as Coltrane The aptly-named “Pristine” is Coltrane’s sway, copied by Smith to great effect. This solo goes sailing – this is good, but it takes no chanc- rewrite on the chords of “Lady Bird”. (It was creeps up on you: a simple four-note ascent is es. (He’s certainly more passionate before the his second such composition, the first being repeated at length, becoming a charge and then tune starts, shooting tough phrases as the band “Lazy Bird” on Blue Train.) Bishop skips a scream. Jimmy and Art keep the fire burning, debates something.) Also, the pace is a little through the light theme, and the horns breathe a and when the horn riff appears (the same one sluggish, despite Art’s fine effort. In all, the dark harmony. Trane is ecstatic, scattering fast Miles Davis used on “Walkin’”), over twenty bonus tracks, while interesting, add little to an notes in an airy tone, while Byrd takes a gentler minutes have gone by. Slowly burns rarely get already strong album. path. As always, Art is a rock, keeping a steady, hotter than this, the highlight of The Sermon! To complete the disc, most of the horns busy pace. The bonus tracks offer a variety of And the first step to making a star of Jimmy were sent home, as Blakey took charge of a flavors: Coltrane is more strident on Take Two, Smith. mighty quintet – Byrd, Bishop, Coltrane, and with definite hints of his ‘Sixties style. Morgan is the only horn on “Flamingo”, a

32 April-May 2018  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 lightful rasp in his note, circling rapidly as his forceful, with a series of thrilling peaks. Clark Art Blakey diction stays sharp. Assertive without being might have the best effort, all tart notes and flashy, his solo is a series of loops, joining ideas cerebral melodies. An alternate take is rather in an upward climb. Doug’s sweet solo is far similar, with splashier drum licks. And ballad showing Smith at his most romantic. The too short; a clumsy edit takes us straight to the “Everything Happens to Me” is the perfect Am- trumpet is golden, sending out pure notes with end-theme. That aside, it’s a splendid tune: if mons ballad, its vibrato-choked tenor leaning big echo – like a foghorn calling out to sea. The Tina was nervous in this company no one can against a lavish piano. The brushes whisk, the brushes work slowly, Burrell chimes octaves in tell … least of all the listener. bass bites deep, and Lee goes wistfully into his a nice metallic style, and the organ stands still – Brooks is fast from the gate on “The Way lower register. Tina returns in a more buoyant a pure, peaceful hum. This track may be superi- You Look Tonight”: he’s playing a counterpoint spirit, yelping high for a relaxed kind of urgen- or to “The Sermon”; it’s a restful groove you’ll to the theme, which we don’t actually hear. This cy. A strong, evocative album, it is a mystery replay many times over. continues on the bridge, when Morgan joins in; why it stayed unreleased for so long … as much For a groove of another kind, try “Au here Lee plays the theme, and the chart sounds as a mystery as why fame eluded Tina Brooks. Privave”: Jimmy starts the camp quietly and all complete. The Rollins influence is strong on On July 16 Art would cut a brief session the horns jump in. Watch Art on Smith’s solo – Brooks’ solo, where long notes lead to intricate for Jimmy Smith, in a quintet with Burrell, Cec- he ratchets the tempo up fierce, way beyond improvisation. His tone is considerably cleaner il Payne, and Donald Bailey – the two drum- your typical blues. Screaming notes are every- than on the Smith session, delivered with confi- mers made for added depth. One tune was rec- where, little bleeps from Burrel, a rising tide of dence … this is not the sound of a rookie. Clark orded, a take on Moe Koffman’s “Swinging percussion – and then come the horns. Don- surrounds us with shimmering chords, which Shepherd Blues”; this would appear on the com- aldson toodles in high gear, spinning some Par- turn rhythmic with Morgan’s effort – a mixture pilation album Jimmy Smith: The Singles. One ker-isms before running a maze of fast notes of trills and bold octave leaps. Watkins has a month later, on August 18, Art participated in a and sharp corners. Tina steps out with a hard great moment on this solo, walking between morning session – a seminal moment in jazz tone, matched by exploding cymbals and a joy- three notes in constant variation. Morgan pre- history, though no music was played. ous Smith comp. Kenny is good, the foot pedals rock, and the brushes raise steam. A quick aggressive solo by Jimmy ends it – this one says plenty. “After Griffin, other Messengers would leave Continuing in the Parker vein, “Confirmation” gives Art and expansive intro, the group in swift fashion, and when 1958 leading to Morgan’s theme. Burrell glides smoothly, picking up grit along the way – perhaps his best effort of the session. Lou perks it came around, Blakey needed to hire a whole up with a pretzel-like solo: there are plenty of curves, and everything comes back on itself. (In new band. The new bassist was Jymie Merritt, the middle of this, Art starts playing a waltz – wonderful.) Lee drawls like a trombone before unknown at the time but prodigiously talent- scaling high towers, Tina excels with a Rollins- like effort, and Jimmy percolates the way ed. Griffin would be replaced by Benny Shirley Scott would. The end-theme is a rouser, as is the snare break by Blakey. A landmark session by Smith, these cuts were divided be- Golson, a stylish tenor with a gift for tween The Sermon! And Jimmy Smith’s House Party, making both discs indispensable. composing; the majority of his best tunes The February 25 session not only sparked the career of Jimmy Smith – it also served as an would be introduced by the Messengers. audition for the young Harold “Tina” Brooks. A tough tenor whose style blended Gene Ammons Dockery’s chair was filled briefly by Junior and Johnny Griffin, Brooks so impressed Blue Note’s Alfred Lion that he was offered his own session for the label, held on March 16. The Mance and then by Bobby Timmons, a song- pianist was Sonny Clark, a lively, underrated voice; the quintet was completed by Morgan, writer whose skills rivaled Golson’s – here Watkins, and Blakey, giving us an idea how Brooks would have sounded in the Messengers. at last was a successor to Horace Silver.” Once completed, the session sat in the can un- heard for 22 years; Lion often did this with dates he felt “not up to Blue Note’s standard”. vails on the exchange; Art takes a close second. At about 10 A.M. the musicians slowly When it finally saw vinyl in 1980, the disc was “Star Eyes” presents Brooks the romantic, gathered before a New York brownstone to retitled Minor Move. sliding through the theme with an alto’s ring. have their picture taken. The event was being The session opens with “Nutville”, a He gives a brief look at “The Breeze and I” (we organized for Esquire Magazine by the photog- Brooks composition later covered by Morgan also heard this on “The Way You Look”) and rapher Arthur Kane; incredibly, this was Kane’s and Horace Silver. A fastish blues, the theme is angles downward as the tone gains grit. Sonny first professional assignment. He knew it was an played by the horns in unison, who then put it goes casual, ruminating softly on the chords – early hour for the musicians and did not know through Monkish harmonies. Clark wiggles during this segment Doug turns bolder, twang- who would show up: he would be stunned the through a fast solo, at once elegant and bluesy. ing the notes for added heft. presence of 57 jazz musicians, from all eras and With his short phrases and funk impulses, I’m “Minor Move” gets a Latin beat from Art styles of the music. reminded of Horace; he certainly deserves more and parallel harmony from the horns: the tune is Here was a saxophone star of the ‘Twenties attention. Morgan is brassy and bold, pushed by nothing much but presented well. Tina’s solo is (Bud Freeman), the man he influenced (Lester Art’s rimshots; in time he becomes more an- a breathless sentence, where the ideas are many Young), and the man who made him famous gled, more tangy. Brooks enters quietly, a de- and the transitions effortless. Lee’s is more (Continued on page 35)

