JINY Nov10 webFINAL PDF

Holiday Jazz Gift
Catalog
&
E s
R es
!
E
F icel
Pr
ed S
u n g n Con t i n u e s ! 2O11
ay Traditio
Jan.
ave P l
s H e
30 -
g e n d n d t h
the Le a
Fe b .
Where
6
The Jazz
is clearly Cruise
“Where t the place
he Legen
ds
and the T have Play
radition C e d
but it is als ontinues”,
o we
for being ll-known
a sh
of some o owcase
f
vocalists the finest
in the wo
rld!
Join us fo
10 th anniv r th
ersary sa e
of The Ja iling
zz Cruise
..
with a gro .
of vocalis u p
ts like this
,
we will be
SINGING
HA
ANNIVE PPY
RSARY
the entire
week lon
g!
JA N
E MO
N HEIT rd a m
JA N I S
SIEGEL
N N E N N A F R E E LO N
/s N o o
DEN
A De
ROS
E
FRED
DY C
i c a ’s m
OLE Produced by:
CLAI
RDEE
J A M IE
TO L L- F R E E U S & C A N A DA Ft. Laude D AV IS
d Amer
8 8 8 . 8 J A Z Z .U S rd a l e • N
a ss a u • S
(888.852.9987) w w w.t h e an Juan •
St . M a a r t
TOLL-FREE INTERNATIONAL jazzcrui en • Half
Hollan
+800.8JAZZ.USA se.com Moon Ca

y
(+800.852.99872)
CONTENTS
Credit: Greg Allen

Jazz Inside™ Magazine
ISSN: 2150-3419 (print) • ISSN 2150-3427 (online)
November 2010 –Volume 2, Number 4
Cover Design by Shelly Rhodes
Cover photo of David Koz by Greg Allen CLUBS, CONCERTS, EVENTS
14 Noteworthy Performances
Publisher: Eric Nemeyer
Editor: Gary Heimbauer 22 Around Town
Advertising Sales & Marketing: Eric Nemeyer, Vic McLean 34 Calendar of Events
Circulation: Robin Friedman, Susan Brodsky
Interns: Michelle Aweeky
42 Announcements — Upcoming Events;
Photo Editor: Joe Patitucci Regular Engagements; Additional Club and
Layout and Design: Karry Thomas
Contributing Artists: Shelly Rhodes
Venue Schedules
Contributing Photographers: Eric Nemeyer, Joe Patitucci, Ken Weiss. 46 Directory of Clubs, Venues, Music and
Contributing Writers: John Alexander, Chuck Anderson, Al Bunshaft; Curtis
Record Stores, Schools & Universities,
Davenport; Bill Donaldson; Shannon Effinger; Dimitry Ekshtut; Robert Gish;
Ira Gitler; Eric Harabadian; Gary Heimbauer; Rick Helzer; Jan Klincewicz;
Cover: David Koz and more
Joe Lang; Ronald Lyles; Matthew Marshall; Nora McCarthy; Dave Miele; Joe Feature begins on page 6
Patitucci; Ken Weiss.
Advertising Sales
COLUMNS
Editorial Policies
212-887-8880 Jazz Inside does not accept unsolicited manuscripts. Persons wishing to 4 Apple Chorus by Ira Gitler
Eric Nemeyer – advertising@jazzinsidemagazine.com submit a manuscript or transcription are asked to request specific permission
from Jazz Inside prior to submission. All materials sent become the property of
Jazz Inside™ Magazine
Eric Nemeyer Corporation
Jazz Inside unless otherwise agreed to in writing. Opinions expressed in Jazz
Inside by contributing writers are their own & do not necessarily express the
INTERVIEWS & SKETCHES
MAIL: P.O. Box 30284, Elkins Park, PA 19027 opinions of Jazz Inside, Eric Nemeyer Corporation or its affiliates. 6 David Koz
OFFICE: 107-A Glenside Ave, Glenside, PA 19038
Telephone: 215-887-8880 Submitting Products for Review
10 Bobby McFerrin
Email: advertising@jazzinsidemagazine.com Companies or individuals seeking reviews of their recordings, music books, 12 Nicholas Payton
Website: www.jazzinsidemagazine.com videos, software and other products are requested to send TWO COPIES 16 Vision Festival XV
of each CD or product to the attention of the Editorial Dept. All materials
SUBSCRIPTION INFORMATION sent become the property of Jazz Inside, and may or may not be reviewed, 24 Paul Bley
Jazz Inside™ (published monthly). To order a subscription, call 215-887-8880 at any time.
or visit Jazz Inside on the Internet at www.jazzinsidemagazine.com. DRUM LOVERS’ CELEBRATION
Subscription rate is $49.95 per year, USA. Please allow up to 8 weeks for Copyright Notice 25 Mike Clarke
processing subscriptions & changes of address. Copyright © 2010 by Eric Nemeyer Corporation. All rights reserved. No part
of this publication may be copied, photocopied or duplicated in any form,
26 Mauricio DeSouza
Advertising in Jazz Inside™ Magazine (print and online) by any means without prior written consent. Copying of this publication 26 Butch Miles
Jazz Inside™ Magazine provides its advertisers with a unique opportunity is in violation of the United States Federal Copyright Law (17 USC 101 et
to reach a highly specialized and committed jazz readership. Please call seq.). Violators may be subject to criminal penalties as well as liability for
27 Willie Jones III
our Advertising Sales Department at 215-887-8880 for media kit, rates substantial monetary damages, including statutory damages up to $50,000 31 Patrick Cornelius
and information. per infringement, costs and attorneys fees.
32 Deeper Perspectives: Gratitude
49 Holiday Jazz Gift Catalog
VENUE SPOTLIGHT
20 SD26 (San Domenico)
LIVE PERFORMANCE REVIEWS

21 Sonny Rollins 80th Birthday Concert
Celebration; Rebecca Kilgore; Jimmy
Scott’s 85th Birthday Celebration
CD REVIEWS
52 13 Hot New CDs
2 November 2010 • Jazz Inside Monthly
™ • www.jazzinsidemagazine.com To Advertise CALL: 215.887.8880
Apple Chorus
Michael Weiss, Pizzarellis, Chucho, Wein
by Ira Gitler
Autumn in New York continued apace into Oc- with father Bucky
tober and although no one I heard played “Indian Pizzarelli’s guitar
Summer,” Michael Weiss’ all-star trio at the Kitano and Aaron Wein-
opened their first set with “Some Other Spring.” It stein’s violin added
was played “up” as it was when Michael first recorded are together on a new Arbors CD, The Pizzarelli
it in October of 1996 for his CD, Power Station. Boys, Desert Island Dreamers, an eclectic journey
With the extraordinary George Mraz on bass and the that raises the bar of the phrase, “easy listening.”
formidable Denis Mackrel at the drums it is a highly Another new CD, released by the Four Quarters
accomplished trio. label (www.fourquartersent.com) is Chucho’s Steps
Weiss comes out of the Bud Powell tradition by the majestic Cuban pianist/band leader Chucho
and it was not surprising that when he arrived in New Valdes and his Afro-Cuban Messengers. I received
York he gravitated to Barry Harris. Through the years the recording but didn’t have a chance to listen to it
he matured in to his own man within this rich genre, before hearing the band at one of the four sets (all
both as a pianist and composer. During the set he sold out) they played in concerts in the Allen Room
played several of his pieces such as “El Camino,” an at Jazz at Lincoln Center on October 22 and 23.
Afro-Latin street negotiated with duende, artistically
Valdes came to the attention of American lis-
with emotion so to speak. There’s no “bee-ess” with
teners when he brought his then group, Irakere, to
Weiss, just prime rib. His assistant chefs (no “sous”
play at Carnegie Hall at the Newport Jazz Festival/
here) were cooking right with him. Mraz does his
New York in 1978. Since that time he has appeared
rhythm with a supple, yet sonorous sound that he em-
many times including with his quartet at the Village
ploys with dexterity in the hornlike lines of his solo
turns. Mackrel, a big man, can play with power or qui- Vanguard but he hadn’t played here for seven years.
George Wein
etly, depending on the situation and being an arranger One of the numbers on the CD was played in the
he understands the nuances of accompaniment. set I heard at the Allen Room, “Zawinul’s Mambo,”
Madison Avenue in early October and proceeded to written for the late keyboardist and composer Joe
“Lullaby of the Leaves” proceeded at an in-
wow the packed room nightly with a combination Zawinul. With tenor saxophone and trumpet, bass,
sinuating bounce. Mraz was the first soloist and you
of excellence and showmanship in a perfectly paced drums and two percussionists it was rousing and
could have set up some light housekeeping within his
program. At several points in the set, guitarist/vo- multi-faceted. It began at a feverish pace with the
orotund notes. Weiss varied his attack from swaying,
calist/raconteur Pizzarelli and chanteuse Molaskey horns punching out a riff that was a reduced version
single-note choruses to dense but melodic chordal
counter pointed their voices through the lyrics of of “The Theme,” Kenny Dorham’s line that most
chemistry. They followed this with another of Mi-
songs of similar titles that were opposites in content. famously Miles Davis’ theme in his quintet of that
chael’s originals “La Ventana,” an airy samba before
One example pitted the “I Want To Be Bad” of De- emerged in the mid-’50s. Then Chucho, a master
creating a magic mood on “Skylark.” The title of
sylva, Brown and Henderson’s against Cole Porter’s
Weiss’ “Badlands,” a minor-key, medium-up swinger, capable of playing masterfully in many styles, took
“It’s Bad For Me.” This led to the Gershwin’s “Lady
suggested a “western.” Although it didn’t make me over with refined two-handed runs before getting
think of the corral, it was more than OK. Be Good” and Richard Rodgers’ “Something Good.”
deep into the blues, then throwing in a segment of
After a gorgeous treatment of Thad Jones’ “Qui- Whether they are intermingling or going back and
Brubeck’s “Blue Rondo a la Turk” theme.
etude” the trio was en point in a personal interpretation forth John and Jessica are a great double-play combi-
The next number found the bassist shifting from
of Fats Waller’s “Jitterbug Waltz.” It was the end of a nation, playing off one another with elan.
electric to acoustic and the horns exiting. I believe it
set that didn’t merely hold one’s attention but made In addition to his vibrant guitar work Pizzarelli
was called “Caridad Amaro.” Here was Chucho the
you anticipate the next number at the same time you displayed some hard-swinging scat. On the subject of
romantic, gently nostalgic, using the high end of the
were totally engrossed in the selection being played. It swinging there was the cohesive trio of pianist Larry
keyboard and then a rippling, shining sea, up and
was literally one of the best sets I’ve heard all year. Fuller, brother Martin Pizzarelli, bass, and Tony
down, of pristine beauty. At the time I was looking
The very compatible husband and wife team Tedesco, drums. Fuller has a fine touch and subtle
attack. “Lady Be Good” cruised with a Basie groove out through the expanse of the windows of the Allen
of John Pizzarelli and Jessica Molaskey took over Room viewing the traffic on 59th Street, white lights
the stage of Cafe Carlyle in the Hotel Carlyle on and there was more Count later when J&J did Jon
Hendricks’ lyric to “Jumpin’ at the Woodside.” approaching, red lights receding. It wasn’t Mondri-
There was also Ellingtonia via a “Don’t Get an’s Broadway Boogie Woogie but Chucho’s Midtown
Around Much Anymore” that started off in minor Danzon.
before it was eased into major; “Satin Doll” with an Two days after Chucho I found myself on the
insinuating vocal by John; “Things Ain’t What They same 5th floor of JALC as the Allen Room but at Diz-
“In times of change learners zy’s Club with a different pianist/leader. It was George
Used to Be”; and a jammin’ “C-Jam Blues” with John
inherit the earth; while the learned find Wein, in celebration of his 85th birthday (October
welding his guitar and voice as one.
themselves beautifully equipped to deal La Molaskey’s solo excursions ranged from 3rd) and leading yet another edition of the Newport
with a world that no longer exists.” Bobby Troup’s “Nice Girls Don’t Stay For Breakfast” All Stars – and a very impressive one: Lew Tabackin,
to Tom Waits’ “Drunk On the Moon.” Coming from tenor sax and flute; Randy Brecker, trumpet; Anat
the world of the Broadway musical she has main- Cohen, clarinet; Bucky Pizzarelli, guitar; Rufus Reid,
tained a certain timbre and delivery but is swinging bass; and Lewis Nash, drums. The repertoire was defi-
effectively when it is called for. nitely in minor: “What Is This Thing Called Love”;
—Eric Hoffer The good news is that they will be at the Cafe “A Day in the Life of a Fool”; Bechet’s “Petite Fleur”
Carlyle through November 6th; and the same cast, Continued on Page 31
4 November 2010 • Jazz Inside™ Monthly • www.jazzinsidemagazine.com To Advertise CALL: 215.887.8880
“The Sound”
as requested by you.
You asked for the playability and

sound of the early Otto Links.
We listened.
With structural changes both
inside and out, “the sound”
of yesteryear has been
recaptured.
Otto Link Vintage

for tenor sax.
www.jjbabbitt.com Mouthpieces for clarinets and saxophones

Feature
David Koz
By Vic McLean
JI: This is your first record for Concord, right?
DK: It’s the first record for Concord, and it’s been
wonderful. Marcus Miller has been a good friend of
mine for a long, long time, and we’ve talked about
recording for years – about finally doing a project to-
gether, and here it is ... the new energy, the new blood
and the encouragement that I’m feeling, at every
echelon – at both Concord, and also Universal – the
distributor. It’s like the shot in the arm that I needed.
The album’s called Hello Tomorrow. It really repre-
sents, in so many ways, a new page turn in my life.
After twenty years at Capital – many of those years
very good – it was just the right timing to get some
new blood, and it’s reenergized me in many ways. Af-
ter twenty years, I feel like a brand new artist.
JI: That’s great man! You know it takes a lot of cour-

age to make changes, especially as your career evolves.
A lot of people stay where they’re safe – but in doing
that, you don’t grow. I’m a fan of a lot of folks you’ve
got on this record – Marcus Miller and Brian Culbert-
son. Just a solid list of really, really solid musicians. So,
you’ve been talking about it for years, and you decided
on this group of musicians to help make this record.
DK: Well, yeah. I think the key element here was

Marcus Miller. Marcus’s resume speaks for itself.
I’ve been a fan of his for a long time, and I’ve known
him for a long time, though we operate in very dif-
ferent circles. But secretly, I’m such a freak for what
Credit: Greg Allen

he’s been able to accomplish in his life; just the un-
believable things that he’s done, and the records he’s
made. So, in the back of my mind, I thought, “Wow,
wouldn’t it be wonderful to work with him one day.”
John Burke, who is the other co-producer of this re-
cord, said, “Well.. what about me and Marcus doing DK: The first single is doing great! It’s right up there JI: They are... you’re right.
it together.” They’d just finished doing George Ben- in the top five, or maybe number three, I think.
son. I loved what they did with that record. So we all DK: They’re asking what they’re doing, and how
met, and thought, yeah! Let’s do this! For me, it was JI: You want to succeed by creating a greater fan base their life is playing out. That’s one of the things that
a totally new and a new approach in doing an album all the time. To be able to sell your product you have to I’ve really learned on this project – the power of mu-
– an ironically new way of recording. I grew up in a deliver the product and be able to play as many shows sic. The power that music has to stir the soul – giv-
time when albums were made using drum machines as you can. Playing for people is the bottom line. ing people the opportunity to deal with things that
and bass patches and you built it up from the ground words can’t quite deal with in the same way.
– most of it electronic. Occasionally you put some DK: That’s the thing – it just doesn’t go out of style.
live musicians on top of it. This was completely going This business is changing, it’s morphing and that’s one JI: You were going back. You kind of retro’d ... push-
back in time to create a forward sound. That’s all due of the other concepts that this record is embracing – ing the reset-button on your career. Everything goes in
to Marcus Miller being able to provide that bottom this change. I think a lot of people are waking up in a cycle. I think when you’re talking about overcoming
end, that foundation that only he can provide. It al- 2010 – looking at their lives and saying, “My life looks the difficulties that all people have – the one thing that
lowed me to create more elaborate structures on top, a lot different from how I thought it would look”. That all people use, is their music. The music that they like,
and have the freedom to know that no matter how far happened to me. I didn’t even know it at the time, but the music that makes them feel good – or made them
I got to the edge of the cliff, that foundation was not I used this project – writing songs and recording them feel good – in the cases of re-doing songs, or groups,
gonna move. It provided me with some new sounds, as a way of dealing with that. I embraced the change like the Eagles or the Commodores – coming back to
the freedom to try a bunch of new things, and go and came out on the other side a lot stronger. Going do re-unions. And people are going to go crazy about
completely out of my comfort zone. Hopefully, the the re-unions – because it represents a more stable
into the next phase, it’s almost like pushing a reset but-
music reflects that freedom and that sense of aban- time than folks are dealing with now. What do you
ton, a recalibration button on your life. But I think a
don, while trying to find some new things. consider the real highlights from the record?
lot of people are feeling this right now.
JI: Well, it’s an outstanding record. Tell me, where DK: Oh, well one of them is what I like to call the
www.davekoz.com
did they start on the radio? Which track? tree trunk of this album – and all the other songs
are kind of branches from that tree trunk. That is DK: Well, it was really a fight with my parents, who the drums ain’t gonna happen.” A few years later I
“Start All Over Again.” It’s a song that my friend tried to make me take piano lessons by the age of six. picked up the saxophone, and went “Okay. This
Dana Glover wrote many years ago. It just came up I really wanted to rebel against them so I decided to works, this is it!” I have a great respect for drummers.
randomly on my iTunes on a flight to Japan. I heard not take piano – stupid move, by the way. I moved to I’ve had the privilege of working with some of the
this song and it just kinda hit something. I thought, the drums and I remember my father coming to pick best. On this record – “Hello Tomorrow” – I have
“That’s the album.” So I called Dana and said I
me up at the drum lesson one time. Within my ear- two guys who I would say are two of the best drum-
wanted to record it and asked if anyone had recorded
shot, the drum teacher pulled my dad away and told mers in the world – Omar Hakim and John Robin-
it – she said no. The other one that really stands out
him, “You might want to think about sports because Continued on Page 8
for me is the one cover [song] on this album – “This
Guy’s In Love With You”. This was definitely out of
my comfort zone – singing on a record as opposed to
playing on it. But my producers said, “You don’t have
to be a great singer. You don’t have to be Pavarotti
to pull this off. “ So, I said, “Okay! Let me try this.
Maybe I can do this.” And, I did. And I sent it to
Herb Alpert. Herb has been a shining light for me for
years – a mentor. Truthfully, I’ve loved his music all
along. But it’s more his sense of artistry and sense of
community and philanthropy that I’ve really looked
up to all these years. I called him to see if I had his
blessing and he immediately said that I did. To hear
those notes coming out of his trumpet – those iconic
tones – on a new version of the song that he made
famous ... it was like “Hello Tomorrow” times ten. It
was just so powerful.
JI: Yep. You can hear it.
DK: Marcus Miller came up with the arrangements.

