John Patitucci: Jazz Education Sourcebook & Program Guide
John Patitucci: Jazz Education Sourcebook & Program Guide
John Patitucci: Jazz Education Sourcebook & Program Guide
The Ultimate Directory of NY Area Jazz Club, Concert & Event Listings & More
Jazz
Education
Sourcebook
& Program
Guide PAoRnTE
JOHN
Patitucci
Dizzy’s Club —Aug 11-16, 2009
SUMMER JAZZ FESTIVAL GUIDE — PART 3
Plenty of CD Reviews
VEnUE SPoTLIGHT
Ira Gitler’s Apple Chorus
PERFoRMAnCE REVIEwS:
John Pizzarelli, Sean nowell Group Todd Coolman
Bassist , Jazz
John Patitucci • Vincente Archer Program Director,
BASS Cameron Brown • Leonardo Cioglia Purchase College
LOVERS Todd Coolman • Richie Goods
Carlos Henriquez • Bill Moring
ISSUE Joris Teepe • Esperanza Spalding
E
E
R
F
WHERE THE LEGENDS HAVE PL
AYED AND THE TRADITION CONT
INUES
Ernie Adams
John Allred 9 T H
A N N U A L
Karrin Allyson Quartet
Joe Ascione BOOK NOW
75%
Pete Barbutti
Shelly Berg
Anne Hampton Callaway
Gilbert Castellanos SOLD
Bill Charlap Trio
James Chirrillo
Freddy Cole Quartet
Dee Daniels Trio
Bill Easley The Jazz Cruise 2009
John Fedchock is proud to present
Four Freshmen
Jon Gordon Anita’s Idol Contest,
Wycliffe Gordon the first ever passenger
Jeff Hamilton Trio performance contest
Eddie Higgins
which offers the winner
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Red Holloway
Henr y Johnson Quartet a contract to perform
Tom Kennedy on the next sailing.
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Johnny Mandel
Bill Mays Trio Catapult your career in jazz!
Andy Martin Enter the contest!
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Houston Person Quartet
Claudio Roditi Quintet
Anita Rosamond
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fea turi ng Pa ule Williams
Lynn Seaton November 8-15 • 2009
Marlena Shaw with Trio Embarkation / Debarkation:
Gary Smulyan Fort Lauderdale
Grant Stewart
Ports of Call:
Helen Sung Trio
Terrell Stafford Grand Turk, St. Thomas
James Stuckey St. Barths, Half Moon Cay
Denise Thimes Ship:
Warren Vache Holland America's
Scott Whitfield m/s Westerdam
Rickey Woodard
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LL TO LL FR EE US & CA NADA 888.8JAZZUS (8 872)
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CONTENTS
Publisher: Eric Nemeyer
Editor: Gary Heimbauer
Advertising Sales & Marketing: Eric Nemeyer, John Alexander, Dimitry
Ekshtut
Circulation: Robin Friedman, Susan Brodsky CLUBS, CONCERTS, EVENTS
Photo Editor: Joe Patitucci
Layout and Design: Lori Jenkins (August issue), Karry Thomas 24 Noteworthy Performances
Contributing Artists: Shelly Rhodes
Contributing Photographers: Eric Nemeyer, Joe Patitucci, Ken Weiss.
27 Calendar of Events
Contributing Writers: Dan Bilawsky; Al Bunshaft; John Cizik; 37 Announcements — Upcoming Events;
Curtis Davenport; Bill Donaldson; Dimitry Ekshtut; Robert Gish; Ira Gitler; Regular Engagements; Additional Club
Gary Heimbauer; Rick Helzer; Jan Klincewicz; Joe Lang; Ronald Lyles,
Matthew Marshall; Dave Miele; Nick Mondello; Patricia Nicholson; and Venue Schedules
Joe Patitucci; Michael Steinman Ariel Teitel; Ken Weiss. 42 Directory of Clubs, Venues, Music and
Record Stores, Schools & Universities,
Advertising Sales
212-887-8880, 347-637-0054 On The Cover: John Patitucci and more
Jazz Inside ® Magazine Feature begins on page 6 44 Around Town
Eric Nemeyer Corporation
P.O. Box 30284, Elkins Park, PA 19027 COLUMNS
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Jazz Inside does not accept unsolicited manuscripts. . Persons wishing
4 Apple Chorus by Ira Gitler
Website: www.jazzinsidemagazine.com to submit a manuscript or transcription are asked to request specific permission 47 Avant-Jazz by David Budbill
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Subscription rate is $49.95 per year, USA. Please allow up to 8 weeks for
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10 Vincente Archer
Advertising in Jazz Inside ™ Magazine & Copyright Notice
12 Cameron Brown
Jazz Inside™ NY Magazine (print and online) Copyright © 2009 by Eric Nemeyer Corporation. All rights reserved. No part of this 14 Leonardo Cioglia
Jazz Inside™ Magazine provides its advertisers with a unique opportunity
to reach a highly specialized and committed jazz readership. Please call
publication may be copied, photocopied or duplicated in any form, by any means 15 Todd Coolman
without prior written consent. Copying of this publication is in violation of the United
our Advertising Sales Department at 215-887-8880 for media kit, rates and
States Federal Copyright Law (17 USC 101 et seq.). Violators may be subject to 16 Richie Goods
information.
criminal penalties as well as liability for substantial monetary damages, including 18 Carlos Henriquez
statutory damages up to $50,000 per infringement, costs and attorneys fees.
19 Bill Moring
20 Joris Teepe
21 Esperanza Spalding
Two publications from Jazz Inside™ 25 2009 Festival Guide
Jazz Inside™ NY 57 Jazz Education Sourcebook
MONTHLY — FREE (available FREE in print at 200 locations around NY and via download of PDF file from LIVE PERFORMANCE REVIEWS
website. Also available in print by paid subscription, delivered to your home or office). Features interviews, 46 John Pizzarelli—Pizza Party;
articles, reviews of recordings and books, listings of events, jazz clubs, festivals and other venues. Sean Nowell
Jazz Inside™ Magazine
QUARTERLY — 150–200 pages, CD (available by paid subscription & at retailers throughout the USA,
VENUE REVIEWS
Internationally) is a 150–250 page quarterly magazine that includes a companion CD featuring full-length 49 Cleopatra’s Needle
tracks by leading and emerging artists. It is available by subscription and at book, record and music stores
and chains and newsstands nationally and internationally. Each edition of Jazz Inside™ Magazine features
CD & DVD REVIEWS
detailed interviews, colossal bio-discographical features, reviews of recordings, books and musical 72 18 Hot New CDs
products, motivational, philosophical, articles, and for those readers who make music, a bonus 150-page
e-book on the enhanced CD with lead sheets, transcriptions, analyses and more.
Greta Matassa
“I Wanna Be Loved” CD
Matassa eighth CD under her own name & the sixteenth album of her
Matassa’s
career. It brings her together with a fascinating variety of songs & an
array of distinguished musicians. This is Greta’s first collaboration with
the gifted pianist and arranger Tamir Hendelman and the beginning of her
association with a vibrant new label, Resonance Records.
Oscar Peterson’s 60-year career has spawned an enormous fan base, but
this is the first significant tribute to this jazz giant. Features new
arrangements of many classic recordings, and introduces pianist Marian
Petrescu with an all-star 18-piece big band. Includes “behind the scenes”
minidocumentary on DVD.
Jermaine Landsberger
“Gettin’ Blazed” CD
Europe's Acclaimed Hammond B-3 Organist with his Debut North
American Album Gettin' Blazed. Featuring an All-Star Supporting Cast
including Pat Martino, Andreas Öberg, Gary Meek, James Genus, Kuno
Schmid & Harvey Mason.
Available at
Thirty years ago in June of 1979 trumpeter/ broadcasts of various groups from one led by George
flugelhornist Mark Morganelli founded the Jazz Forum Coleman to a quartet featuring the pianos of John
in the East Village. It was a place where both musicians Hicks and Albert Dailey.
who already had paid some dues and established their Bruce Lundvall’s Elektra Musician label
names to some degree, and new comers, trying to recorded sessions there for “live” audiences with by some of the music’s finest keyboard practitioners:
gain a foot-hold in the highly competitive New York the Red Rodney/Ira Sullivan Quintet; and Woody Barry Harris, Kenny Barron and Cedar Walton;
scene, were given opportunities to play in an informal Shaw’s group featuring Bobby Hutcherson. I was top-shelf bassists Ray Drummond, Rufus Reid and
atmosphere for an aware and interested audience. at the Rodney/Sullivan date and granted that their George Mraz; and pre-eminent percussionists, Leroy
For three years there pianist Barry Harris taught chemistry guaranteed real fireworks, the atmosphere Williams, Louis Hayes, Al Foster and Jimmy Cobb.
instrumentalists and vocalists every Monday evening created by the Forum and its audience contributed to Other luminaries included Lou Donaldson,
before opening his Jazz Cultural Theater as classroom/ the great vibe of the LP. alto sax and vocal; George Coleman, tenor sax;
public performance space on 8th Avenue a few blocks After the Forum’s run ended in ’83, Morganelli Joe Lovano, tenor sax; John Scofield, guitar; John
south of Madison Square Garden. created Jazz Forum Arts, now in its 24th year. Many Hendricks & Co.; Paquito D’Rivera, clarinet & alto
Meanwhile the Jazz Forum was also presenting veteran listeners will remember the outstanding series sax; and Claudio Roditi, trumpet.
large ensembles such as Morganelli’s rehearsal band, he presented in Riverside Park on Manhattan’s West The last two named were joined in the horn
Chuck Israels’ National Jazz Ensemble, Jaki Byard’s Side. This was followed by the long-running Jazz at the department for the grand finale by producer
Apollo Stompers and Charli Persip’s Superband, in Music Hall in Tarrytown, NY and many other events Morganelli, with a couple of mellow flugel choruses,
addition to the jam sessions run by master drummer at venues in adjacent areas. Every summer he presents and a young trumpeter, surname Rivkin. I didn’t catch
Jo Jones. 50 free concerts in Westchester County. In recent the agnomen but Rivkin riffed well.
When Morganelli moved the Jazz Forum to years he has produced at Carnegie Hall, Avery Fisher It was certainly, from the standpoint of pacing
Broadway at Bleecker Street in 1981 it continued Hall and at Jazz at Lincoln Center’s Rose Theater and quality, a gala night and to quote Groucho, “A gal
apace into ’83 and was the site of benefit concerts where, on June 22, the Jazz Forum’s 30th Anniversary a night is enough for any man.”
to help out musicians in need; the making of an was celebrated. The gal at Carnegie Hall two nights later (the
award-winning film, Music in Monk Time; live radio The evening’s nexus was built on piano trios led second of two successive concerts) was Diana Krall,
to a deeper level intuitively if it’s not like he’s got to worry that people aren’t going JP: Yeah, and with piano players, since I play some
to be connected and play things that make sense for
they are struggling so much just piano, I can get with them and say, “Show me this,” or,
“What the heck are you doing here?” because you can
to play what’s written.” www.johnpatitucci.com
see it. Wayne wouldn’t be as literal and say to try this or
to try this over that. He wouldn’t do that as much, but
6 August 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com To Advertise CALL: 215.887.8880
he would play stuff that was so heavy and after a while “I’m really into …. really striving to be authentic in my life, which is
you’d start to realize, “Oh, I think that I understand,”
and you’d get a glimpse of how he’s approaching it. a hard challenge. It’s the biggest challenge to do it. It’s one thing to
He does a lot with pure melodies and he doesn’t play talk about, and read about, or even to help others to learn about it,
very scale-ish. He’s another one who is masterful at
combining the sounds of triads with different things, but it’s another thing to live it, in your house, with your family.”
so even over elaborate harmonies, it doesn’t sound
like the usual stuff that guys might try to play. It never with Chick too, he had an interesting way, and I’d say, JP: That’s hilarious because he was so brilliant—he
sounds like that. He’s got his own way of doing it. I “What are you thinking about on this thing? What was so heavy man. I didn’t play that much with him,
remember when we were doing the “Directions in are you blowing over it?” and he’d say “Well, I’m but his sound! I was pretty young—I think I was 23 or
Music” tour with Herbie, he had this arrangement on kind of trying this,” and he would make up his own 24. His sound really made a big impression on me that
“So What” where he had all of these incredible sounds synthetic scales and stuff. He was really free. He was so night. It was huge. We did this concert in San Luis
and he wasn’t really playing any minor chords. It was fluid of an improviser that there were really no chord Obispo, California at some concert place. It was the
all this stuff built off the dominant [chord], and it was changes that could stump him. All these guys are like only real concert I ever played with him.
like, “What is it? Come on,” so he let us go around that. It doesn’t matter how deep the harmony is, how
behind him and I wrote the voicings down and he chromatic, how the pathway between the chords is JI: You mentioned Wayne Shorter’s leadership style.
showed me what they were. So you could ask him and unusual, it doesn’t matter. They can just traverse the What things have you picked up from different leaders
he’d tell you. “This is what it is,” or, “It’s this,” and we’d whole deal without much trouble at all. that guide you to be the kind of inspiring leader that
ask, “What are you thinking when you do this?” He you want to be?
said, “Sometimes I just go for shapes and see what my JI: How about working with Freddie Hubbard?
