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CONTENTS 18 Clubs & Venue Listings INTERVIEWSINTERVIEWS 28 Benny Golson
CLUBS, CONCERTS, EVENTS 20 Tyrone Brown—Memories of Max FEATURE 33 Wallace Roney 13 Calendar of Events, Concerts, Festi- Roach and More Interview & Photo by 4 Esperanza Spalding vals and Club Performances Ken Weiss Visit these websites:
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Feature EsperanzaEsperanza SpaldingSpalding
Interview & Photos by Eric Nemeyer the violin. But what was actually very funny into Paul Simon and New Order Republic and that’s when I was five and I played violin for Youtube and this kind of stuff. So I would get Esperanza Spalding: It’s funny. The thing ten years. And then when I was fifteen, I de- his old records and listen to that—but only that I can say most distinctly, I can define the cided that I wanted to quit violin because I because it was my big brother’s, not that I easiest, is when I was about five. There was had found the bass. really liked it, so I can’t remember any CD’s an episode of Mr. Rogers Neighborhood that that I heard specifically, from musicals. But a came on that was an episode about music. JI: So while you were a kid though you were lot of them I was exposed to were orchestra And Yo-Yo Ma was the guest. So, Yo-Yo is listening to various recordings and things music and concert band music and music for on the show talking to Mr. Rogers, you know, came your way. big bands, because we would hear the older in his house with his cardigan or whatever. kids and the program playing this big band And I remember just being little and I remem- ES: Yeah, I was playing classical violin. I music. And then of course, once the bass ber sitting, staring up at the television like, played clarinet and oboe but it was concert came along, it wasn’t jazz that led me into the “Wow.” I’ve never really seen anything like band music for young adults. You know, eight bass. But playing the bass, people were telling that before—like music being played like that. to fifteen or sixteen or whatever. And then of me, “Okay, you need to check this guy out, And I asked my mama, you know, “I want to course the radio, so I don’t know how much I this guy out and this guy out.” And so kind of play violin.” I misunderstood what he was was under records. I mean I have a brother through that I got into listening to more jazz saying, so I thought that the instrument was who’s seven years older than me, and he’s (Continued on page 6)
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To Advertise CALL: 215 887 8880 June-July 2017 Jazz Inside Magazine www.JazzInsideMagazine.com 5 Haden. And it’s kind of the same vibe. At homework to do.” And I remember I would Esperanza Spalding least for me. I was sixteen and fiery, you transcribe a lot of horn solos. The bass player know, like going crazy and trying to do every- that I would transcribe the most would be thing at once. And playing fast and listening Slam Stewart, his solos. You know, I have (Continued from page 4) through it fast and everything. And I just re- this record—Slam Stewart with Dizzy Gilles- records. But up to that point I would definitely member I heard some record with Charlie pie and Milt Jackson. These solos…they’re say the Top 40 radio and the oldies station Haden. I think it was with Gonzalo Rubalcaba just so beautiful. At that time I’d figure out playing stuff like that was the music that I was and I just remember like somebody had it on how to play little solos. I never was really into most into. And so the bass came along, you at his house, and we were talking and I heard studying walking. I don’t know. I just get know? a bass solo. And I was like, “What?” You bored. I would appreciate it, you know, I’d know? Hey, I was just surprised that it was a really appreciate and be blown away by the note choice and rhythm of someone like Paul Chambers. But trying to sit there and then “I would try to transcribe solos or melodies or play, I never really could get into it. Actually in the melodies though, so I would try to tran- anyt ing t at I co ld st to get t e melody ap scribe solos or melodies or anything that I pening on t e instr ment And t en it as n could just to get the melody happening on the instrument. And then it was fun, because because you’re not practicing because you have you’re not practicing because you have a teacher yelling at you or you really want to be a teac er yelling at yo or yo really ant to e famous or make a living. You really have to just do it out of joy, you know? So I was prac- amo s or ma e a li ing o really a e to st do ticing the things that made me happy at that point in time. it o t o oy yo no So I as practicing t e JI: It sounds like you’re able to negotiate with things that made me happy at that point in time.” your way through on the instrument any way you want. JI: So when you started getting into the bass solo. Like that was it. And so then I brought and you’re listening to certain jazz players, the record and I went home and I listened to it ES: Yeah, I think what I can say is sometimes who was it that inspired you? and started the same thing. It’s so intense. It’s I’ve studied with people who showed me like every note—he’s like his life depends on technical things that were for the bass—I ES: It was actually first Kind of Blue. And what the next note’s going to be. And they mean assuming that your hands are like the you know, probably because the music that I rope you into the tension of the moment, and average male hand size. Mine are usually was used to that had high intensity was pop it relieves. It’s so dramatic. That’s probably about half that. So what I have done with my music basically. Like TLC and Salt & Pepper what it was. It’s a very dramatic music. The technique is adapted it for my body. One thing and like LL Cool J and stuff like this. I like highs and lows are very intense, especially that I noticed that is different about my play- intense music. So people would show me how there’s not very many highs and lows ing when I watch other players is: just be- stuff, but it was too abstract for me, too ab- intensity-wise in the compositions. So it is the cause I have to end up using kind of a lot stract for my ears. So I couldn’t understand soloist and accompanist who create that ten- more gravity. And I can’t depend on brute the sounds. I couldn’t understand the point. sion in my mind and for whatever reason that force to do it. So, the way that I’ve practiced And I remember someone gave me Kind of caught me definitely. over time is that I’ve been developing a dif- Blue and that just blew my mind, you know? ferent set of muscles—training it in a different It blew my mind because it wasn’t intense. It JI: So then when you began to develop your way, to use weight on everything I finally didn’t have the same intensity of sound. You skills on bass were you transcribing solos or learned to use the direct weight of my arms know, it wasn’t blasting at you. But it was doing things intuitively? into my fingers instead of pushing it in my intense in another way and, I don’t know, I palms or squeezing or anything like that. just got the soulfulness that was actually in ES: At first I was really intuitive because I That’s all I can tell. I can think of many clas- the music. And then that led me to Joe Hen- just really summoned upon the instrument. ses and labs and teachers who got fed up with derson and Eddie Harris and those who have And I wasn’t looking to be some great bass me because some of their techniques, realisti- the same kind of intensity and soulfulness. player. It just was fun. And then, I realize that cally, were not going to be for me. With some And it was kind of like an evolution from I was not doing very good—I mean compared younger people it feels like it’s harder for there, you know? It was like the things that I to other people I was playing with. them to find pitches. Maybe because my fin- felt from kind of blue, it was like every jazz gers are smaller, sometimes, especially like in record after that I was just trying to reconnect JI: What do you mean you weren’t doing thumb position, I feel it’s a lot more natural with that. good? for me to find some of those notes. I don’t really care if teachers get mad at me, unfortu- JI: Well, the intensity of those is so astonish- ES: Well, what I mean is, if you don’t know nately. At least, I mean, some I do. Some I ing because many tunes are not at burning what you’re not good at you don’t really have great respect for and I won’t put myself tempos. know how to improve yourself. And then I in a position with them mad at me. But if I started hearing other bass players playing with believe that I’ve figured out a better way to do ES: Absolutely. And it’s funny because actu- the same band; people would come and I something, I never really get mad if a teacher ally, for whatever reason, one of the bass would sit in and they would play and I went gets mad at me for that, because that’s the players that I got really into early was Charlie like, “Whoa. Hmm, alright, I have some (Continued on page 8)
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To Advertise CALL: 215 887 8880 June-July 2017 Jazz Inside Magazine www.JazzInsideMagazine.com 7 don’t have to be responsible to somebody play sometimes with students, or in a master Esperanza Spalding pulling me back. class or something. We’ll have the front row of the audience, let’s say, someone just starts JI: What’s interesting that one of my favorite with a phrase and then each person builds a (Continued from page 6) speakers once said, “The one thing that you story about a topic—kind of like what we’re point. That’s what you’re learning. That’s the need more than anything else is integrity be- doing now. Like you know your objective that objective. But I have stopped studying with cause without that all the other qualities of you want to get to, and together we’re build- some people. And maybe they don’t under- leadership are relevant.” So that’s interesting ing towards that story, which will be this in- stand why. But, it’s cool. that you’ve mentioned that. terview. Having the freedom and the selfless- ness in a way, and also having confidence in JI: So, why don’t you talk a little bit about ES: Definitely, definitely, it’s really true. I your vocabulary, is the analogy, of course, to the kinds of encouragement and support mean and even just being committed to your jazz, the music that you’ve ingested. You you’ve received from your family in pursuing objective on planet Earth or however you know the skills or the records or technique, this? want to think about it. If it looks valuable to whatever, being confident with your vocabu- people, they’ll definitely follow if you’re con- lary—that if someone throws you this line ES: Yeah, well, fortunately people in my fam- cerned about being a leader. But being suc- you’ll be able to respond with this line. And ily have never been attached to having things. cessful means feeling good about what you of course that happens on every level of the So the fact that I would pursue something that do, and achieving the things that you want— band between the rhythm section. With the might limit my ability to have certain things integrity and consistency that’s pretty much it. soloist in the rhythm section, with the singer didn’t really bother them at all. I was raised That’s pretty much all there is to it. I guess, and the soloist. And of course that is an analo- by my mother and my brother, and they kind and practice. gy for life every day. I teach the students that of were coming at life from a very different are my age and there is this problem that I’ve perspective, than maybe someone’s parents JI: Why don’t you talk a little bit about the noticed among people from the 80’s … this who would say, “That job isn’t going to get concept of improvisation and how it is essen- individualistic thing like, “I know everything” you anywhere.” I think that the things that are tial in your life? kind of attitude. And so sometimes the first important to my family for their children to thing I do with my students in order for them have as an adult are integrity and honesty and ES: Cool. Well, that’s a great one. I love that to be better improvisers is the assignment that sincerity. So if they see me doing something topic. I love that zone. Actually, I’ll go the when you talk to somebody, you have to shut where I’m being sincere, and I treat people other way first. I’ll answer the life way first, up your brain, shut up your mouth and just with respect and honesty and I have integrity, because practicing the art of improvisation— listen to what they say. Really listen, and even they don’t really care what it is. The goal of just music in general because really improvi- ask them to repeat it if you start talking in the my parents for me has never been pursuing sation happens in every art form all the time. middle. Only when they’re done talking do money or houses or cars or anything like that. Really, it does. Even though it may not seem you get to respond. But it has to be related to So my mom has just been incredibly support- like it. I’ve played in orchestras for years and what they just said. And it’s funny how that ive from day one. I think at a certain point she years and years. And it’s even how you dig in changes, how they communicate with me the went to music school just to try to get me ex- with the bow. Thinking, this is supposed to be next week. That analogy there to communi- posed to that stuff—because she could get lighter, like more staccato. So then you impro- cating is something that you see with a lot of scholarship money for her to go to school but vise right there and you make it more staccato young players when they’re improvising. not for me to be in a program. So she went to based on the chart. I mean, improvisation is There’s not a dialogue—a true dialogue. It’s school and she tagged me along to the classes everywhere. It’s in every style of music … at like two monologues. It’s funny actually that so that I could learn what was going on. And least in some point in the process. now it applies everything. Like I remember I’m really blessed to have a family like that. being on a plane recently and having conver- That’s unique, and I know that they’re unique. JI: Well, we’re improvising our conversation sations with people I don’t know on the plane. But that part has been easy. And actually it’s here. Neither of us pre-scripted it. And so this It can get scary really fast. I was talking about funny because even now, you know, things is something that is emerging on the spot and an article in the newspaper. We were talking exciting will happen in my musical career and defying our efforts to script it. about it, and then I started to realize that the I’ll come up like, “Isn’t this great? Just cool. guy I was talking to, he kind of stopped talk- Anyways, so how are you doing?” You know, ES: And check it out. Why would this be a ing and, at a certain point. He wasn’t really it’s not even about that. It’s not even about good conversation? Aren’t the same qualities responding to me anymore. He was reiterating success. It’s like, “What’s going on with that are important in good improvisation with his point. And I would say something like, you?” So, I’m blessed in that way. It gives me music essential in good conversation? Listen- “Yeah, this is interesting, this aspect of it” and a lot of freedom to just pursue the creativity. I ing? I mean like really listening. Like paying he would then refer back to his point he al- attention to what’s coming out of the other ready made. But theoretically, that’s definitely person’s mouth. And being aware of what’s how I like to think about improv as an accom-
coming out of your mouth. And as the other panist and as a soloist, and as a singer, and of
person’s communicating, what they’re saying, course when you write too. It’s also important “In times of change, you’re like this: ready to catch. You’re recep- to remember what you just said. I always the earners sha inherit the tive. And then you wait. And you form how think of another analogy: it’s really important earth whi e the earned ind you’re going to respond related to what the to be aware and conscious of what is coming the se ves eauti u y equipped person has said to continue on the communi- out of your mouth. Sometimes you might be to succeed in a wor d that cation, right? And that’s so important in any talking like a girlfriend or boyfriend or some- no longer exists.” type of improvisation and in anything. But thing and you just say something and it might since we’re talking about music, the best anal- not be what you really mean. But they’ll al- ogy I like to use is kind of like a game that I (Continued on page 10) — Eric Hoffer, American Philosopher