That was his brilliance. He’s able to do that kind of
thing, where it’s very retrosounding. He can do that
without making it saccharine. His taste is right on
the money.
Bb TRUMPETS • C TRUMPETS • Bb/A PICCOLO TRUMPETS
JI: My favorite song on the album is “The Getaway”.
That song is the jam, I love it! I’ve been playing it all FLUGELHORNS • POCKET TRUMPETS
since I got the record – probably once an hour. I’m
Seeing & Playing is Believing!

telling you – if you take that song to Urban AC, for
you, that’ll be the bomb.
DK: Okay..! I’ll suggest that!
JI: Who are some of the people who you have en-
joyed playing with? And who have you not played
with, that you’d like to?
DK: That’s a great question. I’ve had the chance over

the past 20 years to play with some pretty unbeliev-
able people. Stevie Wonder comes to mind and also
my dear friend, Patty Austin, who’s one of the most
musical people I’ve ever met. I’ve played with some SAXOPHONES AS EXTRAORDINARY
amazing jazz musicians. On this record, I’ve had the AS OUR FULL LINE OF ALTOS/
TENORS/SOPRANOS AND
chance to make some music with Boney James, which BARITONES....CAN BE YOURS...BUT
was really cool. I’ve been a fan of his for a long, long ONLY IF YOU ARE READY TO BE
time. It was the first time we ever played together. ASTONISHED, IMPRESSED AND
Also Lee Ritenour – I’ve been a huge fan of his for PREPARED TO EXPERIENCE A
forever! I’d like to make music with Sting some time TRULY THRILLING PERFORMANCE.
in the future. Elton John is one of my favorites. These
guys just keep creating new boundaries for their mu-
sicality, and for their audiences’ acceptance.
THE PHAETON TRUMPET COMPANY THE SAX DAKOTA COMPANY
JI: I read somewhere that before you even picked up www.pjlamusic.com/phaeton.htm www.pjlamusic.com/saxdakota.htm
a sax, you were actually trying to learn how to play 22159N PePPer road, Po BoX 550, BarrINGToN, IL, 60011 USa
Toll Free: 1-877-541-4017 • Ph: 1-847-382-3210 • Fax: 1-847-382-4626 • e mail: pjlabiz2@aol.com
the drums!
To Advertise CALL: 215.887.8880 November 2010 • Jazz Inside™ Monthly • www.jazzinsidemagazine.com 7
Continued from Page 7
son – J.R. He’s played on so many incredible records
“The more ’American Idol’ oriented – for the lack of a
for so many years. I’m very honored to have him hold better word – that our music business becomes, the more
down the fort on this one!
ostracized instrumental music, and jazz music will get.
JI: Talk a little bit about your career in radio. So, instead of being in many ways self hating –
DK: A long time ago someone approached me to host why shouldn’t we all be united and work to advance
a radio show. I was like “Why would you be coming
to me. I’m not a broadcaster.” He said, “That’s what
the cause of jazz – America’s artform?”
we’re looking for. Someone who’s not a broadcaster –
who can provide an artist’s perspective.” So we tried JI: The word is out! JI: If everyone’s doing something, and you do some-
it. We did a little demo. That demo got me a contract thing else, eventually, they’re gonna come to you, and
with a radio company. The show didn’t even have it’s DK: The word gets spread! you’re going to be ahead.
current name, but was called “The Personal Notes”.
The show is still on the air and it can be heard in prob- JI: Yeah, it’s great. I mean, every year I hear about it. DK: Right. I agree. I agree. I want to see more people
ably seventy markets across the U.S. I do five days a Where are you leaving from this year? From the west in the jazz world. You’re right about the fact that
week, it’s turned on in about 25 radio stations here in coast or over here in Florida? segregating Smooth Jazz and [Straight Ahead] Jazz
the U.S. Afternoon drive – it’s a lot easier than wak- is more of a critic’s thing. They kinda blew the whole
ing up at 4AM in the morning. DK: We’re going to Alaska. We’re leaving the last thing up a little more than it is in actuality. But, guys
week of August 2011 from Seattle and going through like Wynton Marsalis... I couldn’t be more of a Wyn-
JI: I hear ya.. I don’t know how those radio guys are the Inside Passage. I’m proud to say that we’re a few ton Marsalis fan. I wish he would be open-minded
doing it. Well, what other activities or what I would places away from being completely sold out. enough to go to one of my shows.
consider non-traditional activities, have you partici-
JI: I wanted to get your perspective on the division JK: Hmmmm!
pated in? (Emeril Live show?).
between Smooth Jazz and [Straight Ahead] Jazz.
DK: We did one season of Emeril where I was his DK: I would like to discuss, with him what hap-
DK: I don’t understand it. I’m probably not the right pened in that moment ... what made it possible for
band leader and sidekick. You know music and cook-
person to ask about it. his people to come and see my show. Is it really that
ing are very similar. You get a lot of improvisation, a
lot of creativity comes into it. And, Emeril ... well ... much different? Musically, yes. But in the commu-
JI: If some people happen to like smooth jazz, that’s nication of music to an audience [and their response
he is a musician, so he really appreciates music in a
their choice. Everyone’s entitled to like what they or how it affects them] for art’s sake – is there really
way that most people who are chefs might not!
want. My view is that if something can be done to that different? I would say not that much different.
bring more people into the music, then what’s wrong In the purest form of communication, an artist is do-
JI: Anyone who does something like that is an artist.
with that? ing something on stage in front of an audience – and
Whether it’s painting, music or cooking, artists typi-
cally can appreciate each other. What other things DK: Well, first of all, thank you for saying those the audience is there to receive that.
are you involved with? things! I couldn’t agree more. To me, it’s all about
JI: That’s awesome, dude.
authenticity – to be doing what’s really you. I’m just
DK: My pet charity is The Starlight Children’s being me! I’m just playing the music that’s inside
Foundation. We have developed a wine called, “KOZ my heart – and it’s just coming out. I can’t be any- DK: I hope it will happen one day. Hah!
Wine”. It’s sold online and at Whole Food stores and thing else. I can’t do it! And it does seem there is an
all proceeds go to the foundation. The guy behind audience for it! And, it helps them. They’re getting JI: Is there any thing that we have’nt covered, that
the wine is really creative. Wine makers, like chefs inspiration from it. You know? I’ve had it triggered you would like to voice your opinion about?
are very creative – they’re like improvisers. The same for twenty years. I don’t think it happens by accident.
core thing that makes someone come up with wine- There’s some authentic, pure nugget that is inside my DK: Regarding Concord [label], I know that I’m at
that exact formula- is beautiful – it is art! A chef is music, that connects with people. And for me, it’s re- the right place at the time. Two weeks ago, they sent
art on a plate. A musician is art on a disc – art for ally all I need to keep going on. But one thing I don’t me an invitation to do three shows at the conven-
your ears! understand ... jazz is such a musical ghetto. The more tion for AARP. This is an organization that has 50
“American Idol” oriented – for the lack of a better million members [who are over 50 years old]. They
JI: Now about another thing... why are your jazz word – that our music business becomes, the more os- said we want to be the exclusive music provider for
cruises so successful? tracized instrumental music, and jazz music will get. AARP. I didn’t know what to expect. They put the
So, instead of being in many ways self hating – why Concord music-stage inside the hall at the conven-
DK: I think the word’s just gotten out, and not just shouldn’t we all be united and work to advance the tion. I did my show twice there. I have not seen this
about my cruise. People who have been on these cause of jazz – America’s artform. In this day and age kind of engagement among people in the music in a
things, whether it’s the “Capital Jazz Cruise”, “The where so much is put out into the world, in the form really long time – and they were over 50 years old.
Smooth Jazz Cruise” or the “The Jazz Cruise”, will of entertainment – in the form of music, for example This audience is totally, totally being ignored. All
go and tell their friends! It really is unlike any other ... Its like small little nibbles. It’s like tapas. You get they need is someone to speak to them directly – and
experience I’ve ever seen. My way of referring to it, “musical tapas”. You get a little bite here, you chew it boom, you’ve got 50 million at your disposal!
for some one who has never been on it, is it’s like be- up. Then it’s on to the next bite. I think the more that
ing on a floating backstage for seven days. You’re just happens, the more people will start craving a real, full JI: And you’re right. They’re not downloading.
in the music. I mean, it’s all around you, all the time. meal. And I think music that really matters – music They’re buying CDs and even vinyl.
You’re with your favorite artists and with the people that has a real meaning and artistic depth, will be-
who love the music like you do. So, if you’re a fan this come more and more important to people. And they DK: Haha, that’s right!
is something that you will want to do. might not even know that it’s happening. Continued on Page 28

visitors center: OpEN M-F 10 AM - 4 pM
104 E. 126th Street, #2C, New York, NY 10035
(Take the 2/3/4/5/6 train)
www.jmi h .o r g
THE NATIoNAL JAzz MuSEuM IN HARLEM pRESENTS
Harlem Speaks
A SpECIAL SERIES HoNoRING HARLEM HERoES
11/4: Eric Person 11/11: Dave Valentin

photo courtesy of Richard Conde.
Alto Saxophonist Flautist

Time: 6:30 --- 8:30 pm Price: Free LocaTion: The NJMH Visitors Center, 104 E. 126th Street, #2C
Nov. 5: Billy Bang Quartet
Nov. 19: Meg Okura / Pan Asian
$18 advance $20 at door Chamber Jazz Ensemble
tickets: www.rmanyc.org/harleminthehimalayas
STANforD
Jazz at Hostos
T
EVEN
IAL Nov. 11 | 12:00 pm-1:30 pm
SPEC Loren Schoenberg in coversation with 11/3 | 5-8:30pm: FREE
trumpeter jack walrath Willie Rodriguez & Friends
-frEE EVENT- 450 Grand Concourse at 149th Street
Cantor Arts Center 718-518-6728 | trolley@bronxarts.org
Nov. 13 | 8:00 pm
Christian mcBride & inside Straight
$38.00–42.00 (Adult) | $10.00 (Stanford Student)
Jazz at The Players
$34.20–37.80 (Other Student) | $19.00–21.00 (Youth Under 18)
Dinkelspiel Auditorium Nov. 10: Ron Blake - Saxophonist
Stanford universtity 7:00pm | $20 | The Players, 16 Gramercy Park S.
300 Pasteur Drive, Stanford, ca 94305 reservations@theplayersnyc.org | 212-475-6116
12 Pm –
saturday panels
11/20: Savory Saturday:
4 Pm
frEE
An extended listening session plus live music, all based around new discoveries
Jazz for Curious Listeners unheard for 70 years.
NJMH Visitors Center, 104 E. 126th St. #2C
Free classes celebrating Harlem and its legacy
Tuesdays 7:00 - 8:30 p.m.
The NJMH Visitors Center, 104 E. 126th Street, #2C
Jazz for Curious Readers
Attend any individual class. 11/8: ThE jAZZ rEViEw
Some of the best writing about the music was done by this short-lived
but vital publication
The Savory Collection, Part 2: 7:00 - 8:30 pm | FREE
NJMH Visitors Center, 104 E. 126th St. #2C
11/2: Benny Goodman: The Small Groups
11/9: FILM NIGHT -note different location: Jazz Is: NOW! WITH
Jonathan Batiste
Maysles Cinema - 343 Lenox Avenue between 127th & 128th November 3 & 10:
11/16: Count Basie: The 1930's Join the young piano legend-in-the-making for eve-
11/23: The Singers: Billie Holiday, Ella Fitzgerald, and others nings of 2010 jazz!
11/30: Extreme Rarities: Don’t miss this one 7:00pm | NJMH Visitors Center, 104 E 126th St., #2C
the
Doctorow family
f o u n D at i o n
Funded in part by Council Member Inez E. Dickens, 9th C.D., Speaker Christine Quinn and the New York City Council
Interview
Bobby McFerrin
By Nora McCarthy
“The people will delight in the joy of him

who delights in their joy.”
–Mencius (c. 371-289 B.C) Confucian philosopher
Jazz at Lincoln Center brings 10-time Bobby McFerrin could be nominated for the Nobel
GRAMMY®-winner and vocal virtuoso Bobby Peace Prize for his work bringing people together in
Courtesy Jazz At Lincoln Center

McFerrin to Rose Theater for the first time on No- harmony through music which transcends language,
vember 12 & 13, 2010, at 8pm with music from the religious, racial, political, national and social barriers.
critically-acclaimed 2010 album VOCAbuLarieS. Bobby McFerrin is living proof that excellence as
This massive and complex project has been described an artist can coexist with excellence as a human being.
as “groundbreaking” and “a new kind of choral mu- In the same way that he performs solo, singing all the
sic” and has played to sold out houses and standing parts, filling in all the rhythmic spaces, he balances his
ovations in Munich, Prague, Vienna, San Francisco, entire life in harmony with self and the world around
and London, and at festivals including Schleswig- him, incorporating and using everything available to
Holstein, Ravinia, Oregon Bach and Montreal Jazz. him in the moment as creative fodder and giving back enamored with his challenging the audience [by]
VOCAbuLarieS took over 7 years to make and beauty, joy and happiness as his gift to the Creator and just simply walking on stage, sitting at the piano and
after having listened to it countless times, the auditory world. He has done more for the art of singing and just playing it and playing anything that came into
magnificence of each composition and its technologi- the voice as an instrument than any other singer in his mind. So I thought, wow, that’s kind of interest-
cal wonder continues to open up as freshly as the first jazz and contemporary musical history. By expanding ing. It took me about a year to convince myself that
time I heard it, which makes it a living body of work. the possibilities of the voice and exposing its limitless it was possible, that I could actually do it. And then
I am thrilled that it is being presented at Rose Theater potential he has gained respect for singers everywhere I worked on it, the technique, for about six years be-
for there is nothing quite like it anywhere and to have and led them like a guru to finding their individual fore my first solo concert.
the opportunity to hear the music in this capacity will voices and the spirit within. Like an alchemist, he has
be an unforgettable experience. The performance will crossed over many genres of music and transformed all NM: So, you started by experimenting with the free-
contain elements from Mr. McFerrin’s trademark solo into a mystical experience. dom.
work as well as audience interaction. Talking with Bobby McFerrin was like talking
So who is the man behind the music and the to an old friend: warm, gracious, kind, and without
motivating force of this stellar production? And what BM: Yes, right. I would take songs…my first solo
pretense or ego--the truth here being that what you song was a piece by Joan Armatrading called “Op-
is the underlying energy that propels Bobby McFer-
hear on his records and see in his performances is who portunity” and I knew what the task was--that I had
rin’s unique and otherworldly talents that allows him
he is and that is why he is so great. Yes, I think anyone to somehow make the audience hear the music, hear
to tap into the hearts of people at every performance
who hears him and witnesses his performances would the harmony, hear the rhythm, hear everything. So I
around the globe? It is pure joy. Having had the honor
agree that he possesses amazing skills as a singer, mu- had to figure out how to do that. It’s like the power
of interviewing this outstanding artist, it was appar-
sician, improviser, conductor, composer, arranger and of suggestion. You give them enough information
ent from the onset of the interview that Bobby Mc-
innovator–that is undeniable--but what makes him and then trust the audience to fill in the blanks. So I
Ferrin comes from a place of absolute self realization,
truly great are his values, his character and how he lives
peace, truth and happiness. In a world and profession worked on that for quite a while and I knew I had fig-
his life and his art. The following interview reveals the
that requires constant vigilance, dedication, commit- ured it out when a really well-respected drummer by
ment and values to stay above the fray, it appears that spirit, generosity, humility and humanity of this ex-
the name of Allen Dawson, who was on the faculty of
he has mastered those qualities and is tuned into the ceptional artist as he candidly shares his thoughts on
Berklee College of Music--I was working with John
highest art of all: life itself. It comes through every- his upcoming performance at Rose Theater, his recent
Hendricks at the time and he was in the band-- and
thing he does and it is transforming, hence his abil- CD VOCAbuLarieS, the creative process, the art of
[Allen Dawson] was just this unbelievable drummer;
ity to lead 65,000 people in spontaneously composed improvisation, music education and gratitude.
some of the things he was doing were awe inspiring,
harmony at the Ruhr Festival of Song in Essen, DE. gave me a ride one night after the gig back to the hotel
And that is just one amazing performance out of a JI: Bobby, your upcoming show at Rose Theater in
Frederick P. Rose Hall at Jazz at Lincoln Center will and he said, “I hear everything: I hear the music, I
lifetime of such incredible performances. hear the melody, I hear all the harmonies and things
In the liner notes of his Circlesongs CD [1997] consist of 3 elements, your trademark solo perfor-
mance, songs from your recent VOCAbuLarieS CD like that; I hear what you’re doing.” So, hearing that
he says, “I’ve always felt that singing a song without
and your audience interactive Circlesongs. You have from him, out of his mouth, made me believe I was
words makes one song a thousand songs because the
the ability to instantly capture your audience’s atten- on the right road--on the right track.
people who hear it can bring their own stories to it.” It
is this singer’s belief that we could have peace on earth tion with your solo performances and transform the
if we took the words away and communicated from atmosphere to where it becomes your own personal NM: It gave you the confidence to know you could
heart to heart through music the way he does with his intimate space. You make it look so easy. What ini- do that.
spontaneously composed “Circlesongs”, and I think tially inspired you to work in solo and what would
you suggest to the singers out there who are inter- BM: Exactly.
Hear Bobby perform at Jazz At Lincoln Center, ested in developing this aspect of their art?
NM: I think what it is with a lot of singers is that
November 12–13
BM: Keith Jarrett is primarily responsible for me they have fear. They are afraid that they are going to
www.bobbymcferrin.com doing solo concerts because I, as a pianist, was really Continued on Page 28

DAVE KOZ
CJA-31753-02
With Hello Tomorrow, Dave Koz has created a record

that speaks to the challenges of these times and boldly
asserts that the future will unfold in all the right ways if we’re
willing to press the reset button. He does so with the help
of Herb Alpert, Jonathan Butler, Brian Culbertson, Sheila E.,
Dana Glover, Boney James, Jeff Lorber, Marcus Miller, Keb’
Mo’, Ray Parker, Jr., Lee Ritenour, Christian Scott & more.
DAVE KOZ ON TOUR:

11/26 Sunrise Theatre – Fort Piece, FL
11/27 Cobb Energy Performing Arts Centre – Atlanta, GA
11/28 Van Wezel Performing Arts Hall – Sarasota, FL
11/29 Au-Rene Theater – Ft. Lauderdale, FL
11/30 Philharmonic Center for the Arts – Naples, FL
12/1 Ruth Eckerd Hall – Clearwater, FL
12/3 Playhouse Square - Palace Theatre – Cleveland, OH
12/4 Chicago Theatre – Chicago, IL
12/5 Palace Theatre – Columbus, OH
12/6 Strathmore Music Center – North Bethesda, MD
12/7 Ferguson Center for the Arts – Newport News, VA
12/9 Plaza Theatre Performing Arts Center – El Paso, TX
12/10 Balboa Theatre – San Diego, CA
12/11 Nob Hill Masonic Center – San Francisco, CA
12/12 McCallum Theatre for the Performing Arts – Palm Desert, CA
12/14 Wells Fargo Center for the Arts – Santa Rosa, CA
12/15 Radisson Hotel – Sacramento, CA
12/16 Mesa Arts Center - Ikeda Theater – Mesa, AZ
12/17 Cerritos Center for the Performing Arts – Cerritos, CA
12/18 Cerritos Center for the Performing Arts – Cerritos, CA
12/19 Nokia Theatre LA Live – Los Angeles, CA
12/20 Gallo Center for the Arts – Modesto, CA
Interview
Nicholas Payton
By Eric Nemeyer
“The challenge is to try to stimulate people’s

minds to locate their inner creative spirit and to
figure it out for themselves. Maybe you can
give them the tools to tap into that.”
JI: Who will be in the band with which you will be JI: What was the process in moving from concept to
performing with Allen Toussaint at the Lehman sound on your new recording?
Center in November?
Credit: Michael Wilson