JP: Well, mainly to encourage guys to really explore
hands find and really explore that and do some other JP: I don’t know. He was a total virtuoso as well. He and develop and not play it safe and not just play
stuff and once I’m in it, I can always find something.” was unlimited in his ability to play through changes. from their trick bag. And also, to pick guys that you
He’s such a quick thinker and has an amazing ear He was like the Coltrane of the trumpet. There was feel would really enjoy playing the music that you’re
and everything, and Chick was really fast like that nothing that he couldn’t play through, so in that way working on at the time, that really have fun doing it
too—unbelievable. This is what used to kill me about he’s very similar actually to those guys and his playing and that would really be able to throw themselves into
him, because I was in his band for ten years. He writes fit very well. I teach at City College here in New York, it with the band. That’s the way I like to do it. I try to
difficult changes sometimes on his tunes that aren’t and when I teach comping, I like to play his record that find guys that are likeminded and say, “Here—here’s a
easy to blow on - but he makes it sound really easy. So he plays “You’re My Everything” on. Herbie’s comping vehicle. Stretch on this,” or, “This is what I’m working
when he’s playing his solo and you’re accompanying on that record is just some of the greatest comping on on, lets do this,” and I give people a lot of space and
him, you’re thinking, “Oh wow, this is gonna be fun to any record ever. So Freddie fits right in with those that’s what I learned from all these guys. I’m interested
play, this is gonna be easy,” until you start to play andcats. He obviously loved it. He loved that approach in being a composer and it’s important to me to have
you are like, “Oh man, oh my god!” (laughs) And we harmonically. He was right in there with that. And
used to crack up because he tended to write the chord the thing that I remember most about playing with
Joris Teepe
and strange world if you aren’t used to it - how does
someone make a living as a musician? That’s a great
question now-a-days. So people in my family just
didn’t know about all that stuff so they were just kind Big Band
of like, ‘Well, whatever the kids are into, we’re gonna cd pre-release Tour of new York ciTY
support them’ so that was a big gift for me that I didn’t Featuring some of the best musicians of today... Don Braden,
realize until later when I talked to other people and Mark Gross, Earl Mcintyre, Michael Mossman, Gene Jackson, etc.
grew up and went to school and had friends who Aug 3 & 4 nuBlu 62 Avenue C, NYC
played instruments where their parents where like, Aug 5 faT caT 75 Christopher @ 7th Ave, NYC
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that,’ they mean, ‘I can’t do that.’ The Big Band’s first cd “We Take No Prisoners,” available on
Challenge Records. All original music written and arranged
JP: Right, or ‘we are afraid for you to try to do that,’ or by bassist Joris Teepe. Street date: September 6
something like that. CR73284
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JI: Vicente, there are a few amazing bassist stories Hayes, Curtis Fuller, Mark Whitfield, Roy Haynes,
around these days, like Esperanza switching from Geri Allen, Stanley Jordan, Karrin Allyson, Stefon
violin and making her fast ascension to the top, but Harris, Janis Siegel, Lewis Nash, Mingus Big Band,
you did it in one year!! How did this happen? Were and The Lincoln Center Jazz Orchestra with
you practicing in your mind for some years? Did you Wynton Marsalis, among many others, has affected
shed 20 hours a day? Talk about when the switch you? Any stories or words of wisdom from them?
happened and the one or two years following.
school. I wasn’t ready to play at that level but JI: Some say that stress and angst make for good
being in a pressured situation I was getting art, and others say you need to find serenity to really
express yourself. Have you found that your life outside
better every week.” of music, or your state of mind in general have a direct
correlation to your playing?
VA: I started out playing jazz guitar and attended VA: Be yourself and do not try to play like what you VA: I am part owner of a skate/snowboard shop here
the New England Conservatory of Music for one think they want to hear. in Brooklyn that occupies a lot of my downtime. So
L overs ’
year. One day I decided to buy a bass a friend was when I do get a chance to practice, my time is focused
selling, just for the fun it. I had figured out quite JI: What is new and coming up? and concentrated because I do not have all day
a bit by myself before I took a couple of lessons to everyday to do that. Skateboarding/snowboarding has
refine some of the technical issues. Some technical VA: Robert Glasper has a new recording coming out always been a part of me and has a direct correlation
concepts from the guitar I applied to the bass at the end of August called Double Booked on Blue with music. It too is also very creative and is focused
worked even though it was from a different family. I Note. It features the Trio with Chris Dave and his on individual style.
BASS
already knew how to improvise and play on changes other band Experiment.
and it wasn’t long for me to get the bass lines down. JI: What is the greatest compliment that you can
I did play a lot with friends and we had sessions at JI: What was it that initially inspired you to become a receive as a musician?
our house quite frequently. After 8 months I got my bassist? How did it all start?
first gig with Donald Harrison. That made me shed VA: “Were you in the band that just played?”
even more when I had down time from business VA: Not being able to play with any good bass players
school. I wasn’t ready to play at that level but being at college. So I learned to play so I can hear what I
—Dale Carnegie
www.vicentearcher.com
performances in Featuring
David Binney, alto sax
Helio Alves, piano
David Ambrosio, ac. bass
Jazz Inside™ NY Magazine’s Dendê, percussion
Adriano Santos, drums
eric@jazzinsidemagazine.com
www.adrianosantos.com
www.bobbybroom.com
236 East 3rd St. between Aves B & C
August 27th, Two Sets @ 9:30 & 11:00
JI: As a teacher at the New School and around the Cowell and Tony Williams and a cast of thousands.
world, what do you feel is the most important thing a Pullen was an under-rated genius whose solo piano
teacher can do for a student, and the most important record should be required listening for every young
thing a youngster can do for himself ? pianist. Dewey was the guy with the endless words of
wisdom for every life situation. Joe Lovano matches
CB: With a student, I try to be present, unguarded, Cherry’s love for and immersion in every imaginable
really listen and tell it like it is, with all the nuances. kind of music and is simply the most positive
Jazz musicians fly by the seats of their pants. We try to person I’ve ever met - a huge creative force in jazz.
be prepared for every situation, but very often we’re
improvising by intuition at the moment - listening. JI: What is it about musical improvisation that you
What a student can do for himself is to practice and find so valuable? What does it offer to you, your band-
listen and play and try to give him or herself to most mates, and the listeners? What motivates you and
complete technical education possible. He needs drives you forward?
to first imitate, and then get to the point where the
material is absorbed, assimilated, and made his own. CB: What is it about jazz that so attracts us, that so
Then he can carry on the real tradition of jazz, which seduces the Europeans and the Japanese and really
is to innovate - create something new. everyone? What’s the source of that energy, the
celebration
time, has transcended it.” JI: What is the greatest compliment that you can
receive as a musician?
CB: You failed to mention my 10 year experience hearts and it has now become a universal language of
with what was certainly the “band of my lifetime,” The improvisation shared by musicians and listeners all CB: When an audience member comes with a
George Adams/Don Pullen 4tet featuring Dannie over the world. It remains connected to that painful compliment, you can see in their eyes and feel from
Richmond. To be on the bandstand with Dannie root but, at the same time, has transcended it. I was their vibe that you really reached them, really touched
Richmond for 8 and 1/2 years was the thrill of a lifetime blessed as a young teenager to sit five feet away from them with your playing and compositions. This is the
for a young bassist. Dannie, Don and George were the Miles Davis, Wynton Kelly, Paul Chambers and greatest compliment - making that connection with
best possible role-models for how to play this music. Jimmy Cobb, five feet away from Trane, McCoy “regular people.”
Dannie was a dear friend, totally supportive both off [Tyner], Jimmy Garrison and Elvin [ Jones]. I
and on the bandstand, and one of the most complete couldn’t understand Trane at that moment, but I was
musicians and drummers ever. Then he took me into irresistibly drawn to try to figure out how Jimmy and
his band and taught me a big chunk of the Mingus Elvin, how Chambers and Cobb did what they did.
repertoire -- priceless. I met Don Cherry when I was “In the beginning of a change,
19. He improvised his life, with music coming out of JI: When you first embarked on the sophisticated the patriot is a brave and scarce
every pore, every minute. When you were with him, journey of becoming an improvising bassist, or a jazz man, hated and scorned. When the
you were swept up in his profound joy and excitement bassist, what were some methods that you found cause succeeds, however, the timid
about all music. There’s not time or space here to talk extremely useful to achieving your goals? (Perhaps join him...for then it costs nothing
about all these wonderful players and composers. something that you developed on your own, or your to be a patriot.”
George Russell is a very special composer and arranger favorite instructional resource)
and getting to record all his big band material in the
1960s in Sweden was amazing. I played a big Carnegie —Mark Twain
Hall concert with him the 70’s which featured Stanley www.cameronbrownmusic.com
www.myspace.com/
jasoncampbelljcandthejazzhoppers MargieNotte.coM
MORE INFO:
lelakeels@excite.com
973-923-7932
Leonardo Cioglia
By Eric Nemeyer
JI: Can you talk about some of the differences and with producing my own shows and was hands on
similarities that you’ve discovered first in the world with creating my CD covers, posters, flyers and such
of Brazilian music and American music? artsy items. New Media was becoming more and
more part of our lives and I was drawn with fascina-
LC: This one will be a tough to come up with a sim- tion into this ‘virtual’ world.
ple answer. It’s such a dear subject to me because I
have been dealing with it all my life, this hybrid life Emerson College was offering this masters program that region has a tremendous influence in my own
that I’ve led. You see, I have been in the U.S. for more that seemed perfect for what I was interested in. It compositions. There I will also be playing with my
than half of my life, plus, when in Brazil I went to an was called Visual and Media Arts. There I learned to great friend Duduka Da Fonseca and his quintet. So,
International type school - The American School of build websites, was the coordinator for the Jazz Oa- I am looking forward to this festival. I am also flying
Brasília - not to mention my Italian roots. I do tend to sis, a daily radio jazz program and had my own Bra- home to Brazil more often. I want to be able to spend
think that we have more similarities then differences zilian music show at WERS, the college’s radio sta- more time with my family. In the process I am also
between the music of Brazil and the American Mu- tion. It was the first time I was exposed to novel ideas booking performances with local musicians.
sic. More important to me then the differences and such as digital distribution and how to integrate this
similarities between any cultures is the exchange, the new technology into what I had been doing all along. JI: What is it about musical improvisation that you
give and take between the two cultures. That’s where I think that this course was fitting in the sense that find so valuable? What does it offer to you, your
it has always been and where it will always be.
celebration
interesting as well because I was part of a different the purpose of music and art for me. To this day it’s and drives you forward?
Brazil, a new Brazil that was being developed. People been very useful and satisfying to be involved with
from all over the country were migrating to this new all aspects of a production such of my CD Contos for LC: I like the interaction aspect of it. How what one
modernist capital. The city was still in development. instance. Where again I was involved in all aspect of player does can affect the way you play with him or
It was this mixture of being a super, amazingly well its production.... from the music, to the cover art, the her and vice versa. I also like the energy that comes
built work of art on its own and this young develop- photos and the website that is coming up soon. out of a group or an individual’s interpretation of a
BASS
ing city. The fact that I studied in this international piece of music. For me a good improviser is not nec-
school exposed me first hand to people from all over JI: Can you talk about your current activities, musi- essarily a soloist. I like improvisers that think and in-
the globe and their backgrounds. Music had already cally, and what is on the horizon? teract as composers that see things in a larger scope.
been a part of my life since I was 8 years old, my Ital- When I write my music I have certain specific parts
ian grandfather, who gave me my first music lesson LC: Because I tend to want to get involved with many for the instrumentation that I have in mind but I al-
ever, was a professional orchestra musician. My dad facets of what I do towards music, things move a little ways let the players make them their own. Of course
played the violin and considered a music career but slow for me. I don’t see this as a negative thing. It’s this requires a certain level of trust in the musician.
opted otherwise. So, at that age they put me into a positive that you can actually take your time and do It’s important to choose the musicians that are used
music school primarily for classical music. There I things like you really want them done. So, with that to playing together so that they can complement one
was part of the children’s choir and we sang in Bra- said I am really focusing on pushing my first compo- another. Jazz for me is a process through which many
sília’s first opera productions – “La Bohème,” “Car- sitional CD Contos. Even though the CD came out forms and styles of music can be delivered. I like the
men” and “Carmina Burana”. During my teen years I at the end of last year, I am still looking for the right fact that improvisation can be used in many elements
got involved with punk rock and later with Rhythm place to have the CD release event here in New York. of music. I am fascinated by freedom within struc-
n’ Blues and eventually jazz. After finishing high I would love for it to be with the musicians that re- tures if you will. Take my album Contos. It’s a com-
school I went on an exchange program to Canada. corded the album - John Ellis, Mike Moreno, Stefon positional album, a suite of ten songs that stand on
You see I had finished high school in three years. In Harris, Aaron Goldberg and Antonio Sanchez. We their own and yet serve as vehicles for improvisation.
my senior year I was free to choose any courses that I are participating in the Ouro Preto Jazz Festival in I choose to have great soloists from my generation
wanted. It turned out that the school that I was gong Brazil this year in September in this will be our CD and yet everyone in the group has an acute sense for
to in Kelowna, BC, had a great high school program. release event there. We are all going except Stefon composition. This causes for them to improvise not
I ended up receiving a partial scholarship to attend who had previous engagement elsewhere. only over the ‘blowing’ sections, but on the compo-
Berklee College of Music. After considering between sitions themselves. A groups that has guitar, piano
music and an architecture/urbanism program I opted This will be major for me because it’s one of my favor- and vibraphone/marimba can be very harmonically
to head to Boston. My Boston years were amazing. I ite festivals in Brazil in one of my favorite towns in dense, which is what I wanted. The key though, is
appreciated my music courses but was also really into the world which is in the state of Minas Gerais where to find musicians that know how to improvise with
the art and academic world of that city. Towards the my entire family is from and where the music from space. What they play is just as important as what
end of Bachelor’s program I was really interested in they don’t play. That takes very skillful improvisers
branching out though. I had always been involved www.leonardocioglia.com Continued on Page 52
Tuesday‐Saturday, August 11‐15
Dizzy’s Club Coca‐Cola, Jazz at Lincoln Center
Broadway at 60th St.
After Hours sets: 11pm Tu‐Th, 12:30am Fr‐Sa ($10)
Saturday, September 19
The Blue Note
BASS
131 West 3rd St.
Late night groove series: 12:30am ($8)
www.richiegoods.net
L overs ’
“If you get the chance to catch this group do yourself a
favor and do so. In the mean time pick up the new
release [Live at the Zinc Bar], which is a snap shot of this
group doing what they do best until the next live show.”