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Visit JohnALewisJazz.com Esperanza Spalding think that they have to have that sense. And cause I’ve experienced those myself, of then, of course, there are people who are ego- course. I mean not necessarily projecting this tistical and I think that the way that you ad- ego thing but all of different types of interper- (Continued from page 8) dress those two aspects of having a big ego sonal games and personas that you put on to can or cannot be to your detriment as an artist. try to receive value, try to be appreciated is ways remember that first thing you said. So You can approach it from two angles—one, very natural. I think it’s very natural. It’s like either you have to not say it in the first place being getting your personal satisfaction and a very adolescent stage, not meaning better or or be able to fold it into something that’s go- value from other sources. If that’s what you’re worse but it’s just an adolescent stage. You ing to work, you know? So that they won’t get depending on for your well-being as a human have to go through that to get to the point mad at you. It works in composition. If I just being, you’ll never achieve it because there’s where you don’t really worry about it any- said something on the bass, maybe I’ll play a always something more, always someone bet- more. Everybody goes through that. Every- line; I have to remember what I played. Be ter than you. So I think at the beginning it’s thing from taking things personally, like, “Oh, conscious of what I just played to develop my really important if you can, identify it and just I’m worth nothing if you mess up.” And it’s storyline because people don’t know what I’m make sure that you’re doing the music for the like, “You have to mess up.” Just yesterday, I talking about if my sentences are incoherent music. You’re doing the music because you was talking with somebody, we made this and not connected to an ultimate point. How’s feel satisfaction from creating great music and analogy of the ideal objective of musicians is anybody going to be able to talk to me? communicating with other great musicians. someone who wants to be a great shoemaker, And then on the other side, it’s that awareness which is a service they’re providing: I’m go- JI: You mentioned that you’re teaching peo- that there’s so much happening that it’s just a ing to give you shoes to protect your feet and ple from the 80’s and you alluded to the fact blessing to be a part of it. I feel blessed when make you able to travel. And somebody said, that they perceive that they have wisdom. I even get to understand how hip something “What about students, when they take it really There is a quote that goes “The young man is. And I don’t even really understand how hip personally if someone gives them criticism?” It’s like, “Well, it’d be as if the shoemaker knows that he’s going to have to learn by trial “If it looks valuable to people, they’ll definitely and error to make the best shoe he could pos- sibly make, and he has this objective of may- follow if you’re concerned about being a leader. be it’s going to be twenty years, maybe it’s going to 30.” If somebody comes and says, ut being success ul means eeling good about “Man, you made these shoes and they’re real- ly cute and everything but they hurt my feet. I what you do and achieving the things that you think the soles are kind of too stiff.” The want—integrity and consistency…” shoemaker is not going to take it personally. He’s like, “Oh, okay. Cool. I’m going to make you another pair. Let me try again.” And thinks of the old man as a fool. And the old it really is. I just got Wayne Shorter’s Atlan- that’s kind of the perspective that is hard to man knows that the young man is a fool.” One tis. I was like, “Wow. I’m just so glad that I come to in music—because it’s a very emo- problem is this tyranny of the ego. As you know about the sounds and things, the music tional thing. You spend a lot of time on your know, in this music, this is a life long pursuit that I know,” that I appreciate this on just the own, investing your personal emotional time where you’re always growing, always trying base soul level. And then like, “Wow. It’s so into creating this thing. And sometimes your to expand your vocabulary. And like you were hip that he thought of that.” And you hear hard work goes unappreciated or somebody saying, even when you’re writing music, that records like that, what can you say about goes, “That’s not even good.” And it’s hard. is improvisation. It’s just improvisation yourself? It’s like you either have to be confi- It’s hard to not take it personally and take it as slowed down. Maybe you could talk a little bit dent that you’re doing something totally dif- like, “Okay, that’s actually great. They’re about how one keeps their ego in check? ferent, that has its own projectile and its own helping me make better shoes. They’re help- value in a different way, which really con- ing me improve my service.” ES: I absolutely do. You’ve probably touched nects to the whole rest of the world that this upon all the points that I would bring up, but tiny little drop. It’s just a blessing to be able to JI: Even at the best times, you get the door that’s exactly it. I mean the more you get into even do that. I think with that awareness that slammed in your face or something doesn’t the music—well, it depends on the type of the privilege is yours, not other people’s. The work out. Either somebody doesn’t want you passion you have for it and also why you’re privilege is mine. I feel privileged to be able because they feel threatened by you or you’re into the music. Sometimes I see what appears to do it. I think that It’d be difficult for some not good enough in some cases, or something to the ego in people, but I don’t even know if sort of like egotistical perspective or emotions happens and it doesn’t work to your ad- it really is. I think that many people have oth- to come out of that. I feel very humbled. Eve- vantage. But those are opportunities for you to er things connected to their career, whether ry time I hear like somebody else play or even learn about why it didn’t work. it’s self-confidence or their self-value …. So just talk about music. We’re all cells in this I’ve noticed that sometimes, I think people big living thing, and none of us is more im- ES: And why it hurts so much too. project this egoism to get admiration from portant than another one. We all just have to people who kind of project this like “mightier be what we are to make this thing function, so JI: Maybe it’s a political thing. Maybe some- than thou” thing—because I think a lot of it’s just a privilege to be a part of it. body is afraid of you so they didn’t give you musicians have their self-worth connected the job. Another of my favorite speakers says with being acknowledged and admired. I’ve JI: It’s a function of some sort of fear that that you want to fail as much as you can, as met people who, when I really get to know some people want to be liked. early as you can, so that that way, that’s the them, they’re really not these ego-freaks, but way to achieve this mega-success. they just project it anyway because I really ES: Probably. I’m saying all these things be- (Continued on page 12)
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it and feed it to the baby bear. Now, then they Esperanza Spalding
also show the mother of this baby seal. It’s trying to protect it so it finds a way to hide the “It’s surprising how many persons (Continued from page 10) baby seal so that the mother bear can’t find it. go thro gh life itho t e er recogni ing But there are these two extremes happening. that their feelings to ar other eo le are ES: Absolutely. I mean absolutely, of course. They’re both trying to take care of their ba- largel etermine their feelings to ar Absolutely. I mean how else do you learn that bies and there’s no value outside of what you themselves, and if you’re not comfortable that note is out of tune? There’s like 300 put on it. If the bear goes in and kills that ba- within yourself, you can’t be times when you always go for it and it’s sharp by seal, the baby bear survives. But if the ba- comfortable with others.” or it’s flat or sharp and slowly overtime, you by seal survives, the baby bear is going to die. hone in more and more precise—that’s the There are two extremes in that equation where space/time relationship where you get at the it’s like death, but life continuing. Those are right pitch in the right time. And that’s it. You really extreme. Those are the most extreme said, it’s like if you’re thinking on this long examples that we know of as human beings, beautiful when he says in an analogy about arc, this big, big, big arc, that’s great. Abso- right? But it’s our value. “Oh, that’s so bad.” the music, so generous, “You know, it’s just a lutely, great. Just like you said too, part of it is Or, “That’s so great that that happens.” Well, landscape.” And we’re just creating lines with identifying what’s really going on. And part there are these two sides of these extremes or that landscape together … and how he oper- of it is also that sometimes, we tend to take it not extremes, just two sides of a facet of your ates in person, like that openness and willing- way too personally. So sometimes, it’s im- arc, your projectile. That’s what I mean. I ness to really give himself to you in that mo- portant too to identify that, “Wow, am I so mean things then can be construed as negative ment. That’s exactly how he plays. Every upset about this? What was really riding on and un-fun and painful where people are re- context you hear him in is as phenomenal as that for me, personally? I mean, “I’m alive. jecting you or not giving you opportunities he is and as many ideas as he had ... and how strong all those ideas are ... He’s also at the whim of that people that he’s playing with. “That analogy there to communicating is some- He’s just as willing to accommodate you as we are eager to accommodate him, of course, thing that you see with a lot of young players when because he’s phenomenal. they’re improvising. There’s not a dialogue—a true JI: You said something before about people, dialogue. It’s like two monologues. It’s funny artists, musicians worrying, “Oh, he got that gig and I didn’t. He got more than me. I didn’t actually that now it applies everything …” win that award.” That mindset is more about counting other people’s blessings instead of I’m healthy. I have money. I’m okay. I have you want. They’re always going to happen your own. food. I don’t even have money, but I’m alive. depending on your perspective. You just don’t My family’s cool.” Of course. And then, once suddenly get cut out but we can learn how to ES: Right. It’s true. It’s true. And part of that again, the other side of that is everything that ingest them better, I guess you can say. is like I’m just thinking—like a thought went happens is all supposed to happen. If your in my brain. It might not come out totally objective is that long arc, then things don’t JI: Given you’re well balanced perspectives, great yet, but it seems like in this period that come that aren’t supposed to be in there. And talk about some of the words of wisdom or we’re living right now (not that I’ve lived in even if something comes in that maybe un-fun suggestions that you might have received any other that I remember), our religion in a or difficult at the moment, it’s always related. from some of the artists with whom you’ve way is kind of like history. We’re obsessed How can it not be? It’s happening to you. So played or your mentors. with history. Like, who did what when? And if you still realize in that horrible stuff hap- whom we acknowledge is almost in a way and pens, I’m still on this arc, always in time, you ES: Yes, definitely. Of course, square one who we think are significant are the people see how it braids into what’s really going on. was my mother. It’s funny because I seem to that we decided to focus on throughout history No one ever just [immediately] soars. Life is attract the same type of mentors that have and many people just disappear in that way. not like that. You don’t somehow reach just a similar life perspectives as my mom. There Many musicians, want to have a legacy. Part point and then from there the going just gets have been many, many people—people like of their self-worth is having a legacy. So if easy. But if a negative thing will come in and Joe Lovano actually. It’s not that we have they see someone getting an opportunity that instead of freaking out, you can take it from a deep conversations about life, but just how he will add to that legacy, it’s scary. It make us different way and fold it in to your under- operates. It’s very admirable. In music, it’s feel like somehow, you’re going to disappear standing .... and that in it of itself is like soar- how he treats his band. He’s somebody who or not be written about and therefore, not be ing. But you know, we always have to learn will finish a show, and he’ll sit and talk with significant once you’re time is done. And part how to deal with the down sides of things so everyone, patiently, like he’s sincere. He has of that’s because we value so much now the that we may understand the upside of it. Eve- this sort of base level of respect and courtesy past and people who have existed. Even in a rything is like that analogy of the two headed that he treats everyone with. If there’s any- way, that’s like valuation, whether you are snake. It’s got to be like that. It will be like body to have an ego, that would be the cat. I there to receive it or not. It’s kind of weird.. that. Everything in nature is like that. Under- mean he’s phenomenal and we know this and We’re trying to achieve that same level of stand that it’s the valuation that you put on it. everybody knows it. And then musically recognition in a way. It’s kind of interesting. I In nature, I think the best example I saw was again, he’ll always be like, “If you’re up here, don’t know. in this show about the Arctic. There’s a bear I trust your judgment so just relax and follow with a baby cub. And the baby cub is going to me.” Or he’ll give you something that is just
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Project - After-hours Jam Session, Small’s, 183 W. 10th St. Saturday, July 1
Cassandra Wilson, Ricardo Grilli Ft. Jon Cowherd, Matt Penman Friday, July 7 & Kendrick Scott, Blue Note, 131 W. 3rd St. Lou Donaldson, Blue Note, 131 W. 3rd St. Dr. Lonnie Smith, 75th Birthday Celebration, Jazz Standard, 116 Houston Person Quartet, Jazz Standard, 116 E. 27th St. E. 27th St. Tom Harrell, Mark Turner, Charles Altura, Ugonna Okegwo, Willie Jones III Quintet, Dizzy’s Club Coca Cola, Jazz At Lincoln Johnathan Blake, Village Vanguard, 178 7th Ave S. Center, 60th & Broadway The Birdland Big Band; Air France Presents The Django Rein- Eric Comstock and Sean Smith; Saxophone Summit with Joe hardt NY Festival All Stars with Special Guest Saxophonist Grace Lovano, Dave Liebman, and Greg Osby, Birdland Kelly, Birdland, 315 W. 44th St Tuomo Uusitalo Trio - Afternoon Jam Session; Leon Parker Michael Cochrane - "Lines of Reason"; Alex Sipiagin Quintet, Quintet; Ken Fowser Quintet; Philip Harper Quintet, Small’s, 183 Small’s, 183 W. 10th St. W. 10th St. Saturday, July 8 Sunday, July 2 Lou Donaldson, Blue Note, 131 W. 3rd St. Cassandra Wilson, Blue Note, 131 W. 3rd St. Houston Person Quartet, Jazz Standard, 116 E. 27th St. Dr. Lonnie Smith, 75th Birthday Celebration, Jazz Standard, 116 Tom Harrell, Mark Turner, Charles Altura, Ugonna Okegwo, E. 27th St. Johnathan Blake, Village Vanguard, 178 7th Ave S. Willie Jones III Quintet, Dizzy’s Club Coca Cola, Jazz At Lincoln Veronica Swift; Air France Presents The Django Reinhardt NY Center, 60th & Broadway Festival All Stars With Special Guest Vocalist Jazzmeia Horn, Nancy Valentine Sings Billy Strayhorn; The Afro Latin Jazz Birdland, 315 W. 44th St Orchestra, Birdland, 315 W. 44th St Michael Bond - Afternoon Jam Session; David Schnitter Quartet; Vocal Masterclass with Marion Cowings; Ai Murakami Trio feat. Alex Sipiagin Quintet; Brooklyn Circle, Small’s, 183 W. 10th St.
Sacha Perry; Johnny O'Neal Trio; David Gibson Quintet; Jon Beshay - After-hours Jam Session, Small’s, 183 W. 10th St. Sunday, July 9 Lou Donaldson, Blue Note, 131 W. 3rd St. Houston Person Quartet, Jazz Standard, 116 E. 27th St.
Monday, July 3 Hypnotic Brass Ensemble, Blue Note, 131 W. 3rd St. Tom Harrell, Mark Turner, Charles Altura, Ugonna Okegwo, Mingus Big Band, Jazz Standard, 116 E. 27th St. Johnathan Blake, Village Vanguard, 178 7th Ave S. Ari Hoenig Trio; Jonathan Michel - After-hours Jam Session, Sean Harkness & Will Galison; Air France Presents The Django Small’s, 183 W. 10th St. Reinhardt NY Festival All Stars With Special Guest Vocalist Jazzmeia Horn, Birdland, 315 W. 44th St Vocal Masterclass with Marion Cowings; Ai Murakami Trio feat. Tuesday, July 4 Sacha Perry; Johnny O'Neal Trio; Richie Vitale Quintet; Jon New Orleans Swamp Donkey, Blue Note, 131 W. 3rd St. Beshay - After-hours Jam Session, Small’s, 183 W. 10th St. Darcy James Argue Secret Society, Jazz Standard, 116 E. 27th St. Tom Harrell, Mark Turner, Charles Altura, Ugonna Okegwo, Monday, July 10 Johnathan Blake, Village Vanguard, 178 7th Ave S. Joe Grandsden Big Band, Blue Note, 131 W. 3rd St. Air France Presents The Django Reinhardt NY Festival All Stars Mingus Big Band, Jazz Standard, 116 E. 27th St. with Special Guest Vocalist Veronica Swift, Birdland, 315 W. Vanguard Jazz Orchestra, Village Vanguard, 178 7th Ave S. 44th St Nicolas King “On Another Note” With Mike Renzi, Birdland, 315 W. 44th St Dave Glasser Quartet; Jonathan Michel - After-hours Jam Ses- Wednesday, July 5 sion, Small’s, 183 W. 10th St. Maurice Brown: The Mood Tour, Blue Note, 131 W. 3rd St. Ryan Keberle and Catharsis, Jazz Standard, 116 E. 27th St. Tom Harrell, Mark Turner, Charles Altura, Ugonna Okegwo, Johnathan Blake, Village Vanguard, 178 7th Ave S. Tuesday, July 11 David Ostwald's Louis Armstrong Eternity Band; Air France Ron Carter featuring Benny Golson, Wallace Roney, Blue Note, Presents The Django Reinhardt NY Festival All Stars with Special 131 W. 3rd St. Guest Vocalist Veronica Swift, Birdland, 315 W. 44th St Jamie Baum & Short Stories, Jazz Standard, 116 E. 27th St. Jared Gold Trio; Brian Charette Quartet; Aaron Seeber - After- Mike Morena Lotus Quartet, Dizzy’s Club Coca Cola, Jazz At Jazz Lovers’ hours Jam Session, Small’s, 183 W. 10th St. Lincoln Center, 60th & Broadway Heath Brothers, Jimmy Heath, Jeb Patton, David Wong, Albert “Tootie” Heath, Village Vanguard, 178 7th Ave S. Thursday, July 6 Alicia Olatuja, Birdland, 315 W. 44th St Lou Donaldson, Blue Note, 131 W. 3rd St. Steve Nelson Quintet; Abraham Burton Quartet, Small’s, 183 W. Houston Person Quartet, Jazz Standard, 116 E. 27th St. 10th St.