NP: Well when I did my last record, Into the Blue, I
NP: Let’s see ... Russell Batiste, on drums and Wal- had just bought a home studio set up. It was the first
ter “Wolfman” Washington on guitar. I think I’m time I went into the studio having supplied musi-
playing with them part of the evening, and I guess cians with instrumental demos of the material. I
some of those musicians will also be joining Allen found it to be quite cool because as opposed to sheets
Toussaint, and I’m playing with him as well. We have of music, they came into the session with a sound and whom you’ve played, who may have shared with you
some rehearsals slated for early November. a vibe. So a lot of stuff didn’t have to be talked about. some advice or words of wisdom?
When you’re dealing with a feel, a lot can be lost in
JI: Since you haven’t played with these musicians, translation with words. So the feel of the project
what kind of challenges do you anticipate? NP: Years ago I was hanging out with Elvin Jones
was already imbued in the demos. After that project when I was in this band. It was my first extensive tour
one of the cats in the band was like, “Well man you through Europe. On the planes they would give you a
NP: Well, hopefully you develop or have the adapt- don’t need us, you know? You could make a record
ability to work in many different situations. Some are yourself.” And it’s something I had done on a couple meal and these miniature bottles of wine. I thought it
easier then others, you know? But I guess you don’t re- was kind of hip, so I started collecting them. I didn’t
tracks on previous records.
ally know until you’re there and you start to play the drink at the time so I would put them in my trumpet
music and either that thing will be there and it can be case. Elvin noticed that I was collecting these wines.
JI: Talk about playing with a big band versus a small
developed or worse case scenario it might not be there. So, one morning, at like 6:00 AM, at the airport or
group.
But as a professional musician you are trying to make something, he asked, “Hey, you got those wines?” I
the most out of it and try to make some good music. said “Yeah!” He said “Come follow me to the bath-
NP: Well, it depends if I am playing in a section or
room.” So he asked me for the wine. I’m thinking
JI: What’s your schedule like? functioning more as a soloist. If I’m a soloist, things
“OK.” He cracks one open and he said, “Aren’t you go-
don’t really change too much for me, because the
ing to drink some?” I said, “No, I don’t really drink.”
NP: I’ve been doing some things with my own group, band serves as a pad underneath my ideas. If I’m a And he kind of stared at me, like just kind of scowled.
a couple of European joints, did Asia, did some stuff section player, there are all kinds of things to con- He was like, “Hmm. Somethin’ ain’t right about
in New York. Last weekend I did a festival in Kan- sider, in terms of blending with the other trumpet
somebody who don’t do nothing wrong.” That put a
sas City. So I’ve been pretty active with my band players in the section, and as a section, blending with
lot on my mind – just thinking about living in a soci-
and doing some other things as well … some teach- the ensemble. You don’t necessarily get as many so-
ety, particularly in a genre of music whose boundaries
ing things. I did a residency at Thelonious Monk In- los in a big band unless you’re featured all the time.
have become so stiff in terms of the people and the ex-
stitute … did some things over the summer as well, When I have my own band it’s pretty much the same,
like a Stanford jazz workshop, and some other stuff. except that I have more to worry about, because I’m pectations of what one is supposed to do. Maybe even
Earlier this year I completed a record, a vocal record functioning somewhat as a conductor and arranging the larger question is, what is the right behavior versus
– my first vocal album with some special guests. It’s the material and having to be cognizant of keeping wrong and all these different things. What I took from
the first project on which I’ve actually played all the everything in line as apposed to just reading charts. it was that someone who is always catering to some
instruments throughout the recording – piano, bass, idea of righteousness, and not ever stepping out on a
drums, drum machine, various keyboards. JI: Could you talk about some of the mentors with limb, to take a chance and to be daring, or maybe to
fail, or maybe to do something that is wrong out in the
Nicholas Payton will be appearing November 14, 2010 as part of New Orleans Nights at field – then you’re not really living. That’s something I
The Lehman Center. Payton was born into a musical family and mentored by two Crescent City jazz learned from the experience of working with him, and
seeing how he lived life, and being true to who you are
masters, Clyde Kerr Jr. and Ellis Marsalis. Since emerging on the New York scene in the early ‘90s and
as an artist. The older I get, the more and more I see
making his recording debut as a leader with 1994’s From This Moment, the trumpeter has been lauded as that that is a rare thing. You know, there are very few
a significant voice in jazz and one of the new-generation guardians of the hard bop flame. people who are willing to follow through with what
Payton put his own spin on Louis Armstrong-associated music on his sophomore CD, 1995’s Gumbo they really believe if it seems [to others] like it’s not the
Nouveau. Over the next several years, he worked with such jazz legends as Doc Cheatham (on their right thing to do, if it seems completely wrong.
Grammy® Award-winning 1997 duo), Hank Jones, Elvin Jones, and Ray Brown. In 2003 he went beyond
the straight-ahead, shocking the jazz world with his adventurous CD Sonic Trance, combining hip-hop, JI: Well, e.e. cummings said: “To be nobody but
yourself in a world which is doing its best, night and
electronic, and effects-driven trumpeting. The 37-year-old arrived at a new plateau of jazz
day, to make you everybody else means to fight the
maturity with Into the Blue, his ninth album and his first for Nonesuch. Continued on Page 29

PERFORMANCE Spotlight • PERFORMANCE SpotlighT
COME VISIT
Louis Armstrong
National Historic Landmark
Guided House Tours

Tues–Fri, 10–4; Sat–Sun, Noon–4
Closed Mondays
34-56 107th Street, Corona • Queens, NY 11368

718-478-8274 • www.louisarmstronghouse.org
fall 2010 performances LAHM_JI_SU09 3.indd 1 6/11/09 1:33:16 PM
“Montague has a voice that is immediately appealing, and is

adaptable to the variety of tunes that she has chosen for the album.
Her sound is smooth with a soulful edge.
She never gets tied up with vocal Get the LATEST CD!
excesses, emphatic when she needs Behind the Smile
to be, and tender at the appropriate Allegro Records / In The Groove
Available at J&R MUSIC,
moments.” —Joe Lang, Jersey Jazz Allegromediagroup,
Barnes&Noble, Electric Fetus
AETNA THEATER ST ALBANS

CONGREGATIONAL CHURCH
THURS. NOV 4TH
5:00 pm–8:00 pm (one show only) Sounds SAT. DEC 4TH
Good on Paper – A Musical Revue 6:00 pm – 7:30 pm Antoinette Montague
FREE with admission to Phoenix Art After Hours Quintet Very special Jazz and Blues Vespers.
www.wadsworthatheneum.org 172-17 Linden Boulevard, St. Albans, NY
www.japanalia.com www.stalbanscc.org
For Bookings: Call 203-820-8819 or email: annie@antoinettemontague.com
www.antoinettemontague.com
Noteworthy Performances
Pamela Luss www.PamelaLuss.com AfroCubism www.newaudiences.com
Metropolitan Room: 11/4, 11/6, 11/11 Town Hall: 11/9
Vocalist Pamela Luss will be teaming with saophonist AfroCubism – “The original idea for the Buena Vista Social
Club” is World Circuit’s dream project. This is a stellar
Houston Person again for several sets of classic standards,
collaboration of musicians from Mali and Cuba. Thirteen
swinging jazz, and wonderful tunes from some of the
years ago, a tale of lost passports meant that the Africans
unexplored corners of the Great American Songbook. Her never arrived and so instead, a rather fine but different record
fourth album, Sweet and Saxy, features Person as well. Joe was made. Now the original plan has finally been realized
Lang, of Jersey Jazz, agrees. “Luss moves easily from style with an incredible group of musicians. This extraordinary
to style, with Person consistently finding just the right notes band came together to record an album recently and in the
while supporting Luss, and shining on his solo interludes.” process have created a wonderful new sound.
David Amram – www.JazzForumArts.net John McLaughlin www. newaudiences.com

The First 80 Years Town Hall: 11/13
Symphony Space: 11/11
Amram, “one of the most versatile and skilled musicians From Al DiMeola, Pat Metheny and Mike Stern to John
America has ever produced” (Washington Post) is the Scofield, Bill Connors and Scott Henderson, John
feature 80th Birthday Celebration concert. He is a prolific McLaughlin has been a strong influence on top jazz/fusion
composer of orchestral and chamber music works; scores guitarists of the last thirty years. McLaughlin’s classic
for Broadway theater and film and is a pioneer player of Mahavishnu Orchestra recordings of the 1970s are regarded
Credit: Ken Weiss

jazz French horn, and virtuoso on piano and many other
instruments. Amram has collaborated with Dizzy Gillespie, as essentials in the fusion discography. McLaughlin and
Thelonious Monk, Odetta, Charles Mingus, Lionel Hampton, the 4th Dimension includes Gary Husband, keys; Mark
Tito Puente and others. Mondesir, drums; Etienne M’Bappe, bass.
Credit: Lee Crum

Mauricio Zottarelli www.BlueNote.net New Orleans Nights – www.PamelaLuss.com
Blue Note: 11/13 (Late night groove series – 12:30 AM) Allen Toussaint, Nichlas Payton
Lehman Center: 11/14
Drummer/Composer Mauricio Zottarelli has been on the
forefront of the Jazz, Latin and Brazilian music scenes for New Orleans Nights combines the talents of legendary
quite some time. Hailing from Brazil, Mauricio moved to the
songwriter and bandleader Allen Toussaint, trumpeter/
USA in 1999 to study at Berklee College of Music. He has
composer Nicholas Payton, and a B-3 organ trio led by Joe
recorded on more than 50 albums. Mauricio joined Japanese
pianist Hiromi’s Sonicbloom and has been traveling the Krown. Toussaint shaped the music of New Orleans, writing
Credit: Daniel Corso
world in support of her CD. He has performed with Eliane such timeless hits as “Working in the Coal Mine,” “I Like It
Elias, Esperanza Spalding, Cláudio Roditi and among many Like That” and others. Payton is a composer, bandleader
others. His new CD is entitled 7 Lives, including several of and trumpet wizard whose recordings have consistently
his own compositions. charted in the Billboard Top 20 Jazz albums.
Danilo Perez www.JazzStandard.com Charlie Haden-Paul Bley www.BlueNote.net

Jazz Standard: 11/18-11/20 Blue Note: 11/18-11/21
Pérez was born in Panama into a musical family. Upon Well known for his work with Ornette Coleman in the 1950s,
moving to the USA, he studied at Berklee College of Music, Haden moved to Los Angeles in 1957, and began playing
and his visibility increased as he played with Jon Hendricks, professionally, including stints with Hampton Hawes and Art
Terence Blanchard, Claudio Roditi and Paquito D’Rivera, Pepper. With Coleman, he recorded The Shape of Jazz to
Gillespie and his United Nations Orchestra (1989-1992), Come. Haden was also a member of Keith Jarrett’s trio and
Jack DeJohnette, Charlie Haden, Michael Brecker, Joe “American quartet” from 1967 to 1976; lead the Liberation
Credit: Eric Nemeyer
Credit: Ken Weiss
Lovano, Wynton Marsalis and others. Perez has released Music Orchestra in the 1970s, known for exploring the
a number of albums as a leader, and currently records for realms of free jazz and political music. Haden’s Quartet
Mack Avenue. He performs with Wayne Shorter’s Quartet, West, created in 1987 featured Ernie Watts, Alan Broadbent
and is the head of the World Music Program at Berklee. and Larance Marable.
Credit: Ken Weiss
Ken Peplowski-Bucky Pizzarelli www.JALC.org Billy Hart 4 www.IridiumJazzClub.org

Dizzy’s Club: 11/23-11/28 Iridium: 11/26-11/28
Noted for his mastery of both the clarinet and the saxophone,
Peplowski has recorded numerous albums, including some Hart began his career in his hometown of Washington DC
20 as a leader for the Concord label. His clarinet playing playing with Shirley Horn and Buck Hill. He toured with Jimmy
offers a tip of the hat to influential stylists Benny Goodman. Smith, Wes Montgomery, Eddie Harris, Pharoah Sanders,
After his career start touring with the Tommy Dorsey joined Herbie Hancock’s Sextet in 1970, McCoy Tyner in
Orchestra, he moved to New York City, and was soon playing
Credit: Eric Nemeyer
1973, then Stan Getz, Charles Lloyd, and many others. He

everything from Dixieland to avant-garde jazz.. Peoplowski
will be appearing with Bucky Pizzarelli whose guitar style is on about 500 hundred records as a sideman, including his
have graced numerous jazz performances and recordings, own on A&M Horizon, Strata East, Gramavision. He teaches
TV and studio productions for decades. at New School, NYU and other schools.

PERFORMANCE Spotlight • PERFORMANCE SpotlighT
Pamela Luss with
Houston Person
at The Metropolitan Room
“Ms. Luss and Mr. Person could

probably perform the phone book
and receive my cheerful attention.”
‑ Dan Singer, In Tune Magazine
Pamela and Houston will be not be

“performing the phone book” but
will be swinging an exciting new
selection of songs as well as a few
classic favorites all about love,
backed by an all‑star band below.
November 4th, 6th, & 11th

at 7:00 pm at The Metropolitan Room
(doors open 6:30 pm)
34 West 22nd Street, NYC
(Between 5th & 6th Avenue)
Cover Charge: $20, 2 drink minimum
www.metropolitanroom.com
**Reservations Required**
212.206.0440
Pamela Luss (vocals)

Houston Person (tenor saxophone)
Jon Weber (piano)
Jon Burr (bass)
Alvin Atkinson, Jr. (drums)
www.pamelaluss.com
Christopher Loudon of Jazz Times

described Pamela and Houston as
“An exalted partnership, meshing
like the jeweled movement
of a Patek Philippe.”
Vision Festival 2010
Sabir Mateen, Raymond A. King
Muhal Richard Abrams
Michael White, Perry Robinson
David Ware Fay Victor
Gunter Baby Sommer
Billy Bang

Vision Festival XV
Abrons Arts Center and other venues – June 20 – 30, 2010
Review and photos by Ken Weiss
“From a label’s perspective, it’s a new thing to get