Christopher Lams, Jazz Improv NY
celebration
Revels-Bey Music 17” of User-Friendly Improvisation
New Mo Swing Archtop “Methods to Find
Yourself as a Soloist”
CD Available on the Attitude! “...devour
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Custom Johnny
Smith CALL: 913.831.4396
PO Box 13
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Phone/Fax:
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(516) 565-9404
JI: Can you talk about your formative period? Going highest level, yet also wanting to achieve financial
to Berklee and then moving to New York to study independence, and a good career?
with Ron Carter and Ray Brown? How did those
experiences have an impact on your development as a RG: Most of my decisions in my career were not made
person and musician? strictly from a financial standpoint. All the different
styles of music I play, producing, and writing are all
RG: Berklee is an amazing college and probably was things that I have loved since I was a kid. I feel like
the perfect college for me. I grew up in the church I am really living my dream. It is difficult juggling
BASS
Classical, Funk, Rock, Latin - to create something
magical and psychedelic!
and passionate, the audience starts to give off an energy, JI: What is it about musical improvisation that you
off of which the band feeds.” find so valuable? What does it offer to you, your band-
L overs ’
mates, and the listeners? What motivates you?
celebration
I was able to play with many musicians that are major decisions and finding ways to benefit financially
names in the music business today and still some of from those decisions. You have to realize that this is a
my best friends. I came to New York after landing a business. My first goal is to make great music, but there “…I am a firm believer that
gig with Mulgrew Miller, who is very close to Ron is nothing wrong with making money in the process. I
Carter. Working with Mulgrew made me realize that do worry sometimes about spreading myself too thin, hard work breeds success.
I needed to get to that next level of bass playing. I
always strive for excellence, and it doesn’t get much
but then I think about some of my idols like Stanley
Clarke, Marcus Miller, and Lenny White. Try to name
There’s really no secret, just
better than Ron Carter. Mulgrew connected me with something these guys don’t do! I am currently working hard work. I also believe in
Ron, and he completely changed my approach to the on a film score/ soundtrack to an independent film. I
acoustic bass. I studied with Ron every other week for think Stanley and Marcus would be proud of me. following my heart in my
one year. A few years after that, I met Ray Brown, and
got to hang with him. I hit him up for a lesson, and the JI: Can you talk about some of the common ground career decisions and finding
only payment he required is that I continue to study between the world of science and the world of music
as you see it?
ways to benefit financially
with him whenever we were in the same town. His
approach was completely different than Ron’s but very from those decisions. You
RG: Science can be broken down into mathematical
effective as well. I really miss him. Overall, studying
with Ron and Ray greatly improved my sound, sense terms as can music. Usually when I’m playing I think have to realize that this is
of time, and my walking bass lines. in numbers as opposed to musical notes. Generally
science deals with experimentation as does music. The
a business. My first goal is
JI: You seem to be smart about making a career, having term “Nuclear Fusion” is when nuclei come together to make great music, but
to form one greater nucleus that creates a powerful
not only played with jazz legends like Louis Hayes
and the Cannonball Adderley Legacy Band, Mulgrew release of energy. Well, that’s what music is. One there is nothing wrong with
Miller, Russell Malone, Milt Jackson, and Stanley
Turrentine, but also pop acts like Brian McKnight,
musician may create good music by him or herself, but
when you combine several musicians, you can really
making money in
DJ Jazzy Jeff and the Fresh Prince, Whitney Houston, get something explosive. It’s no longer four musicians, the process.”
and Christina Aguilera. You’ve been in the studio its one band. In music, as in science, we experiment
with Alicia Keys, Common and now you play with with combining different musicians, instruments,
the Headhunters. Aside from that, you have your own or elements together to see what we can create. My always teach that music is a language, a way of
production company! First, how do you manage to project, “Nuclear Fusion,” is not only combining communicating. Improvisation helps musicians in
explore so many avenues without spreading yourself four musicians, with different musical backgrounds, a band to communicate more candidly on stage -
too thin, and second, what advice do you have for provided they all speak the same language. For me, it’s
someone who is both serious about playing at the www.myspace.com/therealrichiegoods Continued on Page 54
JI: Can you talk about your experience with the Jazz CH: I think what would work best is to have music
At Lincoln Center Orchestra? How has it had an programs for students at a younger age. Children
impact on your life and artistry? take a huge leap into educational development when
they are 6 - 8 years old. The sooner we can introduce
CH: My experience with the Jazz at Lincoln Center music into their lives the better their overall success.
Orchestra has been wonderful. I was fortunate to be The arts are the first to be cut when there is any
around great jazz musicians at young age and have economic crisis, which is unfortunate. That being
been mentored and taught by Wynton since I was 16 said, music is an inherent part of our culture that
years old. Being with the JLCO allows me to apply should be embraced and passed-on.
this experience to my work, while on tour and in
New York. Working with the JLCO, traveling on the JI: Can you talk about some of the differences and
road and experiencing different cultures has helped similarities that you’ve discovered first in the world
me develop as an artist. It enables me to use my craft of Latin music and American music?
in the purest form and with the greatest quality.
There isn’t any other position that will allow this
type playing except for possibly working in a classical
orchestra. Plus, Wynton is a nice guy to be around. CH: First of all, the greatest similarity is African
music! One has to understand the roots of Latin and
celebration
JI: You’ve been fortunate enough to work with some American music comes from Africa. Being a bass
amazing musicians in the last few years, including player with Latin roots, I understand the fusion of
Steve Turre, Eddie Palmieri, Tito Puente, Carlos different cultures. Being of Puerto Rican descent, bass player. In this recording he illustrates the value of
Santana, George Benson, Gonzalo Rubalcaba, I understand the fusion of African music and what a bass is suppose to sound like and understands
Danilo Perez, and Celia Cruz among others. What Taino Indian music from the Puerto Rican Island. what it is like to play in a Latin band.
kinds of things did you pick of from one or all of Bomba and plena are music of the island of Puerto
Rico. American music is a melting pot of all music. (2) Grand Central Station, My Radio Sure Sounds
these artists?
America’s first true music is the blues. It is known that Good to Me - Larry Graham, bass
CH: I have been fortunate enough to work with African slaves, during the trade, were not able to play
L overs ’
Most importantly, maybe, he taught me how to be canals of NOLA. It is so obvious as a musician to Browns’ sound and choices of note because it is so
a man at a young age. Tito was a very generous and hear the African 6/8 bell pattern in the funk, R&B great. He illustrates how to get a good sound out
loving man to all young musicians. Eddie Palmieri and jazz music of today. However, it is so noticeable of an acoustic bass and pull off technique which is
was a master of mixing traditional Latin music now, in American music, we have strayed away from a triplet heading down to a mean low note at any
with modern jazz approaches. Playing with him, our roots. Today, electric drums and computers take given moment.
especially at 15 years old, enabled me to begin to the place of humans in creating sounds.
understanding these differentials. I have always said Paul Chambers, Bass on Top - My daddy gave me this
Eddie was Thelonious Monk and Arsenio Rodriguez JI: What are your thoughts about electric vs. acoustic album while he was working as a trombone player. It
combined. And finally, Gonzalo Rubalcaba and bass? was also a recommendation from a friend who told
Danilo Perez. I performed in both of their trios at me to listen to this album if I wanted to learn how
the end of my teenage years. It was a great learning CH: I have no thoughts about these two wonderful to play a killer bass. Paul chambers had all of the
experience to watch both artists’ careers while in instruments. The one thing I can say is if you techniques as a soloist and accompanist. I learned
their thirties. I learned a great deal about practicing know how to play the acoustic then you know that how to walk bass lines, and learned how to solo with
and working on something for a very long time and instrument and the same with electric. I have no the bow from listening to his recordings.
how it would pay off. Sometimes I kick myself for preference to either the electric or acoustic bass.
not asking more questions during that time period. They are both number one to me. Tito Rodriguez, Live at the Palladium - Julio
But nevertheless, I was lucky to be taught the many Andino, bass - Julio is a funky bass player. He always
JI: What are your top five desert island bass records
fundamentals that I still use today. swung his behind off ! I learned the basics from him.
that you couldn’t possibly live without, and please
The bassist commitments to the rhythm section at
JI: You are a native New Yorker, who went to state why? The leader doesn’t have to be a bassist, but any cost.
LaGuardia HS of the performing arts. I’m sure you’ve please choose albums based on the role of the bass
made many observations about the educational (no pun intended). JI: When you first embarked on the sophisticated
system and the music scene here in NY. What do journey of becoming an improvising bassist, or a
(1) Tito Puente, Dance Mania - Bobby Rodriguez,
you think we need more of and what do we need less jazz bassist, what were some methods that you found
bass - Bobby is the most funky and groovy Mambo
of to make New York children and musicians have a extremely useful to achieving your goals?
better life?
www.myspace.com/bajo26 Continued on Page 53
JI: Being a bass player in big bands, such as with be three totally different sets of demand. Can you talk
Count Basie or Woody Herman, and getting more about the unique challenges and rewards that you’ve
loose and creative in the Stryker/Slagle Band or Chris had in these different playing circumstances?
Potter and John Hart, and then backing up singers
like Joe Williams or Diane Schuur, I would imagine to BM: I love the challenge of trying to make the music
sound great no matter who I’m playing with, along
with having a great interest in so many different kinds
“There is also more of music. My record collection is schizophrenic. I’ve
learned more about how to play from being thrust into
dissonance in the new those situations and trying to do my best to service
music, and some of the the moment. That’s the reward. The challenges have
come from not always being able to get it right away, music is changing. There is also more dissonance in
younger players seem to but not wanting to give up. The way I play today is a the new music, and some of the younger players seem
culmination of all the gigs I have ever done and I still
to be emulating their peers instead of the old guard.
be emulating their peers feel like a work in progress, which is another reward. When I moved here, we were all checkin’ out the
instead of the old guard. Thanks again, music! older dudes for our lessons, which is just different, not
better or worse. One thing that is definitely worse, are
When I moved here, we JI: You’ve been playing in NY for over 20 years. From the cover charges at a lot of the clubs. What happened
BASS
a musical perspective, what kinds of changes, for the to the Bradley’s vibe?
were all checkin’ out the better and worse have you seen?
JI: Can you talk about your career as a teacher? Do
older dudes for our lessons, BM: It seems like the rhythmic feel is shifting away you feel this is something you were born to do, or
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which is just different, not from the swing groove most recently. Young players did you have to pay your dues to communicate ideas
are stronger than ever due to Youtube and music effectively? How has being a teacher affected your
better or worse.” education and they are writing interesting music that career and life?
is a collection of their experiences, so naturally the
BM: I enjoy teaching mostly because I enjoy people
and music. I’m getting into it more the last five years
celebration
because I’m getting my terminology together mostly
from talking to my oldest son about his music. I never
thought I was born to do this but I am learning as I go,
and I think I am communicating more effectively than
I ever have. Directing a big band at Montclair State
University this past year was a big challenge for me
and absolutely rewarding.
www.billmoring.com
JI: What was it like in 1992, coming to NY from musicians who are just playing their parts or doing
the Netherlands. There were so many great young the ‘show’ and are looking at their watch all the time.
musicians at that time that are now on their way to You won’t believe how often I have seen this - in all
becoming legends. situations and all levels of musicians.
JT: It was a very exciting time for me. I moved to the JI: What was it that initially inspired you to become a
Upper West Side near a club called Augie’s. I got my bassist? How did it all start?
first gig there with Peter Mazza and Andy Watson after
seventeen days in New York. Everyone was hanging JT: I started late, at age 17. My high school band in
there - Jesse Davis, Tyler Mitchell, Don Braden, Scott Holland needed a bassist and so I volunteered because
Wendholt, Dwayne Burno, Peter Washington, Dave I had piano lessons as a kid. It took me just some
Berkman, the Farnsworth brothers, Eric Alexander, weeks to get the basics. We played rock & roll on all
and so many more. I also was frequently hanging the hip school parties. A few months later my sister’s
out at Bradley’s in the Village and that’s were I could boyfriend joined us. He was a trumpet player who
meet Ray Drummond, George Mraz, Billy Higgins, introduced me to Chet Baker and Miles Davis.
Freddie Hubbard, Randy Brecker, and others. These
two places where unique and valuable at that time. JI: What are your thoughts about electric vs. acoustic
bass?
celebration
“A bass is just a tool that I use to express and 5. Shameless to say, but I would need to bring my
own first CD: ‘Pay As You Earn’, recorded in 1993,
create. I’m never interested in the type of strings featuring Don Braden, Tom Harrell, Cyrus Chestnut
and Carl Allen. Everyone plays great on this. I
Esperanza Spalding is an amazingly talented twenty timate and people are really listening. On the big
four year old bassist, composer and singer who has stages, the artists seem somewhat detached.
been wowing audiences, critics and peers since she was
barely out of her teens. Along with leading her own ES: Yeah, but that sh*t with Herbie (Hancock) was
internationally touring groups, she is also a member of crazy! I never heard Dave Holland play electric be-
Joe Lovano’s UsFive and Trio Fascination band. She is fore! Wow!
a native of Portland, Oregon, where she played violin
JI: Believe it or not, I missed it.
throughout her youth before picking up the upright bass
at age fourteen. At twenty one, she became one of the ES: What!? I’m sorry for you!
youngest teachers in the history of the prestigious Berklee
College of Music. This rising star has released two CDs JI: I spent a few hours writing a book of questions,
as a leader—“Junji,” and “Esperanza.” Last summer she almost like essays for you, so I’m going to be a little
appeared on the David Letterman and Jimmy Kimmel corny here and read some on them off to you. Here’s
show. We spoke with her on a Monday morning after a one: Although you are extremely talented in a musi-
week long stint with Lovano and UsFive at the Village cal sense, I think a lot of your success is because of
Vanguard, preparing for the recording of their new CD
Folk Art, recently released on Blue Note Records.