Tom Harrell, Mark Turner, Charles Altura, Ugonna Okegwo, Lifetime Collection Johnathan Blake, Village Vanguard, 178 7th Ave S. Alemay Fernandez Featuring Shawn Letts; Air France Presents Wednesday, July 12 The Django Reinhardt NY Festival All Stars with Special Guest Ron Carter featuring Benny Golson, Wallace Roney, Blue Note,
Saxophonist Grace Kelly, Birdland, 315 W. 44th St 131 W. 3rd St. JazzMusicDeals.com JazzMusicDeals.com Gregg August Quintet; Brian Charette Quartet; Sarah Slonim Christine Tobin Detour Ahead, Jazz Standard, 116 E. 27th St. (Continued on page 14)
To Advertise CALL: 215 887 8880 June-July 2017 Jazz Inside Magazine www.JazzInsideMagazine.com 13 Mont Ale an er s nkanoo ing, Dizzy’s Club Coca Cola, Heath rothers, i Heath, e atton, a i Wong, Al ert The i la ig an Alicia Olat a, i la , W th t azz At incoln enter, th roa a “Tootie” Heath, illa a ua , th A e Ra allon Trio e Ta akin Trio A ter ho rs a ession ith Heath rothers, i Heath, e atton, a i Wong, Al ert Mark Winkler The o an Kee Release Alicia Olat a, ore Wallace, Small’s, W th t “Tootie” Heath, illa a ua , th A e i la , W th t a i Ost al s o is Ar strong ternit an Alicia Olat a, Noah ackson artet ehn illece artet onathan Tho as i la , W th t A ter ho rs a ession, Small’s, W th t Sa u ay uly i ona re azzi artet Aaron rnett ig Machine Ron arter eat ring enn olson, Wallace Rone , lu o , o an Ale an re A ter ho rs a ession, Small’s, W W r t th t i ay uly onra Her ig s atin i e o Trane, azz S a a , Ron arter eat ring enn olson, Wallace Rone , lu o , th t u s ay uly W r t Mont Ale an er s nkanoo ing, Dizzy’s Club Coca Cola, Ron arter eat ring enn olson, Wallace Rone , lu o , onra Her ig s atin i e o Miles, azz S a a , th azz At incoln enter, th roa a W r t t Heath rothers, i Heath, e atton, a i Wong, Al ert onra Her ig s atin i e o oe Hen erson, azz S a a , Mont Ale an er s nkanoo ing, Dizzy’s Club Coca Cola, “Tootie” Heath, illa a ua , th A e th t azz At incoln enter, th roa a ric o stock an ean ith Alicia Olat a, i la , W Mont Ale an er s nkanoo ing, Dizzy’s Club Coca Cola, Heath rothers, i Heath, e atton, a i Wong, Al ert th t azz At incoln enter, th roa a “Tootie” Heath, illa a ua , th A e Ro ert ar s A ternoon a ession l ia enca ar tet e Ta akin Trio hili Har er intet, Small’s, W th t
Su ay uly Ron arter eat ring enn olson, Wallace Rone , lu o , W r t onra Her ig s atin i e o Her ie Wa ne, azz S a a , th t Mont Ale an er s nkanoo ing, Dizzy’s Club Coca Cola, azz At incoln enter, th roa a Heath rothers, i Heath, e atton, a i Wong, Al ert “Tootie” Heath, illa a ua , th A e Nati e o l eat ring eter rainin, Noah Hai , Marc s Mc a rine, te e ohns The A ro atin azz Orchestra, i la , W th t ocal Masterclass ith Marion o ings Ai M raka i Trio eat acha err ezlie Harrison ro Ale Ho an intet on esha A ter ho rs a ession, Small’s, W th t
o ay uly ohn olianni s azz Orchestra, lu o , W r t Ming s ig an , azz S a a , th t oan elgra e e tet ith Kirk ightse , Dizzy’s Club Coca Cola, azz At incoln enter, th roa a ang ar azz Orchestra, illa a ua , th A e Ari Hoenig Trio onathan ar er A ter ho rs a ession, Small’s, W th t
u s ay uly izz illes ie ig an , lu o , W r t aco ro Trio, azz S a a , th t rteg n Hall o a e esti al, ele rating Mc o T ner, Dizzy’s Club Coca Cola, azz At incoln enter, th roa a Mar Hal orson Octet, onathan inla son, on ra agon, ngri a rock, aco archik, Mar Hal orson, san Alcorn, hris ightca , hes ith, illa a ua , th A e Karrin All son, i la , W th t an Hen rickson ith Trio A raha rton artet, Small’s, W th t
s ay uly izz illes ie ig an , lu o , W r t aco ro Trio, azz S a a , th t rteg n Hall o a e esti al, ince ior ano an the Night ha ks al te on Re an, Dizzy’s Club Coca Cola, azz At incoln enter, th roa a Mar Hal orson Octet, onathan inla son, on ra agon, ngri a rock, aco archik, Mar Hal orson, san Alcorn, hris ightca , hes ith, illa a ua , th A e a i Ost al s o is Ar strong ternit an Kaeein All son, i la , W th t R an Kisor intet Harol Ma ern Trio Aaron ee er A ter ho rs a ession, Small’s, W th t
u s ay uly izz illes ie ig an , lu o , W r t en Allison Think ree, azz S a a , th t rteg n Hall o a e esti al, eat ring the M sic o Tito ente, Dizzy’s Club Coca Cola, azz At incoln enter, th roa a Mar Hal orson Octet, onathan inla son, on ra agon, ngri a rock, aco archik, Mar Hal orson, san Alcorn, hris ightca , hes ith, illa a ua , th A e
(Continued on page 16)
14 June-July 2017 Jazz Inside Magazine www.JazzInsideMagazine.com To Advertise CALL: 215 887 8880
To Advertise CALL: 215 887 8880 June-July 2017 Jazz Inside Magazine www.JazzInsideMagazine.com 15 e to To e a i o , i la , th t a o ee e i o a o e o a i a a o a tet a ah o i o e t te ho a e io , Small’s, th t
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o a a o a T io, azz S a a , th t MindControlMarketingSystems.com a t i a T i i e, Dizzy’s Club Coca Cola, a t e tatio That ee ati a tio a e o ita e e t , t e th, t ia i o e te , th oa a e He h T io ith oh H e t, i he o , illa For Ethics & Strategies Tools Marketing Mind Control Comprehensive a ua , th e Lifetime Collection Louis Hayes Quintet “Serenade for Horace”, i la , th t a o e e e tio a tet Ti He a t i tet o a e a e te ho a e io , Small’s, th t JazzMusicDeals.com JazzMusicDeals.com (Continued on page 17)
16 June-July 2017 Jazz Inside Magazine www.JazzInsideMagazine.com To Advertise CALL: 215 887 8880 ate S it info , azz S a a , t St e e ratin at in o e it Sas a asandani riends,
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To Advertise CALL: 215 887 8880 June-July 2017 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 — — Joe’s Pub at the Public Theater, 425 Lafayette St & Astor Pl., Proper Café, 217-01 Linden Blvd., Queens, 718-341-2233
18 June-July 2017 Jazz Inside Magazine www.JazzInsideMagazine.com To Advertise CALL: 215 887 8880 Prospect Park Bandshell, 9th St. & Prospect Park W., Brooklyn, Zankel Hall, 881 7th Ave, New York, 212-247-7800
NY, 718-768-0855 Zinc Bar, 82 West 3rd St.
Prospect Wine Bar & Bistro, 16 Prospect St. Westfield, NJ, RECORD STORES 908-232-7320, 16prospect.com, cjayrecords.com Academy Records, 12 W. 18th St., New York, NY 10011, 212-242 “It is curious that physical courage Red Eye Grill, 890 7th Av (56th), 212-541-9000, redeyegrill.com -3000, http://academy-records.com should be so common in the world Ridgefield Playhouse, 80 East Ridge, parallel to Main St., Downtown Music Gallery, 13 Monroe St, New York, NY 10002, and moral courage so rare.” Ridgefield, CT; ridgefieldplayhouse.org, 203-438-5795 (212) 473-0043, downtownmusicgallery.com Rockwood Music Hall, 196 Allen St, 212-477-4155 Jazz Record Center, 236 W. 26th St., Room 804, Rose Center (American Museum of Natural History), 81st St. 212-675-4480, jazzrecordcenter.com (Central Park W. & Columbus), 212-769-5100, amnh.org/rose MUSIC STORES — Mark Twain Rose Hall, 33 W. 60th St., 212-258-9800, jalc.org Roberto’s Woodwind & Brass, 149 West 46th St. NY, NY 10036, Rosendale Café, 434 Main St., PO Box 436, Rosendale, NY 12472, 646-366-0240, robertoswoodwind.com Queens College — Copland School of Music, City University of 845-658-9048, rosendalecafe.com Sam Ash, 333 W 34th St, New York, NY 10001 NY, Flushing, 718-997-3800 Rubin Museum of Art - “Harlem in the Himalayas”, 150 W. 17th Phone: (212) 719-2299 samash.com Rutgers Univ. at New Brunswick, Jazz Studies, Douglass Cam- St. 212-620-5000. rmanyc.org Sadowsky Guitars Ltd, 2107 41st Avenue 4th Floor, Long Island pus, PO Box 270, New Brunswick, NJ, 908-932-9302 Rutgers University Institute of Jazz Studies, 185 University Rustik, 471 DeKalb Ave, Brooklyn, NY, 347-406-9700, City, NY 11101, 718-433-1990. sadowsky.com Avenue, Newark NJ 07102, 973-353-5595 rustikrestaurant.com Steve Maxwell Vintage Drums, 723 7th Ave, 3rd Floor, New newarkrutgers.edu/IJS/index1.html St. Mark’s Church, 131 10th St. (at 2nd Ave.), 212-674-6377 York, NY 10019, 212-730-8138, maxwelldrums.com SUNY Purchase, 735 Anderson Hill, Purchase, 914-251-6300 St. Nick’s Pub, 773 St. Nicholas Av (at 149th), 212-283-9728 SCHOOLS, COLLEGES, CONSERVATORIES Swing University (see Jazz At Lincoln Center, under Venues) St. Peter’s Church, 619 Lexington (at 54th), 212-935-2200, 92nd St Y, 1395 Lexington Ave, New York, NY 10128 William Paterson University Jazz Studies Program, 300 Pompton saintpeters.org 212.415.5500; 92ndsty.org Rd, Wayne, NJ, 973-720-2320 Sasa’s Lounge, 924 Columbus Ave, Between 105th & 106th St. Brooklyn Queens Conservatory of Music, 42-76 Main St., RADIO NY, NY 10025, 212-865-5159, sasasloungenyc.yolasite.com Flushing, NY, Tel: 718-461-8910, Fax: 718-886-2450 WBGO 88.3 FM, 54 Park Pl, Newark, NJ 07102, Tel: 973-624- Brooklyn Conservatory of Music, 58 Seventh Ave., Brooklyn, Savoy Grill, 60 Park Place, Newark, NJ 07102, 973-286-1700 8880, Fax: 973-824-8888, wbgo.org NY, 718-622-3300, brooklynconservatory.com Schomburg Center, 515 Malcolm X Blvd., 212-491-2200, WCWP, LIU/C.W. Post Campus City College of NY-Jazz Program, 212-650-5411, WFDU, http://alpha.fdu.edu/wfdu/wfdufm/index2.html nypl.org/research/sc/sc.html Drummers Collective, 541 6th Ave, New York, NY 10011, WKCR 89.9, Columbia University, 2920 Broadway Shanghai Jazz, 24 Main St., Madison, NJ, 973-822-2899, shang- 212-741-0091, thecoll.com Mailcode 2612, NY 10027, 212-854-9920, columbia.edu/cu/wkcr haijazz.com Five Towns College, 305 N. Service, 516-424-7000, x Hills, NY ADDITIONAL JAZZ RESOURCES ShapeShifter Lab, 18 Whitwell Pl, Brooklyn, NY 11215 Greenwich House Music School, 46 Barrow St., Tel: 212-242- Big Apple Jazz, bigapplejazz.com, 718-606-8442, gor- shapeshifterlab.com 4770, Fax: 212-366-9621, greenwichhouse.org [email protected] Showman’s, 375 W. 125th St., 212-864-8941 Juilliard School of Music, 60 Lincoln Ctr, 212-799-5000 Louis Armstrong House, 34-56 107th St, Corona, NY 11368, Sidewalk Café, 94 Ave. A, 212-473-7373 LaGuardia Community College/CUNI, 31-10 Thomson Ave., 718-997-3670, satchmo.net Long Island City, 718-482-5151 Sista’s Place, 456 Nostrand, Bklyn, 718-398-1766, sistasplace.org Institute of Jazz Studies, John Cotton Dana Library, Rutgers- Lincoln Center — Jazz At Lincoln Center, 140 W. 65th St., Skippers Plane St Pub, 304 University Ave. Newark NJ, 973-733- Univ, 185 University Av, Newark, NJ, 07102, 973-353-5595 10023, 212-258-9816, 212-258-9900 9300, skippersplaneStpub.com Jazzmobile, Inc., jazzmobile.org Long Island University — Brooklyn Campus, Dept. of Music, Jazz Museum in Harlem, 104 E. 126th St., 212-348-8300, Smalls Jazz Club, 183 W. 10th St. (at 7th Ave.), 212-929-7565, University Plaza, Brooklyn, 718-488-1051, 718-488-1372 jazzmuseuminharlem.org SmallsJazzClub.com Manhattan School of Music, 120 Claremont Ave., 10027, Jazz Foundation of America, 322 W. 48th St. 10036, Smith’s Bar, 701 8th Ave, New York, 212-246-3268 212-749-2805, 2802, 212-749-3025 212-245-3999, jazzfoundation.org Sofia’s Restaurant - Club Cache’ [downstairs], Edison Hotel, NJ City Univ, 2039 Kennedy Blvd., Jersey City, 888-441-6528 New Jersey Jazz Society, 1-800-303-NJJS, njjs.org 221 W. 46th St. (between Broadway & 8th Ave), 212-719-5799 New School, 55 W. 13th St., 212-229-5896, 212-229-8936 New York Blues & Jazz Society, NYBluesandJazz.org South Gate Restaurant & Bar, 154 Central Park South, 212-484- NY University, 35 West 4th St. Rm #777, 212-998-5446 Rubin Museum, 150 W. 17th St, New York, NY, 5120, 154southgate.com NY Jazz Academy, 718-426-0633 NYJazzAcademy.com 212-620-5000 ex 344, rmanyc.org. Princeton University-Dept. of Music, Woolworth Center Musical South Orange Performing Arts Center, One SOPAC Studies, Princeton, NJ, 609-258-4241, 609-258-6793 Way, South Orange, NJ 07079, sopacnow.org, 973-313-2787 Spectrum, 2nd floor, 121 Ludlow St. Spoken Words Café, 266 4th Av, Brooklyn, 718-596-3923 Stanley H. Kaplan Penthouse, 165 W. 65th St., 10th Floor, 212-721-6500, lincolncenter.org The Stone, Ave. C & 2nd St., thestonenyc.com th Strand Bistro, 33 W. 37 St. 212-584-4000 SubCulture, 45 Bleecker St., subculturenewyork.com Sugar Bar, 254 W. 72nd St, 212-579-0222, sugarbarnyc.com Swing 46, 349 W. 46th St.