ripped off, from the musician’s perspective, it’s
“the bulk of the festival’s participants were
old hat.” – Joe Morris aligned with New York’s downtown music scene and
New York remains home to the biggest jazz though many of the same performers appear every year,
scene in the world and for the 15th year in a row, the
Vision Festival has served as the city’s premier pur-
things are kept fresh with novel groupings, reformations
veyor of creative arts, bundling jazz avant-garde along of dormant bands and special projects.”
with innovative poetry, dance, art, photography, cos-
tume design and film. This year’s edition stretched Abrams, who had a long history with Anderson, ded- plained that his inspiration for the set was, “Beauti-
over 11-days at seven venues, with the bulk of the icated his solo to the fallen musical great, beginning ful life at this time.”
more than 55 musical hits held at the Lower East by gently compressing single keys and allowing the
Side’s 330-seat Abrons Arts Center. Each evening notes to disintegrate. He continued to make steady Day 6– Friday, June 25
averaged 4 performances on the main stage and other use of the sustain pedal throughout the non-stop A dinnertime panel discussion called Free
shows running simultaneously in the steamy Under- 50-minute-plus set, balancing a keen sense of investi- Music & the Recording Industry in the Internet
ground Theater. For those listeners not satiated by gation with on-the-fly compositional logic. Since the Age brought industry insiders together for a brain-
over 4-hours of music, there was a nightly midnight performance opened and closed delicately, bridging storming session. Guitarist, bassist and founder of
conduction program at the nearby Clemente Soto a lengthy and demanding middle section, was he im- Riti Records, Joe Morris, was well positioned to give
Velez led by a changing cast of musicians including provising Anderson’s life backwards? “No,” he said. informed advice. “We all need to stop talking about
Kidd Jordan, Hamid Drake, Jason Kao Hwang, Roy “I don’t know how to do ideas like that, it’s dedicated what’s not working and start working on what is
Campbell and Tony Malaby. to Fred but the music does its own thing. I go into the working and what comes next. The only thing that’s
As always, the bulk of the festival’s participants
world of sound and just try to relax.” The 79-year-old important is how do I register my work with AS-
were aligned with New York’s downtown music scene pianist was named an NEA Jazz Master and Down- CAP.” When the topic of illegal digital downloads
and though many of the same performers appear ev- beat Hall of Fame recipient this year but remains ex- arose, he added, “From a label’s perspective, it’s a new
ery year, things are kept fresh with novel groupings,tremely modest, taking little credit for his masterful thing to get ripped off, from the musician’s perspec-
reformations of dormant bands and special projects. performance. “They rushed in and grabbed me and tive, it’s old hat. We have to keep thinking it’s going
Another of the Vision’s greatest strengths has been now they’re gone.” Who rushed in? “The ones who to get harder and harder until we figure something
its commitment to looking to the past as well as the rush in when you open yourself up to sound.” He also else out.”
future. This year’s planned special performances paidspread praise wide, almost to the point of apologizing This evening’s performances were heavy on vo-
tribute to the late bassist Sirone. Life’s harsh reality
for the recent rush of media attention trumpeting his calists. The Fay Victor Ensemble slyly crafted 5-years
struck three times during the festival, saxophonist career. “I couldn’t possibly do all that kind of stuff of experience together, blurring lines between song
Fred Anderson, trombonist Benny Powell and per- by myself…Every time they tell me I’m important, forms, free improv and popular music. Victor, whose
cussionist Montego Joe died before the Vision’s mu- I think about all the people I think are important.” singing style touches on Jeanne Lee and Betty Carter,
sic did. Abrams returned later in the night with fellow Chi- performed all original works that centered on the
I attended five days of the festival and each cagoan musicians, tenor saxophonist Ari Brown and words and an elastic mix of formed and free music.
night took the listener on a unique journey. The bassist Harrison Bankhead. The mature trio played Her breathy, non-vocal whispers commenced the
performances often delved into a muscular musical- a perfect cat-and-mouse chase highlighted by a rain- set, declaiming that exciting things lay ahead. Her
ity but there were many intimate moments, all of bow of tinkling piano notes, rumbling bass and firm ensemble of guitarist Anders Nilsson, bassist Ken
which led to a natural openness of spirit, making thetenor statements which broke into a fairytale waltz Filiano and drummer Michael T. A. Thompson ap-
Vision Festival the bonding, communal affair that episode that lightened the mood. peared to be having great fun.
it becomes each year. Much of the glory belongs to Sandwiched between the two Abrams’ perfor- Multi-instrumentalist Sabir Mateen is a heavy-
festival producer/dancer Patricia Nicholson Parker, mances came 15-minutes of silence for Fred Ander- weight competitor, in more ways than one, on the
whose tireless work each year with the help of her son, in place of his scheduled duo with drummer downtown music scene. He plays so many instru-
staff, leads to an incredible experience for so many Chad Taylor. Patricia Nicholson Parker announced, ments even he’s lost count. He stuck to alto and
artists and fans. “His body joined his spirit which was already in tenor sax, clarinets, flute and piccolo this night with
heaven. It’s so important to honor the angels that his powerhouse ensemble of Raymond A. King on
Day 5– Thursday, June 24 walk amongst us.” Joseph Jarman’s Lifetime Trio fol- piano, Jason Kao Hwang on viola and violin, Daniel
Each year the festival acknowledges one mu- lowed. Jarman named Abrams and Anderson as his Levin on cello, Jane Wang on bass and cello and per-
sician who has led a life of inspiration and high- two great mentors since 1958 and shouted, “Muhal cussionists Warren Smith and Michael Wimberly.
reaching creativity. This year’s guiding light was is the boss,” and “He showed the way to free music, Mateen, a survivor of the hard “jazz life,” remains
pianist/composer and AACM founder Muhal Rich- free joy, free happiness of the sound!” Jarman used unflinchingly dedicated to his lofty artistic goals. He
ard Abrams. Abrams began “his night” with a solo, alto sax, flute, vocals and small instruments to lead prepared three compositions for the Vision Fest -one
however the joyful evening was tempered by the an- guitarist John Ehlis and drummer Rob Garcia and of which was in three parts with the first part hon-
nouncement that longtime festival favorite, 81-year- welcomed surprise guest, tenor saxophonist John oring the late drummer Rashied Ali and the second
old saxophonist Fred Anderson, had died that morn- Tchicai, for a couple songs. Lifetime’s music was re- part, which featured bass and cello upfront with the
ing in Chicago as a result of a recent heart attack. sourcefully striking and raw edged and Jarman ex- leader’s chanting, was for bassist Sirone. Mateen said
the music was eighty-five percent improvised. “That’s the Lorenzo Sanguedolce Quartet and Go-Zee-Lah. Mark Helias followed with Open Loose, his
what I love the most. That’s what I like to see out The evening block contained five performances that longstanding trio with Tony Malaby on tenor and
of people, them being themselves. The music is go- were distinctly different but very successful. Reg- soprano sax and stone-faced drummer Tom Rainey.
ing to go where it goes, I write the compositions and gie Nicholson’s Percussion Concept plunged Salim The hardened veterans easily consumed the knotty
we rehearse them because I don’t just want to play Washington and his tenor sax, oboe and flute into a and varied Helias compositions, jumping off the page
tunes. Anybody can play tunes, I’m trying to make percussion convention with Nicholson on drums and frequently but never with abandon. They’ve made ab-
music.” The ensemble’s tsunami of gratifying sounds percussion, Warren Smith on marimba and percus- sorbing music and recordings for years and are one of
was a testament to his stated objective. Special mension and Don Eaton on djembe, conga and percus- the best trios at dealing with freedom and discipline.
tion needs to be made of Philadelphia-based pianist sion. Textures rained down, gently more often than This set was a constant delight with no down time.
King. Not only was his playing exceptional, includ- not, as layers of sound built upon each other. Nich- The final set this night was a very special proj-
ing rich elements of master pianist Dave Burrell, but olson did get to hammer out some drum nasties late ect called Charles Gayle: Bass choir tribute to Sirone.
his unique hand cut cardboard images of noted musi- set and a highpoint came when oboe and 4-mallet Dreamed up by Patricia Nicholson Parker, who called
cians were installed as the backdrop for the stage. marimba combined with drums and congas for a free saxophone great (and occasional bassist) Gayle, who
As Mateen’s ensemble finished up, John Blum, loping journey with an exotic edge. has worked with bass choirs in the past, to see if he
a spine-chiller of a pianist, known for his out-of-the- A frail Borah Bergman appeared on stage next. would do this nod to the late bassist Sirone. Gayle
moment, vigorous sound liberations, did battle with Weakened by a recent hospital stay brought on by recruited bassists Larry Roland, Ken Filiano, Jane
combustible drummer Jackson Krall. Noted multi-in- the weirdest of circumstances and battling an ac- Wang and Francois Grillot along with drummer Mi-
strumentalist/instrument maker, Cooper-Moore, sat tive cold that had his nose running as much as his chael T. A. Thompson. Gayle, who wore his typical
listening a few feet from Blum and had this impres- spidery fingers, the 78-year-old, iron-willed and thin black suite with scattered patches, brought his
sion of his performance - “What he does is beyond greatly under recognized pianist revealed his tender tenor which he used frequently - usually as a tool to
phenomenal, it is unique on the scene today. He makes side. His first solo piece was done utilizing just his implore the other four bass players to maximal ef-
music and sometimes I cringe at what I hear and see left hand as a tribute to the first musician he saw live fort. Most of his time was spent on bass, pizzicato
in front of me. I cringe not because I hear him doing as a child - a one-armed piano player. As always, his and arco, in tandem and freeform with the others.
anything wrong, the response stems from knowing playing was challenging, logical and revealed chunks Gayle had an entertaining call-and-response segment
how difficult the role John takes upon himself as he of beauty and buried treasures. Bergman, known with the willing Filiano. The leader plucked single
struggles to meet the challenge of Self… During this for his crossed-wrists attack to the keyboard, a tech- notes to which Filiano, whose fiendishly grinning
performance, he was high energy, focused, technically nique that allows for expanded harmonic possibili- face at the time was priceless, responded with glee.
proficient, and expressed a depth of emotion over the ties due to hand positioning, rarely used that skill The performance brought plenty of expressive string
entire performance that I don’t hear often enough. this night. His compositions were well paced but his dialogue and warm solos. The sound of five double
John Blum inspired me, he is ‘One of the Cats’.” between-song banter, which did allow for a peek into basses firing at once was something to behold and the
The evening’s final two bands were headed by
his thought process, ran too long at times, breaking group hit their peak late set when the basses churned
noted wordsmiths Jayne Cortez and Amiri Baraka
up the natural flow of the performance. As Bergman out a gospel inspired section and Gayle hit some rag-
and offered sharp contrasts. Cortez’ Firespitters in-
sat backstage post-set, catching his strength after the ing tenor sax altissimo. As the music stopped, Parker
cluded her son Denardo Coleman on drums, Bern
touching recital, he spoke to other musicians, “You took over the mic, tearfully stating, “They talk about
Nix on guitar, Al MacDowell on bass and Alex Hard-
know, I can play standards when I want to.” the giants walking the earth, well, they are here and
ing on baritone sax. The poetess performed poignant
Ned Rothenberg’s Sync represented one of those we’re here.”
and witty, topical works covering leaked ocean oil
curveballs the Vision Festival is known for throwing
(“They want oil, they don’t want the environment.
each year. Consisting of the leader on clarinet, alto Day 8- Sunday, June 27
They don’t want the ocean, they want oil, oil, oil. They
sax and shakuhachi, Jerome Harris on acoustic bass The afternoon offered performances by three
want oil, they want profit, nobody knows a thing.”),
guitars, Albert Ayler and Haiti (“When I say Haiti, guitar and Samir Chatterjee on tabla, the seemingly New York innovative college bands from York Col-
they say hated”). Whereas Cortez positioned herself unlikely trio have been an item for years and have lege, the New School and Brooklyn College. Prior to
as a poet for the people, taking our anger and concerns found a way to merge Asian and Western sounds the evening block of five groups, Cooper-Moore sat
and focusing it, Amiri Baraka used his anger against in a fluid and pleasing way. Rothenberg and Harris three blocks up the street behind his homemade hor-
the listener. He frequently read out of a book he held, remain stage-stealing talents but this trio took focus izontal hoe-handled harp, busking in the hot sun. He
rarely looking up to engage the audience, and spewed around Chatterjee’s world-class tabla work. Rothen- said, “I go out on the street, if people give me money,
scathing remarks. Although his words were thought berg took a number of inspired solos on his various I’m playing the right thing, if they don’t, I’m not and
provoking, by the time he finished defining all the instruments but never pushed it over the top and I go home.”
“heathens” of the world, he had pretty much fingered Harris’ rarely heard acoustic bass guitar brought out The night’s first performance by the North/
everyone sitting in the audience below him. Baraka odd rhythmic contours with kindred spirit Chat- South Clarinet Ensemble offered the oddest pairing
traded pieces with vocalist Dwight West, whose terjee. Rothenberg said he loves working with tablas, of the festival, on paper at least. It matched tradition-
Johnny Hartman-esque renderings were a strange “It has a really distinct way of dealing with rhythms, alist/New Orleans music expert Dr. Michael White
mix indeed with the leader’s bitterly angry words. His it’s both tactile and transparent. It gives you active with avant-garde trail blazer Perry Robinson on clar-
band featured Rene Mclean on reeds, Alan Palmer rhythm without the density of drums.” Harris was inets joined by Charles Eubanks on piano, Ed Shuller
on piano, Calvin Jones on bass and Rudy Walker also a big Chatterjee fan. “Tablas have a very devel- on bass and Bob Meyer on drums. The intrigue was
on drums. Amina Baraka was scheduled to join her oped language, it’s ancient,” he said. “It’s nice to have how White would hold up matched against a bearcat
husband in performing poetry but missed the show a chance to play with someone for who that’s his na- like Robinson. Quite well, it turned out. White,
as her talents were needed for babysitting. Evidently, tive genre. Samir is very open to new things. We took who lost “everything” during the Katrina disaster in
there was no one else available in the state of New many liberties tonight because this is the Vision Fes- New Orleans, including an original Sidney Bechet
York who could watch the grandchildren. tival.” At set’s end, bassist Mark Helias, who watched mouthpiece, was a revelation. His improviser chops
from the side of the stage, came up to fellow string were keen and his compositions fostered a multitude
Day 7– Saturday, June 26 player Harris and half-jokingly told him, “So this cat of moods. Commencing with “The Call,” as a duo
An afternoon matinee showcased three bands (Chatterjee) makes you play fast, I’m glad I don’t play clarinet team, the two played with high enthusiasm
filled with upcoming talent and veterans – R & E, with that guy!” and great mutual respect. Knowing of White’s recent
life-altering loss and the obstacles the two clarinetists element in the leader’s work and that element really sense that always seems to make their pairing spec-
had to overcome to make their performance work, it gives the listener something firm to grab on to. Parker tacular. Let’s hope this quartet will remain active.
was a humbling and greatly gratifying experience to and Smith were magnificent in holding their turf, Gunter “Baby” Sommer very rarely gets to the
witness this inspirational concert. White’s “Death adding their own colors and direction to the fiery per- States from Germany so his duo with the wonderful
and Rebirth” dealt with New Orleans and its re- formance. Before the set ended, Ware unleashed his California-based trumpeter Wadada Leo Smith was
sponse to the devastation and included a taste of that most demonstrative solo which included a hair-rais- a festival booking highlight. During the ‘70s and
locale’s famed funeral march music. At the end of ing, circular-breathing segment as good as anything ‘80s, the two were in a trio with the late bassist Peter
their triumphant set, Robinson announced to White he’s done in the past. Backstage, Ware caught up with Kowald called Touch The Earth so their current duo
that he could move to New York and make twenty- old friends Matthew Shipp and Hamid Drake who is called Touch The Earth II. Sommer, a daredevilish
five dollars a night playing clarinet, a sad summation told him in unison, “You still have it!” percussionist, plays with great passion, ingenuity and
of the city’s current jazz pay scale. The last group was the Peace Out Trio with wit, although without the over-the-top comedy of
The Breuklen Tek Orkestra brought on a seis- William Parker on bass, Hamid Drake on drums Han Bennink. He has a full arsenal at hand, includ-
mic shift in mood and a hearty spectator bull rush and pianist Dave Burrell as the leader. Burrell named ing whisker broom heads, whistles, metal bowls and a
to the exit doors. Led by accomplished drummer the set Inner Earth, explaining after the concert that harmonica. At sound check, he knowingly predicted
Guillermo E. Brown on vocals, the ten-piece band he grew up in Hawaii and volcanic eruptions hold a short lifespan for the mic attached to his tom and
was over loud and over energetic for an audience con- great significance to the natives there. Burrell has the setup crew promptly took it away. Their perfor-
fined to movie theater style seating. As a singer and been greatly troubled by the recent off-sea oil drillingmance was as good as hoped for, brimming with in-
dancer, Brown makes a great drummer. Sorry, this disaster and its effect on nature and thus every indi- tricacy and raw emotion. Smith played the magician’s
was a Prince performance gone bad. vidual. “We messed up outer space and we are now role well, blowing free-flowing lines into interesting
The remaining performances of the night were messing up inner space. We don’t want to be the dead harmonic areas and pungent dissonances. The two
all extremely creative and enriching events, includ- planet,” he said. The trio made an authoritative envi- shared a playfulness that served them well. After the
ing the solo hits in the Underground Theater by alto ronmental statement through their playing. The set first tune, Sommer announced that it was hot on
saxophonist Patrick Brennan and later guitarist Dom began and ended with a percussive tunneling effect, stage and picked up a white towel as if he was going to
Minasi. Billy Bang’s Spirit of Sir One band included bringing us hauntingly, mile-by-mile through the wipe himself down but instead, started whipping his
Bang on violin, Andrew Bemkey on piano, Dick Earth’s rocky core. Frequent twists, turns and tempo drum set. Soon he was playing with red plastic tubes
Griffin on trombone, Henry Warner on alto sax and changes were required for the travel, a quirky feat and Smith began to tap the floor with his trumpet
clarinet, Hill Greene and David Colding on bass and mute, causing Sommer to peer around his set and
deviously done by the crafty Burrell, whose spread-
smile at the fact that his partner had his own toy to
Newman Taylor Baker on drums. Prior to his con- fingered pounces and side hand rolls, often violently
play with. Afterwards, Smith said they’d been play-
cert, Bang, who is dealing with major health issues, delivered, were astonishing to witness. At one point,
ing together so long that they never talk about the
was presented with a special career award trophy by he struck so hard that a black key went flying in
music. “What we play is improvised and composed
Parker and a line of musician peers. An appreciative the air. Parker and Drake, the premier avant-garde
all in one. Our knowledge of composition has given
Bang said, “That caught me by surprise, I knew Pa- rhythm team, stayed completely connected with the
us the right direction. [Tonight] there were no mis-
tricia had a surprise, I thought it might be money…I leader and added their own muscular truisms. Piano
understandings, no moment when we were helpless
wasn’t sure I’d be here tonight, I’m fighting lung can- great Connie Crothers came away impressed and was
or lost. We could feel how we trusted each other.”
cer. If I have to leave, I’m leaving from the stage!” The overheard talking about, “The way the piano swelled
Smith, who typically plays with his horn aimed at the
set started with “Prayer for Peace,” beginning with and soared!” Burrell gave his impression of the pas-
ground, also said, “I play with eyes closed and drop
an arco bass drone and then violin and piano added sionate set, saying, “I know what was supposed to
behind a veil of darkness. I am free.”
on for a slowly building wedge of beautiful music. In happen and I think it did happen.” Since there was more time between sets this
addition to being a guiding light on violin, Bang, a night, it was easier to catch some of the performances
talented composer whose pieces made good use of Day 9- Monday, June 28 in the Underground Theater. Station #3667 featured
the stellar crew, named the band and dedicated the There were only three groups booked for the creative dance choreographed by Jason Jordan and
performance in honor of Sirone (Sir One). Bang’s main stage this night but they were three especially directed by Patricia Nicholson Parker. The world was
playing was especially mesmerizing and heartfelt. He tantalizing bands. The first group was The Stone up-ended as the dancers created their art amongst
gritted his teeth, stomped his feet and expressively Quartet, headed by French bassist Joelle Leandre, the seats to the drumming of Gerald Cleaver and
purged his soul to the degree that he intermittently along with extraordinary artists - trumpeter Roy the audience was relegated to the stage and edges of
had to seek refuge on a chair at the rear of the stage. Campbell, pianist Marilyn Crispell and Mat Maneri the room. Later, Azares performed with Joe Morris
The inspired band played at a high level, Griffin got on viola. Each artist is so busy that the band hardly on guitar and banjo, Joachim Badenhorst on reeds,
in a fire breathing trombone solo, and the two bass- ever has time to perform except at festivals. At sound Pascal Niggenkemper on bass, Cleaver on drums and
ists added a firm grounding along with resourceful check, Leandre proved to be a stern taskmaster, firmly vocalist Jean Carla Rodea.
additions. After the set, Bang recovered his strength expressing her needs to the band and the poor sound The final performance was by the Chicago quar-
backstage, leaving one to wonder if his demon fight- man who pleaded his case that the dynamics would tet People, Places & Things led by drummer Mike
ing performance had not just been for Sirone but per- all be changed when the hall filled with listeners. Le- Reed, along with Greg Ward on alto sax, Tim Hal-
haps also for himself? andre said there was no preconceived concept to the derman on tenor sax and Jason Roebke on bass. I’ve
David S. Ware has not been able to play much set except that the strings were to lead off unaccom- seen Reed play before and he’s always been a dynamic
over the past few years and is still weakened from last panied. “We will listen and just trust the music, just player but on this night, the death of his mentor Fred
year’s kidney transplant so his hit with bassist Wil- play with jubilation and trust…I think we love each Anderson had sucked his soul out. He came on stage
liam Parker and drummer Warren Smith was highly other and this is a deep meeting, every sound is im- so heavyhearted that it left the viewer feeling guilty
anticipated. Ware still packs a wallop on tenor sax, it’s portant. It’s very risky, a tightrope between life and watching him grieve. The well-rehearsed band still
just a step down from his Great Bliss days. After limp- death.” True to plan, the strings started in a witchy excelled in their investigation of the ‘50s Chicago
ing on stage and sitting in a chair, Ware’s scorched fashion before quiet piano and lightly filtered trum- jazz scene, demonstrating a supple flair in playing in-
earth, full throated blowing teamed with his trio of pet entered. The music soared and floated, delivering the-tradition and as forward-thinkers. The horn play
supportive improv masters to reach frequent, pow- bright colors and textures. Leandre and Crispell have was determined and potent and their rendition of
erful crescendos. Spirituality is always an important a long history together and share an innate musical David Boykin’s “Big & Fine” was riveting.
Venue Spotlight
SD26 (San Domenico)
Madison Square Park – 19 E. 26th St.
By Gary Heimbauer
The variables when pondering where to go for ing any better than they are. They are outside of the The quality is not only in the food. The layout of
a good night out, especially for the avid New York realm of competition – it is they who set the bar. the space and the decorating is just as tantalizing to the
music lover, can be vast. Whatever you want you can May, who operated the famed Rainbow Room senses. May hired noted designer Massimo Vignelli
find here in the Big Apple, so what makes it a daunt- from 1964-1986, comes off as a modest man, and he and renowned fiber artist Sheila Hicks of MoMA
ing task then, is deciding where to get either the best is simply being honest when he says, “I think we are fame, to provide their prodigious talents. Many people
of what you want, the most of what you want, or the the best Italian restaurant in the city. Our food is bet- come to the restaurant and lounge just to experience
highest value to price ratio on what you want. Lo- ter than any other Italian restaurant in New York. I the art and design. Hicks’ colorful and elegant rope
cated at 19 E. 26th St. at Madison Square Park, Tony don’t say this – my customers say this. I’ve been in the installations line the walls of the lounge, and her giant
yarn balls hang in the dining room under a ceiling full
May’s SD26 provides all three of these deal breakers business a very long time. And we don’t kill you with
of faux star lights that flicker like a clear night sky.
in one package. prices either.” After having tried a sampler of various
Being Tony May and his daughter Marissa put
When something is the best, it almost becomes items on the menu, I can not argue with this state- quality and refinement at the top of their priority list,
priceless, and it enters a category all its own. This can ment – this food will leave you dumbfounded (as will it is only natural for SD26 to feature some of New
be said of the food at SD26. Because it is exponentially the homemade Ice Cream; try the hazelnut). York’s best jazz musicians every Friday and Saturday
better than the offerings of its competitors, almost any Besides the astounding culinary creations of night – and as the former operator of the Rainbow
price would draw a crowd, but despite the quality, it is the chefs, there is a Salameria offering an extensive Room, May knows great jazz when he hears it. “I ran
also affordable (In fact, bar patrons get platefuls of the array of imported Italian meats and cheese, as well the Rainbow room for twenty two years, and at one
house pasta free!). Many people might read this and as a fully stocked 750 labels wine cellar sure to please point we had all the top musicians in the country come
think that I am exaggerating for the sake of exciting the most discriminating connoisseur. May seems to there to play such as Duke Ellington, Lionel Hamp-
reporting, but to put it in terms of jazz, Tony May’s take special pride in this, making a point to bring me ton and the Benny Goodman Quintet. It was quite
food at SD26 is like Charlie Parker, John Coltrane, or into it. Patrons can rent out the cellar which has a an exciting time.” May goes on to say in his warm and
Thelonious Monk – they are each incomparable, and single table inside that can seat eight to ten people. endearing Italian accent, “Besides business, I also de-
all ‘the best’, because one could not imagine them be- Various plaques and awards of May’s line the walls. veloped a love for this music, for the type of music that
I think jazz is. It is fun, and there is the individualistic
element that makes it so interesting – it isn’t just ac-
cepting something and everyone follows it; there is so
much individual character that goes into it. Everyone
has their own stamp on a particular piece of music.”
New York Veteran guitarist Tony Romano who is the
musical director, explains, “We pretty much stick with
the American songbook. We play a lot of standards,
Download Jazz MP3s FREE! Rogers and Hart, Cole Porter, Gershwin, Ellington,
and we also do stuff say from Miles and Trane, but it is
mostly the standard repertoire.” In the two memorable
nights I spent there, I saw outstanding performances
from legendary bassist Steve Laspina, saxophonists
Tim Armacost and Paul Carlon, and bassist Phil Pal-
ombi. Entry into the lounge is completely free with no
minimum and there is even a tray of homemade pasta
free to the bar patrons.
In addition to a truncated menu available at
all times in the lounge area, there is also an exten-
sive cocktail list and after trying three of its unique
creations, I no longer frown upon the term mixolo-
gist – the Italian man behind the bar might as well
work in a laboratory. Each sip of these drinks sent a
languid smile from my tongue to my toes as I soaked
up the sounds of Romano and his top notch trio (Try
the La Verita!).
SD26 is a 5-star feast for all the senses; and fur-
Check out leading and emerging artists. ther enhancing this, and allowing you to relax and
If you like what you hear, buy the album with a click of a mouse! take in the vibe, is the great customer service from
the friendly wait staff. Whether you want to know
ARTISTS & LABELS: To be part of Jazz Inside’s MP3 Download Program on The Jazz Audio Wall and to
what Italian food tastes like at its best, what jazz
get fans to hear your recordings, CALL 215-887-8880 or e-mail: advertising@jazzinsidemagazine.com
(Jazz Audio Wall spots are complimentary for advertisers) sounds like at its best, what drinks taste like at their
best, or what kinds of moods you might fall into by
www.JazzAudioWall.com the influence of genius interior design and fiber art,