BASS
JI: The Friday night set was amazing! I love the Van- “I’ve been given a gift to
guard. I was right up front, practically on the stage.
deliver, so I want to make
ES: Cool! It was a great week, but last night was just sure that I’m in a way doing a gift to deliver, so I want to make sure that I’m in a
L overs ’
incredible! way doing my responsibility for having the glory and
my responsibility for having the joy of being able to do it, and different people
JI: I first heard you on NPR doing an interview, but I will express that in really different ways. That’s just
hadn’t really heard you until the 2008 Newport Jazz the glory and the joy of how I see it, but I think that everybody that plays
Festival.
being able to do it.” music sees it in a similar way but may express it in a
different way. It also helps to be around musicians
celebration
ES: Oh! Did you see my set? who have been doing this for a really long time and
to listen to how they think and talk about the art,
JI: Yeah! I caught your set and I met you afterwards. your personality, your values, your perspective and
and that may be part of it to—that I really listen to
I said hello to you, but that set was so great! I wrote a your rock solid vision. You have an air of supreme
the people that I spend time with whether they are
review of the festival last month and about half of it confidence, yet without a speck of arrogance, and
really young or old or whatever, but when you are
was about your set! But what a mistake it was to put plenty of humility. You seem to have a very intimate
spending time with someone that is so great and so
you on the little stage. relationship with what people call the zone. You
humble and you try to get inside of why they do what
take risks and you go on adventures. So you have all
they do, it makes you go, okay, if they are thinking
ES: Oh no—no, no! this perspective at such a young age. What do you
that and I just started this, damn, I better get on my
attribute this to?
knees and start praying to the music Gods and hope
JI: Well, the thing is, so many people wanted to see
that I could really contribute to this thing that we’re
your set, but the space was limited, but I think that ES: Have you seen that movie Ratatouille?
all involved in.
you got a lot more popular from the time they sched-
uled you to the time of the festival. What’s your take JI: No, I haven’t. JI: You seem like you’re incredibly optimistic and
on that? you have a strong ability to give to others. Do you
ES: I was gonna quote a part of it. I don’t know how
to answer that question. I would have to say, “Oh, see your growing notoriety as purely opportunity or
ES: Well, in the grand scheme of things I’m such a could there be danger to your artistry in that?
well I learned that smart thing that I said in this
new player, so for me, I felt pretty appropriate being
place,” and to me everything that you just quoted,
on that stage, and I think it was a testament to all of ES: Well, there is a danger that I actually just discov-
that’s just how I operate I guess, so I’m not sure
the press and things that have been happening that ered this week. I was in a really bizarre weird funk
what source to quote. All I can say is that my basic
so many people were interested. But all in all, I think because the danger that can happen is, you can live
approach to life encompasses that mentality about
it was better to have it that way than to put me on the sort of in this—well let me put it this way—with the
the music, so I’m really not sure how to answer that
stage that maybe somebody who was more seasoned opportunities that are happening, the more support
other than, I think in a way, that’s how all serious
or who had been around longer really deserves to be I get, means I’m playing more with my band which is
musicians think on a certain level. All musicians are
on, but if things keep going good, then next time incredible, but this summer, most of the work I did
really coming from similar places but in my mind,
they’ll want to put me on a bigger stage and that will was with my own music, my own projects, my own
the aspect of my spiritual connection or my con-
be cool. Everybody doesn’t have to see me all at once nection with a higher power, in context of how it arrangements, and I’m kind of like a tyrannical
and then for people that didn’t get to see me, next relates to music is in the sense of—(pause)—it’s a bandleader. I kind of really know what I want to
time they’ll get to see me, and it will be better. service and it’s a function to which I’ve been given hear and I’m a little strict about having the musi-
cians try to emulate that sound.
JI: The truth is, at Newport, the best performances
are on the smaller stages because it’s much more in- www.esperanzaspalding.com
John and I. To answer your question, Mayan Myths there - taking chances, accessing one’s conscious and
is a CD that has at its core a 3-movement piece, subconscious ideas in real time. What a wonderful
“The Mayan Suite,” composed by saxophonist Trent their own professorships is a high. And it just seems thing it is to respond to the musical environment, to
Kynaston. Trent drew inspiration from tours we had to keep happening. On a personal note, I had a play off of other musicians who are in the moment
of Central America and specifically the Mayan temple landmark birthday recently. Former students showed as well - which is certainly why musicians bond the
in Tulum, Mexico, which is interpreted as The Warrior up from throughout my entire career. It is a wonderful way they do. Listeners “get” that something is going
Temple. The Mayan goddess, Ix Chel, also know as feeling of connection and continuity. Also, my newest on, some kind of magic. And it is clear, in trying to
Lady Rainbow makes an appearance in a sultry bolero. group, which recorded Lines of Influence, is made up describe the experience, the spoken word, comes in a
I actually named the CD, as a reference to the suite, of all alumni. The drummer, Keith Hall, is now on slow second to enjoying the experience. Motivation
L overs ’
and the inherent mystery of that civilization that we our faculty. That really puts everything in context. for me comes in trying to get closer and closer to being
tried to capture. And we have no idea what their music And in terms of why it has worked, I would say that in touch with the music, getting ideas and emotional
sounded like, so there is nothing but myth to draw on, we are extremely hands on, performance orientated, content across sincerely, and doing so while trying to
or create our own, which is the case here.
bass at Western Michigan University since 1987. subconscious ideas in real time. What a wonderful thing
You’ve also taught at it is to respond to the musical environment, to play off of
Michigan State University, the Cleveland Institute other musicians who are in the moment as well - which is
of Music, and presented over a hundred master
classes worldwide. Can you talk about the challenges certainly why musicians bond the way they do. Listeners
and rewards of being an educator, and some of the
highlights for you?
“get” that something is going on, some kind of magic.”
TK: One of the substantial challenges was building
a program. The degree program was started shortly and the opposite of a cookie cutter program. Certain grow as an artist. There is no room for complacency in
after I arrived at Western Michigan University. We information is taught to all, but we encourage and this genre. All I need to do is consider the many greats
also had the first jazz degree program in our state. promote individual strengths and concepts. In short, who came before us, and those who are contributing
So we got to dream our program, given available we promote high standards in a creative context. And today – how much more motivation can one ask for?
resources, etc. Challenges – even 20 years ago, it was for the last six years, we have had a slick partner club,
always surprising to find faculty resistant to America’s The Union, which provides over 100 professional JI: What was it that initially inspired you to become
classical music at an American institution of higher dates annually to faculty and students. It is great for a bassist?
learning. However, our successes won most over morale and musical opportunity.
TK: I started as a guitarist, a youngster of the Beatles
early on. And because we are located in a relatively
JI: What is it about musical improvisation that yougeneration. I had a great first teacher, Jim Leihenseder,
small market, we have had to work extra hard to keep
find so valuable? who got me into harmony and jazz before out of
things professionally relevant and connected. To that
elementary school. I immediately played electric bass
end, we have a tremendous flow of major artists and
TK: Improvisers, jazz people in general, are very in middle school and began studying double bass in
educators as guests. Billy Hart has passed the 15 year
much in the moment people musically. For me, there 9th grade. My father was a bassist earlier in life, and
mark as a visiting artist, Fred Hersch, 6 years, and
although not active at the time, I was used to seeing
Stefon Harris 4 years. We have a wonderful faculty –
the instruments in the house. Essentially, I wanted
supremely dedicated, professionally active, and we are www.tomknific.com to start studying European classical music, and the
JI: What are your thoughts about electric vs. acoustic The New York Public Library for the Performing Arts presents
bass?
JI: What are your top five desert island bass records
“Relentlessly
that you couldn’t
creative. ”
possibly live without, and please state why? —Nate Chinen,
Photo: Jimmy Katz
Kevin has been the musical director of the Tonight Show The Tierney Sutton Band continues to benefit from their
Band for many years now, but he has never stopped cookin’ years of playing together. Their latest release, Desire,
features some amazing musical landscapes and a very
with his own Quartet. For this string of gigs he will be joined adventurous and spiritual presentation. Some tunes, such
by Marvin “Smitty” Smith on drums, Bill Pierce on saxophone as “It’s Only a Paper Moon,” are taken to extraordinary
and a bassist TBA. This Philadelphia native has travelled the places, making a listener re-consider the depth of what was
world playing his music and has shared the stage with such often looked past as just another standard. This group has
luminaries as Slide Hampton, Art Blakey, McCoy Tyner, Ron loads of chemistry and tours constantly, so catch them while
Carter, Sam Rivers, and Roy Haynes. you can.
The last time this group played at the Jazz Standard, they St. Peter’s may be a church, but it has been one of the
received one of the most enthusiastic write-ups we’ve ever hippest jazz spots in the city since the days of bebop and
Pastor Gensel. It is affectionately known as “The Jazz
given. Ali’s playing is what it’s all about. It’s miles deep, Church.” Every Thursday in July they will be having some
but will make you smile in ecstasy at the same time. Last of the cities best groups play from 12:30 – 1:45 on the plaza
time he had Jonathan Batiste on piano, but Aaron Goldberg at 53rd Street and Lexington, and our pick is the Donny
will on duty this time around. Also in the band are Wayne McCaslin Quartet. It was a hard decision considering that
Escoffery on sax, Vincent Gardner on bone, and Ben Wolfe the other three Thursdays feature Winard Harper, Ingrid
on bass. Jensen, and the Jazz Knights.
Tribute to Ray Barretto: Featuring Peter Branin, John Di Hank Jones Trio
Martino, Steve Turre, Chembo Corniel, Vince Cherico, www.officialhankjones.com
and Boris Kozlov Birdland: Tues 8/25 – Sat 8/29
Creole Restaurant: Fri 8/21 – Sat 8/22
Ray Barretto is often referred to as the ‘Godfather of Latin Hank Jones is the epitome of a ‘Living Legend’ and it is no
jazz.’ He was a Grammy Award-winning Puerto Rican jazz secret why the National Endowment for the Arts inducted
musician who began infusing his incredible percussion work him as a “Jazz Master.” He has been at the forefront of the
into bebop when he was first heard by Charlie Parker back Jazz world for 70 years, and is one of the few surviving
in 1949. He went on to play with Tito Puente, The Rolling members of the group in the famous photograph, “A Great
Stones, the Bee Gees, Celia Cruz and many other legendary
acts. He passed away in 2006. The band performing this Day in Harlem.” He is the brother of drummer Elvin, and
tribute features some of the best musicians New York has trumpeter/composer Thad.
to offer!
Chembo Corniel featured in Tribute to Ray Barretto
Credit: Eric Nemeyer
Howard Alden & Warren Vache John Patitucci with Joe Lovano & Brian Blade
www.howardalden.com www.johnpatitucci.com
Dizzy’s Club Coca Cola: Tues 8/11 – Sun 8/16
Barge Music: Thurs 8/20
This trio features what are arguably the best bassist, tenor saxophonist
Guitarist Howard Alden is one of the most highly regarded and drummer of their day, together in one group! The leader and bassist,
Patitucci, has a bio that cannot be compressed into this little space. He
guitarists of his generation. The 50 year old seven string
currently plays in Wayne Shorter’s band, and has played on countless
virtuoso has recorded over a dozen albums with Concord albums with artists as diverse as B.B King, Bonnie Raitt, Chick Corea,
Jazz, and overdubbed all of the guitar work for Sean Penn Herbie Hancock, Michael Brecker, George Benson, Dizzy Gillespie,
in Woody Allen’s “Sweet and Lowdown.” Warren Vache is a Natalie Cole, Bon Jovi, Queen Latifah, Sting, and Carly Simon. He’s
also played with Stan Getz, Wynton Marsalis, Joshua Redman, Michael
trumpeter, cornetist and flugelhornist from New Jersey who Brecker, Randy Brecker, Freddie Hubbard, Tony Williams, Hubert Laws,
is known for his swing style of playing. Mulgrew Miller, and James Williams. The list goes on.
JAZZ FESTIVAL
OZAWA HALL
SEPT 4 FRIDAY 8PM SEPT 5 SATURDAY 8PM SEPT 6 SUNDAY 8PM
An Evening with Paquito d’Rivera "Reverse Thread" "A Triumph of Trumpets" with the
with the Regina Carter Quartet Jon Faddis Quartet and special guests
SEPT 5 SATURDAY 2PM Wallace Roney and Sean Jones
Radio Deluxe with John Pizzarelli "Dreaming the Duke"
and Jessica Molaskey with special guests with Nnenna Freelon, Harolyn Dave Holland Octet with Chris Potter, Robin
Bucky Pizzarelli, Aaron Blackwell and Mike Garson Eubanks, Antonio Hart, Alex Sipiagian, Gary
Weinstein, Harry Allen Live taping Smulyan, Nate Smith, and Steve Nelson
for national radio broadcast. SEPT 6 SUNDAY 2PM
“A Piano Duet” with Kenny Barron TICKETS $17-75
and Mulgrew Miller ONE DAY LAWN PASS $34
888-266-1200 • tanglewood.org
Vanguard Jazz Orchestra
Media Sponsor:
TICKETS $17-75 ONE DAY LAWN PASS $34 888-266-1200 • tanglewood.org
Markham Jazz Festival: August 14-16 Jazz By The Boulevard Music and Arts Festival:
Markham, Ontario, Canada September 11-13
www.markhamjazzfestival.com Fort Worth, TX; www.fortworthjazz.com
Mt. Hood Jazz Festival: August 15-17 Monterey Jazz Festival: September 18-20
Gresham, OR; www.mthoodjazz.org Monterey, CA; www.montereyjazzfestival.org
Orange County Classic Jazz Festival: August 6-9 Sedona Jazz Festival: September 22-27
Costa Mesa, CA; www.oc-classicjazz.org Sedona, AZ; www.sedonajazz.com
AUGUST—International
______________________________________________________________ Summit Jazz: October 9-11
Denver, CO; www.summitjazz.com
Jazz Festival Willisau: August 26-30
Willisau, Switzerland; www.jazzwillisau.com West Coast Jazz Party & Brunch Cruise:
September 3-6
Oslo Jazz Festival: August 10-15 Irvine, CA; www.westcoastjazzparty.com
Oslo, Norway; www.oslojazz.no
Ziegler Kettle Moraine Jazz Festival: September 11-12
Red Sea Jazz Festival: August – Details to be West Bend, WI; www.kmjazz.com
Announced
Eilat, Israel ; www.redseajazzeilat.com SEPTEMBER & OCTOBER—International
______________________________________________________________
Zomer Jazz Fiets Tour: August 28-29 Guelph Jazz Festival: September 9-13
Groningen, Netherlands; www.zjft.nl Guelph, Ontario Canada; www.guelphjazzfestival.com
QUARTET
�MONDAYS� �MONDAYS�
TUE AUG 4 RAVI COLTRANE - E.J. STRICKLAND (AUG 20, 22 & 23) - ADAM CRUZ (AUG 21)
MINGUS ORCHESTRA
�MINGUS� �MINGUS�
WED AUG 5 �MONDAYS�
SASHA DOBSON
�MONDAYS�
TUE AUG 25
ERNESTINE ANDERSON
THU-SUN AUG 6-9
SACHAL VASANDANI
WED AUG 26
TUE & WED AUG 11 & 12 JOE FORD - STEVE DAVIS - BUSTER WILLIAMS - BILLY DRUMMOND
Harlem Speaks
• Thu 8/20: Elias Bailey Trio, One 83 Restaurant, 1608
First Avenue, New York, (Between E. 83/84 Streets),
7:30-10:30pm, 212-327-4700, www.one83restaurant.com
• Thurs 8/20-Fri 8/21: Eric Comstock & Barbara Fasano
at Feinstein’s at Loews Regency. 8:30pm. $25 cover;
$25 min. 540 Park Ave. @ 61st St. 212-339-4095. A SPECIAL SERIES HONORING HARLEM HEROES
http://feinsteinsattheregency.com
• Thurs 8/20: Adam Levy at La Lanterna Caffe. 8:00pm- Aug. 13: Vijay Iyer Aug. 27: Eddie Gomez
11:30pm. $10 cover. 129 MacDougal St. 212-529-5945.
www.lalanternacaffe.com. www.adamlevy.com
Pianist Bassist
August 19-23 tieRney sutton • Thurs 8/27: Tom Dempsey at La Lanterna Caffe. 8:00pm-
11:30pm. $10 cover. 129 MacDougal St. 212-529-5945.