(betw 8th & 9th Ave.), 212-262-9554, swing46.com Symphony Space, 2537 Broadway, Tel: 212-864-1414, Fax: 212- PAY ONLY FOR 932-3228, symphonyspace.org Tea Lounge, 837 Union St. (betw 6th & 7th Ave), Park Slope, Broooklyn, 718-789-2762, tealoungeNY.com Terra Blues, 149 Bleecker St. (betw Thompson & LaGuardia), 212-777-7776, terrablues.com Threes Brewing, 333 Douglass St., Brooklyn. 718-522-2110. www.threesbrewing.com Tito Puente’s Restaurant and Cabaret, 64 City Island Avenue, RESULTS City Island, Bronx, 718-885-3200, titopuentesrestaurant.com Tomi Jazz, 239 E. 53rd St., 646-497-1254, tomijazz.com Tonic, 107 Norfolk St. (betw Delancey & Rivington), Tel: 212-358- 7501, Fax: 212-358-1237, tonicnyc.com Town Hall, 123 W. 43rd St., 212-997-1003 Triad Theater, 158 W. 72nd St. (betw Broadway & Columbus Ave.), 212-362-2590, triadnyc.com Tribeca Performing Arts Center, 199 Chambers St, 10007, [email protected], tribecapac.org PUBLICITY! Trumpets, 6 Depot Square, Montclair, NJ, 973-744-2600, t undr ds f dia P ac nts — trumpetsjazz.com Turning Point Cafe, 468 Piermont Ave. Piermont, N.Y. 10968 — a or t or dia & ut orit it s & (845) 359-1089, http://turningpointcafe.com Urbo, 11 Times Square. 212-542-8950. urbonyc.com — Distribution To 1000’s of Print & Broadcast Village Vanguard, 178 7th Ave S., 212-255-4037 Vision Festival, 212-696-6681, [email protected], t or s To Pro ot our usic Products & Watchung Arts Center, 18 Stirling Rd, Watchung, NJ 07069, 908-753-0190, watchungarts.org P rfor anc s n s itt s ours To n rat Watercolor Café, 2094 Boston Post Road, Larchmont, NY 10538, 914-834-2213, watercolorcafe.net Traffic a s & and d dia o ra Weill Recital Hall, Carnegie Hall, 57th & 7th Ave, 212-247-7800 Williamsburg Music Center, 367 Bedford Avenue, Brooklyn, NY www.PressToRelease.com | MusicPressReleaseDistribution.com | 215-600-1733 11211, (718) 384-1654 wmcjazz.org
To Advertise CALL: 215 887 8880 June-July 2017 Jazz Inside Magazine www.JazzInsideMagazine.com 19 to raise a family. He went on to say that it broke her heart as she had the opportunity to play in InterviewInterview Artie Shaw's band and he could see and feel her frustration every day of their life together. He did-
n’t want to be responsible for my life turning out that way and gave me the green light and wished me luck. I passed the audition and never went back Tyrone Brown to that job.
Memories of Max Roach and More JI: Your ex-brother-in-law was the late [drummer] Rashied Ali. Was he a significant fac- tor in your interest in jazz? Interview and photo by Ken Weiss sound of the bass, his soloing, his originality, com- positional skills and his technique. I’ve always TB: Yes, he was, as I visited him and my sister, Tyrone Brown (born February 1, 1940, Philadel- been impressed with those who demonstrated mas- Gloria Patterson, often and would listen to his phia, PA) recently announced his retirement, due tery of their instrument, thus, classical bass soloist huge collection of jazz recordings. That’s how I to health issues, from a career that lasted over five Gary Karr, pianist Art Tatum, Coltrane and Bird heard The Clown album by Mingus and became decades. Best known for his nineteen years spent are among my career long hero’s. hooked on the sound of the bass. I also heard re- with Max Roach, Brown garnered two Gold Rec- nowned classical bass soloist Gary Karr shortly ords as a member of Grover Washington Jr.’s JI: Did you eventually have a relationship with afterwards when my sister alerted me that a classi- band and made four recordings with Pat Martino. Mingus? cal bassist was on TV performing with an orches- He also worked with Lou Rawls, Billy Paul, Fred- tra conducted by Leonard Bernstein. I was really die Hubbard, Phil Woods, Clark Terry, Johnny TB: I heard him play in person several times but blown away! That was moons ago and he’s been a Hartman, Etta Jones, Benny Golson, Dizzy Gilles- we never met. Oddly, his son approached me about major influence ever since. That experience also pie, J.J. Johnson, Donald Byrd, Sam Rivers, Stan- taking lessons, but he lived in New York, and with hooked me on classical music and the bow as ley Turrentine, Eddie “Lockjaw” Davis and Sir me being based in Philadelphia, logistics got in the well. Roland Hanna. Brown developed an outstanding way of it ever happening. I asked why he didn’t reputation for being extremely versatile – he was study with his dad, his reply was his dad didn’t JI: I understand that your first bass and music equally at home performing mainstream jazz, clas- think he was serious at the time. teacher was Philly pianist John Ellis, and although sical, R & B, pop and even avant-garde jazz. He you studied at Granoff School of Music, and re- was a member of the influential early ‘70s funk JI: Initially, you weren’t planning on a career as a ceived a certificate in arranging and harmony from jazz, early fusion band Catalyst. In addition to bassist, you were playing bass only as a hobby. Berklee, would you say your education came pre- being a fine composer and arranger and a virtuoso What changed your plans? dominately from your playing experience? instrumentalist, he’s released a number of ac- claimed recordings as a leader and published TB: I was a furniture upholsterer and it didn’t TB: Yes, and when I toured with Max [Roach’s] informative books on bass work. This interview occur to me to become a professional bassist, until Double Quartet, he always introduced the string took place on April 1, 2017 at his home in Abing- a jazz group asked me to audition with them for a quartet (led by his daughter Maxine Roach) to the ton, PA. two week engagement in Allentown, PA. I was audience as classical trained musicians and slight- ed the esteemed universities they graduated from. Though Cecil [Bridgewater] had a degree in music as well, when Max introduced the jazz quartet, he said, “These gentlemen graduated from the pres- “I’ve been a student of human behav- tigious “University of the Bandstand.”
ior since my teens and I’ve found that JI: During your career you’ve performed with many prominent artists and played a wide array of [gossip] is a cover-up of the dark per- musical styles. How did you become so flexible?
TB: Part of it came from a learning experience I sonal secrets these people harbor. had with vocalist Lou Rawls - During the mid – ‘60s when Rawls was riding high on a couple hit However, there is an upside; those songs. He always traveled with his own pianist and would pick up a local bassist and drummer in each who believe and act on gossip about of the towns he was booked. I accompanied him for a week in Philly and we really hit it off. He asked me to go on the road with him. I accepted a friend, exposes and divides them and stayed with him for a couple years. All of his music was written out so I always played it as from those with a shallow friendship written except during a concert at the Philadelphia Academy of Music. The Duke Ellington Orchestra attachment from those who embrace and the Dave Brubeck Quartet were also on the bill and the situation inspired me to be a little more the true spirit of friendship.” creative with the bass parts. Following the first of two shows, Rawls said, “Mr. Bass Man, I’d like to see you in the dressing room.” I knew something Jazz Inside Magazine: You were drawn to the concerned about losing my job if I took off that was wrong when he referred to me that way and I bass by Charles Mingus after hearing his The long so I told the shop manager about the oppor- was right. He was annoyed and asked what I was Clown recording. What was it about Mingus’ play- tunity and to my surprise he shared a personal doing on the first show. I explained that with El- ing that attracted you? experience with me and told me not to worry about lington and Brubeck being on the bill, it inspired the job. He said his wife was a professional clari- me to stretch out more harmonically and rhythmi- Tyrone Brown: It was intuitive – I loved the net player but she gave it up when she married him (Continued on page 22)
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Tyrone BrownPhoto by Ken Weiss
To Advertise CALL: 215 887 8880 June-July 2017 Jazz Inside Magazine www.JazzInsideMagazine.com 21 the electric upright and the acoustic bass. the face. Thus, there are a number of electric up- Tyrone Brown right bass designs available now and a huge mar- JI: I know some musicians were surprised that ket for them. Roach utilized the electric bass so much at that (Continued from page 20) time. JI: What was Roach like as a leader? cally from the written part, or in other words, I was adlibbing. His reply was, “My fans relate to the TB: I recall being back stage at a New York jazz TB: As far as giving you personal freedom to music the way it was recorded and are thrown off festival with multiple bands on the bill and another express yourself and a high pay scale, I rank him by any changes. They want to hear the songs the Philadelphia bassist, Daryl Hall, was in conversa- as one of the best leaders I ever had the pleasure way they were recorded. That’s why they are hits! tion with a bassist from one of the other bands. and honor to work with. He was also very strict My fans are not usually sophisticated, hard core Daryl and I were friends, but the other bassist, who about being on time for bookings, rehearsals, and jazz enthusiasts, and it’s also why we’re on the was only an arm’s length away, refused to for memorizing music, which was the level of bill. The promoter wants variety. So from now on, acknowledge me. I later asked Daryl what that was professionalism that kept my standards high. there will be no more adding and no more lib- bing!” Although I was embarrassed, it was a valu- able learning experience as it taught me that disci- pline is paramount in playing every given style of “Daryl Hall, was in conversation with music. Observing that philosophy carried me a long way throughout my career and it contributed to my reputation of being able to play different a bassist ... but the other bassist, genres. who was only an arm’s length away, JI: How did you end up as Max Roach’s bassist? refused to acknowledge me … and TB: I auditioned for Max in January of 1984. In- terestingly, we had only played three tunes during the audition when Max stopped the band abruptly [Daryl] said that the other bassist and said let’s talk business. He was booked for a European tour of thirteen countries over a 27 day was a purist and didn’t approve of period and needed a bassist to fill in for his current bassist Calvin Hill, whom he had lost contact with. me playing the electric upright. I was He asked if I’d like to join the band. My reply, of course, was yes, and what a blessing. I was hon- ored by the offer and position. I went on to be his struck by that. Can you imagine him bassist for nineteen years and recorded six albums with him as a member of his quartet and double or any bassist passing up the honor, quartet. prestige, artistic joy, and high pay JI: Why did Calvin Hill leave Roach’s band?
TB: I think he was offered a steady teaching posi- scale of playing with a legend like tion. Max Roach because they’re an JI: What was your earliest experience with Max after he hired you? How did he advise you at first? acoustic bass purist?”