give SD26 a try on a Friday or Saturday night! You
can learn more at their website: www.sd26ny.com
Live Performance Reviews
Holiday’s wake, she acknowledges that Holiday has
Sonny Rollins 80th Birthday influenced her understanding of phrasing and how
Concert Celebration to approach a lyric. Kilgore, however, has a talent
Beacon Theatre for making every song that she sings sound like it was
written for her.
By Yaz Orno Allen’s band, Allen on tenor sax, Rossano
Sportiello on piano, Joel Forbes on bass and Chuck
Every once in a rare while, you get to hear musi- Riggs on drums, was just the right kind of support
cal brilliance, and that is just what this reviewer was for Kilgore, always swinging, never in the way, and
blessed to hear at the Sonny Rollins 80th Birthday comprised of exciting players who always step up to
Concert Celebration at the Beacon Theatre. Where the plate when given solo time, and hit home run
to start… Sonny Rollins is a master of rhythms. Lis- after home run. Like Kilgore, Allen has derived
tening to the way he weaves in out of time is a master
inspiration from the playing style of the evening’s
class unto itself. His attention to detail in phrasing
other tributee, Lester Young, but has developed his
and his dedication to the melodic line is yet another
own style, one also influenced by a wide spectrum
master class. This Sonny Rollins concert was a master
of the great tenor sax players in jazz history like Ben
class in not only musicality but higher aesthetics of
Webster, Coleman Hawkins, Zoot Sims and Stan
the musical form Jazz. In fact, Sonny, when speak-
Getz. He has absorbed these influences and evolved
ing to the audience, referred to Jazz as ‘the umbrella
under which all music exists’. The truth be told!!! as a unique stylist in his own right, taking his place
The power of Sonny Rollins’ imagination is youthful among the select performers on his instrument.
and even though he has reached his 80th year, a bit Sonny Rollins One of the things that set Holiday apart was her
hunched over and has trouble walking, when he plays ability to take songs like “Your Mother’s Son-in-Law,”
he is tall, strong and forever young. Joining the mas- “Foolin’ Myself,” “Getting Some Fun out of Life” and
ter on stage were luminaries of the Jazz world: Bob artist, the infamous Roy Haynes on drums played. “You’re a Lucky Guy,” decent songs, but not great stan-
Cranshaw on bass, Russell Malone on guitar, Sammy The trio, sans a chording instrument, had more than dards, and making them sound like perfect gems. On
Figueroa on congas and Kobie Watkins on drums. enough harmonic content in it to sate the lovers of this evening, Kilgore sang these songs, and, like Holi-
This solid rhythm section made it easy for Mr. Rol- pianos and guitars. Exploring the nuances of the day, pushed them up onto a special plateau.
lins to soar and dig deep into his solos. changes and making it feel effortless was the descrip- Two of Kilgore’s choices for inclusion in the
It is also an amazing ability as an improviser to tion of this moment in the concert. Then Sonny went program were tunes not often heard these days, that
be able to go very far outside and then be totally in- to the mike and announced that there was someone were associated with Holiday and Louis Armstrong.
side at the same time. To be able to escape into his/ backstage who wanted to sing ‘Happy Birthday’ to “You Can’t Lose a Broken Heart” was recorded by
her own place where no one goes except self and yet him. We waited, anticipating,…and then Ornette them as a vocal duet, and “The Blues Are Brewin’”
share this private and revered inner spot with all who Coleman slowly walked onto the stage. was sung by Holiday in the film New Orleans where
can hear it. This is the rare ability of Sonny Rollins. The audience went crazy at the site of these two she was backed by Armstrong and his band.
He goes out and stays in at the same time. His un- Jazz giants on stage. I don’t think the two have ever Kilgore and the band gave superb treatments
derstanding of this element is what makes his music performed together live. An historic moment in Jazz to three pieces that have become standards, a peppy
touch so many people of all races, creeds, colors, sexes as the two master’s play ‘Sonnymoon For Two’ came “Them There Eyes,” the haunting “Some Other
and generations. A mark of a true master! through. The master of free Jazz and the master of Spring,” and one of the few songs with lyrics by Dor-
Then there were the surprise guest soloists. intensity through rhythm and melody combined to- othy Parker, “I Wished on the Moon.”
Starting with Jim Hall, the 79 year old guitarist gether for a performance that those who were there An instrumental nod was given to Young when
who all guitarists exalt, the first tune, ‘In A Senti- could only sit back and slurp it in. As Ornette went Allen and the band gave a spirited ride to “I Want
mental Mood’ had a rough start; the guitar was set further out, Sonny went along for the ride and took to Be Happy,” a tune that Young recorded in a trio
on stage and was not tuned well. Jim Hall took this it further out. Bliss!!!!! The Sonny Rollins birthday format with Nat Cole and Buddy Rich.
all in stride and tuned as he played. The highlight Kilgore and company turned their attention to
concert at the Beacon was an important and historic
of the duet between Sonny and Jim was the Lerner/ the world of Ellingtonia for the appropriately named
Jazz event. I feel very fortunate to have been there.
Loewe standard, ‘If Ever I Would Leave You’. Sonny closer, “I’m Checkin’ Out – Go’om Bye.” It proved to
I hope someone recorded it for everyone to hear.
continually restating the theme over and over again be a nice nightcap for a lively and swinging evening
Happy Birthday Sonny! Many healthy and happy
with Jim playing within the structure and then join- of pure jazz fun.
years to you and keep the trail a blazin’!!!!
ing Sonny on the strong melody of the hook, ‘If Ever
I Would Leave You’ blossomed as it grew. It stayed
Rebecca Kilgore
with us long after the last chord and never left us. Jimmy Scott’s 85th
Then adding to the list of guests was the es- Feinstein’s at Loews Regency
teemed trumpeter/flugelhorn player Roy Hargrove New York City
Birthday Celebration
Blue Note Jazz Club, NYC
which Mr. Rollins referred to as an improviser who August 2–4, 2010
had been given a gift from a higher force. Roy bowed September 1, 2010
to the master and then the two of them went into By Joe Lang
flight with Roy first on Flugelhorn with ‘I Can’t Get PERSONNEL: Jimmy Scott, vocals; Gregoire Maret,
Started’. Roy Hargrove’s sound on the flugelhorn is Inspired is the best word that I can apply to the harmonic (special guest); The Jazz Expressions: T.K.
exquisite, warm like melted butter. And then swing- pairing of vocalist Rebecca Kilgore with the Harry Blue, alto saxophone; Alex Minasian, piano; Hillard
ing hard on (a title I can’t remember) with Roy on Allen Quartet, paying tribute to Billie Holiday and Greene, bass; Dwayne Broadnax, drums.
trumpet. He moved off mike and the blasts from his Lester Young, for a three night stand at Feinstein’s at
horn could still be felt in the back row of the Beacon. Loews Regency. It was a packed crowd at the Blue Note Jazz
But the true surprises of the evening were when Kilgore is certainly no Billie Holiday imitator, Club. People were rushing to grab the few available
Christian McBride on bass and unannounced guest but like most jazz singers who have come along in Continued on Page 23

Around Town
A Musical Celebration of Broza, Josh White Jr., Larry Kerwin (Black 47), The Times, Nicholas Payton is a composer, bandleader
Imani Winds, the Amram Family Band and current and trumpet wizard whose recordings have consis-
David Amram at Symphony members and alumni of Amram’s quartets from the tently charted in the Billboard Top 20 Jazz albums,
Space, November 17 past forty years as well as surprise guests. The concert from his first recording, From This Moment (#15) to
will be filmed by Lawrence Kraman for his docu- his current release Into the Blue (#11). The Joe Krown
Jazz Forum Arts mentary film “David Amram: The First 80 Years.” Trio, a killer collaboration of three of New Orleans’s
Executive Director David Amram has composed more than 100 or- greatest players, merges the big sound of Joe Krown’s
Mark Morganelli pres- chestral and chamber music works; numerous scores Hammond B-3, the soulful vocals of Walter “Wolf-
ents a celebration of for Broadway theater and film; two operas, includ- man” Washington, and the masterful drumming of
David Amram, whom ing the groundbreaking Holocaust opera “The Final Russell Batiste Jr.
the Washington Post Ingredient;” and the score for the landmark 1959 Lehman Center for the Performing Arts is on
described as “one of documentary “Pull My Daisy,” narrated by novelist the campus of Lehman College/CUNY at 250 Bed-
the most versatile Jack Kerouac. He is also the author of three books, ford Park Boulevard West, Bronx, NY 10468. Tick-
and skilled musicians published by Paradigm Publishers. A pioneer player ets for New Orleans Nights featuring Allen Toussaint,
America has ever proof jazz French horn, he is also a virtuoso on piano, Nicholas Payton and The Joe Krown Trio on Sunday,
duced.” David Amram: numerous flutes and whistles, percussion, and dozens November 14, 2010 at 6pm, are: $35, $30 and $25
The First 80 Years takes of folkloric instruments from 25 countries, in addi- and can be purchased by calling the Lehman Cen-
David Amram place Thursday, Novem- tion to being a renowned improvisational lyricist. ter box office at 718.960.8833 (Mon. through Fri.,
ber 11, 2010 at 7:30 pm Amram has collaborated with Langston Hughes, 10am–5pm and beginning at 12 noon on the day
at the Peter Norton Symphony Space, 2537 Broadway Dizzy Gillespie, Dustin Hoffman, Johnny Depp, of the concert), or through 24-hour online access at
at 95th Street, NYC. A portion of the proceeds will Willie Nelson, Thelonious Monk, Odetta, Elia Ka- www.LehmanCenter.org
benefit Clearwater, the organization founded by Pete zan, Arthur Miller, Charles Mingus, Lionel Hamp-
Seeger, as well as the Woody Guthrie Foundation. ton, Tito Puente and Leonard Bernstein, who chose
The concert will feature the New York premiere him as The New York Philharmonic’s first composer-
of Amram’s “Symphonic Variations on a Song by in-residence in 1966. He celebrates his 80th birth- New Audiences Presents
Woody Guthrie” performed in memory of Odetta by day on November 17th. Additional information at: John McLaughlin At Town
the 60-piece Queens College Orchestra conducted www.davidamram.com. Hall, Saturday, November 14
by Maurice Peress. The work will be introduced by Tickets for DAVID AMRAM: The First 80
Nora Guthrie, who commissioned it with support Years presented by Jazz Forum Arts on Thursday, On Saturday,
Credit: Ken Weiss

from the Guthrie Foundation, based on her father’s November 11, 2010 at 7:30pm at the Peter Norton November 14, at 8:00
song “This Land is Your Land.” The evening will also Symphony Space, 2537 Broadway at 95th Street. pm John McLaughlin
mark the New York premiere of an excerpt from the Symphony Space Box Office, 212-864-5400, or at returns to New York’s
new DVD of Amram’s 1968 comic opera “Twelfth www.symphonyspace.org. www.jazzforumarts.org. Town Hall with his
Night” with a libretto by the late Joe Papp, and will group 4th Dimension
be introduced by Bernard Gersten, Executive Pro- including Gary Hus-
ducer of the Lincoln Center Theater and former co- Lehman Center Center band on keyboards,
producer with Joe Papp of the New York Shakespeare presents New Orleans Night Mark Mondesir on
Festival. Selections from Amram’s movie sound- drums and Etienne
Featuring Allen Toussaint,
tracks, including “Splendor in the Grass” (1960), and M’Bappe on bass.
the New York premiere of a selection from Amram’s Nicholas Payton, & The Joe Tickets: $65-$50-$35;
score for “The Manchurian Candidate” (1962) will Krown Trio available now at Ticket- John McLaughlin
be performed by the Brooklyn Conservatory Jazz master 212-307-4100;
Ensemble directed by Earl McIntyre. Amram’s jazz, Lehman Center online at Ticketmaster.com and at the Town Hall
Credit: Lee Crum
Latin, Middle-Eastern and world music composi- for the Performing box office (123 West 43 Street). 212-840-2824, on
tions will be played in memory of Thelonious Monk. Arts brings the sound October 22.
The Brooklyn Conservatory Jazz & Gospel Choirs of New Orleans to the From Al DiMeola, Pat Metheny and Mike
directed by Renee Manning will also perform. Bronx as New Orleans Stern to John Scofield, Bill Connors and Scott Hen-
“En memoria de Chano Pozo” for Latin/jazz Nights combines the derson, John McLaughlin has been a strong influ-
group and symphony orchestra, conducted by Am- extraordinary talents ence on many of the top jazz/fusion guitarists of the
ram, will be performed in memory of Dizzy Gillespie of legendary songwriter last thirty years. McLaughlin’s classic recordings of
with guest soloists Candido (congas) and Bobby San- and bandleader Allen the 1970s have long been regarded as essential listen-
abria ( timbales), with Amram himself on piano, pen- Toussaint, trumpeter/ ing for anyone with even a casual interest in fusion. If
nywhistles and percussion. The star-studded salute composer Nicholas the British improviser had decided to retire in 1980,
will also include introductions by Amram’s friends Payton, and a masterful he still would have gone down in history as one of
from the worlds of theatre, film and music, including B-3 organ trio led by Joe Allen Toussaint jazz-rock’s most influential axe men.
actors Keir Dullea (“2001: A Space Odyssey”), John Krown on Sunday, No- Born in Yorkshire, England on January 4, 1942,
Ventimiglia (“The Sopranos”), Malachy McCourt vember 14, 2010 at 6pm. 1998 Rock and Roll Hall of McLaughlin is well known for his eclectic taste in
and performers from the Stella Adler Studio of Act- Fame inductee and 2009 recipient of the prestigious music. He was a child when he first fell in love with
ing, as well as filmed 80th birthday wishes from Pete Grammy Trustees Award, Allen Toussaint shaped jazz and the blues, and he was just eleven years old
Seeger, Arlo Guthrie, Willie Nelson, members of the music of New Orleans writing such timeless hits when he began studying and playing the guitar. The
the N.Y. Philharmonic, and friends and colleagues as “Working in the Coal Mine,” “I Like It Like That” 1960s found him playing jazz, rock, and blues in his
from around the country. Guest musicians will in- and “Right Place Wrong Time.” Called “abundantly native England, where he worked with Alexis Korner
clude John McEuen (Nitty Gritty Dirt Band), David gifted” and “a high-wire soloist” by The New York Continued on Page 23
Performance Reviews Continued from Page 21 though he fully believes in the lyrics and their mean-
seats at tables (and at the bar) to hear the great Jimmy ing. The crowd was instantly smitten with his upbeat
Scott perform to kick off his 85th birthday celebration. energy and clapped almost throughout the entire
I even made a rather hurried order for a shrimp salad song. Scott’s high-pitched range allows him to ma-
to a waitress prior to the opening set so that my eating nipulate certain notes in a way that most female vo-
and staring down at my plate wouldn’t interfere with calists can’t even attempt.
hearing Jimmy Scott live for the second time. “Imagination” is another standout for it again
My first encounter with Scott was about five gives the audience his firsthand experience—like tell-
years ago at another NYC jazz club and I can re- ing all of us that “I’ve seen and heard it all” with each
member how much pain I had felt from some abrupt phrase that he sings. The quality of his high sound is
changes happening in my life. But when he walked a little raspier these days and that adds a certain tim-
out on the stage and sang Gershwin’s “Someone To bre to an already insightful take on the song. At one
Watch Over Me,” I balled like a little girl. It felt as moment when T.K. Blue’s saxophone and Gregoire
though he was singing about me. Eventually, time Maret’s harmonica enters the piece, you can see Scott
healed my wounds and I kept on going. But the mu- closing his eyes and smiling as he experiences the
sic from legends like Scott helped me through it. And music alongside the audience. It’s wonderful to see
from the looks of this crowd here tonight at the Blue an artist who still loves the music as though they’re
Note, his music has touched quite a few people. hearing it for the very first time.
As The Jazz Expressions finishes warming up the Jimmy Scott Shortly before the set closed with one of his sig-
crowd with “The Great One,” an original composition, nature songs, “Everybody’s Somebody’s Fool,” every-
saxophonist T.K. Blue introduces the man we all came one surprised Scott with a rousing version of “Happy
to honor. He concludes his introduction on a touching now and initially, it shook me up quite a bit. But when Birthday to You.” All in all, tonight’s set was a good
note (“he deserves every award on the planet”) shortly he’s brought to the front of the stage, he’s all smiles. way to celebrate the life and career of a man who has
before bringing Scott out onto the stage. No one Scott started things off with the Irving Ber- given so much of himself to millions of fans with his
seemed alarmed by the fact that he’s in a wheelchair lin standard, “Blue Skies.” He sings those words as music.
Around Town Continued from Page 22 ing on the acoustic guitar as he was on electric, and now legendary exploratory outfit of the early-to-mid
and Ginger Baker, among others, before moving to proved that he wasn’t about to confine himself to 1970s, “I have been fascinated by these rhythms and
New York at the end of the decade. playing any one style of music exclusively. Indeed, their challenges. To be able to improvise fluidly over
McLaughlin had a very busy 1969: he recorded McLaughlin was heard in a variety of musical set- a harmonic structure is freeing, but to do it over a
his debut album, Extrapolation, and started work- tings in the 1980s - everything from a brief Ma- complex rhythmic structure adds spice. Thankfully,
ing with two seminal voices in early fusion: Tony havishnu Orchestra reunion in 1984 to an acoustic I’ve had the chance to play with some of the most
Williams - who employed McLaughlin and organist guitar summit with Al DiMeola and Paco de Lucia outstanding drummers in the world.”
Larry Young in his trailblazing group Lifetime - and in 1982, to a classical album with the London Sym- “I’m a guitar player, that’s what I am primar-
Miles Davis. Never afraid to forge ahead, Davis had phony Orchestra in 1988. ily, that’s what I’ll always be,” McLaughlin has been
done a lot to popularize cool jazz and modal post-bop McLaughlin was no less eclectic in the 1990s, quoted as saying. “I’m an eternal learner. I don’t want
in the past-and he continued to break new ground when his Verve projects ranged from 1993’s acoustic to stop learning because I feel that no matter what
when he introduced fusion on his 1969 sessions In A Time Remembered: John McLaughlin Plays Bill Ev- I’ve done, I’m really just beginning again. I don’t
Silent Way and Bitches Brew, both of which feature ans (a tribute to the late pianist) to sessions featuring think I’ll ever stop learning.”
McLaughlin’s playing. The guitarist was also fea- organist Joey DeFrancesco (1993’s Tokyo Live and
tured on 1970’s A Tribute To Jack Johnson, another 1994’s John Coltrane-minded After the Rain) to an
Davis gem of the time. acoustic McLaughlin/DiMeola/de Lucia reunion in Reggie Workman’s African-
Like bebop in the 1940s and modal jazz in the 1996. It was in 1997 that McLaughlin reunited with
early 1960s, fusion was controversial. Jazz purists felt Zakir Hussain and a reconfigured version of Shakti
American Legacy Project at
that rock and funk rhythms had no place in jazz, but for several U.K. concerts that were documented on Harlem School of the Arts
thankfully McLaughlin disagreed and let his musi- Verve’s two-CD set Remember Shakti. Saturday, November 13
cal instincts guide him. After participating in Da- On his latest recording, To The One, he features
vis’ and Williams’ groundbreaking fusion combos, six original compositions which were mostly written Reggie Workman’s African-American Legacy
McLaughlin founded an influential group of his own in July and August of 2009. They were set down in Project, conducted by Charles Tolliver, with Richard
in 1971: The Mahavishnu Orchestra, which boasted the studio in November and December, with very Harper conducting the choir, will appear at The Har-
such greats as drummer Billy Cobham and keyboard- few overdubs, by McLaughlin’s current performing lem School of the Arts
ist Jan Hammer. By the time Mahavishnu broke up outfit, the 4th Dimension: Gary Husband (key- Saturday, November 13, from 11 AM to 2 PM.
in 1975, they had recorded several classic albums for boards, drums), Etienne M’Bappe (electric bass), Co-created with trumpet-titan Charles Tolliver,
Columbia (including Birds of Fire, Between Nothing- and Mark Mondesir (drums). Compositional devices Reggie Workman’s African American Legacy Proj-
ness and Eternity, and Visions of the Emerald Beyond) clearly inspired by Coltrane are fused with elements ect (AALP) is a glorious orchestra/choir celebrating
and gone down in history as one of the 1970’s most of McLaughlin’s own multi-faceted approach, all de- African-American composers and this great music
influential fusion bands. livered with a group empathy and shared vision that we call “Jazz.” The concert features talented HSA stu-
In 1975, McLaughlin did the unexpected by harkens back to Coltrane’s fearless mid - 60’s quartet dents from the recent three week AALP Workshop/
founding Shakti, an acoustic group that employed of Elvin Jones, McCoy Tyner, and Jimmy Garrison. Rehearsal Series @ HSA and the fabulous AALP,
traditional Indian musicians (including tabla player The effect of Jones’ kaleidoscopic approach to rhythm a who’s who of Jazz stalwarts, emerging artists, off-
Zakir Hussain and violinist L. Shankar, Ravi Shan- and drumming is especially felt, brilliantly recast and spring and proteges – dedicated to moving the music
kar’s nephew) and underscored the guitarist’s inter- explored via McLaughlin’s gift for complex metrical forward. Free and open to the public. Harlem School
est in India’s music, culture, and religion. Shakti structures. “Even before I formed the Mahavishnu of the Arts (HSA) is located at 645 St.Nicholas Ave
reminded listeners that McLaughlin was as appeal- Orchestra,” McLaughlin explains, referring to his at 145th Street. 212-926-4100
Interview
Paul Bley
By Ken Weiss
“Somebody who gets it right is a genius. It’s right

because they know how to get it wrong. I’m proposing
a much different philosophy, try to get it wrong
at the beginning – it’s much faster.”
[This is an excerpt from the full interview in wouldn’t peak too early. There needed to be room to
Jazz Inside Magazine, Volume 8, No. 4] grow, and it’s turned out that way. You wanted to get
enough money so that you could play 20-30 gigs a year
For more than 50-years, Canadian Paul Bley, and that’s all that would be needed. Now, if you want
Credit: Ken Weiss