August 25 teRese genecco & heR little big bAnd www.lalanternacaffe.com. www.tomdempseymusic..com
• Thurs 8/27: Cynthia Holiday on 132nd St. bet. 7th & Lenox
August 26 ted kooshiAn’s stAndARd oRbit QuARtet Ave. 7:00pm. 212-866-4900. www.jazzmobile.org
cd ReleAse; the ed PAleRmo big bAnd • Thurs 8/27-Sun 8/30: Guitar Workshop with Vic Juris & Rez
Abbasi. $575 adult; $525 student under 26. 676 Riverside
August 27-30 dAvid sAnchez bAnd Dr., #4A. 917-340-0270. www.newyorkjazzworkshop.com
• Thurs 8/27: Jazz Knights: 18-piece big band from
West Point at St. Peter’s Church. 12:30pm. Jazz
on the Plaza. Free. 53rd & Lexington. 212-935-2200.
http://saintpeters.org/jazz
• Fri 8/28: Jonathan Batiste Trio at the Rubin Museum of
Art. 7:00pm. $18 in advance; $20 at door. “Harlem in the
Himalayas.” 150 W. 17th St. 212-620-5000. www.rmanyc.org
• Fri 8/28: Stephanie Rooker at Blue Note. Late Night
Groove Series. 12:30am.131 W. 3rd St. 212-475-8592. www.
bluenotejazz.com
• Fri 8/28: Janine Alondres and Trio, One 83 Restaurant,
1608 First Avenue, New York, (Between E. 83/84 Streets),
7:30-10:30pm, 212-327-4700, www.one83restaurant.com
• Fri 8/28: Robert Glasper, Tarus Mateen & Kim Thompson
NEW YORK
285 Grand Ave. (Bet. Clifton & Lafayette)
• Fri 8/28: La Lanterna Caffe. Victor Prieto @ 7:00pm &
9:00pm. Rodney Green @ 11:00pm & 12:30am. $10 cover. • Sat 8/8: KLARO at ParlorJazz. 9:00pm & 10:30pm. $20
JAZZ
129 MacDougal St. 212-529-5945. www.lalanternacaffe. incl. both sets, open wine bar, light refreshments & dessert.
com. www.victorprieto.net. www.rodneygreenmusic.com 119 Vanderbilt Ave. 718-855-1981.
ACADEMY
• Fri 8/28: Ghanniyya Green at Marcus Garvey • Sun 8/9: Andrew Rathbun Trio at Brooklyn Lyceum.
Park. 7:00pm. 122nd St. & 5th Ave. 212-866-4900. 9:00pm & 10:30pm. 227 4th Ave. 866-gowanus.
www.jazzmobile.org www.brooklynlyceum.com
• Fri 8/28-Sat 8/29: Dr. Mambo & Experience Ensemble with • Tues 8/11: Louise Dam Eckardt Jensen with Kevin Shea,
Dwight Brewster, Bill Jacobs, Alex Blake, Neil Clarke, Brandon Seabrook & Tom Blancarte at Le Grand Dakar.
KC Benjamin & Chacho Ramirez at Creole Restaurant. 8:30pm. Free. 285 Grand Ave. (Bet. Clifton & Lafayette)
8:00pm & 10:00pm. $15 cover. 2167 Third Ave. @ 118th St.
• Wed 8/12: Awakening Orchestra at Brooklyn
212-876-8838. www.creolenyc.com
Lyceum. 8:00pm & 9:30pm. 227 4th Ave. 866-gowanus.
• Sat 8/29: Saturday Panels at National Jazz Museum in www.brooklynlyceum.com
Harlem. 10:00am. Free. “Jo Jones: The Man Who Played
• Sat 8/15: Art Lillard’s Heavenly Band at Tea Lounge.
Like the Wind.” 104 E. 126th St., Suite 2C. 212-348-8300.
8:30pm & 10:00pm. 837 Union St., Park Slope.
www.jazzmuseuminharlem.org
718-789-2762. www.tealoungeNY.com. www.artlillard.com
• Sat 8/29: Caleb Curtis Quintet at Bar 66. 8:30pm. $5.
• Sun 8/16: Joe Magnarelli at Brooklyn Lyceum.
No min. 66 Charlton St., Four Points, Sheraton, SoHo.
9:00pm & 10:30pm. 227 4th Ave. 866-gowanus.
347-528-3534. http://bar66nyc.blogspot.com
www.brooklynlyceum.com
• Sat 8/29: Charlie Parker Jazz Festival with Frank Wess
• Tues 8/18: Dave Ballou, Ben Gerstein, James Ilgentritz
Quintet, Gary Bartz, José James & Aaron Parks. From
& Harris Eisenstadt at Le Grand Dakar. 8:30pm. Free.
3:00pm. Free. Marcus Garvey Park, 124th St. & Mt. Morris
Park. www.cityparksfoundation.org
285 Grand Ave. (Bet. Clifton & Lafayette)
Now Registering
• Sat 8/29: La Lanterna Caffe. Brandon Lee @ 7:00pm &
• Wed 8/19: Chris McNulty & Paul Bollenback Group
at Brooklyn Lyceum. 8:00pm & 9:30pm. 227 4th Ave.
2009-2010
9:00pm. Will Winson @ 11:00pm & 12:30am. $10 cover.
866-gowanus. www.brooklynlyceum.com
Enroll
129 MacDougal St. 212-529-5945. www.lalanternacaffe.com.
www.bleejazz.com. www.willvinson.com • Thurs 8/20: Howard Alden & Warren Vache at Bargemusic.
• Sat 8/29: Darien at Blue Note. Late Night Groove Series.
8:00pm. $25; $15 student. Fulton Ferry Landing, at the foot Online!
of the Brooklyn Bridge. 718-624-2083. www.bargemusic.org.
12:30am.131 W. 3rd St. 212-475-8592. www.bluenotejazz.com
• Sun 8/23: Gary Fisher at Brooklyn Lyceum.
• Sat 8/29: Eldar Djangirov at The Highline Ballroom.
9:00pm & 10:30pm. 227 4th Ave. 866-gowanus.
8:00pm. $20 advance; $25 at door. 431 W. 16th St. (Bet. 9th
www.brooklynlyceum.com
& 10th Ave.) 212-414-5994. www.highlineballroom.com
• Tues 8/25: Tim Kuhl with Michael Attias, James Ilgenfritz
• Sun 8/30: Marta Gomez at Blue Note. 12:30pm & 2:30pm.
& Ryan Mackstaller at Le Grand Dakar. 8:30pm. Free. 285
$24.50 includes brunch, show & 1 drink. 131 W. 3rd St.
Grand Ave. (Bet. Clifton & Lafayette)
212-475-8592. www.bluenote.net
• Wed 8/26: Jean Rohe at Brooklyn Lyceum.
• Sun 8/30: Donny McCaslin with Ben Monder, Adam Cruz
8:00pm & 9:30pm. 227 4th Ave. 866-gowanus.
& Ricky Rodriguez at 55 Bar. 7:00pm. 55 Christopher St.
www.brooklynlyceum.com
212-929-9883. www.55bar.com.
• Thurs 8/27: Rob Schwimmer at Bargemusic. 8:00pm. $25;
• Sun 8/30: Charlie Parker Jazz Festival with Cedar
$15 senior; $10 student. Fulton Ferry Landing, at the foot of
Walton Quartet, Papo Vazquez Pirates Troubadores,
the Brooklyn Bridge. 718-624-2083. www.bargemusic.org.
Pyend Threadgill & the Dred Scott Trio. From 3:00pm.
Free. Tompkins Square Park, E. 8th St. bet. Aves. A & B. • Thurs 8/27: Veronica Nunn Trio at Puppets Jazz Bar.
www.cityparksfoundation.org 6:00pm. $10. 481 Fifth Ave., Park Slope (Bet. 11th & 12th St.)
• Mon 8/31: Michelle Walker at La Lanterna Caffe. • Sun 8/30: Akiko Pavolka at Brooklyn Lyceum.
8:00pm-11:30pm. $10 cover. 129 MacDougal St. 9:00pm & 10:30pm. 227 4th Ave. 866-gowanus.
212-529-5945. www.lalanternacaffe.com. www.myspace. www.brooklynlyceum.com
com/michellewalkerjazz • Thurs 9/3: Jacob Varmus Quartet with Toru Dodo, Kevin
Thomas & Brian Woodruff at Puppets. 9:00pm. $6 cover,
$10 min. 481 5th Ave., Park Slope. (Bet. 11th & 12th St.)
Brooklyn
Queens
• Sun 8/2: Dave Allen with Donny McCaslin, Drew Gress &
Adam Cruz at Solo Kitchen & Bar. 9:00pm. 1502 Cortelyou
Rd. www.daveallenjazz.com • Thurs 8/6: Lonnie Youngblood at 111-34 198th St. & Hollis.
• Tues 8/4: Justin Wood Trio at Le Grand Dakar. 8:30pm. 7:00pm. 212-866-4900. www.jazzmobile.org
Free. 285 Grand Ave. (Bet. Clifton & Lafayette) • Thurs 8/6: Boilermaker Jazz Band with Paul Cosentino at
• Wed 8/5: Ras Moshe at Brooklyn Lyceum. 8:00pm & Forest Hills. 7:00pm. Free. 70th Road bet. Queens Blvd &
9:30pm. 227 4th Ave. 866-gowanus. www.brooklynlyceum.com Austin St. www.jazzthursdays.com
• Thurs 8/6: Luiz Simas with Adriano Santos & Itaiguara • Fri 8/7, 8/14, 8/21, 8/28: Hiromi Suda with Hiroya
at Bargemusic. 8:00pm. $25; $20 senior; $15 student. Tsukamoto & Keita Ogawa at Linn. 8:00pm. 29-13
Fulton Ferry Landing, at the foot of the Brooklyn Bridge. Broadway, Astoria. 718-204-0060. www.linnrestaurant.com.
718-624-2083. www.bargemusic.org. www.hiromisuda.com
Highlights In JAZZ
Presents
• Sat 8/8: Leny Andrade with Cesar Camago Mariano/
Romero Lubambo Duo at Belleayre Music Festival.
8:00pm. $55, $40, $30, $25. Tent Off Route 28, Highmount,
NY. 800-942-6904, ext. 1344. www.belleayremusic.org.
N e w Yo r k ' s L o n g e s t R u n n i n g J a z z C o n c e r t S e r i e s
• Sat 8/8: George Wein’s Jazz Festival 55 in Newport, RI.
*** F i n a l Ye a r * * *
Mos Def, Branford Marsalis Quartet, Joshua Redman
Trio, Esperanza Spalding, Cedar Walton with Lew
Tabackin & Curtis Fuller, Hiromi, Vandermark 5, Jane Four Great JAZZ Concerts
Monheit, Christian McBride Trio, Vijay Iyer Trio, Miguel Thurs. Sept. 10, 2009 - 8 pm Thurs. Nov. 12, 2009 - 8 pm
Zenón Quartet, North Carolina Central Big Band,
Branford-Joey Duo & Claudia Acuña from 11:30am-
Living
Cabaret
7:00pm. $15-$100. Fort Adams State Park, Harrison Ave.
www.jazzfestival55.com
Jazz Legends
• Sun 8/9: George Wein’s Jazz Festival 55 in Newport,
RI. Tony Bennett, Dave Brubeck Quartet, Roy Haynes
Band, Michel Camilo, Joe Lovano, Christian McBride,
Jazz Buddy Bucky
Steve Bernstein Band, Bad Plus with Wendy Lewis, Barbara DeFranco Pizzarelli
Carroll
James Carter, Brian Blade Band, Rudresh Mahanthappa with with
Band, By Any Means, Rodriguez Brothers, Roy Guzman
Quintet. 11:30am-7:00pm. $15-$100. Fort Adams State Jay Leonhart John Pizzarelli
Park, Harrison Ave. www.jazzfestival55.com
Paula Joe Cohn Martin Pizzarelli
West
• Fri 8/14: Kevin Mahogany at Belleayre Music Festival.
8:00pm. $25. Lodge Off Route 28, Highmount, NY. Ron Odrich Mickey Roker
800-942-6904, ext. 1344. www.belleayremusic.org.
• Sat 8/15: Kevin Eubanks Band at Belleayre Music
Ed Metz, Jr.
Festival. 8:00pm. $55, $40, $30, $25. Tent Off Thurs. Oct. 8, 2009 - 8 pm Thurs. Dec.10, 2009 - 8 pm
Route 28, Highmount, NY. 800-942-6904, ext. 1344.
www.belleayremusic.org.
• Sun 8/23: BB King with Marcia Ball, John Lee Hooker Hot Jazz Celebrating The
Jr., Christopher Robin Band & Eran Troy Danner at
Ives Concert Park. Starts @ 4:00pm. $85, $44, $35;
$25 lawn. On the Westside Campus of Western CT State
From New Orleans... Swing Masters
Evan Christopher
University, University Blvd., Danbury. 203-438-5795. Terry
Duke Heitger
www.ivesconcertpark.com
Ken
Gibbs Freddie
• Fri 8/28: Lewiston Jazz Festival. Mambo Kings @ 5:30pm.