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ORDER Start Your Promotion NOW! - PressToRelease.com 34 Experience ResultsApril-May 2018 In Jazz Inside24-48 Magazine Hours! www.JazzInsideMagazine.com CALL 215-887-8880 To Advertise CALL: 215-887-8880 Bobby starts the tune with a slow, languid with fast flurries and jagged edges. I’m remind- Art Blakey blues; the horns hum an “Amen” at the end of ed of Lockjaw, mixed with a little Sonny Stitt – each phrase. The roles are reversed on the sec- Bobby follows with some up-and-down pat- ond chorus, with Lee on the high road and Gol- terns, as he’d use on “This Here”. There’s a (Continued from page 33) son beneath him; the bridge is a weary lament, short exchange, as Art the Legionnaire trades (Count Basie) … all standing on the same stair- and Morgan screams the first solo. These are riffs with Blakey the jazzman – I wish he did way. Here was the great trumpeter of the high-pitched smears, a lazy yawn soon promot- this longer. In his interview, Golson remarked ‘Thirties (Roy Eldridge) talking to the great ed to rapid-fire leaps. Behind this Timmons is that of all the people he’s played “Blues March” trumpeter of the ‘Forties (Dizzy Gillespie), as a steady, comping with the blues and staying out with, nobody played it like Blakey. The proof of bemused Gerry Mulligan looked on. Many had of Morgan’s way. His sound is perfect for a that is here. not seen each other in years, and incredible sto- group like this: where Silver could get too or- “Along Came Betty” is a perfect piece of ries were told and retold – they never stopped nate for his surroundings, Bobby’s vamps are soul-jazz, from the softly-coursing piano to the talking, even when Kane said to face the cam- direct, emotional, and right. As the solo pro- easy surge of the melody. The notes move so era. (As the picture was taken, Mary Lou Wil- gresses, Morgan gets softer – it’s the same style, naturally, you forget the involved chord struc- liams was facing Marian McPartland, engrossed only subtler. ture and lengthy lines – traits also found in in a conversation now lost to time.) Neighbor- Entering a fresh chorus, Morgan plays a Golson’s “Whisper Not”. Morgan plays from hood kids, curious about what was happening, two-bar phrase, then hands off to Golson, who the distance: kissed with echo, his notes rise sat down in front of the musicians; they too continues the thought. Built mostly on that one slowly like smoke. His tone alternates between became part of the picture, which is rightly phrase, Benny’s solo lurches fast, turns wonder- gentle glow and tough-guy rasp; Benny starts in called “A Great Day in Harlem”. fully harsh, and concludes on a quote of “While the mold of Ben Webster, then speeds up with a Blakey resides at the top of the stairs, sur- My Lady Sleeps”. Timmons is relaxed, bluesy, growl like Griffin. So much happens, and he rounded partly by Messengers, partly by heroes and highly cool … as you knew he’d be. He’s accomplishes it in a single chorus; Terence