the pioneering pianist, electric keyboardist and com- to play 60 gigs per year, that’s your business, but all you
poser, has been one of music’s most influential artists; really need, if you own your properties, and I own a few,
altering the course of jazz, rock and perhaps whatever is to play a small number of times yearly. I can pay all
else you are listening to these days. His twenties were my bills by performing one-month maximum a year.
spent playing with the likes of Charlie Parker, Lester So I have 11-months off a year, and when I tell that to
that was the ignoble start of the Miles Davis career.
Young, Coleman Hawkins, Ben Webster and Chet a cab driver, they never get it the first time. [Laughs]
Baker, and his first recording as a leader was made So everything’s perfect. I have a wife that’s beautiful, a
JI: Any regrets about your choice of Sonny Rollins
with Charles Mingus on bass and Art Blakey on grandson that’s beautiful and two beautiful daughters.
over Miles Davis?
drums. Bley’s self-professed goal to never repeat him- I don’t have much to complain about.
self has led to a visionary, chameleon-esque career, of-
JI: How often are you performing? PB: No, I’m only interested in one thing and that’s to
ten positioning him at the forefront of major artistic
do something so that I can play better tonight than I
advances. His 1958 quartet introduced the world to
PB: As little as possible – it’s cheating to play. did yesterday. All my choices are based on that. If I had
Ornette Coleman, along with Don Cherry, Charlie
something to learn, that was the gig I took. I had more
Haden and Billy Higgins. The ‘60s found him collab-
orating with Jimmy Giuffre, bringing chamber music JI: You and Herbie Hancock auditioned for Miles to learn with Sonny than I did with Miles. Sonny was
eloquence into free jazz, and also with Sonny Rollins, Davis and Sonny Rollins on the same day and were in a very interesting position, he was transitioning away
including the legendary recording session with Roll- both found worthy. Davis and Rollins let the two of from playing tunes and he thought that Don Cherry
ins and Hawkins. Bley was a founding member of the you decide who would go with whose group. Why would save his ass because the world had moved on
did Hancock let you pick first? and Sonny was still playing tunes. Great, but he had
Jazz Composers Guild, from which the Jazz Com-
no idea about how to play in a situation that was to-
posers Orchestra would eventually evolve, and was
among the first artists to appear on ECM, helping to PB: Herbie gave me first choice – what a champ; a tally open, so I got the gig to help him because I knew
shape their trademark sound. By the late ‘60s, he had gentleman. Can you imagine he said, “you choose how to do that by then. And it was so diabolical, if
become enchanted by the new electronic creations which band you want to play with and that’s how it you want to take a moment away from your questions,
and sweet talked his way into getting his hands on will work. You’ll play with Miles or you’ll play with there’s a side-story to this. Rollins is so diabolical and
the monstrous Moog synthesizer, becoming one of Sonny and I’ll take the other gig.” What a gentleman! nobody believes this. I’ve said it over and over again
the first jazz musicians to incorporate the technology. I would never have been so generous. He’s a fucking but everybody thinks that it is my imagination. When
Bley subsequently furthered the tonal possibilities of gentleman and that’s why he’s loved. Herbie’s a loved I got the gig, I played with him for a year and over the
person. I’m not near that, I don’t even qualify. last 3-months we went to Japan. He played normally
the device and presented the first live performance
for the whole 9-months. There was no indication that
of a music synthesizer, appearing at Lincoln Center
in December of 1969. He spent much of the ‘70s de- JI: What was the reason behind his decision to let he could play free, that he was going to play out of the
you pick first. Did he do it just to be nice to you? changes. He was just playing very good Sonny Rollins.
voted to IAI, a recording label he ran, along with his
I said, ‘he’s holding back, he’s lying.’ He used to do
wife Carol Goss, and was behind the first recorded
efforts of Jaco Pastorius and Pat Metheny. Bley and PB: Let’s see about being nice? I always thought nice that in Chicago. There’d be a jam session and there’d
was a dirty word. be 25 tenor players standing in a row, ready to fuck
Goss also produced commercial music videos for IAI
him because tenor players don’t care who they play
and have been credited by Billboard Magazine as hav-
ing introduced the commercial music video genre. NS: I heard somewhere that Miles preferred to use with. There’s no shortage of them, so by the time your
Herbie. fingers are falling off and it’s tenor player number 26,
you’re screwed. So he knew about that and he would
JI: What is life like for you these days? How often are
you performing? PB: No, no, no, that’s totally fictional. You know, I always play a fake or a faux solo at the beginning of the
badmouthed Miles for years. I said, ‘we’ve got Freddie jam session and the other tenor players would say to
PB: It couldn’t be better. That was my goal, to start Hubbard, we’ve got Clifford Brown, we’ve got these each other, “man, I can cut this guy’s ass.” And when
off with zero money, zero opportunities and, over my trumpet virtuosos and Miles Davis is an 18-year-old the 25 or 27 guys got finished taking solos, playing bet-
lifespan, to increase those things. The final chapter student who just happened to be in the apartment ter than the Sonny they thought they had heard, he
was to have everything – a happy marriage, a beauti- with Charlie Parker when Bird got the call from hadn’t even warmed up yet. He went in and blew out
ful grandson, all the gigs in the world, and make over L.A. They asked him, “Bird, do you have a band?” He the light bulbs. He lied.
150 recordings. The plan was to be patient so that you turned around and there was Miles as a student, and
Bird, who wants to keep all the money, said, “yeah, I’ve NS: Do you think you would have shared modal jazz
got a band,” and he hired Miles because he knew he with Miles if you had played with him?
www.improvart.com/bley Continued on Page 30
didn’t have to pay Miles, he could get Miles for free. So
DRUM L o v e rs ’ c e l e brati o n
Mike Clark
By Eric Nemeyer
“The more you purify your life - meaning to respect

the dignity of life itself - the more liberated your art
becomes ... since when you feel good about yourself then
you feel good about others. I have also learned everything
is up to you anyway, so you don’t have to worry about
what anyone else is doing or playing or how much they
make, etc, as your art and career are up to you.”
JI: What inspired you to play drums and then pursue JI: What discoveries have you made on the business
a career in jazz? side of your artistic endeavors?
MC: My father was a drummer who had a tremen- MC: To always get paid for everything you do. Don’t
DRUM
dous jazz record collection so I was hearing jazz and be afraid to ask for good money, great hotels etc. Get
blues around the house before I could walk or talk. people to represent you if you have to and remember:
There was always a drum set at our house as long as I this is a business as well as the playing part, so learn
can remember. He would take to nightclubs to sit in the business side as well! were before my time and during as they are all part
of my music. I have learned from all of them and as a
L o v e rs ’
with musicians that were his friends since I was five
JI: That have you discovered about human nature, result of their contributions and concepts I have been
years old. This is all I ever did and loved playing since
then and still do. from your observations on or off the stage? able to work, travel the world and play all of my life. I
thank all of them each day.
JI: Talk about your current album release and the MC: I guess you must do self-reflection on your own
Advertise
evolution from inspiration to sound. behavior. The more you purify your life - meaning to
c e l e brati o n
respect the dignity of life itself - the more liberated
MC: I had an organ trio in a club 4 nights a week your art becomes ... since when you feel good about
for four or five years when I was in my early twenties. yourself then you feel good about others. I have also
I did a ton of organ gigs and wanted to address this learned everything is up to you anyway, so you don’t
part of my background. We are on a month long tour have to worry about what anyone else is doing or
of Russia with my organ trio as we speak. Jerry Z on playing or how much they make, etc, as your art and
organ and Rob Dixon on tenor. career are up to you.
Here
JI: Could you talk about your association with Her- JI: What do you do to recharge your batteries in our
bie Hancock and what you discovered about leader- stress-filled contemporary world?
ship and motivation in working with him
MC: I chant Nam Myoho Renge Kyo which is the
MC: Herbie taught me to let the musicians find their practice of Nichiren Buddhism. This refreshes my
own way and to pick musicians who can. He got this life and allows me a strong focus. Hancock taught me
from Miles. He also urged me to find my own voice this in the 70’s and I have practiced ever since.
based on the traditions and play my own stuff which
I have. He said never to give up on your dream which JI: I read that you can have anything you want, you
I haven’t! just can;t have everything you want. If you’ve ever ex-
perienced that frustration in your career, how have Reserve by the
JI: If you could wave a magic wand, what would be you handled that or overcome any kind of frustration
something you would like to see changed that would about that?
help the music, the artists and or the business?
15th of the Month
215-887-8880
MC: I have felt deadlocked at times in my career and
find that determination and perseverance pay off.
MC: I would say to have a system that would pay
Patience helps as things don’t always happen over-
capable musicians correctly for their contributions.
night!
As one who has been ripped off for my work I can
say this would benefit all. Since people are becoming
conscious of the green movement please send some of
JI: Our theme for this issue of Jazz Inside is “Grati-
tude”. Could you share your perspectives about that
jazz@jazzinside
that green to the people that deserve it!!!
www.mikeclarkmusic.com
quality and how it plays a part in your own life?
magazine.com
MC: I am forever indebted to all jazz musicians who
Mauricio DeSouza
By Joe Patitucci
“My favorite inspirational quote came from Mr. Morello

… one of his teachers, George Lawrence Stone, told him,
‘Joe, the secret to failure is trying to please everybody.
The secret to success is being too dumb to quit.’”
JI: What have you discovered about human nature, musicians would never get paid to play. Some people
from your observations on or off the stage? try to take advantage - and sometimes succeed – of
the fact that musicians love what they do so much.
MD: Besides the great joy of doing what one loves,
one of the rewarding aspects of being an artist is be- JI: What inspired you to play drums and then pursue
ing in touch with people who believe in you. For the a career in jazz?
Credit: Marye Lobb

most part, people are willing to help and support
artists who are sincere about their art, who are hard MD: When I was 11 years old I saw a live show on
working and dedicated. TV. The cameras focused on the drummer a few
c e l e brati o n
times and I thought, “I would really like to learn how

JI: What discoveries have you made on the business to play that instrument...”. My uncle had a friend
side of your artistic endeavors? whose son was a drum teacher. I began taking les- When I was 17 I came to the U.S. to take private les-
sons and by the time I was 14, 15, I decided I would sons from Joe Morello. The complexity and freedom
MD: There’s another saying that clearly express some of artistic expression really attracted me to jazz. From
like to be a professional musician when I grew up. My
of my discoveries: “If you do something well, never
father, who used to be a professional bass player, al- then on, I decided to become a jazz drummer.
do it for free.” If some people could have it their way,
ways played jazz and Brazilian music in the car and
at home. I got interested in learning how to play jazz JI: If you could wave a magic wand, what would be
www.mauriciodesouzajazz.com Continued on Page 48
when I was about 16. I started out as a rock drummer.
L o v e rs ’
Butch Miles
By Robin Friedman
DRUM
“A positive outlook in all things can do wonders both

professionally and personally. Keep your mind focused on
positive thoughts. It’s an amazing medicine for the soul.”
Butch Miles has recorded and toured with the JI: What advice, words, or fragments of wisdom have
Count Basie Orchestra from the 1970s forward. Miles you received from one of your mentors or leaders for
has also recorded as a leader and appears as a sideman whom you’ve worked that made a significant impact
on numerous small group recordings. on you?
JI: What inspired you to play drums and then pursue BM: Frank [Foster] told me to “always remember the
a career in jazz? most important part of working with a group - be
sure and let the band know where ‘one’ is”. That’s my
BM: I was always drawn to the drums at an early age main priority - keeping the band together musically
so I believe I really had no choice. Why did I choose and comfortable on stage. I’ve always been a big be-
jazz? I started with Rock ‘n Roll but in those years liever in the “K.I.S.S.” rule - Keep It Simple Stupid”.
– the late 50’s, early 60’s - rock was boring so I was Another I got from listening to many great drum-
BM: I make sure I get enough rest, exercise when I
looking for something that was a challenge and also mers is to never let the fire die out during a perfor-
can, and eat properly. I don’t smoke or drink and I
a joy. Fortunately, my set teacher, Mr. Frank Thomp- mance. Easier said than done sometimes - especially
try to take care of my physical health.I try to focus
son, was a jazzman and steered me in that direction. when your attitude is off or your health is down due
to lack of sleep, no food, etc. You must overcome on soothing thoughts and calm myself internally. A
Once I had a taste of jazz there was never any thought
those obstacles and always play your very best. positive outlook in all things can do wonders both
of going in another direction.
professionally and personally. Keep your mind fo-
JI: What do you do to recharge your batteries in our cused on positive thoughts. It’s an amazing medicine
www.butchmiles.com
stress-filled contemporary world? for the soul.
Willie Jones III
By Gary Heimbauer
JI: Hi Willie, can you first tell us about some of the

lot of the local musicians who were playing around
exciting things going on in your career? Any new Los Angeles at the time: George Bohannon, Donald
CDs, tours, gigs? Dean, Lawrence Marable, Henry Franklin, Teddy
Edwards, Freddie Hill.
WJ: I’m releasing The Next Phase, my fourth CD as a
leader, on July 20 on my own label, WJ3 Records. The JI: What was it like for you at Cal Arts in the early
new date features Eric Reed, who has been on all my 90s, particularly, having the opportunity to study
CDs; Steve Davis; Greg Tardy; Dezron Douglas; the with Albert “Tootie” Heath.
“I also enjoy checking out other musicians. It’s

important that real jazz is expressed and promoted
from every level: from major companies to efforts
by the musicians themselves. That’s what drives
me every day to go forward with the music.”
DRUM
great vibraphonist, Warren Wolf and singers Claudia WJ: The culture at Cal Arts, at that time, was encour- somewhere between the two methods, and if I do it
Acuna and Renee Neufville. The CD is a collection aging for me. I was studying and working with James enough, my creativity is going to come out.
L o v e rs ’
of original tunes - never before released - by myself Newton who was and still is a great musical influence
and guys in the band, and a cover of a Roberta Flack and of course studying with Tootie was an invaluable, JI: Have you done other things in your life outside
tune. I just played the new music at Smoke this past incredible experience. He really helped me with my of music to make you better able to fully express your
weekend and it felt great. Over the summer I’ll be on sight reading on the drum set and he helped me get creative self?
tour with Peter Bernstein and I have a two week stint my drum technique together. Plus some of his stories
with Cedar Walton at Dizzy’s Club Coca-Cola from about the jazz scene back in the day were priceless. WJ: I like to play basketball whenever I have free
c e l e brati o n
August 3-8 and August 10-15. I’ve also been working time and I think that is another type of creative ac-
on the next projects to be released on WJ3 Records. JI: What are some of your goals for the future? tivity.
I’m constantly writing new tunes and preparing for
WJ: I want to continue to become a better jazz JI: Do you feel it gets easier or harder as you get
my next CDs and my own tours as a leader.
drummer, to spend more time developing WJ3 Re- older? Why so?
cords and producing jazz projects that I truly believe
JI: Can you talk about what it was like growing up
in. I’m also starting to play more as a leader. WJ: Music is easier to play as you get older. The older
in LA with your father Willie Jones II? I’m curious
about when you first became passionate about music, you get, you mature musically and conceptually and
JI: What is it about this music that continues to cap- you also become more mature in how you express
and had the desire to play drums. ture your heart and drive you forward day after day yourself technically – particularly as a drummer.
and year after year?
WJ: I can’t remember not being passionate about
music – music is just something that’s always been JI: What do you think it takes for someone to achieve
WJ: As I mentioned, I grew up in this music and it’s the level of success you have as a professional musi-
part of my life, a part of my upbringing and a part of always been around me and at this point in my life,
my family. As my father is a pianist, I was constantly cian? What are the necessary ingredients?
there’s no other music that I enjoy playing more. I
exposed to music. It was always playing in the house also enjoy checking out other musicians. It’s impor-
and I grew up in the church so I was exposed to gos- WJ: Lots of practice, lots of listening. Being open to
tant that real jazz is expressed and promoted from
different ideas and criticism, staying humble, hav-
pel music and the popular music of the day. Drums every level: from major companies to efforts by the
ing a good attitude and putting yourself in an atmo-
were always the instrument I was most attracted to. musicians themselves. That’s what drives me every
sphere where the music is happening, for example, in
As a kid, going to rehearsals with my father, I was al- day to go forward with the music.
New York.
ways excited to sit next to the drums and watch the
drummer play. JI: In order to lose yourself in the moment, and tap
into pure creativity, do you have to practice this the
JI: Did you get to meet a lot of the West Coast musi- same way you would practice rudiments?
cians when you were a kid? Do you have any stories “When you innovate, you’ve
about these encounters to share? WJ: I don’t buy into the theory that one has to nec- got to be prepared for everyone telling
essarily lose oneself in the moment to tap into one’s you you’re nuts.”
WJ: My father would take me over to bassist Henry creativity. I mean, I have different ways of practicing.
Franklin’s house and I would watch them practice for One way is more mechanical. I’ll practice rudiments
hours and at five years old, I never got bored. I met a and certain combinations. And then there’s another
way, where I’m just playing the drums and trying
to make music by myself. As if I’m playing with the
www.williejones3.com —Larry Ellison, entrepreneur
band but it’s actually only me in the room. I think
Koz Continued from Page 8
JI: What do you do to recharge your batteries? JI: What have some of your favorites been recently? DK: Well, there was a closet, that served as a dress-
ing room, in a tiny little club called the Pizza Express
DK: I just spent a whole month in New York City. DK: Well, that social network movie. It’s really a in London, in SoHo. The club is great, by the way.
It’s the first time that I’ve ever done this! And boy did movie for our times. You know, as long as I’ve got So I’m in this closet [dressing room]. People had
I have a good time! I love to travel, I love to get out of popcorn and a cup of soda, I’m pretty happy! written a bunch of complaining bullsh*t. But there
my normal comfort zone. I spend a lot of time with were these three little sentences and “Wow!” they
my family when I’m home. It’s important for me and JI: Are there any quotes or fragments of wisdom that stuck with me. I don’t know who wrote it, but here is
my nieces. I love wine. I love going out to good din- you could share with our readers that would be in- what it was “Need nothing. Want everything. And,
ners. I love movies – probably my biggest passion. spiring, or motivating? choose your way in life”
McFerrin Continued from Page 10 BM: Well I’m always really fascinated with the art. into the studio and try out some new stuff. So it would
leave out one of the missing pieces, like you said, that I never know how things are going to turn out. My take a long, long time for the pieces to be finished, but
connects the whole thing. I think singing the bass first two pieces as a rule are always improvs. That’s it made sense because he is a perfectionist. Even now,
line while keeping the rhythm is the most difficult just a rule I set up for myself because I don’t want to though it’s funny, because I asked him after the album
part of what you do, while simultaneously singing fall back on a tune, to do something I’ve done before. was done, did he feel there were any places he would
the melody and parts of the harmonies--accompa- It used to be the rule that just the first piece was im- have liked to have gone and he said, “Of course. I listen
nying yourself--that’s pretty amazing to sing all the provised, but then I realized that the most difficult to it now and I ask myself, well why didn’t I go there,
parts like you do--in time. piece of the night was the second one. why didn’t I write that down?” So, I think that’s one
of the reasons why the album took such a long time.
BM: Well I worked on it for a long, long time. NM: It’s like where are you going to pull the ideas The other is my touring schedule. Also, the amount
from if you’ve given the audience your very best with of ideas that I would give Roger because he would say,
the first piece? How do you top yourself?
NM: I saw your performance in Peekskill at the Para- “Today I want to work on some bass lines. I’m not sat-
mount Theater and you have this ability to just walk isfied with the bass line that I wrote.” So I would go
BM: Exactly. And sometimes that first piece is 20, 25
out on the stage and pull everyone into your world in in and give him 30, 40, 50 different bass lines and he
minutes long of improv. I mean, what do you do after
about one second--that is mesmerizing to observe. As would have to pull them all apart and decide which
that? Anyway, I love to improvise. I love discovering
a singer, I know how difficult it is to just walk out there one to do. I can remember very, very vividly one night
what’s out there because it’s all a mystery, like step-
cold and the people are like, Well OK, entertain me. ping into a mystery. in the studio, he just basically put this 32 bar section
on a loop, and I just went on and on and on and I think
BM: Well, I know. I’ve been through that. In my NM: Let’s talk about your new CD VOCAbuLarieS. for like 28 times, over 32 bars, and then he would go
earliest solo performances I was wracked with doubt I reviewed that CD and it took me about two weeks back and he would just pull all this stuff out and say,
and the audience was quite fearful. You know, it was of intense listening to do the review. I have noticed “OK, I’m going to use this, I’m going to use that.” You
like this beast--pretty consuming. Because first of all that some reviewers use a lot of superlatives and they know, that’s how it worked.
I was doing something that I really didn’t have any don’t get into analyzing the compositions or into what
models for. And in the beginning people thought I might have motivated or inspired the work itself. I NM: That’s amazing. How did he keep track of all
was some kind of musical comedian, and they would read some of the reviews and it has been described as those different tracks?
laugh. I can’t tell you how many performances in a deeply spiritual, magical masterpiece, which I totally
the beginning, when I would go to auditions, or go agree with. But delving deeper into the technological BM: Well, yeah, he did. He had it set up so that he
to clubs to just sit in, I’d do a solo piece and people aspects of it and the intricacies of the work itself…what would have everything and he would just go back and
would end up laughing because they just didn’t know do you think makes this CD a masterpiece, if in fact just put it all together.
how to respond to what I was doing--they had no ref- you would categorize it as such?
erence. NM: I never heard about him before I heard your CD
BM: It was taxing, for one. It was a lot of work--seven, and read your liner notes, and now I’m hearing more
NM: I know. Anytime you make a sound that is just a eight years in the making. Sometimes I would be a little and more about him. It’s kind of the way it works.
little off center, it tends to make people laugh or make bit anxious for it to come to an end, but Roger Treece
a silly comment, and I think it’s just that they don’t is an amazing composer. I was a composition major in BM: Yeah, that’s the way it works.
want to appear ignorant to something they don’t un- college and the difficulty I had as a composer--and I
can say this because I think Roger has a little bit of the NM: So, do you consider it a masterpiece?
derstand, like they are missing out on something. So
same quality, I guess you could call it--is that I had the
they’ll laugh at it because they are self conscious of
hardest time making decisions about where I wanted
what they don’t know. But I noticed that you use that BM: Yes it is.
the music to go sometimes. I would get to a junction of
fun in your performances. You turn the whole thing
some kind and there would be a fork in the road and
into a big fun game for everybody. NM: I would say so, and that’s nice to know that
I might go to the left side, and I’d find some really in-
you feel that way. VOCAbuLarieS was such a huge
teresting stuff on the left side. Then I’d go back to the
BM: Well I use everything. Everything just becomes beginning point and I’d take the right fork in the road undertaking that required a mind-boggling amount
fodder for improv. It’s just material. Instead of de- and I’d find some really interesting stuff down there of work: 7 to 8 years in the making; over 100 gigs of
flecting it, I reflect it, absorb it and just give it back. too. So I’d find myself scratching my head sometimes digital space; recording and editing over 1,400 vocal
asking, well which way do I go? And this happened a tracks, that were recorded individually and in groups
NM: You use improvisation as a vehicle to communi- lot of times in the process of putting this album to- over those years. So that having been said, with this
cate the language of music--it’s actually just the lan- gether. Roger would go down these roads where he unprecedented musical statement being made, how
guage of being human and being comfortable with would find interesting stuff everywhere, so we’d go does one bring something of this magnitude to a live
ourselves. But what have you discovered about that down a road and we’d finish it. I thought we’d be fin- performance? And what can the audience expect to
art? What’s the one thing that sets the stage for the ished with the piece, and then Roger would say, “Wait hear that may be different from the CD itself?
magic to occur? a minute, I’ve got some more ideas,” and we’d go back Continued on Page 29