Pete Malinverni & Jody Sandhaus with Ron Corsaro’s
...To Israel Peplowski Recalls
Lionel
Bryant
Anat Cohen Recalls Recalls
Upstate Express @ 8:15pm. on the main stage. Other
Benny
Hampton Charlie
performers all day in various town venues. Free. Lewiston, Ehud Asherie Goodman Christian
NY. www.lewistonjazz.com
with
• Sat 8/29: Lewiston Jazz Festival. Don Menza Septet @ with
George Masso - Jackie Williams Derek Smith
7:30pm in band shell.Gap Mangione @ 8:00pm on the main
stage. Other performers all day in various town venues. Johnny Varro - Joe Ascione Nicki Parrott • Alvin Atkinson
Free. Lewiston, NY. www.lewistonjazz.com
Subscriptions are only $130 Produced in association with:
Advertise
Community College
$35.00/students $32.50 199 Chambers Street
2 - Sun Arturo O’Farrill 5 Bob James & Earl Klugh Toru Dodo 3
3 - Mon Limbsakimbo; Jim Caruso Tessa Souter Cecil’s Big Band Roger Lent Jam
4 - Tue Ted Nash 4 Larry Carlton Bruce Williams Jam Session Robert Rucker Jam
5 - Wed David Ostwald Band; Trio 3 Larry Carlton Mid-Week Mellow Out Jon Weiss Open Mic
+ Geri Allen
6 - Thu Trio 3 + Geri Allen Larry Carlton Blues Jam Session Dan Furman 3
7 - Fri Birdland Big Band; Trio 3 + Larry Carlton Joris Teepe Big Band Evan Schwamm 4
Geri Allen
8 - Sat Trio 3 + Geri Allen Larry Carlton Steve Myerson Steve Carrington 4
10 - Mon Victoria Shaw; Jim Caruso Ronny Jordan Trio Cecil’s Big Band Roger Lent Jam
11 - Tue Steve Tyrell Bruce Williams Jam Session Robert Rucker Jam
12 - Wed David Ostwald Band; Lenny Steve Tyrell Mid-Week Mellow Out Jon Weiss Open Mic
Andrade
13 - Thu Leny Andrade Steve Tyrell Blues Jam Session Keith Ingham 3
14 - Fri Birdland Big Band Steve Tyrell Cecil Brooks III’s Birthday Bruce Harris 4
Bash
16 - Sun Arturo O’Farrill 5 Gil Scott-Heron Cecil Brooks III’s Birthday Toru Dodo 3
Bash
17 - Mon Nick Adams; Jim Caruso Tim Eriksen Cecil’s Big Band Roger Lent Jam
18 - Tue Bobby Broom 3 Kevin Eubanks Bruce Williams Jam Session Robert Rucker Jam
19 - Wed David Ostwald Band; Richie Kevin Eubanks Mid-Week Mellow Out Jon Weiss Open Mic
Beirach 5
20 - Thu Richie Beirach 5 Kevin Eubanks Blues Jam Session Mamiko Watanabe 3
21 - Fri Birdland Big Band; Richie Kevin Eubanks Eric Frazier Joonsam Lee 5
Beirach 5
24 - Mon Sally Mayes; Jim Caruso Gordon Chambers Roger Lent Jam
26 - Wed David Ostwald Band; Hank Roy Ayers Jon Weiss Open Mic
Jones 3
Izzy-Chris; John D’Amato; J. “Sweet” Sue Terry 4 Cedar Walton 3 Eli Yamin 4 Corniel 5
1 - Sat Valentine-Sunday Saints
5 - Wed Simon Mulligan; James Trivia Game Cedar Walton 4 Rick Germanson 3
Weidman
6 - Thu Enoch Arden; Ben Jesse Green Jazz Jam Cedar Walton 4 Rick Germanson 3
Waltzer 3
Andy Bey Matt Vashlishan 4 Cedar Walton 4 Rick Germanson 3
Saturday, August 1 7 - Fri
w/ BruCe williaMs 25 - Tue Nir Felder Group Music of Antonio Carlos Jobim Jimmy Madison & HMK Trio
& Stan Getz
Wednesdays - August 5, 12 & 19 26 - Wed Martin Urbach 7 Trivia Game Music of Antonio Carlos Jobim Jimmy Madison & HMK Trio
& Stan Getz
MiD-week Mellow out 27 - Thu French Nights Spencer Reed Blues Music of Antonio Carlos Jobim Jimmy Madison & HMK Trio
Jam & Stan Getz
Thursdays - August 6, 13 & 20 Son of Pony Go Trio Music of Antonio Carlos Jobim Jimmy Madison & HMK Trio
28 - Fri
Blues JaM sessioN & Stan Getz
29 - Sat Liar Show Mike Stephans Spatial Music of Antonio Carlos Jobim Jimmy Madison & HMK Trio
Edition & Stan Getz
30 - Sun Liar Show Wayne Smith & Spencer Music of Antonio Carlos Jobim
Reed & Stan Getz
1 - Sat Wallace Roney Band Malaby - Sanchez - Rainey Freddy Cole 4 Fionn O Lochlainn/Brazz
Tree; London Review;
Clinton Curtis
4 - Tue Laurie Krauz & Daryl Kojak Alyson Williams Craig Wedren; Dana Leong
8
5 - Wed Gabriel Espinosa 7 SIM Faculty Sasha Dobson Happy Ending Music; Julian
Velard
7 - Fri Freda Payne Lage Lund 4 Ernestine Anderson 4 + Spencer Day; Sam Bradley;
Houston Person Rob Murat
14 - Fri Eliane Elias Avishai Cohen TRIVENI Steve Kuhn 3 Goldspot; DK Dyson/Don
Byron
22 - Sat Tierney Sutton Loren Stillman 4 Joanne Brackeen 4 + Venn Diagrams & Clay McLeod
Chapman; Burnt Sugar; Lady
Eddie Gomez Rizo
26 - Wed Ted Kooshian 4 Julia Dollison & Kerry Our Hit Parade
Marsh
28 - Fri David Sanchez Band Eric Revis 4 Larry Willis 5 Stephane Wrembel; Henry
Wolfe
29 - Sat David Sanchez Band Eric Revis 4 Larry Willis 5 Jose Pepito Gomez
AUGUST
One 83
Restaurant
1608 First Ave
(Betw. East 83rd-84th St)
212-327-4700
Smoke
2751 Broadway
(at 105th St.)
212-864-6662
www.smokejazz.com
The Stone
Ave. C and Second St.
www.thestonenyc.com
Village Vanguard
178 Seventh Ave. S
(below W 11th St.)
212-255-4037
villagevanguard.net
bargemusic
august jazz calendar: thursdays at 8pm
1 - Sat Jazz Brunch; Orrin Evans Johannes Lauer/Tyshawn Ethan Iverson - Reid Ander- 6 luiz simas trio
Sorey; First Meeting son - Paul Motian Brazilian Jazz Night
2 - Sun Jazz Brunch; Chris Ingrid Laubrock 3 Ethan Iverson - Reid Ander-
Washburne 6 son - Paul Motian
20
howard aldeN guitar
3 - Mon John Farnsworth 5 Laurie Anderson & Colin Greg Osby 6 warreN vache Cornet
Stetson
4 - Tue Richard Lee Wendell Mike LeDonne 4 Kris Davis; Johannes Lauer Greg Osby 6
27 roB schwimmer
Jam Session 4 piano and theremin
6 - Thu Morrie Louden Trio Smoke Big Band Oblique I; Oblique II Greg Osby 6
7 - Fri Janine Alondres Arturo O’Farrill 5 Oblique III; Mushin Greg Osby 6
and Her Trio
8 - Sat Jazz Brunch; Arturo Jesse Elder & Aya Nishina; Greg Osby 6
O’Farrill 5 Jesse Elder 5
11 - Tue Richard Lee Wendell Mike LeDonne 4 Terrence McManus 5; Vijay J.D. Allen 3
Jam Session Iyer & High Priest
13 - Thu Marco Panascia Trio SMOKE Big Band Craig Taborn; Dan Weiss 3 J.D. Allen 3
14 - Fri Janine Alondres Brad Mehldau / Peter Gerry Hemmingway; Wayne J.D. Allen 3
and Her Trio Washington / Joe Farns- Krantz & Mark Guiliana
worth
wanted to write
16 - Sun Jazz Brunch; Chris BassDrumBone; Peripatet- J.D. Allen 3
Washburne 6 ics
Pascal Niggenkemper 3;
Jason Moran 3
Jason Moran 3
performances
& recordings?
Elias Bailey Trio Okkyung Lee 3
23 - Sun
Sparks
Jazz Brunch; Chris
Washburne 6
John Zorn Improv Night Jason Moran 3 Jazz Inside™
24 - Mon
Richard Lee Wendell
John Farnsworth 5
Mike LeDonne 4
Vanguard Jazz Orchestra
Jazz Inside™ NY
Jam Session Bill Frisell
26 - Wed George Colligan Wu-Wei: Chapter One; Wu- Paul Motian - Joe Lovano -
Wei: Chapter Two Bill Frisell
David Silliman Trio Smoke Big Band Wu-Wei: Chapter Three; Paul Motian - Joe Lovano -
Jazz Inside™
27 - Thu
Wu-Wei: Chapter Four Bill Frisell
28 - Fri Janine Alondres Tribute to Charlie Parker Wu-Wei: Chapter Five; Wu- Paul Motian - Joe Lovano -
Online
and Her Trio Wei: Postlude Bill Frisell
29 - Sat Jazz Brunch; Tribute to Thomas Morgan; Kyle Paul Motian - Joe Lovano -
Charlie Parker Quass 4 Bill Frisell
30 - Sun Jazz Brunch; Chris Steve Lehman & Craig Paul Motian - Joe Lovano -
Washburne 6 Taborn Bill Frisell Please respond ONLY via e-mail:
31 - Mon John Farnsworth 5 Vanguard Jazz Orchestra Jazz@JazzInsideMagazine.com
By Patricia Parker
Our country is embroiled in a struggle for the In order to expand the audience/community base,
minds and hearts of its citizens. In a top-down, soci- it would be beneficial to serve a larger role in com-
ety, driven not by human concerns, but increasingly munities outside our immediate circles. Nowadays
dominated corporate interests, who and what creates it often seems as though we need our audience more
culture? than they need us. This is not only a problem; it is a
The role of culture is to reflect as well as inspire. Victoria M. Ingber
It simultaneously creates and is created by the peo-
ple. When culture is dominated by the need to make “In order to expand the Art Blakey would not be an example of a jazz
Musician with the minimal level of success necessary
money, society inevitably suffers. audience/community base, it to be eligible for an Artist Visa. For any foreigner
For many in our society, the word “culture” has interested in working in the US, certain strategies
come to mean consumerism, advertisements, and would be beneficial to serve dictated by the US Immigration Service will result
in an Artist Visa. The requirements for this type of
fashion. Much of the security we traditionally as-
sociate with “American Life” has been eroded by ac-
a larger role in communities visa, also known as the O-1 Visa are as follows:
tions taken out of fear, political manipulation, and a outside our immediate circles. Foreign Musician will need at least 3 of the
following:
suffering economy. Mass media continues to claim a
greater role in creating and defining our world and its
Nowadays it often seems as • CDS and demos;
cultures. As our globe has grown smaller, top-down, though we need our audience • Performances at prestigious venues;
• Letters of recommendation written by experts in
bottom line, commercial thinking has infiltrated
all of the arts. Culture has quietly slipped from the
more than they need us.” the field;
• Performances as lead in groups;
hands of the people. • Published announcements of gigs;
Undeniably, artists play a unique and vital role • Material published about foreign musician in
in the cultivation of culture. As artists, we consider lie. Unfortunately, it is also an accepted myth, a myth magazines, newspapers, internet, etc;
ourselves an integral part of culture, yet we are be- that we can not afford to let stand. • Membership in exclusive music organizations;
• Articles written by the foreign musician-in
coming so marginalized as to barely exist. In fact, our Alone, an artist may not be able to build a better books, magazines, and newspapers, etc;
existence is consistently questioned. (Is jazz dead?) world but what we do can help humanize the one that • Awards, certificates, honors, prizes; and / or
We pinch ourselves to ensure our reality. we live in. If we come together in community, we can • High yearly income.
Even now, we find ourselves subject to the age- weave a strong fabric using art as the thread. First we US Orchestra, Symphony, Music Group,
old tactic of divide and conquer. With a cut in the must imagine then create a culture in which art is a Representative, Agent or Manager will be
cloth of society and a tug on the thread of commu- unifying concept. This is only possible through an ef- needed to:
nication, the fabric of our culture will rip with the fort to reach out and draw in the community around • Sign all forms and petitions;
slightest pressure. Through advertisements and other us. And through a better understanding of the needs • Provide Tax ID Number or Social Security #;
media, we are encouraged to think exclusively in the of our community we can be responsive and less mar- • Provide basic information, such as address,
email, phone numbers, etc. Beside those who
short term. This myopia makes it easy to be marginal- ginalized. To properly address the problems we face
are entering due to their excellence in the music
ized and then “conquered.” Today, we need not fear we must act from a belief that what we do and don’t field, there are musicians entitled to enter the
control by foreign powers as much as we need to be- do is important, and what we do and don’t do does in US to work if they can be considered “culturally
ware the moneyed influences that are unresponsive fact, make a difference. unique”, such as Yoruban jazz musicians from
to our human needs and rights— but are so effec- This is not about building an Arts for Art, Inc. West Africa.
tively distracting us from them. The less we support community. This is Arts for the world in which we Bear in mind that many books and articles on the
the overall “mass media,” the more control we have live, a broad concept for all of artists and our ex- subject are very long and written in crazy legalese.
over our place in culture. tended communities. Immigration law can be understood best by a musician
We live, work and play as members of commu- My definition of Community is based on ex- when tailored to the needs of the musician. When
nities and Community could be the answer to these panded definition of family, and like any family, you done correctly, the results are amazing.
problems. Through building community we can be- don’t always have to like them but, bottom line, you Victoria Ingber is an immigration
gin to regain our power. By building coalitions the can’t live without them. They are your family. attorney specializing in the arts for
importance of art can be realized and our voices
over 25 years. In addition to being
heard. To do this, we need to see ourselves as inte-
gral members of a diversified community. So who is
an expert in the field of the transfer
our community? It is our family, friends, the schools of foreign talent to the US, Mrs.
with whom we are associated, as well as other artists Ingber is a voting member of New
“A lot of people mistake York Artists Equity Association,
of the same and different aesthetics and disciplines.
a short memory for a Inc. and the recipient of the 2003
We can come together around common cause. This
is possible as long as we can see our commonality and clear conscience.” National Leadership Award presented
not fall prey to divisive tactics. by the Presidential Committee for
For the health of our community we must ex- Women in Business. For questions:
pand our reach beyond our fellow artists. We need to —Doug Larson
212-686-3838; vingber@gmail.com.
include people who need and value what artists do.