TB: He liked what he heard at the audition so there was no music-related advice, just sage advice all about, and he said that the other bassist was a JI: How did you view your role in the Max Roach about his experiences. purist and didn’t approve of me playing the elec- Quartet early on and did it change over the years? tric upright. I was struck by that. Can you imagine JI: It seems you were playing a lot of electric him or any bassist passing up the honor, prestige, TB: Since it was a piano-less quartet, I focused on upright bass for Roach. artistic joy, and high pay scale of playing with a providing strict harmonic walking lines more than legend like Max Roach because they’re an acous- usual in the beginning, but in later years, he added TB: I only played the electric upright bass at tic bass purist? I don’t like being negative, I strive piano with the double quartet for various bookings. Max’s request. He, unfortunately, had had night- to feel and exude a positive aura, so I had to resist mare experiences traveling with the acoustic bass, letting his attitude affect me in a personal manner. JI: Roach embraced the notion that strings could such as the bass mistakenly being put on a separate Interestingly, it was bassists like him that I started be his music’s main attraction. He formed his dou- flight in a bass trunk and not arriving in time for hearing about, during that period, who didn’t use ble quartet which combined his quartet with a concerts. Sometimes it arrived damaged and an amplifier. That was really out of touch with string quartet. Did he talk to you about his vision couldn’t be played. So Max asked if I would use a reality as music is an audio art form appreciated of the strings? more portable instrument. Back in the day, airlines vie the sense of sound. As painting and sculpture use to allow us to take the bass onboard and strap are visual art forms appreciated via the sense of TB: Actually, I attended a rehearsal one day and it safely in a seat for a child’s fair. But they sight. Thus it would defeat the purpose of an artist the string quartet was there, so there was no an- changed that rule and we are only allowed to to give an exhibit and cover all the works with nouncement of the augmentation, just new ar- transport it in a bass trunk in the luggage compart- sheets. Likewise, can you imagine attending a rangements, which he allowed the entire group to ment. It was this dilemma that prompted me to concert with someone with that attitude with no contribute to. start using the electric upright bass which can fit in amp? You couldn’t hear or feel their part. Due to the overhead compartment. I had an electric up- airlines’ restrictions now on transporting the JI: What was the most difficult thing you had to right bass shipped to me from Philadelphia to Italy acoustic bass, I’ve seen several former acoustic deal with during your time with Max Roach? during my first European tour with him. After that, bass purists advertising electric upright basses in depending on the situation, I alternated between magazines. Reality has a way of slapping you in TB: Well, it’s common knowledge that he was
22 June-July 2017 Jazz Inside Magazine www.JazzInsideMagazine.com To Advertise CALL: 215 887 8880 tive player and always moved his horn and body arrangements for the quartet, an organ and a choir, Tyrone Brown up and down and side-to-side, so his constant jar- but when we got there, we learned that the organist ring motions made it difficult for the engineer to was also commissioned to compose arrangements capture a consistent flowing sound. The engineer for the event. Max saw this as an artistic conflict temperamental, which I witnessed several times finally solved the problem by placing, what and a personal affront, and in a state of intense over the years, but we never had a personal or seemed like a million microphones, in front and irritation, tore his arrangements up in protest. The professional misunderstanding. However, it was a around Tony to capture his motions. It was quite a show, however, went on. Several European con- bit of a strain anticipating what or when something strange sight. cert promoters collaborated to coordinate bookings would irritate him. for the quartet for an extended tour. Max wasn’t JI: Would you share some memories of Max pleased with the pay for one of the bookings and JI: Roach was very critical of the avant-garde Roach? complained to that particular promoter. The pro- movement at first. In 1959, he punched Ornette moter seemed embarrassed and in an attempt to Coleman in the mouth during Coleman’s early TB: After my first concert with Max, I told him it save face, retorted very loudly that he always paid Five Spot run and then showed up later that night was an honor to be a member of his group and that Max more than the other promoters. Max resented at Coleman’s apartment wanting to fight him. his great reputation was truly founded. His imme- that and went into a rage that prompted the pro- Roach eventually embraced the “New Music” and diate response was; “I can’t take all the credit, I’m moter to flee the premises. Half way through one made a series of duets in the late ‘70s with Cecil standing on a lot of shoulders - Papa Jo Jones, of our [other] European tours, Max asked the band Taylor, Anthony Braxton and Archie Shepp. What Buddy Rich, Chick Webb” and several more how much we expected to be paid, which surprised do you know of his view on the avant-garde and who’s names escape me now. His respect for other us because we were pleased with the high pay longtime relationship with Cecil Taylor? drummers came as a surprise to me, as I had been scale we had been receiving for years. But when misled by reports that there was an ongoing we replied, he immediately called the promoter TB: I never heard of the Five Spot event and I’m ego war between musicians of various groups. I and cancelled the rest of the tour. He went on to not aware of him having an aversion to the avant- later learned that such wars were not among say the tour was not paying enough to cover our garde as we had a couple arrangements that leaned groups of musicians of various instrumentations usual salaries, let alone an increase. We pleaded that way. He and Cecil had a great musical chem- but rather among individuals and that it with him to continue the tour at a salary the funds istry and I recall Max announcing to the quartet spanned over many generations. Max’s supportive provided, but he insisted we quit, and added that that Cecil introduced a new twist to their perfor- and brotherly spirit was enforced when one day he we just happened to be in a town that was famous mance at their last rehearsal – dancing. Actually, it wore a t-shirt with Art Blakey’s face and name on for having healing baths, which he thought might consisted of them strutting on stage, bent over with it. Around that same period, I ran into Philly Joe help with some pains he was experiencing. I was their hands stretched out like birds flying in a Jones, whom I had worked with several times. He seeing a lady in Spain at the time, and asked if my dancing motion – funny! extended his hand to me and said, “Let me shake return flight home could be re-routed from there. your hand. I heard you’re with the Master now.” Unfortunately, the promoter said it would have JI: You took part in what is perhaps, the most Max was very strict about not letting fans record cost much more money to do so. Coincidentally, unusual recording in Roach’s discography – It is our performances and would confiscate the film Max was awarded the MacArthur Genius Grant Christmas Again (Soul Note, 1984). It’s two ex- from their video cameras when they were shortly following that experience and paid the tended pieces with Roach reciting poetry and also caught. In several cases the violators were vaca- band the full amount we would have made if we playing keyboard, vibes and drums. It also in- tioning foreigners who had other footage on their had continued the tour. He was generous! The last cludes Lee Konitz and Tony Scott. What was go- film roll of personal photos, landscapes, etc., but memory I’ll give is that Max told to me that his ing on there? no one was exempt. Once, while we were playing greatest regret was that he didn’t get a chance to at New York’s Blue Note club, there were two apologize to Charles Mingus for accusing him of doctoring the books when they co-owned the rec- ord label [Debut Records]. He had learned after Mingus's passing that he was not the culprit. “Max’s supportive and brotherly spirit was JI: Max Roach died in 2007 and the band dis- enforced when one day he wore a t-shirt with solved. Has there been talk of the band reforming with Odean Pope and Cecil Bridgewater and tour- Art Blakey’s face and name on it. Around ing in tribute to him?
TB: The idea was never brought up. that same period, I ran into Philly Joe Jones, JI: You’ve written a composition entitled “Dear whom I had worked with several times. He Mr. Roach.” Would you put into words what the music says? extended his hand to me and said, “Let me TB: It’s a musical thank you note in honor and shake your hand. I heard you’re with appreciation of my 19-year tenure with his groups.
JI: You had the opportunity to work with Dizzy the Master now.” Gillespie.
TB: I don’t recall the city where we did that re- couples sitting front stage at a table and one of TB: Diz came to hear the Max Roach Double cording but it was in Europe, and Lee and Tony the women covered her ears during one of Max’s Quartet at the Blue Note, and following the first just happened to be in town. That’s what gave Max solos. He took that as a personal insult and ordered set, he poked his head in the dressing room door the idea. We didn’t know Max was planning to the manager to escort them out. The couples plead- and said to me, “Your playing reminds me of those overdub poetry on that recording so we were all ed to let them stay and that they would be more colorful bouncing balls you see at a carnival.” My surprised when it was released. I recall Max stop- respectful, but Max became even more annoyed opportunity to play with him came shortly after- ping the recording session to instruct the unusually and forceful and repeated his order to the manager wards when Max booked him to join the quartet on stationary Tony Scott to play the way he usually and they were put out. The band was booked to a European tour. He used a microphone clipped on did, which posed a serious problem for the record- perform at the church Martin Luther founded in his horn, which had a cable that was attached to ing engineer. That is, Tony was a very demonstra- Europe. Max was also commissioned to compose (Continued on page 24)
To Advertise CALL: 215 887 8880 June-July 2017 Jazz Inside Magazine www.JazzInsideMagazine.com 23 JI: The first Pat Martino album you worked on ago. Tyrone Brown was East! [Prestige, 1968]. Why did you only appear on one track of that recording? JI: You played with Martino before and after his tragic ruptured brain aneurysm in 1980. Are you (Continued from page 23) TB: I had been with his band for a year or so able to comment on what effect that life- his belt. He wasn’t used to that contraption so before that and Prestige Records had already hired threatening event had on his music or his individu- when he put his horn down on the table to go over a house band to accompany him for that record. ality? to the food buffet, he forgot the cable was attached Pat, however, wanted to record a composition of to him and he pulled it off the table and damaged mine so I was invited to the session as a guest TB: I heard about the aneurysm following one of it. There were no brass instrument repairmen near- composer. The bassist felt he needed more time those booking dry periods and I called to check on by so he and Max had to take a ferry boat to the than allowed to practice and perfect the unusual him. His father answered the phone and said his next town to have his trumpet repaired. Fortunate- bass line on my piece, so he and the producer sug- condition was so poor that he wouldn’t recognize ly, they got back in time for the concert that night. gested I play on that track. The composition was me if I came to visit him and that he didn’t even What an honor to be liked by such a great artist. “East,” which was also used for the title of the remember being a guitarist. Fortunately, he not album. I recorded four albums with Pat and our only made a full recovery, but his playing was JI: You toured with Lou Rawls for a couple years collaboration spanned off and on well over 25 even deeper and more intense than before. in the ‘60s and then toured and recorded with Billy years. I put lyrics to “East” and also recorded it Paul [of “Me and Mrs. Jones” fame], before mov- later with Billy Paul who also used it for the title JI: Another very popular artist you worked with ing on to play with Pat Martino. Why did you of his album - Going East. for a significant amount of time was Grover Wash- leave the commercial music scene in favor of jazz? ington Jr. It had to be quite comfortable touring with such JI: Pat Martino also used you on his Desperado successful pop/soul singers. album [Prestige, 1970]. That was recorded at the TB: My first recording with Grover Washington legendary Rudy Van Gelder studios. What was Jr. was Live at the Bijou in 1977 and Creed Taylor TB: Yes it was, but Pat’s offer provided more your Rudy Van Gelder experience? was the producer. Taylor wanted Grover to use a creative freedom. studio band he had picked for the recording, but TB: I was very impressed and grateful to record Grover really felt an artistic and personal chemis- JI: How was your transition from backing the pop with Pat and to meet a sound engineer of Van try with his road band, Locksmith, so he really stylings of Lou Rawls and Billy Paul to the per- Gelder’s stature. I recall him being very protective went to bat for us to do the recording. Taylor con- forming along with the torrential guitar playing of his equipment and wouldn’t allow musicians to ceded and the album went gold, meaning it sold style of Pat Martino? touch his microphones or anything in the engi- over 500,000 copies. Locksmith subsequently recorded three more albums with Grover and the second one also reached Gold status [Reed Seed].
“Pat [Martino]...wanted to record a JI: What was life like with touring with Grover Washington Jr? He crossed over to a very wide composition of mine so I was invited audience and you played to huge crowds.
to the session as a guest composer. TB: He was a great leader. He presented himself as just one of the guys and all accommodations The bassist felt he needed more time were first class. He, along with Max Roach, Rachelle Ferrell and Pat Martino remain my favor- than allowed to practice and perfect ite band leaders.
the unusual bass line on my piece, so JI: Would you share a story about Washington Jr?