“If the nonet date broadened the Blakey palette, Art Blakey Big Band made it wide as the horizon. Cut in New York at the end of 1957, this was Art’s first big band record since the Eckstine sessions, and his first such recording as leader. (In their short existence, the Seventeen Messengers had gone unrecorded.) The cast was full of familiar faces: charts by Eckstine arranger Jerry Valentine; Messengers Byrd, Hardman, Bishop, and Shihab; Melba Liston from the nonet session, and a sax section including Al Cohn and John Coltrane. The potential was immense … as would be the music.”

of jazz’ past (including Chubby Jackson, Buck lush, yet he’s lowdown; think of a cross be- Blanchard called this solo “…the perfect sound Clayton, and Henry “Red” Allen.) Such was his tween Red Garland and Wynton Kelly. Jymie for the band at the time.” It is impossible to stature, after five years as a bandleader, that he has a quick bit, and it’s back to that wonderful disagree. had recorded or played with nearly a third of the theme … it’s ten minutes long, but it should go When Alfred Lion was asked about what people in this photograph: Farmer, Gillespie, forever. he liked to do when he wasn’t producing jazz Golson, Griffin, Gryce, Hawkins, Hinton, Jo The next tune is unlike anything the Mes- records, he replied “Listening to Art Blakey.” Jones, Mingus, Monk, Pettiford, Rollins, sengers did before, yet it’s very representative. Art was a constant presence at Blue Note re- Shihab, Silver, Wilbur Ware, and Mary Lou One morning, partly as a challenge to see if he cording sessions, as a leader and as a sideman, Williams. could do it, Golson set out to compose a march. and when Blakey had a special project in mind, Art was called for a session, held on Octo- As Benny put it in an interview: “It had to be a Lion was inclined to say yes.

ber 28, pairing Milt Jackson with the ebullient funky, Grambling College-type thing … I fig-  Cannonball Adderley. Titled Things Are Get- ured it was a novelty and would never last, just ting Better, the album featured old tunes like something to get us over, maybe.” “The Sidewalks of New York”, strong support The novelty factor appears at once: Blakey

from Wynton Kelly, and a surprising show of opens with a by-the-numbers march pattern, “What baffles and even restraint. While both leaders could duel with the absent of any jazz feeling. (“I told Art to pre- best of them, here they are polite, with one man- tend he was with the American Legion band, frightens most people are mere nered solo after another – it’s a good effort, but and he did.”) Golson takes the lead with a proud smokescreens. You’ll see these events far from what they were capable of. Two days blues theme; his diction is clipped, as if he is as simply the illusions they actually are later, Art entered Van Gelder’s to record Moan- marching himself. Morgan begins his solo and begin to walk right through them. in’, his only studio album with this group of meekly, as a few airy notes purr at low volume. You’ll understand that your success Messengers. The bulk of the album was com- He soon speeds up, but the gentility remains – lies just beyond your thoughts posed by Golson, with one contribution by Tim- you don’t have to scream to make yourself about these walls.” mons – the explosive title cut, which immedi- heard. The drum major returns for a spell, and

ately became a standard. then it goes to Benny: a fine metallic growl, - A Rich Man’s Secret

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KennyKenny GarrettGarrett Hear Kenny at Blue Note April 19-22, 2018

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

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JAZZINSIDE_full-page_VintageExp10.07.17.indd 1 11/13/17 3:10 PM New CD Release from Dallas Area Pianist John A. Lewis

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

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

All compositions by John A Lewis

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