McFerrin Continued from Page 10 NM: Your Voicestra deals with wordless songs. Con- grateful for just waking up in the morning; grateful
BM: Oh, it’s actually not that difficult because a lot of versely, have you ever thought of working with poets that I have work that I enjoy; grateful that I’ve been
the singers that were on the LP--most of the recording and dealing with the words? married to the same wonderful woman for thirty-five
was done in New York-- are out here and they’re go- years and have three fabulous children. Hugely grate-
ing to make up the chorus. I think there’s going to be BM: Oh, I have many times. I thought about doing ful that my heart beats and my lungs breathe, that
around 40 singers on stage, something like that. that myself. In my early twenties I wrote a lot of po- I live out in the woods and it’s very, very quiet, like
etry, I was writing all the time. I thought at some point a retreat. So I’m grateful for nature and I’m grateful
NM: The songs, are they going to be like they are on I’d like to come back and write some more, you know, for the gifts God has given me. Gratitude plays a huge
the CD? I mean it seems kind of hard to translate start with the words, which is really difficult for me to part in my life.
that for me, with so much of what is done in the stu- do, because usually I start with the music and then find
dio with regard to editing for instance that doesn’t the words in the melody or something. But to actually NM: Your appeal to the youth is extraordinary and
start with words would be really challenging for me. the joy of what you do is very contagious to audiences
occur in a live performance.
of all ages. At one of your recent performances, I was
BM: No, it still sounds great. NM: Start with the words and break it down and di- attentive to some of the comments around me from
gress into sounds. That would be very cool. I know a group of young men who were taking great delight
NM: I’m sure it’s going to be celestial. Are you in re- you’re an advocate for music education. What do you in explaining to some of their companions who you
think of the current jazz educational programs? were, which was basically summed up in two words
hearsals now? as the man. I noticed the same magic taking place
BM: No, I’m only attending the last one before the BM: I really don’t know much about that aspect of it, when I watched the Sing Off video on YouTube and
performance. because I don’t spend a lot of time going to schools, saw the smiling faces, rapt attention and exuberance
so I don’t know what’s really happening. But I can tell of the young singers surrounding you. How do you
you this: it seems pretty obvious that the arts are not explain your appeal to the younger generation?
NM: So Roger takes care of everything?
as funded as well as sports or other aspects of educa-
tion. When I get a chance to speak to teachers I tell BM: [Laughter] I don’t know, I can’t explain it at all.
BM: Yes, he does. He works out all the choirs. And
them they are in a large part responsible for musically
when we do a performance, he’s there at least a week NM: They love you and you really get them going.
educating their students by simply making music a
in advance because these tunes are really complex. And when I saw in particular one of the young men
part of their class environment. Most people sit back
get up on the stage with you and dance, you were lov-
and wait for some kind of government funding. They
NM: Do you want to divulge what songs you will be ing him so much, and isn’t that what it’s all about?
say, “Well if we only had $10,000 to buy instruments.”
doing from the CD or is that a surprise? They are truly the best of us.
So they wait for the government to fund some kind
of music program when in a lot of ways music educa-
BM: I don’t know, in the past we’ve done ‘The Garden”, BM: Yes, that’s what it’s all about. It’s amazing.
tion simply requires exposure to music. Teachers can
“Messages”, and “Wailers”, but that’s Roger’s call. really get a handle on that one and decide that they’re NM: What is your legacy, then?
going to bring music into the classroom by just simply
NM: Let me ask you about your collaborations out- playing music in the classroom. You introduce music BM: It’s all about joy and just making music. The joy
side of Roger. I know you’ve worked with a lot of peo- into the classroom as students are walking in at the of having fun together, the joy of being real, accept-
ple, the best in the world. Is there anyone you haven’t beginning of the day, particularly for young people, ing of one another. All of that is what it is all about;
worked with and would you ever consider working you play music during nap time, you play music dur- just being regular, normal. No frills, no thrills, noth-
with Cecil Taylor or Ornette Coleman? ing some study time, you play music when they’re ing glamorous; it’s just all about the music, just being
coming in from recess, and even at the end of the day. real, just being true.
BM: Well, Ornette and I have played together, we You talk about, if you’re studying history, what was
never really worked together. But we did something the music of that time period? NM: This is your first time at the Rose Theater. How
recently, maybe a year and half ago in England.
do you feel about that?
NM: How did you find the singers you used on the
NM: What about Cecil Taylor? CD and for Voicestra? BM: I’m looking forward to it, a new space. I’m ex-
cited.
BM: That would be a serious challenge because he’s BM: Roger found them. There are a lot of singers
all over the place. I don’t really know how I’d fit in from my group Voicestra, which is sort of like the NM: Would you be interested in doing something
with that. spine of the project, and then he hired everyone else. in the future with your music as an ambassador for
Most of the singers are from New York, I believe – peace?
NM: How does your experience as a conductor influ- 80% of them easily.
ence your vocal composition since many of them are BM: I’d love to. Sure, if I was asked.
written in the moment? NM: What role does gratitude play in your day to
day life? Nora McCarthy is a Creative Jazz Vocal Artist, Com-
BM: First off, I don’t do much conducting anymore. poser, Poet, Educator. www.noramccarthy.com; www.
And I don’t write much anymore [laughter]. BM: It absolutely and positively does. First of all I’m thezenofsinging.com
Payton Continued from Page 12 uncomfortable about their ineptitude; their unwill- you weren’t true to who you were. You know, that’s
hardest battle which any human being can fight; and ingness to be authentic. If you speak about what’s true something I’m just not willing to do. I don’t care how
never stop fighting.” and how things really are, that can make people very rough it gets. I’ve dealt with a lot of stuff.
uncomfortable, and you run a risk of not necessarily
NP: Yeah, that’s really true, and it has to be a solemn being too liked. It’s another thing entirely to deny JI: Talk about your commitment to quality and in-
reward for you. You can’t necessarily do it expecting what you felt to be true in your heart, to do something tegrity.
that this or that will happen necessarily. A lot of peo- for someone else’s sake for some kind of other gain,
ple, a lot of times just won’t get it. Often times you will be it monetary or whatever, and then to not have to NP: For me good enough is not good enough. I’m al-
suffer a great deal, because it’ll make other people feel come through … also having to deal with the fact that Payton Continued on Page 30
Payton Continued from Page 29 JI: Yes, you don’t want to micromanage people. Of- that. I think the sharing communal aspect of it has
ways seeking to try to push forward. I’m not afraid to ten if you pre-direct people, you aren’t going to en- some kind of intangible affect on the music. To me
get my hands dirty – to do what’s required in order to able them to rise to the maximum potential that they the music comes from that very communal sharing
try to create great art, what I feel is great art. I just feel have to contribute something extraordinary. sort of space, and it’s all about the transfers of energy,
like a lot of people within this industry believe that ultimately. So, when you’re transferring energy from
good enough is OK. You know the amount of medioc- NP: Right, and that is reflected in the music, and that kind of space, that life experience translates into
rity that is passable or that’s acceptable, is disturbing. you’re not really improvising. If you tell people too your heart. You know, it requires a certain amount of
much about what to do, they develop all kinds of openness. I view myself as a perpetual student, and I
JI: Could you talk about leadership? complexes. I just don’t find that it creates a good en- always try to remember to keep the passion and love
ergy. If you have to start talking a lot about what you of the music first. Always be in touch with the feel-
NP: You have to know yourself in order to lead oth- want out of this and from that, then I think its time ing of when I got my first trumpet and took it out
ers. I think once you have a firm understanding and to find somebody else to do that job – someone who if it’s case. That love and that passion keeps that fire
a direction you want to go in, and you have your feet is more in sync with what you’re hearing and what burning – and it’s a hard thing to maintain through-
firmly planted there, people will naturally follow. I you’re looking for. out your career. This is particularly true as you prog-
don’t believe that you have to rule people with an ress and there becomes more resistance. Perhaps the
iron fist or hover over others. In fact, I don’t like to JI: Could you discuss your activities as an educator? closer you get to what it is you are trying to actually
run my band like that. The reason I have a band and do, the realness factor, the authenticity factor, the
have other musicians is that they have other voices NP: I don’t consider myself a teacher in the formal struggle becomes bigger. So, there is the temptation
and experiences that they can bring into my music to sense. With improvisation, you’re teaching some- to give up at a time where you actually might be upon
make it more dynamic. I don’t want clones of me on thing that essentially can’t really be taught. The chal- your biggest breakthrough. You just have to remain
every instrument. I want a music that’s multi-layered, lenge is to try to stimulate people’s minds to locate steadfast and keep pushing ahead at all costs. You’re
that’s flexible, and that might go in directions that I their inner creative spirit and to figure it out for them- greatest joys are only such because you also had to en-
may not have thought of. selves. Maybe you can give them the tools to tap into dure great challenge.
Bley Continued from Page 24 JI: We’re trying to understand that line of thinking. ing. Let’s put the two together and maybe he can
PB: I had nothing to offer Miles. It turns out that reinvigorate and change the way Coltrane plays.”
Herbie played beautifully for him. Nobody missed PB: If everybody already loves it, we’re doing our So I was invited to sit-in with Coltrane and I said,
me on that gig. I had no reason to do it except for ca- jobs. ‘boy, I know a whole bunch of stuff. I’m going to be
reer reasons. I mean, geez, you play with Miles, they able to really do a lot of good like I did with Sonny. I
give you a lifetime insurance policy. You’ll never be JI: So, if the Jaco album, which used electric guitar can refresh him because I know what he needs to do
out of work if you played with Miles, but that’s not and bass, had failed miserably, you would have done next.’ I had all the answers. So I got on the bandstand
why you play. You play to get better because if you more electric recordings? and McCoy Tyner is playing all his fourths and the
play better than you did before, you will also never be drummer is playing the usual background for Trane
out of work. You’ll have earned it though. PB: I prefer to not go in that direction. “Failed miser- and each one of those guys took me under the arm-
ably” are two words not in my lexicon. I would have pit and carried me three feet off the ground to an-
JI: Going back to IAI, you really struck gold on the re- done it over. Do you know the word “inevitable?” other McCoy Tyner-John Coltrane recording. I said,
cording Jaco which introduces Jaco Pastorius and also Well, when Carla writes music, she’s like a jazz Bach. ‘what happened to my originality, what happened to
Pat Metheny for the first time on record. You’ve been She writes a phrase 107 times, each one is different. So, the contribution I was going to make?’ It sounded
quoted in the past as saying, “it sold through the roof, when you go to Carla and say, ‘you know about this exactly like a John Coltrane recording with McCoy
which is why I never did another electronic record.” piece you wrote, how come you didn’t…’ She’ll say, Tyner! Those guys won, they were so much into their
‘I tried it as one of the 107 things I tried and I chose groove and did it so well that I wasn’t even there. So
PB: Well, you don’t want to do something that’s suc- the best way.’ Well, you didn’t try it 107 ways, so she you have to have a need for you if you’re going to do it
cessful because you can’t do it anymore. The whole wins. Steve will tell you that when she wakes up in the good. If they can do it without you, they will!
point is to make something successful. If it’s already morning, she goes into a small room and composes ev-
successful, they don’t need you, although I have no- ery day, every day forever. So what are you going to do? JI: What are your feelings on Miguel Zenon, the
ticed that this logic doesn’t resonate with everyone. Criticize her and say she didn’t get it right? She tried it 31-year-old saxophonist, winning this year’s McAr-
your way long ago. Somebody who gets it right is a ge- thur ‘Genius Grant’ award?
nius. It’s right because they know how to get it wrong.
Advertise Here
I’m proposing a much different philosophy, try to get it PB: That’s a bad sign. When you start winning con-
wrong at the beginning – it’s much faster. tests, it’s a sign that you’ve peaked. If they knew what
they were doing, they wouldn’t be winning a contest.
JI: Is there anything wrong with having financial You don’t get any good by winning a contest. It’s not
success? a contest!
Reserve by the
PB: When I experience it, I’ll let you know. JI: You would appear to be a very deserving candi-
15th of the Month date for this award.
JI: I spoke to Tyner two weeks ago, right after a show,
215-887-8880 and he was in a terrible mood because the piano was PB: Well, I would be a very hostile candidate.
out of tune. He didn’t want to talk with anyone but
jazz@jazzinside when I mentioned your name he brightened up and JI: What would you do if you were awarded this prize
was happy to give a comment about you. which comes with $500,000, no strings attached?
magazine.com PB: I have a McCoy Tyner story to tell. Someone

said, “let’s call Paul Bley because Coltrane is fad-
PB: Oh, you didn’t say that, sorry for the refusal.
[Laughs]
Interview
Patrick Cornelius
By Robin Friedman
JI: Tell us about your new recording Fierce. depict a young couple dancing together for the first
time; a bit shy and confused, but also excited, anx-
PC: There is a great small live music venue in new ious, and full of wonder, with one partner leading at
York called The Bar Next Door. They present jazz times, and then following the other. In so many in-
trios 7 nights per week, and I started appearing there stances, saxophone trios or quartets without piano or
back in 2006. After a few years, the idea of recording guitar sound abstract and esoteric to many listeners. I
original music in the saxophone trio setting started wanted to write music for this particular instrumen-
to stick in the back of my mind. Bassist Michael Jan- tation that is melodic and accessible without com-
isch and I had been working together as co-leaders promising the format’s inherent freedom. The songs
of The TransAtlantic Collective – a Euru-American on this album represent all the joy and exhilaration
collaborative ensemble – for a few years, so he was that music has brought to my life.
a natural choice for this project. We had developed
tremendous chemistry over the years and I knew that JI: Where would you like to be in five years?
he had the power, sensitivity, and finesse to bring this
particular music to life. Michael planned to be in PC: In five years, I hope to be tackling a musical proj-
New York City – he’s based in London – to record an ect that is completely different from Fierce, or any of
album with the amazingly versatile drummer Johna- the other ones I’m working on right now. I want to granted again. Organization is key.
than Blake, whom I had wanted to work with for keep moving forward, challenging myself to search
some time. It was the perfect opportunity to make for more opportunities to write and perform new JI: What have you discovered about human nature,
this project happen with both of these great musi- and interesting music. I also hope to be doing more from your observations on or off the stage?
cians. As I began to write the music, I felt that some teaching, which I really love.
PCI: It took a lot of frustration and heartbreak to
songs would benefit from the addition of another
learn to let go of the things in life that I can’t control
front-line voice. Obviously, my go-to collaborator, JI: What kinds of challenges do you face as an inde-
or change. I can only hold myself responsible for how
trombonist Nick Vayenas, was an easy sell. Nick and pendent artist, and what advice can you share about
well I play, how well I write, and what kind of person
I have appeared on six records together, and we’ve overcoming one or more obstacles?
I am. I’ve also figured out that the kinds of musicians
become close friends and musical compatriots in the
whom I want to collaborate with are those with well-
ten years since we first met at Berklee. I really love the PC: The biggest challenge in my life is time manage-
rounded lives – cats who have a wide
rough edges in his sound and style. They compliment ment. When you wear the hats of artist/teacher/man-
range of interests, hobbies, and life experiences. I
my own sound perfectly, and he brings a tremendous
ager/agent all at once, it can be easy to neglect one or want to work with artists from whom I can learn
amount of fire to his 3 performances on this album.
more aspect of your career or musicianship in favor about life and world, not just music. The most valu-
When I wrote the song “First Dance,” I wanted to
of another. Add to those duties the responsibilities of able lessons in my life I’ve learned from my mother,
life, marriage, and parenthood, and you’ll never take my father, and my wife. Those have affected the emo-
http://patrickcornelius.com a quick 15-minute practice break for tional integrity of my art more than any others.
Apple Gitler Continued from Page 4 powder). Four: Blumenthal writes that Sonny’s neck Notice: The eminent and highly estimable
featuring Anat; Django’s “Nuages” featuring Bucky; strap for his tenor “reportedly” was fashioned by him French hornist, composer and all around great impro-
and a closing “Softly As In a Morning Sunrise.” from a wire coat- hanger and some rope. If he had any viser, David Amram, is celebrating his 80th birthday
As I said, “in minor,” but in terms of results, doubts he should have asked me. I was there as the on November 11th with a gala concert at Symphony
major enjoyment. producer of the date. Space at Broadway and 95th Street.
Book Review: Saxophone Colossus:A Portrait of
Sonny Rollins – Photographs by John Abbott, Text
by Bob Blumenthal, Abrams Books. This is a classy
book, worthy of this giant of jazz. Abbott’s photos
are gorgeous, taken with love and reproduced beauti-
fully. Blumenthal’s text is excellent and particularly
effective in the way he has framed the various seg-
ments of Sonny’s journey.
However (and isn’t there almost always a how-
ever?) as a longtime admirer of Sonny I feel com-
pelled to correct some of the facts put forward. First
of all “Mambo Bounce” was not recorded for inclu-
sion in an anthology, Mambo Jazz. It was recorded as
part of Sonny’s first session as a leader for a 10-inch
LP on December 17, 1951. Two: Leaving “There Are
Such Things” out of the notable ballad section is
an egregious oversight. Three: Freddie Webster did
not die of an overdose. Someone gave him what was
called a “hot shot” (perhaps some lye in the heroin
Deeper Perspectives
Gratitude
“I believe that gratitude is the manifestation of love in the life experience.

It is what allows the beauty to unfold before your eyes in the moment. It is the
consummate blessing. It is what the struggle for and the attainment of spirituality
is all about. It is the underlying workings of the soul and the joining together
of heaven and earth. Gratitude goes beyond appreciation. It is pure joy.”