TB: He was a big fan of basketball, particularly he and the producer suggested I play the Philadelphia 76ers, and he played the national anthem at many of their games. His composition on that track. The composition was “Let It Flow” was inspired by and dedicated to Dr. J. Before I got to know him myself, one of his road “East,” which was also used for the title managers told me that he drove him from Philly to New York without him uttering a word. I learned of the album. I recorded four albums over the years that he was indeed quiet and intro- spective. with Pat and our collaboration spanned JI: You played with Sir Roland Hanna. off and on well over 25 years.” TB: I met Sir Roland Hanna during a recording session with Cecil Bridgewater titled “I Love Your TB: Actually, the transition was surprisingly fluid neer’s room. And if I recall correctly, he wore Smile.” We were very compatible musically and and comfortable. gloves when he set up his equipment and when he socially, and several concerts and nightclub book- had to reposition a microphone. ings followed. On one particular New York book- JI: What was more intimidating to you? Gearing ing by Cecil, we started playing on the edge, re- up to play with Pat Martino or Max Roach? JI: You worked with Pat Martino for a number of sulting in what one might describe as “out there,” years. or “space music,” which was unusual for us. And TB: Due to Pat’s rare musicianship, the media during an intermission, a gentleman came up and eventually ranked him as a giant, but his reputation TB: My long history with Pat began back in the wanted to know the name of the group, to which at that stage was just beginning. Max, however, late ‘60s, but the bookings and recordings have Roland replied, while laughing, “The Nut Facto- was already a living legend, so it was more intimi- been periodic. That is, there were long stretches of ry,” as the music had been professional but a bit dating to audition for him. bookings with him, and then I’d not hear from him crazy. for years. Our last contact was well over ten years
24 June-July 2017 Jazz Inside Magazine www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 box, 2008], and abolitionist Frederick Douglass [A tion on whether it would work as designer prints Tyrone Brown Sky With More Stars, Dreambox, 2009]. for clothing. I followed through on his advice and sent some samples to Vogue Magazine. This was TB: All three of those projects were commis- in the ‘70s and the fashion editor at the time of- JI: What was it like to play for Johnny Hartman? sioned by the University of Rochester and initiated fered to make appointments for me to meet with by Richard Peek of the Department of Rare Books textile companies. I ended up designing tex- TB: Great!! My first opportunity and honor of and Special Collections. It was quite an honor to tiles for several companies and I sold framed cop- playing with Hartman was at the same night club receive those commissions and each bought its ies of my work in a few art galleries. The experi- where I played with Lou Rawls. I was in the house own source of inspiration. That is, I put in a great ence was artistically and financially rewarding but band and was a bit nervous as I had heard that deal of time researching each person in order to it started getting in the way of music. Hartman was a perfectionist and very strict about capture their essence and translate it through the his music arrangements being played correctly. music. JI: I understand that you have an intense dislike One story that prompted my anxiousness was that for gossip. Would you like to address that? he had auditioned a pianist who was doing quite JI: What event or performance would you name well until Hartman put the reputed difficult ar- as the biggest thrill of your career? TB: Yes, but first I want to state a quote by Mo- rangement of “Lush Life” by Billy Strayhorn on handas Gandhi. “What is it about some who de- the music stand. At that point, the pianist excused
himself to go to the restroom. After a long wait, Hartman became concerned and went to the re- stroom to check on the pianist, only to discover “I use to doodle at lot and an art critic …. that the pianist had obviously been intimidated by that chart and had exited through the ground level suggested I send samples to textile window of the restroom and went home. businesses ... I followed through and JI: Towards the start of your career, you were part of an early funk/jazz band out of Philadelphia sent some samples to Vogue Magazine ... with a bit of a cult following called Catalyst. That group presaged later jazz fusion bands. What have the ‘70s … I ended up designing other musicians told you about that band’s influ- ence? [Note: Brown replaced Alphonso Johnson textiles for several companies … in Catalyst when he left to join Weather Report] The experience was artistically TB: I must say, though humbly, we were a bit ahead of our time. Eddie Green wrote most of the and financially rewarding…” music which was tinged with straight ahead jazz, funk, and crossover, along with contributions from the rest of the band, which shaped into an original TB: That would be the recording collaboration light in the suffering of others?” I’ve been the sound. I’ve ran into musicians all over the world with Gary “The World’s Greatest Classical Bass victim of untrue gossip by the rumor-mongers, and who expressed being influenced by that group. Soloist” Karr. I had the honor of being awarded a I don’t want to go the negative route, but they PEW Fellowship in 2003 which provided funding spread, and often start unproven gossip with harm- JI: You also played behind outstanding vocalists to write a book of originals titled “Compositions ful intentions, and I have no respect for them. such as Rachelle Ferrell over the years. How does for Bass”. The collection was published by Mel They have no regard for how deeply their hurtful the experience as a bass player change when sup- Bay and includes a piece dedicated to Gary titled and untrue gossip hurts others. I’ve been a student porting a vocalist rather than an instrumentalist “Bassically Karr”. I mailed a copy to Gary and his of human behavior since my teens and I’ve found leader? response was moving. We stayed in touch over the that this type of behavior is a cover-up of the dark years, and to my surprise, I received a correspond- personal secrets these people harbor. However, TB: Normally I would just concentrate on playing ence from him in 2016 suggesting we record a CD there is an upside; those who believe and act on a supportive role, but Rachelle is such a creative together. Due to being in different locations, and gossip about a friend, exposes and divides them artist that it leaves room to also interact with her. not able to coordinate schedules, technology al- from those with a shallow friendship attachment lowed us to record it in separate sessions. The CD from those who embrace the true spirit of friend- JI: Your solo projects have focused on strings. comprises eleven original compositions and we’re ship. This is not the format to elaborate on this Why have you stuck to that and not gone the more joined by pianist Bill Meek, Jr, vibraphonist subject but I’m glad you asked the question and typical jazz trio or quartet formations? Randy Sutin, drummer Craig McIver, Bill Clark I’d like to close the way I opened – “What is it on shaker and Gary’s long time piano accompanist about some who delight in the suffering of oth- TB: Musicians express life experiences and emo- Harmon Lewis. The honor of collaborating with a ers?” tions through their instrument, compositions lifelong hero was deeply moving. The CD was and instrumentation, and all three comprise my released in 2016 as Bass Brothers and has received JI: The last few questions are from other musi- voice of expression. I love all instrument for- outstanding responses from both jazz and classical cians: mations but the string sextet is the voice I most music enthusiast. [available at lemurmusic.com] often prefer to use to express myself. I have often Cecil Bridgewater (trumpet) said – “In addition to told my string ensemble that they are part of my JI: Your musical skills are well known but most being a great bassist, Ty is a band leader, compos- heart. Music critics and radio station hosts started people don’t know that you are also an accom- er and author of books on bass playing. Ty re- categorizing our concept and sound as ‘chamber plished visual artist. Would you talk about your paired a leather gig bag for my trumpet and he has jazz’ and the term really fit as my compositions art, what inspires you to create it, and what do you made bags for his bass and saxophone bags, etc. comprise many music influences. do with your pieces? My question is how you got started working with leather and why?” JI: A number of your projects have been centered TB: I use to doodle at lot and an art critic told me around tributes in honor of African American lead- that he thought my work was too decorative to be TB: First, I want to thank Cecil for his kind re- ing lights – writer John A. Williams [Suite for described as traditional art, but too creative to be mark. We became good friends during our respec- John A. Williams, Dreambox, 2005], abstract viewed purely as commercial art. He suggested I tive tenures with Max; 35 years for Cecil and 19 painter Herbert Gentry [The Magic Within, Dream- send samples to textile businesses to get an evalua- (Continued on page 26)
To Advertise CALL: 215-887-8880 June-July 2017 Jazz Inside Magazine www.JazzInsideMagazine.com 25 forming a collection of original compositions. My are somewhat common in classical music but are Tyrone Brown interest was to contribute to the repertoire of estab- not in jazz, so I came to find that the problem, for lished and upcoming bass soloists to help temper the most part, was due to not being faced with the long standing reputation of it only playing an them very often. Interestingly, I recall being called (Continued from page 25) accompaniment role. Thankfully, Jamey produced to do a TV show and there was no time to re- years for me. A drummer friend from Philly, Bill one of my books, Bass Works [jazzbooks.com]. hearse. The band was given charts and one of the “Bones” Roy, presented me with a convertible top The other book is Compositions for Bass tunes was in C-sharp and I said, ‘Jesus car hood and asked if I could fashion a cymbal [melbay.com]. Christ!’ [Laughs] But because I had been so con- case out of it. Actually, I’d been sewing since I scientious about my intonation when I practiced, I was nine-years-old and had learned on an old foot Luques Curtis (bass) said - “I am familiar with did well. operated Singer sewing machine. So I ended up your playing. I would love to ask you if you’ve making a case for him and I found myself getting seen the role of the bass player change throughout Gary Karr (legendary classical bassist) said – leather case orders from Grover Washington Jr., the years? If so, is it for the better and is there a “Thanks for including me in your article on Ty- Marcus Belgrave, Joe Sudler, Doc Gibbs, David F. reason why it has changed? If not, should anything rone. I really love the guy and would do backward Gibson, and quite a few others. I stuck with it for a change in a bass player’s role?” somersaults for him. I have a few questions to ask while because it was good therapy for me because, him. If the electric bass existed when you first as you might know, music can drive you crazy. TB: As bassists began to enhance their technique began playing, would you still have chosen to play [Laughs] and frontline focus, a lot of them personalized the upright bass and if so, why?” different approaches, as well as become band lead- JI: Maybe you picked the wrong career? ers. I think the changes are very good for bass TB: Well I’ll be, Gary Karr. Gary and Charles players and for music in general. It’s great that a Mingus were my first influences on the instrument TB: [Laughs] Actually, I can’t complain about the young artist like Curtis is interested in the subject. and Gary has remained my main source of inspira- music business, although health issues have forced Thankfully, Christian McBride, Dave Holland, tion over the years and I’d do backflips for him as me to announce my retirement, I’ve been blessed Ron Carter, John Patitucci, Rufus Reid and Stan- well. Although we’ve never met in person, we’ve to have played on 130 recordings, including 10 as ley Clark, to name a few, have taken it to a bright- had a long email relationship. What a master musi- a leader, and I’ve been part of 2 gold records. I’ve er path. cian he is. As far as his question about the acoustic had the honor of playing with many great artists, bass? Yes, I would have chosen it because that including being a guest artist with the Philadelphia Ron Carter (bass) asked – “What is the most sound of his and Mingus was in my heart and soul, Orchestra. I’ve received several fellowships and difficult key for you to play in and what do you do and still is. grants, have done world tours, and performed in to keep your hands warm when playing outdoor Gary Karr also asked – “Flying with a bass is almost all of the world’s major concert halls. I’ve concerts?” almost impossible these days but you no doubt authored two music books, performed solo bass encountered some obstacles during your travels. Would you share one or two of your challenging experiences during your travels with your bass?”
TB: I recall being in Louisville, Kentucky making “Creed Taylor was the producer. Taylor those Play-A-Long recordings with Jamey Aeber- sold, and I arranged for the bass to be transported wanted rover to use a studio band to Kentucky from Philadelphia. Unfortunately, the bass and bass trunk arrived damaged. Since then, safer bass trunks have been designed. At one point, he had picked for the recordin , but bassist Charles Fambrough had a very good trunk that he let me borrow and I toured with that for a rover really felt an artistic and while. When I was with Lou Rawls, before they invented those secure bass trunks, I traveled with a cloth case and I’d strap it to a seat onboard the personal chemistry with his road band, airplane.
Gary Karr also asked – “I’m happiest when play- Locksmith, so he really went to bat ing lyrical lines on the bass so I’m wondering if there’s an aspect in your musical encounters that for us to do the recordin . aylor gives you the same sort of satisfaction?”
TB: Oh, absolutely, and I want to say I think Gary conceded and the album went old, Karr is the most lyrical bassist I’ve ever heard. I recall reading an interview with Paul Chambers where he said he thought a bassist should learn the meaning it sold over 500,000 copies.” melody and the chord changes before developing a bassline for a given piece. Now that struck me as odd during the time because common mentality concerts on three continents, and conducted master TB: Ron remains one of my favorites. I’ve always had the bass just being in the background, playing classes at several universities. But the greatest been fond of his walking lines and his double a supportive role. Paul’s advice prompted me to reward and joy of all was playing the bass and acute sensitivity playing ballads. As far as keeping work on increasing my melodic sense and raise the expressing myself via music. my hands warm during outdoor playing, I can’t level of my technique. With those intentions in recall at the moment, having been faced with the mind, I started studying the Charlie Parker song- Jamey Aebersold (jazz books/sax) asked - situation of them getting particularly cold. The book which led to the release of the recording The “Tyrone, where did you get your inspiration to question about the most difficult key? In the begin- Birdhouse Project [www.dreamboxmedia.com]. write the books that you’ve written and how do ning, F-sharp and C-sharp were the most difficult you feel they will help the budding bassist?” keys for me to sustain intonation in. To improve my playing in those keys, I experimented by TB: My first book, as far as I know, was the first changing the height of the endpin, the string to come with a companion CD of the author per- brands and the position I held the bass. Those keys
26 June-July 2017 Jazz Inside Magazine www.JazzInsideMagazine.com To Advertise CALL: 215 887 8880 To Advertise CALL: 215 887 8880 June-July 2017 Jazz Inside Magazine www.JazzInsideMagazine.com 27 left for you to do or know. If you stay on the path of mastery, you’ll reach levels of subtly InterviewInterview that you could have never imagined when you were starting out.
BG: Right—absolutely. The greatest hin- drance to knowledge is thinking you already
Benny Golson know. Once that happens, it becomes platitu- dinous. You come to one point and you stay “Creativity never retires” there because you think you already got it all—and watch out for the fellas that go around telling you how great they are! Ugh! Interview by Eric Nemeyer are speaking in English, but nothing is pre- When I hear that, I know something is wrong. Photo By Ken Weiss scripted—we are accessing our vocabulary, I’ve only known a few who said they were and improvising our conversation as a func- great and actually were. (laughs) BG: You know creativity never retires. And if tion of that, driven by our thoughts and feel- it’s operational, and it should be, if one ap- ings in the moment. JI: If you are great, your work and or music proaches something that he loves to do, the will speak for itself. expression is, “the more you do a thing, the BG: Right, we just talk, and I said that jazz is better you get at doing it.” Your thinking very much the same way. And he said, BG: That’s the key. If you’re great, the music evolves too, which in turn causes the music to “OHH!” (laughs) Yea, but that’s what makes says it for you. You don’t have to use your evolve, whether you’re playing it or writing it. the sense of adventure—so much of an adven- mouth. So the music grows in discernment, and in ture that we wake up every morning and maturity to. Jazz is about improvisation. No- think, “What can I do today better than I did JI: A few years ago I read that when you and body comes to hear that same melody over yesterday?” Nobody who is creative should Coltrane where growing up in Philadelphia, and over again. After they hear that melody, want to stand in the same spot. It’s like falling someone was giving you a hard time and your they want to know what you’ve got on your overboard, because time is like that ship that mother said, “Look guys, don’t you worry find. Yes, we play the same tunes, but we is sailing over the horizon, and you tread wa- about that.” The point was that you received don’t play the same solos. Improvisation is ter as long as you can before you go under. ample support and encouragement in your what jazz is all about. Metaphorically, it’s like I’m talking about obscurity. No, we appreci- home that served to neutralize any kind of going to the same forest all the time, but never ate the old things, but we don’t throw them negativity that might have came from the out- to the same trees. And that’s a sense of adven- away. We draw upon them sometimes. It’s side. ture—a sense of anticipation. I went to work like making room on the same shelf. As things one night at Sweet Basil, and a fella came up get old we put them on the shelf and as we go BG: Yeah, John and I drew upon that. We got to me and said, “you gonna play ‘Along Came along, we have a bunch of things on that shelf, put out of a band, and although we thought we Betty’ tonight?” and I said, “Oh yes, we’ll but none should be thrown away. Louis Arm- were doing pretty good, we weren’t up to par (laughs). We felt like our careers were over (laughs). What careers? We were coming home because we were told the gig was can- “the more you do a thing, the better celed and when we walked past the place where the gig was supposed to be, we heard you get at doing it.” Your thinking the band playing and we looked in, and some- one was in John’s chair, and someone was in evolves too, which in turn causes the my chair and man, we felt horrible! Oh, I can’t tell you—I wanted to cry! I felt horrible and so did he. So we went back to my house music to evolve, whether you’re and we were standing in my living room look- ing at these records, and we didn’t even want playing it or writing it. o the music to listen to anything. We both wanted to cry, but we were too hip to cry in front of each grows in discernment, and in maturity other. So my mother saw us and she came up to us and put her arms around us and said, “Oh baby.” I was 16, and he was 18, and she to. Jazz is about improvisation.” said, “Don’t worry baby, one day you two will be so good that they won’t be able to af- play it,” and he said, “What solo you gonna strong was vital. He was great. He played a ford you!” But we didn’t believe it, and yet, play on it?” and I said, “I don’t different style but he was great. It’s all rela- years later, we were playing [the] Newport know.” (laughs) He said, “You don’t know?” tive. [Jazz Festival] —he had just recorded My So I said, “No, jazz is about improvisation Favorite Things and Art Farmer and I had just just like we’re doing linguistically here. We JI: A while ago, I read an article in Esquire put the Jazztet together, and we were in the don’t know what we’re going to say moment Magazine that said something like “the mo- same tent and he was warming up. Then all of to moment, we just say it!” ment you think have become a master, you a sudden he took the horn out of his mouth have precluded becoming one,” because then and started laughing relentlessly and I said, JI: We have the language, and in this case, we you think you know it all and there’s nothing (Continued on page 30)