JI: How did you get your start in the music business? work only that one night, but he kept me, Barney. He JG: Oh man, you couldn’t beat it. You had to pay
gave me a big eighteen dollars a week, so I stayed, and two bucks to come in, and you could stay all night if
JG: You remember Josh White? He was a folk singer then I was talking to Mary Lou and all these people you like, you know? Not like today. You go in a jazz
and he was working at Café Society in the Village and and she was telling me, “If you like this business, you club today, you sit down for one set—then you get
he lived on my block on 50th Street in New York and ought to stick with it.” But I wanted to be a musician, out. But the third thing that happened for me that
I was working in the garment center for a while and you see? I had a C melody saxophone, but the teacher I love is Jazzmobile, for what it stands for, and what
he came by my stoop and he said, “Would you like told me that I needed another profession, so that it does for people who can’t afford to see jazz. They
to make ten dollars?” and I said, “Ten dollars doing didn’t work out. So I stayed with it, because Mary say jazz is dead and I say it’s not. It’s just expensive.
what?” He said, “Well, there’s this guy at Café Society Lou Williams was very good to me. She kept me But to be around people like Basie and Ellington and
that they call a prop boy, you know he moves the props going and said, “Hey, if you like the business, there’re all the greats, I had a chance to work around them
and stuff from the stage,” only it wasn’t a stage, they just
other things you can do.” But I met great people in because of Sarah and they accepted me just like I was
had a dance floor and he said, “Well you have to move there. I met Paul Robeson, Adam Clayton Powell in one of them, man. That’s a great feeling to be sitting
a piano. He’s sick,” and I said, “Yeah, I’ll do that forthere, Hazel Scott came in, Meade Lux Lewis, Albert in the room with Duke Ellington, talking to him like
ten dollars.” So I went down there that night to Café Ammons, they all worked that place, and then Sarah I’m talking to you. It’s beautiful man—beautiful—
Society. “I want you to move this piano for Mary Lou came in. I was there about two years when she came absolutely gorgeous.
Williams,” because she was one of the artists there— in, and then she told me that if she ever made any
Lena Horne was the singer, and Eddie Haywood money, she’d hire me and that started my trend to the JI: Count Basie and Duke Ellington were two iconic
would have the band. So he said to me, “Take it easy big time, as I call it. But I enjoyed that. But I enjoy band leaders, and their sound was so different. I would
with the piano,” and I said, “Well, I got to go there what I do here at Jazzmobile too, at 85 years old. But imagine that they were a lot different on a personal
right in front of these people because they are right upI’ll tell you, in this business I met some great people level as well. Can you comment on that?
on you with these tables.” I figured, I’ll do it my way. I
my man—great jazz musicians—which I think are the
took the tail of the piano and swung it out and caught best. They are the best. JG: Well, to me Basie was just like a kid. He was soft.
the keyboard part to slow it down, you dig? Then I got Well, not soft, but nothing bugged him. And you can
the stool and when Mary Lou Williams came out, I JI: What were some of the highlights for you, over the tell that in the way his music is—the simplicity in it.
put the stool under her and this lady was there writing years, working with so many legendary musicians? You got to pat your foot when you hear Basie. Duke,
for the New Yorker, or something, and she wrote that on the other hand, was a maestro, man. Talking to him
she came to see the show at the Café, but their was this JG: Well, first when I started working for Sarah. But was like talking to a god!
love is Jazzmobile, for what it stands for, and what working with Sarah, I got to go around all these people
because she would be on the same bill with all them—
it does for people who can’t afford to see jazz.” Basie and Ellington and Louis Armstrong. Louis used
to tell some great stories about Bessie Smith when we
were sitting in the room with him, and I felt just like
I was one of them, and they never asked me to leave.
“Today, everything is laid out for the musicians— And then I met Frank Wess, Jimmy Heath, Frank
Foster, Benny Powell, and we rode the buses together.
the reservations in the hotel and everything. I still think I am part of them because Jimmy Heath
always calls me up and says, “You know, you are over
With these people, the old timers—Ben Webster, 80 now— you’re 85, so you’re in the park” - because
he says when you’re 59, you get into the park. But he
and all of them, you know, they played this music says you got to try to get out of it at 110th street and we
have the 80’s club now. When Roy Haynes was with
and they weren’t rewarded right monetarily, us, when I was with Sarah, he was the drummer for
about five years. He’s another one. He’s 80-something
but they didn’t give up.” and I called him I think on his birthday one time, and
I said, “Boy, you’re in the park. Try to come out!” He
says, “I’m coming out babe, I’m coming out.” You got
to get to 110th street.
young black fella there who fascinated her with this the big highlight was when I managed Birdland - the JI: That’s a great metaphor. It shows how much of a
piano. So anyway, that was the beginning. real one. I managed Birdland on 52nd and Broadway
New Yorker you are.
from 1960-1965.
JI: What year was that and how old were you? JG: Yeah, Jimmy Heath comes up with some great
JI: Wow, 1960 to 1965 was one of the greatest five
stuff all the time. But there were some great moments
JG: I’m about seventeen or eighteen—this is in 1941. year blocks in jazz! So many amazing bands were
with Sarah, really great concerts and things.
And then I started putting in nights. I was supposed to playing at that time.
Continued on Page 56
JI: You’re one of the more active independent and fellows who love this music to help to raise it up.
artists who is also successfully powering your artistic And, each time the music raises up even a little bit, it
pursuits, and helping other artists as well, by applying provides potential for us all.
your business acumen and smartly and consistently
engaging in marketing and promotion. JI: That’s true. And the benefits can come back in
direct and indirect ways. Certainly, when decision-
AM: From the beginning, I was learning from Carrie makers at clubs and festivals see that someone is
Smith and Norman Simmons. Papa Jo Jones said: taking the initiative and making their own investment
“Musicians don’t have problems that they can’t solve to promote, they take note. People in business
among themselves.” The world changed. Technology recognize that artists who are actively promoting have
has developed that has opened the door for artists to higher visibility, and as a result more of a following
empower themselves and pick up where the labels and and more or developing recognition – which helps
companies reduced or withdrew financial support the businesses that hire performers also succeed by
for artists to do their craft. The world of independent the people and business the artist might generate. It is
artists has grown as a result. And, who’s independent? a mutually beneficial situation. Plus, business people
Even people who have contracts are independently are more likely to resonate with people who have some
responsible for going and making sure that they business savvy and who are like them, rather than
deliver. I live in two worlds. I’m a Human Resources someone who is approaching them their hand out
professional by day, as Vice President of a publishing asking for something over demonstrating a way they
firm. In that world, they think I don’t know about can help the business as well.
marketing. I come out into the jazz world, and they
all think I know. My repeat customers – the people AM: It would be great if everyone liked us. But not
who keep coming out to hear me and who bring everyone is going to like you. But short of that, we can
take responsibility for ourselves. I take responsibility.
I’m responsible for me – the heart of me, the spiritual
person in me that wants to treat people very, very
nicely and making them feel pretty at the end of the AM: I’m grateful that even in this economy I’m
“It is rewarding to day, if they are involved with the jazz family. There is doing what I have to do to invest and to follow-up
something we can all do during the recession – or at and keep what I believe in – out there, in high profile.
collectively come any time – and it doesn’t cost a dime. That is, we can Kenny Washington produced. We collaborated on
treat each other with greater elegance. the production. He picked some tunes and I picked
together with peers and And, in jazz, artists and audiences don’t want actors some. We developed them from skeletal structure to
and actresses, and for you to be phony and jive on an idea. He’s a very good A&R person. The songs have
fellows who love this stage – unlike in other idioms. What I like most about to mean something to me – otherwise I’m not singing
this idiom is that it has me whittling down to the real it. This was the second time we worked together. We
music to help to raise it me and understanding I can do better all the time. had grown from the first experience – and it was
And, that’s not to minimize who and what I am. I’m great. It was pleasurable in the studio. Kenny can hear
up. And, each time the thankful for many things. Physically, last June 2008, paint dry. Mulgrew Miller is on piano, Bill Easley on
I was 215 pounds. Now, I’m at 137. I never had any clarinet, flute, sax. He’s got a new recording coming out
music raises up even health problems. But, now I know how to eat, and I himself. He’s a great player. And, Peter Washington is
take care of myself. I have a responsibility, And, we on bass. This is the same personnel I had on the first
a little bit, it provides represent something bigger than ourselves. recording. I wrote the title tune, “Behind The Smile,”
a blues, notated by Bertha Hope.
potential for us all.” JI: What kinds of things are you doing ongoing to
continue to develop your skills and artistry? JI: Could you share some of the words of wisdom
you’ve received as you’ve pursued this creative path?
AM: Every Wednesday I get together with Mike Longo.
He’s trying to put more music in me – encouraging me AM: Carrie Smith said that if you’re going to get out
extra people – are people who help me fill clubs. As to practice and do better. He is helping me develop my there, the difference is marketing. She said that if she
a result, I get the opportunities to work. This year I technique and understanding music. Then I go over had had more marketing, she would have been a bigger
was hired by the Newark Museum. It was an honor. to 112th Street and see Jim Carson, a vocal coach – name. She’s got a recording she did with Dionne
Newark is also my hometown. I was looking to do that for quite a few good singers. His work on Across the Warwick and Dee Dee Warwick singing backgrounds
gig for a long time. Sheila Anderson, who is an on-air Universe just went platinum. I also listen a lot more for her. Those are all Newark singers – and they’re
personality at WBGO, hired me. To be able to have and a lot differently – to melodies, chords. I’m trying something else. My Newark, by the way, was not hard
done a good job, get a good write-up – that means to develop more spontaneity and take more risks. times for me. Anyway, I’ve learned that it works to be
the promo stuff is paying off, to help the people who less self-serving and more self-sacrificing.
are hiring you and doing promotion on their end. It JI: Talk about your new recording.
is rewarding to collectively come together with peers
I know you said top five, but can I just throw in a RG: I love to teach. I have not accepted any university JI: Some say that stress and angst make for good
Marcus Miller record? Any one will do. jobs yet primarily because I already have so much art, and others say you need to find serenity to really
going on right now. However, I do workshops, master express yourself. Have you found that your life outside
JI: When you first embarked on the sophisticated classes, and private instruction. Teaching for me is a of music, or your state of mind in general have a direct
journey of becoming an improvising bassist, or a jazz way to give back some of the knowledge that was correlation to your playing? If so, what activities do
bassist, what were some methods that you found passed down to me. It’s challenging because I have to you do outside of music to better prepare you for
extremely useful to achieving your goals? find a way to articulate the way I approach music and playing/practicing success??
the way I think. Teaching is not only about giving. I
RG: I learned to read music when I was five years get a lot out of teaching. I learn and re-explore my BM: I love music but can’t stand the business of music,
old and learned to play by ear when I was six - that’s path to where I am now. My knowledge is challenged, so my family, working on my house, and playing sports
really when I started improvising. I had formal jazz and I think that’s a good thing. and exercising in general, help me forget about all of
and classical theory in high school, but being the free- that. And when I’m stressed out, playing always makes
spirited Aquarius that I am, I have always devoted a me feel better.
lot of time to playing whatever I want - even when Moring Continued from Page 19
I didn’t have a clue about theory. I think that’s true we ever did a gig but I learned a lot. I got into high JI: What is the greatest compliment that you can
improvisation. I also used to play along with records school and they needed a bass player in the jazz band, receive as a musician?
FREE
when it rained. He said they didn’t keep time.
Powerful,
office. I picked it up in Kansas City. I still go out Jazz Lover! features world-class players, appearing
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Department of Music, Western Connecticut State Univ Carl Allen
Danbury, CT 6810 Artistic Director
203-837-8354, gobled@wcsu.ctstateu.edu Laurie A. Carter
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Admissions: (203) 837-9000
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Faculty: Jamie Begian, Andrew Beals, Chris DeAngelis, Chris
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54 Chapin Hall Drive Saxophone Master of Music
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Williamstown, MA 1267
413-597-4049, Joe Temperley Artist Diploma
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Admissions: (413) 597-2211 Steve Turre
Faculty: Freddie Bryant, Jeff Holmes, Andrew Jaffe, Erik Trumpet � Perform, Tour, Participate in Master Classes
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Faculty: Dr. James Raucher, Dr. Jim Laughlin Billy Drummond Auditions in New York, February 26 – March 5, 2010
Kenny Washington
Send Applications and Pre-Screen Recording to:
American Conservatory of Music Bass Juilliard Admissions, 60 Lincoln Center Plaza, New York, NY 10023
Dr. Mary Ellen Newsom Ron Carter
252 Wildwood Road (212) 799-5000
David Grossman
Hammond, IN 46324 Ben Wolfe www.juilliard.edu/jazz
(219) 931-6000, www.americanconservatory.edu
DePaul University
Bob Lark
804 W. Belden Ave
Chicago, IL 60614
(773) 325-4397
rlark@depaul.edu
http://music.depaul.edu
music_adm@depaul.edu
Bachelor Degrees: Jazz Studies, Performance, Composition, Music Education
Graduate Degrees: Jazz Performance, Jazz Composition, Music Education, Performance
Faculty: Timothy Coffman, Mark Colby, Kirk Garrison, Bob Lark, Thomas Matta, Larry Novak,
Bob Palmieri, Ron Perrillo, Bob Rummage, Kelly Sill, Bradley Williams
Duke University
John V. Brown
105 Mary Duke Viddle Music Building
Durham, NC 27208
(919) 660-3385
jbrown@duke.edu
www.duke.edu
Admissions: (919) 660-3300
Faculty: John V. Brown
jbrown@duke.edu
919-660-3385
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919-530-7214 One Washington Square
iwiggins@nccu.edu San Jose, CA 95192-0095
www.nccu.edu/music (408) 924-4673, aaron.lington@sjsu.edu
Admissions: Contact Jocelyn Foy at (919) 530-6218 www.music.sjsu.edu
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Bachelor Degrees: B.M. in Jazz Performance, B.A. in Music Bachelor Degrees: B.A. in Jazz Studies, Studio Arts, and
Education, Music Liberal Arts, Sacred Music, and Music Industry General Studies; B.M. in Music in Composition, Performance,
Faculty: Ira Wiggins, Ed Paolantonio, Thomas Taylor, Robert and Music Education
Trowers, Lenora Helm, Arnold George, Baron Tymas, LeRoy Virginia Groce-Roberts, Joe Hodge, Jeff Lewis, Aaron Lington,
Barley, Brian Horton, Branford Marsalis, Joey Calderazzo John Shifflett, Frank Sumares, Rick Vandivier, Wayne Wallace
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North Central College Shenandoah Conservatory
Jack Mouse 1460 University Drive
30 N. Brainard Street Winchester, VA 22601
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Naperville, IL 60540 http://www.su.edu/conservatory/index.cfm
(630) 637-5984 Bachelor Degrees: B.M. in Jazz Studies, Commercial Music,
jmousedrum@aol.com Music Therapy, Music Education, and Performance; B.S. in
www.noctrl.edu Arts Management
Faculty: C. Brian Kidd
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Admissions: (630) 637-5800
Faculty: Philip A. Ewell, Eugene T. Mouse, Barbara S.