28 June-July 2017 Jazz Inside Magazine www.JazzInsideMagazine.com To Advertise CALL: 215 887 8880 To Advertise CALL: 215 887 8880 June-July 2017 Jazz Inside Magazine www.JazzInsideMagazine.com 29 BG: Absolutely. That’s what it was like. It be here too! We got to catch him!” It was an Benny Golson was very spontaneous. Those kind of players early evening concert from five to eight or and writers—I call them bungee players; sky- something like that and he was going to play divers—and I call them sassy, they’re right in with some local musicians at a jazz club that (Continued from page 28) your face. (laughs). We wanted to get to what was about four blocks away. And so we “What?!” He said, “Remember what your Dizzy Gillespie and Charlie Parker were do- caught up to him and I said, “Mr. Parker, can I mother told us?” I said yea!! He said, “Well ing. When we first heard them, the rhythm carry your horn?” (laughs) John was on his those guys are still in Philly and we’re in section hadn’t caught up to them yet. When left and I was on his right. John never did Newport!” (laughs) Oh, we laughed so much! we first heard him, Slam Stewart was on bass, much talking. I was the talker. So, I said, I’m and Al Haig, he was on his way, but predomi- gonna find out how in the world he plays like JI: When I was starting to work on arranging nately, the rhythm section caught up later, that. “Mr. Parker, uh, what kind of horn to around 1970 or so, they were publishing the Tommy Potter, Max Roach, and the others. So you play? What kind of mouthpiece do you first Thad Jones arrangements on “Big Dip- it was a whole new thing. It wasn’t that we play?” So he’s telling me all these things and per” and “Central Park North.” I was amazed heard a ‘good’ performance at a concert—we I’m cataloguing it. “What kind of reeds do you use? What is the number of the reed?” And we got to the club and of course we were too young to go up but he said, “If you guys “Charlie Parker steps out wearing keep it up, maybe one day I’ll hear about you!” Then he went up. And the rhythm sec- that suit that looks like it’s two sizes tion waiting for him was Red Garland, Philly Joe Jones, and Nelson Boyd. And we could hear them so we just stood outside and I had too small with all the buttons about to go to school the next day and I knew that my mom would ask me, “Where have you to break and he’d bend over and we been?!” But I didn’t care. In those days they played from nine to two and we stood outside listening from nine to two and when they fin- heard guys take a two bar break, but ished we were as tired as they were. And that was in South Philly, and we lived in North he took a our bar break in double Philly, so when we were walking back, we were dreaming, “Wow! Do you think we’ll ever be able to play like that? What was it that time nd we were screaming and he was playing? Do you think we’ll ever play with Dizzy?” Blah, blah, blah. Two weeks grabbing—pulling at each other went by and John and I were together every day, but I didn’t see him. He didn’t come over, and we had to use the phone booth to like The Beatles’ groupies!” call each other, so he called me one day and he said, “Benny, did you try that stuff Mr. to hear how he’d write the lead alto part, then heard things that we never heard before! They Parker was telling you about the mouthpiece go back and write the next part, instead of played “A Night In Tunisia” and we didn’t and everything?” I said, “Yeah!” He said, doing the score vertically. know what the heck was going on. The Latin “Did anything happen?” I said, “No!” He said, tunes we’d been playing were stock arrange- “Me neither!” (laughs) The reed, the mouth BG: Right. I never asked him, but I heard ments—“Lady Of Spain,” etc., and then they piece, we tried it all. We were crazy kids, I’m that. His stuff was good but hard to play. We came up with this thing (sings bebop exam- telling you. recorded two albums of his music. Hard stuff ple) and I said, “What is that John?! That’s man! (laughs) it!” He said, “It sounds like snake charmers JI: What kind of connections did you make music! Wow!” Then they played an interlude that opened the doors for you to compose and JI: I always marveled at how his writing al- and Charlie Parker steps out wearing that suit arrange out in Hollywood? ways reflected his conception as a player— that looks like it’s two sizes too small with all not playing licks and patterns, but very spon- the buttons about to break and he’d bend over BG: A composer and great orchestrator taneous and melodic. and we heard guys take a two bar break, but named Henry Brant. Henry Brant orchestrated he took a four bar break in double time! And Cleopatra with Liz Taylor and a long list of we were screaming and grabbing—pulling at things. He was teaching in Vermont, and at a
each other like The Beatles’ groupies! It was girl’s college, but he would come home every
incredible! We never heard anything like that weekend and he lived in Brooklyn, and I “The greatest day in your life in our lives! I was effervescent. We were both would go every Sunday morning and study and ine is when we ta e total effervescent. I mean, it was incredible! Oh, with him for an hour. It was $50 an hour or responsi ility for our attitudes. and Don Byas was on it too, he was my idol, something like that. And after studying with but Charlie Parker, he played so different. So him for just a few lessons I got a chance to do That’s the day we truly grow up.” after the concert, John and I went backstage a film in Europe. It was a German film, but and we wanted to get autographs. We got Diz- we recorded it in London. zy Gillespie’s autograph, Don Byas, Slam - John Maxwell Stewart and I said, “John! Mr. Parker’s got to (Continued on page 31)
30 June-July 2017 Jazz Inside Magazine www.JazzInsideMagazine.com To Advertise CALL: 215 887 8880 did it, did know what they were doing. But the JI: Were you at it seven days a week? Benny Golson thing was to get the film and the music lined up—so I used to click track everything. But BG: You bet. The phone was always ringing. then when I went to Twentieth Century Fox, it “Did you finish reel three yet?!” And you’re (Continued from page 30) was old school. They would have the pitcher sitting there looking at that empty score page JI: About what year was that? of ice water for me, the baton and the towel. so this is how it is. “How soon can we get reel Then I started to go into free timing without three?!”—and you got nothing on the page. BG: Somewhere around 1970. This guy was a the click track, because I’d get more feeling And my wife and daughter went out on the great teacher of orchestration. I learned more out of the music. You look totally at the clock, beach in Santa Monica and I was sitting in the than 1-3-5-7 chords. I learned about non- but then you have to wait for the streamer. room, working away. So I told my wife, “This diatonic writing and symmetrical chords and You’d get a three-foot or a six-foot streamer. is it, I can’t do it anymore.” The first show mirror writing. I learned all that stuff. So now Now a six-foot was a little slower. You had after Oliver died was my first and last show. I had these things under my belt, but I could- more time. The three-foot was faster, so you When I went in to record it, I was so disillu- n’t use these things writing for a band like could slow down things or you could pick sioned by things—disloyalty and all that. Count Basie and his 15 piece band, I couldn’t them up. So the last few years I was out there, There I was in the studio with all the big wigs, use those techniques. So then Quincy Jones had gone out to Hollywood. Quincy and I used to be roommates years ago. He had gone “It was difficult because when I went out [to out there and he would say “Benny, come out, ok?” Then, Oliver Nelson had gone out and he oll wood all had was head t was like said, “Benny come on out!” So I said maybe I should because I can use this knowledge I got going into higher athe ati s to write this stu from Brant there. So I went out, and to make a long story short, Quincy introduced me to his and make it come out right …. When you went agent who was Percy Faith’s son, Peter Faith and the first place he took me was to Univer- to work, nobody ever asked you, “Can you sal Studios. Robert Wagner had just done a series called It Takes a Thief. David Grusin write?” They didn’t even discuss that. If you had done the theme so I came in on that show, they signed me, and I was doing it and then I a e in there the igured ou knew what ou got a call to do Room 222. Jerry Goldsmith did that theme. Oh wait, M.A.S.H! I did were doing and basi all ever bod that did it M.A.S.H first. Johnny Mandel did that theme. Then I was doing Mission Impossible with did know what the were doing But the thing Paramount, so it was pretty busy. was to get the il and the usi lined up—so JI: Was it difficult to count the frames and all that? I know it was a whole different thing I used to click track everything.” back then, like “OK, I have 32 frames and 14 seconds,”—having to do all the math and eve- I never used click tracks any more. I only and before I started to play, I said I had a rything to synchronize the music. used the cloth and those streamers, and the speech to make. And I started to say how dis- music had much more feeling as far as I was loyal the studio was and spoke my mind about BG: It was difficult because when I went out concerned. And they kind of marveled at it everything and they started to shoot back, but there, all I had was my head. It was like going because everyone was using click but I was I didn’t care. When I finished my speech, eve- into higher mathematics to write this stuff and going the old school route to get more out of ryone in the orchestra started clapping make it come out right but fortunately there it. And that worked, but that was the only (laughs) so I knew I was through. And that was a fellow who put out two books that place I used it. Universal was bigger than all was it, and I went back to what I loved— saved the day for me. When you went to the other studios put together. You take Para- playing. work, nobody ever asked you, “Can you mount, Columbia and the rest of them and put write?” They didn’t even discuss that. If you them all together—they didn’t come up to JI: What years were you out there? came in there, they figured you knew what Universal. Universal was the big one. And you were doing, and basically everybody that that’s what I did until I got tired of it. Oliver BG: Let me see—I was out there from ‘67 to Nelson had the Six Million Dollar Man, and about ‘79, and I didn’t start writing right he died. He was a fast writer, but they were away. When I first went out there, everybody
burning him out. This guy would stay up said, “Benny Golson? Who is he? What does
nights, drink and write. Then one night, he he do?” For two years my nest egg felt like an “Do not wait. The time was so tired they had to drive him home. His elevator out of control. I could have taken my will ne e e ust ight . ta t wife made him a hot bath. She said to take sheets and pillow to the pawn shop because whe e you stand and wo with your bath and come on out and eat. He never the rest of my stuff was there. But then it whate e tools you may ha e at you got out of the tub—he died in the tub. So then caught on and everything was ok after that. ommand and ette tools will e they gave me his show, the Six million Dollar found as you go along.” Man. As I was doing it, it was becoming so JI: When you wrote tunes like “Along Came hard. I was getting tired, getting so disillu- Betty” and “Whisper Not”, two classics, did - Napoleon Hill sioned. (Continued on page 32)
To Advertise CALL: 215 887 8880 June-July 2017 Jazz Inside Magazine www.JazzInsideMagazine.com 31 BG: I owe that to my ex-wife. That tune came he lost his voice, from Chicago, he said to me, Benny Golson by default; it would have never happened if I (imitating raspy voice) “What were you writ- hadn’t gotten divorced. I was with Earl Bostik ing? What were you smoking when you wrote and we were playing at a dance in Delaware that?” (laughs) (Continued from page 31) that night. My ex lived in Chester, PA which the writing come really quickly, or was it is only 15 miles away. She came, and it was JI: That must have been a real boost when where you’re putting something in here, then while we were going through this divorce. you were starting out, struggling, and trying to something there? Was it a long process, where She wanted to still try to make it work, and it get a break. the tunes evolved, or did they just come pour- was terrible. So she came to this dance with a ing out? couple of her girlfriends, and when you play a BG: Yes, once he recorded it, he validated dance, you play for an hour, take a half hour me. After that, everybody started recording BG: Very easy—I was enamored by a girl break and you go back and play another hour. my tunes. I guess people said, “Wait a minute, named Betty from Dayton, Ohio. And So I saw her, and I knew she was waiting for is this the same guy that wrote some of those “Whisper Not” I wrote in 20 minutes and me to come off the bandstand so she could say other tunes?” Because my name was under it, you know? Suddenly I watched as people recorded, recorded and recorded. “I Remem- [Coltrane said] “‘Miles needs some tunes. ber Clifford,” I think there’s like 300 or so recordings of it now. And when I was writing Do you have any tunes?’ … So I figured I’d “Killer Joe” I was playing those two chords all day. When I finished it, I had three melo- give him this one tune [‘Stablemates’] and dies so I had to choose which one. Now, I had these melodies going in my head, but all my maybe he’d like it. Then I saw [Coltrane] a wife heard was those two damn chords. So when I was done, I asked my wife what she month later and he said, ‘Remember that tune thought of the tune. She couldn’t wait for me to ask her! So she said [in stern imitation of you gave us? … We recorded it! … Yeah, his wife], “It will never make it, it’s too mo- notonous!” (laughs) Miles dug it.’ Wow! And that’s the tune that JI: What have you discovered about human got me started as a jazz composer.” nature in your many travels and experiences throughout your life as a musician? when I finished it, I thought this can’t be any- what she wanted to say. I didn’t want to talk thing anyone will want to play. But then Diz- to her. I pretended that I was so busy that I BG: I found out that there are many different zy heard it and he said to write an arrange- couldn’t get off the bandstand. I acted like I kinds of palates among people. As an enter- ment and he recorded it and after than, a lot of had a deadline, so I started to compose right tainer, you try to address those palates—you people were recording it and I said, “I’ll be there on the stage. So I had 14 bars there and I try to second guess what they want to hear. I darned!” I mean the ideas were coming so fast said, “Look she’s really messing me up here, I performed as an entertainer in those groups— that I could hardly write. I said, I’m gonna have to have 16 or 8!” So I didn’t get to talk you know, where you rock from side to side forget you know! “I Remember Clifford” took to her, which was my goal! I stayed on the and sing, and walk on the bar and step over me two weeks to write. That was a very per- stage for the half hour. So I wrote those 14 the drinks. Oh yeah! I did that! You’re trying sonal thing because I knew Clifford so well. I bars in a half hour. The next night we played to please the audience and do what you think wanted every note to represent this man, and somewhere else and I put the bridge to it. I they want to hear and see. But…on the other the parts—I wanted it to be him. ‘Cause I didn’t try to make it 16 bars and it was too side, there is the artist, whose first obligation knew him very well and we played together long to be 8 so I kept it the way it was and is to himself, without being a mirror to the so I knew his sound. I knew how he played, tacked on another 14 bars after the bridge and audience. H is true to himself with the hope and I wanted it not only to be representative that was it. Then, John Coltrane had left Phil- that they like what he’s doing, but he must do of him, but to reflect him in some way. That’s adelphia to join Miles because Philly Joe had what he must do and that’s the difference. A what took me so long. recommended him, because Hank Mobley real artist doesn’t do what he thinks the audi- was leaving, so he went and I saw him two ence wants to hear — he tries to play what he JI: How about “Stablemates”? That’s one of weeks later because New York was 90 miles thinks he can induce from his own mind and my favorites. from Philadelphia. I said, “How are the re- send it out through the medium of the air and hearsals doing?” and he said, “Great, but hopefully it will not only strike the ears, but Miles needs some tunes. Do you have any strike the deepest grotto of one’s heart and
tunes?” That’s all I had! So I figured I’d give core. Then you’ve done it, but not everyone “...among human beings him this one tune and maybe he’d like it. can do that. But we try (laughs). Or, as the ealous an s istinctl as a Then I saw him a month later and he said, sign said in the black restaurant in Arkansas— ea ness a t a ema o small min s “Remember that tune you gave us?” I said, they had it written on a piece of cardboard: a o e t o all small min s et a o e t hich e en the smallest is ashame o “Yeah.” He said, “We recorded it!” I said “We can’t please everybody, but we an hen accuse o its ossession ill “What?!” He said “Yeah, Miles dug it.” trys.” (laughs) l ingl en it an esent the Wow! And that’s the tune that got me started accusation as an insult.” as a jazz composer. My dear friend John took it to Miles and recorded it. And when I saw -Mark Twain Miles, cause I knew him from before, before
32 June-July 2017 Jazz Inside Magazine www.JazzInsideMagazine.com To Advertise CALL: 215 887 8880 records—that was Miles or Lee Morgan or Nat Adderley. My father’s friend, Rob, would InterviewInterview have the latest saxophone players’ records— that would be Hank Mobley or Sonny Stitt or Cannonball and ‘Trane. Everybody would bring the new records in. They would talk about it, argue about it, what was hip, what Wallace Roney wasn’t, who was better, and I was part of it as On Art Blakey, Tony Williams, V.S.O.P. and More a kid. At five years old, I was part of it. The big thing at the time was I could tell the dif- ferent players. I could tell who they were. I could tell Blue Mitchell from Lee Morgan as Hear Wallace Roney with Ron Carter at WR: Black Talk, right. a kid. They’d put the record and they said, Blue Note, New York City, July 11-16 “Who’s that playing, Little Wally?” And I JI: Then Friday nights, they had Edgar listened a little bit, and I said, “That’s Blue Brown. Every Friday night, he focused on a Mitchell.” Interview by Eric Nemeyer different jazz artist –played all their record- ings. I was listening the night Lee Morgan got JI: Some people have said that it was easier to WR: When I was growing up in Philadelphia, shot. distinguish players’ styles back then. Suppos- jazz seemed to be very prevalent in my house- edly if someone said, “Hey, you sound like hold and in my community. I live in North WR: Oh, man, I’ll never forget that night. I’ll Hank Mobley, you sound like Zoot Sims and Philadelphia, Broad and Lehigh. Seltzer Street never forget it. immediately do anything they could to not was where I lived. And everybody on the sound like them.” block was involved in what was going on in JI: A cold night in February. jazz. Miles was king in Philly. Lee Morgan WR: You know what? That’s romantic. I was from Philly. Everybody talked about Lee. WR: I’ll never forget it, ‘cause my father was don’t believe that. Let me tell you why. Yeah, Everybody was proud of Lee. Art Blakey was going to take me to see Lee—at least, he said you could tell the difference among players popular. Horace Silver, Cannonball. That he was going to take me to see Lee—and then back then, but you could tell now too. I can sound familiar to you when you were growing all of a sudden he said, Lee died. A year be- definitely tell the difference between the up? fore that Kenny Dorham died. I’ll never forget trumpet players today. The critics don’t want that, man. And I had just seen Lee on a TV to say that. But, man, I could listen on the JI: I listened to WRTI in Philadelphia all the show called Jazz, I believe, with Bobby radio, and I can tell the difference between Wynton or Terence or Roy. It’s the same.
JI: Everybody has their own fingerprint. So if “I believe Art Blakey was responsible you listen sensitively, you’ll be able to pick that up. for what’s happening in jazz. I believe WR: And back then, you might listen to Hank that he saved jazz. That’s going to Mobley and Tina Brooks and some people can’t tell the difference. explain my association with him. JI: They sounded a little bit alike. Back in the ‘70s, there were a lot WR: Yeah. It’s the same difference. Or you listen to Lee or you might listen to early Louis of great artists playing including Smith, you know. When Lee still hadn’t really quite refined his sound, it could be similar to Art Blakey’s band, but Art Blakey’s Blue Mitchell or Donald Byrd, if you listen closely. It’s the same. Kenny Dorham and band seemed to be the fountainhead Miles almost sound similar at times. That’s romantic. It’s the same. of all of it.” JI: Whatever instrument you play, you’re Humphrey and Billy Harper. But when I was going to be really sensitive about what some- time. growing up before RTI, there was the other body else on your instrument plays. station, WWDB. Sid Mark was on it. I re- WR: I started listening in 1970, ’71, I believe. member when ‘Trane died. I remember when WR: But you’re always going to have some- I think that’s when it started getting popular, ‘Trane died. It was at a picnic. And they said body, no matter how much you do that, who or when it started. that John Coltrane died. That’s the way Phila- will generalize. That happens. That’s what delphia was. Every Friday to Sunday my fa- people are doing now, and they need to cut JI: I actually remember the first album I was ther’s friends used to come over—and every- that stuff out, because nobody’s playing ex- listening on a Sunday, they had Charlie Ear- body had to have the latest jazz records. So he actly like anybody, I don’t think. land playing, Virgil Jones on trumpet. It was was responsible for the latest trumpet player’s Black Talk. (Continued on page 34)
To Advertise CALL: 215 887 8880 June-July 2017 Jazz Inside Magazine www.JazzInsideMagazine.com 33 beauty and freedom and innovations had been WallaceJoseph Jarman Roney ignored…. Whereas the thing that Tony Wil- liams and Elvin Jones and Rashid Ali and Sonny Murray had innovated—no matter “”When a person cannot (Continued from page 33) what the rhythm was—that was now not a deceive himsel the chances part of the music. I think that a McCoy and a are a ainst his ein a le to JI: You can’t. Herbie and a Cecil Taylor and a Cedar Walton deceive other people.” might have bought [beauty. Innovation] to the
WR: You can’t. Some people want to, but music, or Chick Corea. Even Chick’s music - Mark Twain there’s a lot of people that really got their own might have started to get more commercial at way of doing things. And for the people that this point. Art Blakey was at this point where [Eubanks] used to take trumpet lessons. But say that people are unique, you can always you’re going to hear the trumpet player play he didn’t want to play trumpet. He wanted to trace what they sound like as much as they try to the best of his ability; and the drummer— play guitar. Kevin and Robin, Branford and to criticize somebody else. A lot of people he’s going to play every rhythm he could Wynton, and he called me to take Valery’s remember…Mike Lawrence, for instance, the muster, and everybody was influenced by place. And I did. But I didn’t go to Europe, trumpet player. If you listen to him, you hear that. So I saw that band with Bill Hardman in because my father wouldn’t let me. So Valery some trumpet players that sound like that, but people don’t realize it. Everybody is different and everybody is similar too. “I took his place in Art Blakey’s band. What JI: How did your association with Art Blakey begin? happened was they decided that they were
WR: I believe Art Blakey was responsible for going to have auditions. obody told me. I just what’s happening in jazz. I believe that he saved jazz. That’s going to explain my associ- happened to luck out and come in there and ation with him. Back in the ‘70s, there were a lot of great artists playing including Art Bla- find out. Art said, ‘Got your horn?’ I said, key’s band, but Art Blakey’s band seemed to be the fountainhead of all of it. You had ‘Yeah.’ So I got on the bandstand … I didn’t Woody Shaw’s quintet, but Woody came out of Art’s band. You had McCoy’s band. know any of the newer [repertoire]—and now McCoy came out of ‘Trane. But McCoy also played with Art. You had all these great the songs were even newer. I was up there bands. Plus you had Miles and you had Weather Report and you had guys reaching, with a couple of other trumpet players … but you had Art Blakey’s band that was play- ing a no-compromise, no-nonsense version of And when it was all over I got the gig.” this music. And he had young people in his band. He made young people feel like if they it, and I wanted to play with Art Blakey, like a stayed to go to Europe, and when they came practiced or if they played well enough, he lot of people did. I actually met him. I met back, I finished up there. would hire them. They could get a chance to him even before that. But I had the nerve to sit in with him and get hired. So every young talk to him when I was 15 years old, and JI: Your father wouldn’t let you go to Europe, person in the world, all over the world was asked him could I sit in, and he let me. And I because you were too young? looking to play in Art Blakey’s band. And followed that band all over the place. when the music was getting more and more WR: He thought so. commercialized, he was still there playing a JI: What did he play when you sat in? no-compromise, no-nonsense version of this JI: When you went with Art, were you listen- music. When I say commercialized, I don’t WR: “Blues March” and probably “Night in ing to a lot of the records and memorizing all mean electric. Obviously, I don’t mean elec- Tunisia.” I followed them all over the world. I the tunes? tric, because I’m incorporating electronic, saw Valery Ponomarev come through the synthesized sounds in my overall music. band. And he’ll tell you, I sat in with them a WR: No, man! What happened with me, I When it became blatantly, to the point where bunch of times. And one day he decided he was following the band around. So I knew all it was almost instrumental pop, where the was going to have a new band. And he was the tunes. Well, I knew all the tunes until this going to get these new young musicians. He new band came. I was not on top of what the had Bobby Watson already and he got Bill new band was playing. They were bringing in Pierce; and he got Robin Eubanks. tunes I didn’t know. “”A man’s character may e learned rom the ad ectives JI: Robin and I went to school together, and JI: You were working on the tunes that played together back then. Wayne [Shorter] wrote? hich he ha it ally ses in conversation.” WR: I’ll tell you something funny. I used to WR: No, man! I already knew those. I knew go to the Settlement School of Music [in the those from when I was a kid. I was looking at
- Mark Twain Germantown section of Philadelphia]. Kevin (Continued on page 36)
34 June-July 2017 Jazz Inside Magazine www.JazzInsideMagazine.com To Advertise CALL: 215 887 8880 To Advertise CALL: 215 887 8880 June-July 2017 Jazz Inside Magazine www.JazzInsideMagazine.com 35 as they were going by, while one trumpet fore I joined Tony. Miles was my idol. He Wallace Roney player was playing. I had perfect pitch too. So kind of let me hang with him and be up under I could hear the bass notes and the quality of him. And that was beautiful. Then, through the chords as they were going by. Then when playing with Tony, I started playing with (Continued from page 34) it was my turn to take a solo, I would know Herbie too, with Herbie, Ron, and Tony with the tunes that Bobby [Watson] wrote. I was what was happening. A lot of times, they different combinations—maybe Joe Hender- hanging around those guys. I was hanging would let me take the first solo on a song I son, or Bobby Hutcherson and all the way up around Bobby and Valery and James didn’t know. Bobby [Watson] has written a to VSOP with Wayne. VSOP is Herbie, [Williams] and Walter Davis. I knew all those song called “Miss PC.” I never heard that Wayne, Ron, and Tony. So I consider myself tunes. I wanted to play in the band. I knew all song in my life, but I was up there sitting in a part of that lineage, a part of that family that stuff. And when I’d sit in, I had to know on it. And when it was all over I got the gig. more. The great thing I felt about playing with all those tunes. But when the new band came, those guys is that it encompassed everything. I guess there must have been a gap that I JI: How did you discover that you had perfect It encompassed bebop, hard bop, free, spiritu- missed. All of a sudden there were new pitch? ality, John Coltrane’s music, Ornette. Those tunes—and I didn’t know any of those tunes. are the things that shaped me along with Art We had rehearsals and I learned them there. WR: Well, I didn’t know what it was called. Blakey’s profound thing. So what did I learn Then Wynton joined the band. He was leaving But when I was 13 my teacher suspected I had from Art Blakey? Although I could have said the following year because he had signed a perfect pitch, and told me so. He then asked I learned more from Tony, I learned this in deal with CBS. He was going to take his me to identify a couple of notes—and I could my little bit of time with Art: A great leader is [own] band out. CBS had gotten Herbie identify the notes. “OK. A, D, E flat.” Then it a person that has the ability to get the most [Hancock] had produced his record. So as became a big thing when I got into high out of his artists by being a person that pulls
I didn’t know what it was called. But when I was 13 my teacher suspected I had perfect pitch, and told me so. He then asked me to identify a couple of notes—and I could identify the notes. ‘OK. A, D, E flat.’ Then it became a big thing when I got into high school. The teachers loved it, and the kids liked to play games with you—’What note is this?’ Having perfect pitch helps. promotion, they got him to play with Herbie, school. The teachers loved it, and the kids something out of them and lets them be them- Ron, and Tony, to launch him. When that liked to play games with you—“What note is selves too—and also understands that being happened, I took his place in Art Blakey’s this?” Having perfect pitch helps. yourself might not be enough. Art Blakey band. What happened was they decided that understood that. He wasn’t just going to let they were going to have auditions. Nobody JI: What did you discover about leading a you be yourself. He was always talking about told me. I just happened to luck out and come band during your tenure with Art Blakey’s Charlie Parker and Clifford Brown—to give in there and find out. Art said, “Got your band? you something to strive for. Because if you try horn?” I said, “Yeah.” So I got on the band- to just be yourself, you can be lazy. Tony was stand. And, again, I didn’t know any of the WR: I don’t really consider myself a product the same way. When I joined Tony I was try- newer [repertoire]—and now the songs were of the Art Blakey school. I consider myself a ing not to play the way I play, because I didn’t even newer. I was up there with a couple of product of the Tony Williams/Miles Davis want the critics to say, “Oh, he’s trying to be other trumpet players, and I wasn’t prepared. I situation. I had spent more time in Tony’s Miles and Tony.” Miles was always my influ- don’t know what happened. Charles Fam- band. ence. So what I did was try to play like early brough was whispering the changes in my ear Miles and Clifford Brown, which I was play- JI: And I think that’s evident in your music. ing like anyway. One day we were playing “Birdlike.” It was a blues form. So you could
WR: And in my approach to life anyway— take a lot of liberties. You could be more nat- even prior to that. Although, I’ll say again, ural. And I started playing the way I play, and
Art Blakey saved jazz. He made it possible for Tony pulled me aside. He said, “Listen, man, “Never be in a hurry. young cats to want to play this music, and the way you were playing on the blues. I want o everythin uietly and play it at its highest level. He gave us some- you to play like that on everything. Now I in a alm spirit. o not lose thing to strive for. But when it was all said know what you’re trying to do. I know the your inner pea e or anythin and done, I played with Art in ’81 for five way you play. Play like that on everything.” I months. Then I came back again in ’86 for said, “Well, Tony, y’know….I know what whatsoever even i your whole almost a year. I was music director, but by you mean, but...” He said, “Man, don’t worry world seems upset.” then I was playing in Tony’s band as well too. about what people say.” I stayed with Tony from ’85 to ’93 and basi- cally all the way through that. During that - Saint Francis de Sales time, I got to meet Miles. So I met Miles be-
36 June-July 2017 Jazz Inside Magazine www.JazzInsideMagazine.com To Advertise CALL: 215 887 8880 Contact Steve: 630-865-6849 | email: [email protected]
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