Vanderwall, Ramona M. Wis, Jeordano S. Martinez, Linda Sonoma State University
Ogden Hagen, Lawrence G. Van Oyen Mel Graves
1801 East Cotati Avenue
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Northern Arizona University Rohnert Park, CA 94928
Joel DiBartalo (707) 664-2134
Flagstaff, AZ 86011 mel.graves@sonoma.edu
(928) 523-3496 www.sonoma.edu
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Joel.dibartolo@nau.edu Admissions: Mary Rogers (707) 664-2324
www.cal.nau.edu/music Alan Kleinschmidt: alan.kleinschmidt@sonoma.edu
Faculty: Mel Graves, Bob Afifi Mike Mainieri is available for
Faculty: Joel DiBartalo
master classes/clinics/workshops.
Northern Illinois University Southern Illinois University
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Ron Carter at Carbondale Mike’s career spans 6 decades
School of Music Philip Brown
as a performing artist, composer,
Dekalb, IL 60178 SIU School of Music
Mail Code 4302 arranger, bandleader, producer and
(815) 753-0643
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rcarter@niu.edu Carbondale, IL 62901 President of his own record label,
www.niu.edu/music (618) 453-5812 NYC Records Inc.
Admissions: (815) 753-0446 or admissions@niu.edu rallison@siu.edu
Faculty: Ronald Carter, Robert Chappell, Art Davis, Tom www.siu.edu/~music/ensembles/fac_jazztet.html
As bandleader of Steps Ahead for
Garling, Fareed Haque, Richard Holly, Willie Pickens, Kelly Admissions Contact: Karen Clayton (618) 453-7316;
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Sill, Rodrigo Villanueva Department of Music: (618) 536-8742 30 years, he is still active touring
Faculty: Robert Allison, Philip Brown, Ron Coulter, Richard with the seminal group, which in
Northwestern University Kelley, Timothy Pitchford itself has been a workshop in
School of Music progress. At last count, more
v w x y
711 Elgin Road Southern Illinois University
at Edwardsville
than 40 musicians have performed
Evanston, IL 60208-1200
(847) 491-3141, musiclife@northwestern.edu Brett Stamps with the Steps Ahead. He has held
music.northwestern.edu Department of Music master classes, clinics & lectures
Box 1771 SUIE
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Faculty: Daniel J. Farris, Victor Goines, Paul Wertico worldwide and performed
Edwardsville, IL 62026-3705 in the educational field with
San Diego State University (618) 650-2026
dstamps@siue.edu small ensembles & big bands.
Bill Yeager
School of Music and Dance www.siue.edu/music
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5500 Campanile Drive Faculty: Brett Stamps, Reggie Thomas See Mike’s complete bio
San Diego, CA 921182-7908 and discography at
(619) 594-4680, yeager1@mail.sdsu.edu Stanford Jazz Workshop & Festival
www.jazz.sdsu.edu PO Box 20454 www.mikemainieri.com
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Faculty: Bill Yeager, Rick Helzer, Richard Thompson, Lori Bell, Stanford, CA 94309
Bob Ross, Gilbert Castellanos, Kevin Delgado, John Flood, Mike (650) 856-4155
Holguin, Scott Kyle, Bob Magnusson, John Rekevics, John Wilds info@stanfordjazz.org PRIvAte leSSoNS
Jim Nadel, Director at Mike’s studio are also available for
San Francisco State University www.stanfordjazz.org
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intermediate and advanced students.
School of Music and Dance
Dee Spencer Texas A&M University, Kingsville
1600 Holloway Avenue Dr. Paul Hageman BooKINGS:
San Francisco, CA 94132 Music Department, MSC 174 email: mmvibe@aol.com
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(415) 338-1431 Kingsville, TX 78363 Phone: 212-496-1625
smd@sfsu.edu (361) 593-2806, kfpmhoo@tamuk.edu
“...made the audience realize that one hardly ever gets to hear
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Recently was nominated for best Jazz album
of the year from the Charlotte NC Music awards. “This CD will surely be met with critical acclaim for
“...openness and improvisational its ability to transcend yet incorporate so many
Featuring Dave Liebman & Mark Feldman acumen with shards of daring...
Compositions & Arrangements by a brilliant improviser” genres and styles of jazz and Latin music”
George Hoar (G.T.H. Music) —Jay Collins, Cadence —Cathy Gruenfelder, Jazz Improv Magazine
MUSICIANS
Mark Feldman, Violin “Unsigned Artist This is wonderful work from top to bottom, and
Dave Liebman, Soprano Sax of the Month” I can’t remember a newly released Latin-jazz album
Troy Conn, Guitar —Keyboard, June 2009 I’ve enjoyed this much. It’s energetic but heavily
Brian Sullivan, Drums
Kieran Loftus, Electric Piano romantic and furtively old-fashioned.
Kiera Kundu, Percussion —Marc Meyers, Jazzwax.com
Carl Mendez, Percussion
Joe Nocilla, Drums
Steve Rosslli, Drums
COntaCts
William Ware, Marimba, Vibes Chemboro Records, Inc - 201.218.2794
George Hoar, Acoustic and Electric Bass, chembocorniel@aol.com / chembocorniel@yahoo.com
Piano, Wooden Flute www.myspace.com/chemboro
www.loudwhisper.com facebook/Wilson Corniel
loudwhisper@juno.com
bOOKings / CliniCs
Hector Leguillow/Metro Talent Group New York, Inc
“Highly Creative 1383 Madison Street, suite 2R, Brooklyn N.Y. 11237
composer and CD and mp3s available at
tel: 718.456.2253 / fax: 718.366.8940
performer” iTunes, Amazon and Nimbit
—DownBeat email: mtgnewyork@aol.com
www.electricsongs.com website: www.metrotalentgroupny.com
To Advertise CALL: 215.887.8880 August 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com 73
CD REVIEWS • CD REVIEWS • CD REVIEWS
piano sounds like an old slightly off tune upright. he plays on the opener, “Welcome,” you can feel the an evolving sense of tempo. Lovano and Kuhn play
These two elements along with the quality of the eulogistic spirit in his touch. ‘Welcome’ seems more off each other beautifully and Baron creates weather
melody give it a very frantic feeling which may or may like ‘goodbye.’ In December of 2008, Kuhn and his trio patterns with the drums—alternately thunderous,
not have been intended. with David Finck and Joey Baron teemed up with oceanic or clear and breezy.
“Solace Anon” finds Hoar playing beautifully Joe Lovano at Avatar Studios in NYC to record a “Central Park West” is played as a duo between
on the piano. Again the melody and chords that he CD of ten tunes that Coltrane either wrote or made Lovano and Kuhn. The two play the tune with such
has arranged, along with the bowed bass put it in the legendary and two Kuhn originals. It is nice to have a ease and freedom. Lovano’s playing is completely
field of classical music, but then some Latin percussion Coltrane tribute record where the tenor player is not a reflexive, yet he is always allowing himself to truly be
enters and improvisation begins. Hoar’s improvisations Coltrane disciple. Lovano has definitely incorporated confronted by the call to action that each moment
on this composition are heartfelt and intense. Suddenly, an influence of Coltrane into his sound, but it is only brings, so his reflexes are always extremely active—
the tempo increases, and the melancholy quality turns one of many elements to what is a very distinct sound his virtuosity, spontaneity and personality are an
to hope and excitement. of his own. On this record, you will not find anyone incredible combination.
Track five has a very contemplative and trying to re-create anything. “Like Sonny” is given a Latin tinged treatment
otherworldly vibe and is entitled “Celestial Awake.” The opener, “Welcome,” originally appeared and Kuhn really shines on this one with his hand
This tune gives Hoar a chance to really shred on electric on Coltrane’s record Transition from 1965 and it independence, and the way his hands interact. Finck
bass, even though the tempo is slow. It is no surprise has a strikingly beautiful melody. It is treated like a takes a very tasty solo.
that he dedicated it to Eric Satie and Jaco Pastorius. precious flower, with the utmost delicacy by these The first of the two Kuhn originals is “With
“Gentle Giant” is a very pretty duo played between veteran musicians. Lovano and Kuhn play with a Gratitude,” which he plays solo. Through it, he tells
Hoar and Troy Conn on guitar—Conn gets a very Bill peaceful and serene affection, and Baron and Finck an incredibly rich and profound story of love, loss,
Frisell type of sound on this track. Hoar really gets to simply accentuate the efforts of the soloists, creating life and death. It has the quality of seeming to be
stretch out on this one, taking a more rubato approach textures and making exclamation points, allowing the composed and improvised at the same time.
to tempo. rubato tempo to be controlled by Lovano and Kuhn. “Configuration” is approached with complete
“Scenes from a Marionette” is an epic composition When the tune finished, I felt like I had just finished freedom and abandon, and Baron and Lovano jump
with some exciting twists and turns, through-composed meditating. on the opportunity. After a minute or so, Kuhn joins
from beginning to end. Mark Feldman plays beautifully Things get a little darker with “Song of Praise.” the action with equal intensity. At Lovano’s free-est
on violin. The tune begins with an unsettling introduction from moments, there is almost a primitive flamboyance,
“Farewell” is exactly that—the album closer, and Kuhn before Lovano states the deep minor melody. but there is always a sense of joy in his playing. I will
it ends how it began, with solo bass. For me, the opener Joey Baron reaches a climax of drum effects before only make a comparison because this is a tribute
and closer are the best two tunes on the album—he suddenly dropping into a swing groove as the solo album, but Coltrane’s playing is much darker.
arpeggiates two absolutely beautiful chord progressions section begins. Kuhn’s solo is as rich as can be, full The group approaches “Spiritual” in a free
that will go right through your chest. The closer has of tension and release, and superimposing different context for the first two minutes, before settling into
more of a joyful quality to it, where the opener was dark time signatures over the 4/4 structure. Finck is on a classic Jones/Coltrane/Garrison/Tyner sense of
and haunting. It is dedicated to his father, Arthur Hoar. his every move, seeming to almost think along with swing. Lovano plays a tarogato on this tune, which
him—great ears. When Lovano begins his solo, has a sound somewhere in between a soprano sax and
Kuhn lays out. Lovano then gets back into to melody a clarinet. Kuhn takes a very innovative and varied
as Kuhn creates un-structured textures behind him solo with one incredible idea after another. Baron’s
and Baron builds to a climax. drumming really has that classic Elvin Jones vibe,
“Crescent” also begins with a beautiful with its rolling explosions of rhythm. The album ends
introduction from Kuhn. His touch and harmonic with another incredibly personal solo original from
sensibilities make your eye lids droop in a sort of Kuhn entitled “Trance.”
ecstatic sense of calm. Lovano plays the song with What is most wonderful about this album is
love and care, and the abandon that love requires to that each player fully asserts their own identity, yet in
reverence to John Coltrane. They are not playing like
Steve Kuhn Trio W/ truly be expressed. Baron is playful and adventurous.
The band continues with their gentle and him or imitating the music and interplay of his great
Joe Lovano meditative exploration of Coltrane’s music with bands, but they are playing for him and in tribute to
the ballad “I Want To Talk About You.” It becomes the spirit of the man and his music. You can feel the
MOSTLY COLTRANE—ECM Records 2099 very clear on this tune, perhaps because Lovano isn’t love and gratitude emanating from the speakers
Web: www.ecmrecords.com Welcome; Song of Praise; playing on it, that Kuhn is approaching this project
Crescent; I Want To Talk About You; The Night Has a from a deeper place than trying to give tribute to
Thousand Eyes; Living Space; Central Park West; Like the sound and style of Coltrane. You can feel the
Sonny; With Gratitude; Configuration; Jimmy’s Mode; dedication to the man and his spirit. Kuhn plays with
Spiritual; Trance a gorgeous melodicism and a very open but acute
PERSONNEL: Steve Kuhn, piano; John Lovano, sense of time.
tenor saxophone, tarogato; David Finck, double-bass; Things really brighten up with an up-tempo
Joey Baron, drums version of “The Night Has a Thousand Eyes.” The
band plays it with a very straight forward and up-
By Cathy Gruenfelder lifting sense of harmony, and they swing their tails
off. Toward the end of the tune, Kuhn and Lovano
Jennifer Leitham
“In January, February and March of 1960, I was improvise together and push each other on before
LEFT COAST STORY—Sinistral Records 515 N.
privileged to work with John Coltrane at the Jazz going back into the head.
Oakland Ave Pasadena, CA 91101
Gallery in New York City. I will always cherish those Making a stark contrast to the previous tune
Something’s Coming; One Hand One Heart;
eight weeks. This music reflects my deep respect for is “Living Space,” the title track of Coltrane’s 1965
Somewhere; Blame it on My Youth; Dreamsville;
him,” writes Steve Kuhn. From the very first notes release. It is a searching and free modal piece with
The Studio City Stomp; Cast Your Fate to the Wind;
By Matt Marshall
By Cathy Gruenfelder
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