Jazz at the Calendar of Events
Turning Point Cafe
Piermont, NY How to Get Your Gigs and Events Listed in Jazz Inside™ NY
Within minutes of NYC, NJ, CT, Westchester, Submit your listings via e-mail to advertising@jazzinsidemagazine.com. Include date, times, location,
Orange in Rockland. Easy, free parking. phone number for additional information and or tickets/reservations. Deadline: 14th of the month
preceding publication (e.g. May 14 for June issue). Listings placed on a first come basis.
An intimate setting ideal for jazz
Monday Jazz Sessions New York City cover; no min. 239 E. 53rd St., lower level. 646-497-1254.
Mondays • 8-11:30pm tomijazz.com. igorlumpert.com
hosted by Saxophonist John Richmond • Mon 11/1: Christian Howes with Hamilton Hardin, Joel • Tues 11/2: Miles’ Café. Brenda Earle, Ike Sturm & Jesse
w/ Bob Meyer, drums Newton, Evan Gregor & Cedric Easton at 55 Bar. Lewis at 7:30pm. Chris Byars with John Mosca, Ari Ro-
Open session. All instrumentalists, vocalists, Patrons welcome! land & Stefan Schatz at 9:30pm. $10 cover; $10 min.
10:00pm. 55 Christopher St. 212-929-9883. 55bar.com
Thursday, November 4 • Mon 11/1: Sam Harris with Ambrose Akinmusire, Logan 212 E. 52nd St., 3rd Fl. (Bet. 2nd & 3rd Ave.) 212-371-7657.
Native Soul Richardson, Martin Nevin & Tommy Crane at Miles’ milescafe.com
Steve Johns, Noah Haidu, Peter Brainin, • Tues 11/2: Motema Records Showcase at Drom. Oran
Café. 9:30pm. $10 cover, $10 min. 212 E. 52nd St., 3rd Fl.
Marcus McLaurine Etkin @ 7:30pm. Gregory Porter @ 7:55pm. K.J. Den-
(Bet. 2nd & 3rd Ave.) 212-371-7657. milescafe.com
hert @ 8:20pm. Milk & Jade @ 8:45pm. $15. 85 Ave. A.
Sunday, November 14 • Mon 11/1: Tin Hat at (le) poisson rouge. 10:00pm. $15;
John Abercrombie-Adam Nussbaum 212-277-1157. http://dromnyc.com
$18 at door. 158 Bleecker St. 212-505-FISH. lepoisson
Jared Gold • Tues 11/2: Lucian Ban & John Hebert with Mat Maneri,
rouge.com
Joyce Hammann, Ralph Alessi, Andrew Bishop, Gerald
Sunday November 21 • Mon 11/1: Marco Benevento at City Winery. 8:00pm.
Cleaver Badal Roy at (le) poisson rouge. 6:30pm. $12;
Vocalist Gabriele Tranchina $12-$18. 155 Varick St. 212-608-0555. citywinery.com. $15 at door. 158 Bleecker St. 212-505-FISH. lepoisson
Joe Vincent Tranchina, marcobenevento.com rouge.com
Renato Thoms, Andy Eulau, Bobby Sanabria • Mon 11/1, 11/8: Phil Schaap at Irene Diamond Educa- • Tues 11/2, 11/9: Connie Crothers at Irene Diamond Edu-
tion Center, Lincoln Center. 6:30pm. “Jazz 101.” Broad- cation Center, Lincoln Center. 6:30pm. “Lennie’s Listen-
All Concerts way @ 60th St. 212-721-6500. jalc.org
7:30-10pm, 2 sets ing Lessons.” Broadway @ 60th St. 212-721-6500. jalc.org
468 Piermont Avenue • Mon 11/1, 11/8, 11/15, 11/22, 11/29: Zinc Bar. Felix Pas- • Tues 11/2, 11/9, 11/16, 11/23, 11/30: Annie Ross at Met-
No Minimum
Piermont, NY 10968 torius @ 9:00pm. Ron Affif @ 11:00pm 82 W. 3rd St. 21- ropolitan Room. 9:30pm. 34 W 22nd St. (Bet. 5th & 6th
477-8337. zincbar.com Ave.) 212-206-0440. metropolitanroom.com
(845) 359-1089 • Tues 11/2: Nicki Parrott Quartet at Rue 57 Restaurant. • Tues 11/2: Drom. Oran Etkin @ 7:30pm. Gregory Por-
www.turningpointcafe.com 8:00pm. No cover; $15 min. 60 W. 57th St. (Corner of Av- ter @ 7:55pm. K.J.Denhert @ 8:20pm. Milk & Jade @
www.johnrichmondjazz.com enue of the Americas) 212-307-5656. rue57.com 8:45pm. $15. 85 Ave. A (Bet. 5th & 6th St.) 917-312-5585.
• Tues 11/2: Igor Lumpert Trio at Tomi Jazz. 9:30pm. $10 dromnyc.com
live jazz nightly

N OV 1 M O N D AY N I G H T S W I T H W B G O N OV 9 – 1 4 N OV 2 3 –2 8
B E R K L E E G LO B A L J A Z Z CARL ALLEN / RODNE Y K E N P E P LOW S K I / B U C K Y
INSTITUTE W H I TA K E R P R O J EC T PIZZ ARELLI QUINTET
Hosted by Rhonda Hamilton, interview 7pm with Eric Reed, Rodney Jones, Tim Green with Derek Smith, David Finck & Chuck Redd
& Special Guests After Hours: Ehud Asherie Trio
N OV 2 –7 After Hours: Anthony Wonsey Trio
DA D O M O R O N I with Joanna Pascale N OV 2 9 U P S TA R T S !
with Joe Locke, Jed Levy, Peter Washington M A N H AT TA N S C H O O L O F
& Billy Drummond N OV 1 5 M O N D AY N I G H T S W I T H W B G O MUSIC JA ZZ ORCHESTRA
After Hours: Kelvin Sholar Trio G R EG O R Y P O R T E R & F R I E N D S & ENSEMBLE
with Chip Crawford, Aaron James, Emanuel Harold
N OV 6 & Special Guests N OV 3 0 – D E C 5
T H E R H Y T H M R OA D : Hosted by Rhonda Hamilton, interview 7pm M U LG R E W M I L L E R
A M E R I C A N M U S I C A B R OA D CD Release: Water (Motema) & W I N G S PA N
PRESENTS with Steve Nelson,
N OV 1 6 –2 1
Paul Beaudry and Pathways, 12:30PM Steve Wilson, Duane Eubanks,
Turning Pointe, 2:30PM RENEE ROSNES QUINTET Ivan Taylor & Rodney Green
Free. Seating is first come, first served. with Steve Nelson, Rich Perry,
After Hours: Dezron Douglas Trio
Peter Washington & Bill Stewart
N OV 8 After Hours: Todd Herbert Quartet
DON FRIEDM AN TRIO
with Hiromi Shimizu, Harvie S & N OV 2 2
Shinnosuke Takahashi JUILLIARD JA ZZ ENSEMBLE
with Special Guest Brian Lynch
jalc.org/dccc R E S E R VAT I O N S ARTIST SETS AF TER HOURS SET

212-258-9595 / 9795 7:30 pm / 9:30 pm , Fri –Sat 11:30 pm Tues–Sat after last artist set

ASIAN JAZZ FUSION
Friday, November 12, 2010 at 8 pm
• Tues 11/2: First Tuesdays Seminar at St. Peter’s
Church. 3:00pm. Free. “You Are the Art, You Are the
• Fri-Sat 11/5-6: Jazz at Lincoln Center Orchestra with
Wynton Marsalis & José James at Rose Theater, Fred-
JEFF FAIRBANKS JAZZ ORCHESTRA
Product: Making Your Music Available to the World,” led by erick P. Rose Hall, Lincoln Center. 8:00pm. $30, $50,
Alex Shapiro. Part of a professional development series $75, $95, $120. Hall of Fame: “The Music of Billy Stray-
for musicians and presenters in association with Chamber horn.” Broadway @ 60th St. 212-721-6500. jalc.org
Music America. 609 Lexington Ave.212-242-2022. (Bet. • Fri 11/5, 11/12, 11/19, 11/26: Lou Volpe Trio at Charlie O’s
53rd & 54th St.) saintpeters.org. alexshapiro.org Jazz Room. 8:30pm & 10:30pm. $15 cover. 1611 Broad-
• Tues-Wed 11/2-3: Emilio Solla & the Tango Jazz Conspir- way @ 49th St. 212-246-1960. http://louvolpejazz.com
acy at Zinc Bar. 82 W. 3rd St. 21-477-8337. zincbar.com • Fri-Sat 11/5-6: Space in the Heart, A Jazzopera at Leon- LAGUARDIA PERFORMING ARTS CENTER
MainstageTheater
• Wed 11/3: Miles’ Café. Charley Gerard at 7:30pm. Clem- ard Nimoy Thalia. 7:30pm. $35; $30; $25. Music by Bill 31-10 Thomson Ave, Long Island City, NY
ens Orth Trio at 9:30pm. $10 cover; $10 min. 212 E. 52nd Smith, libretto by Peter Monaghan. With Rachelle Flem- Tickets: $15 Advance
$ 20 At the door
St., 3rd Fl. (Bet. 2nd & 3rd Ave.) 212-371-7657. milescafe.com ing, Nicole Pasternak, Dominic Inferrera, Bill Smith, $10 Students
Call 718-482-5151 or visit
• Wed 11/3: Scott Feiner with Joel Frahm, Freddie Bryant John Eaton, Michael Bisio & Alan Bergman. 2537 www.laguardiaperformingarts.org
& Joe Martin at Zinc Bar. 7:30pm. 82 W. 3rd St. 21-477- Broadway @ 95th St. 212-864-5400. http://composers. Jeff Fairbanks Jazz Orchestra:
8337. zincbar.com com/page/space-heart-nov-5-6. symphonyspace.org www.reverbnation.com/jefffairbanks
• Wed 11/3: Preservation Hall Jazz Band at City Winery. • Sat 11/6: Basia at B.B. King’s Blues Club & Grill.
8:00pm. $35-$45. 155 Varick St. 212-608-0555. citywinery. 8:00pm. $35; $40 day of show 237 W. 42nd St. 212-307-
com 7171. basiasongs.com. bbkingblues.com • Sun 11/7, 11/14, 11/21, 11/28: Junior Mance & Hide
• Wed 11/3: Phil Schaap at Irene Diamond Education • Sat 11/6: Willie Mack at 5C Cultural Center & Café. Tanaka at Café Loup. 6:30pm. No cover. 105 W. 13th St.
Center, Lincoln Center. 6:30pm. “Jazz 201.” Broadway 8:00pm. 68 Ave. C @ E. 5th St. 212-477-5993. 5ccc.com @ 6th Ave. 212-255-4746. juniormance.com
@ 60th St. 212-721-6500. jalc.org • Sat 11/6: Anders Nilsson with Charlie Burnham, Michel • Mon 11/8: New Jazz Quartet with Anton Denner, Nicki
• Wed 11/3: Adam Rudolph’s Moving Pictures at (le) Gentile, Avram Fefer, Jeremy Danneman, Daniel Kelly, Denner, Jennifer Vincent & Rob Garcia at Tomi Jazz.
poisson rouge. 7:30pm. $15. 158 Bleecker St. 212-505- Dave Ambrosio & George Schuller at Roulette. 8:30pm. 9:30pm. $10 cover; no min. 239 E. 53rd St., lower level.
FISH. lepoissonrouge.com 20 Greene St. (Bet. Canal & Grand) 212-219-8242. 646-497-1254. tomijazz.com. myspace.com/newjazz
• Wed 11/3: Scot Albertson & Dr. Joe Utterback at Tomi roulette.org quartet
Jazz. 9:30pm. $10 cover; no min. 239 E. 53rd St., lower • Sat 11/6: Mayu Saeki Trio at Tomi Jazz. 9:30pm. $10 • Mon 11/8: Lars Dietrich, Samir Zarif, John Escreet,
level. 646-497-1254. tomijazz.com. scotalbertson.com cover; no min. 239 E. 53rd St., lower level. 646-497-1254. Zack Lober & Greg Ritchie at 55 Bar. 10:00pm. 55 Chris-
• Wed 11/3: Luísa Maita at S.O.B.’s. 9:00pm. $12; $15 at tomijazz.com
door. 200 Varick St. 212-243-4940. http://sobs.com topher St. 212-929-9883. 55bar.com
• Sat 11/6: Miles’ Café. Jo-Yu Chen with John Hebert & • Mon 11/8, 11/15, 11/22, 11/29: Adam Rudolph’s Go Or-
• Wed 11/3: All That! Hip Hop, Poetry & Jazz at Nuyori- Tommy Crane at 5:30pm. John O’Gallagher with John
can Poets Café. 9:30pm. Jam session. 236 E. Third St. ganic Orchestra at Roulette. 8:30pm. 20 Greene St.
Hebert & Russ Lossing at 7:30pm. Dave Schroeder (Bet. Canal & Grand) 212-219-8242. roulette.org
(Bet. B & C Ave.) 212-465-3167. nuyorican.org
with Bruce Arnold, Rich Shemaria, Mike Richmond
• Thurs 11/4: David Ryan at 5C Cultural Center & Café. • Mon 11/8: Kate Cosco with Bill Moring & Luca Santan-
& Rodrigo Recabarren @ 9:30pm. $10 cover; $10 min.
8:00pm. 68 Ave. C @ E. 5th St. 212-477-5993. 5ccc.com iello at Miles’ Café. $10 cover; $10 min. 212 E. 52nd St., 3rd
212 E. 52nd St., 3rd Fl. (Bet. 2nd & 3rd Ave.) 212-371-7657.
• Thurs 11/4: Wayne Krantz at 55 Bar. 10:00pm. No cover.
milescafe.com
55 Christopher St. 212-929-9883. 55bar.com. amycervini.
• Sat 11/6: Café Vivaldi. Ahmad Hassan Muhammad @
com
6:00pm. Melissa Aldana Quartet @ 7:00pm. 32 Jones
• Thurs 11/4: Miles’ Café. Sam Reider at 7:30pm. Alex Ter-
St. 212-691-7538. caffevivaldi.com
rier at 9:30pm. $10 cover; $10 min. 212 E. 52nd St., 3rd Fl.
• Sat 11/6: Adrienne Cooper with Marilyn Lerner, Mike
(Bet. 2nd & 3rd Ave.) 212-371-7657. milescafe.com
Winograd, Benjy Fox-Rosen, Avi Fox-Rosen, Patrick
• Thurs 11/4: Noriko Tomikawa with Hill Greene & Yoishi
Farrell, Chris Berry, Jon Singer, Ben Holmes & Sarah
Satoi at Tomi Jazz. 9:30pm. $10 cover; no min. 239 E. 53rd
Mina Gordon at Drom. 8:00pm. $15; $10 students. 85
St., lower level. 646-497-1254. tomijazz.com. myspace.
com/norikotomikawa Ave. A (Bet. 5th & 6th St.) 917-312-5585. dromnyc.com
• Thurs 11/4: Manuel Varela Quartet at Zinc Bar. 82 W. 3rd • Sat 11/6: Pamela Luss with Houston Person at Metropol-
St. 21-477-8337. zincbar.com itan Room. 7:00pm. $20 cover, 2-drink min. 34 W 22nd St.
• Thurs 11/4, 11/11, 11/18, 11/25: Enrico Granafei at Di (Bet. 5th & 6th Ave.) 212-206-0440. metropolitanroom.com
Fiore Marquet. 7:00pm. 15 E. 12th St. 212-229-9313. http:// • Sun 11/7, 11/14, 11/21, 11/28: Cidinho Teixeira & Friends
difioremarquetcafe.com. myspace.com/enricogranafei at Zinc Bar. 82 W. 3rd St. 21-477-8337. zincbar.com
• Thurs 11/4: Pamela Luss with Houston Person at Metro- • Sun 11/7: Amiri Baraka’s The Election Machine Ware-
politan Room. 7:00pm. $20 cover, 2-drink min. 34 W 22nd house at Nuyorican Poets Café. 3:00pm. $10. 236 E.
St. (Bet. 5th & 6th Ave.) 212-206-0440. metropolitanroom. Third St. (Bet. B & C Ave.) 212-465-3167. nuyorican.org
com • Sun 11/7: Secret Architecture with Wade Ridenhour, Ju-
• Fri 11/5: Dave Liebman & Randy Brecker with the Man- lian Smith, Zach Mangan & Fraser Campbell at Café Viv-
hattan School of Music Jazz Philharmonic Orchestra aldi. 9:30pm. 32 Jones St. 212-691-7538. caffevivaldi.com
at Manhattan School of Music. 8:00pm. $10; $5 seniors • Sun 11/7: Ehud Asherie at Fat Cat. 6:00pm. New School
& students. Performing John Coltrane’s “Meditations Jazz. 75 Christopher St. 212-675-6056. fatcatmusic.org
Suite,” arranged by Gunnar Mossblad. 120 Claremont Ave. • Sun 11/7: Yumi K with Tadataka Unno & Steve Whippel
212-749-2802. http://msmnyc.edu. daveliebman.com at Tomi Jazz. 5:00pm. $10 cover; no min. 239 E. 53rd St.,
• Fri 11/5: Diane Moser & Mark Dresser at Klavierhaus. lower level. 646-497-1254. tomijazz.com
8:00pm. $15. 211 W. 58th St. 212-245-4535. • Sun 11/7: Jeremy Siskind at Miles’ Café. 212 E. 52nd St.,
• Fri 11/5: Charles Sibirsky at 5C Cultural Center & Café. 3rd Fl. (Bet. 2nd & 3rd Ave.) 212-371-7657. milescafe.com.
8:00pm. 68 Ave. C @ E. 5th St. 212-477-5993. 5ccc.com jeremysiskind.com
• Fri 11/5: Chris Cochrane at Roulette. 8:30pm. 20 Greene • Sun 11/7: Jeremy Siskind at Miles’ Café. 7:30pm. $10
St. (Bet. Canal & Grand) 212-219-8242. roulette.org cover; $10 min. 212 E. 52nd St., 3rd Fl. (Bet. 2nd & 3rd Ave.)
• Fri 11/5-Sat 11/6: Gene Perla, Sean Gough & Doug Hirl- 212-371-7657. milescafe.com
inger at Knickerbocker Bar & Grill. 9:45pm. 33 Univer- • Sun 11/7: Melissa Hamilton with Rale Micic & Hilliard
sity Pl. 212-228-8490. knickerbockerbarandgrill.com Greene at North Square Lounge. 12:30pm & 2:00pm.
• Fri 11/5: Miles’ Café. Ridrigo Bonelli with Carras Pat- No cover or min. 103 Waverly Pl. @ MacDougal. 212-254-
ton, Mike Shea & Jeff McAuliffe at 7:30pm. Uri Gurvich 1200. northsquareny.com
with Asen Doykin & Edward Perez at 9:30pm. $10 cover; • Sun 11/7: Winard Harper Group at Duke Ellington Cir-
$10 min. 212 E. 52nd St., 3rd Fl. (Bet. 2nd & 3rd Ave.) 212-371- cle, Central Park. 11:00am. Free. Marathon concert. Fifth
7657. milescafe.com Ave. @ E. 109th St. 212-860-1370. nycgovparks.org

• Tues 11/9: Miles’ Café. Michael Reis with Vivek Patel, • Fri 11/12: Gargi Shinde at 5C Cultural Center & Café.
Tal Gamlieli & Adam Cruz at 7:30pm. Mamiko Kitaura 8:00pm. 68 Ave. C @ E. 5th St. 212-477-5993. 5ccc.com
with Malcolm Kirby Jr & Aaron McLendon at 9:30pm. • Fri 11/12: Duane Eubanks Quintet with Abraham Burton
$10 cover; $10 min. 212 E. 52nd St., 3rd Fl. (Bet. 2nd & 3rd at Fat Cat. 10:30pm. New School Jazz. 75 Christopher St.
Ave.) 212-371-7657. milescafe.com 212-675-6056. fatcatmusic.org
• Tues 11/9: Elio Villafranca Quintet at Zinc Bar. 82 W. 3rd • Fri 11/12: Julio Botti with Carlos Pavan, Franco Pinna &
St. 21-477-8337. zincbar.com Andres Rot at Drom. 7:30pm. $10. 85 Ave. A (Bet. 5th & 6th
• Tues 11/9: AfroCubism at Town Hall. 8:00pm. $65, $50 St.) 917-312-5585. dromnyc.com. juliobotti.com
& $35. With Eliades Ochoa 7 Grupo Patria, Toumani • Sat 11/13: Brad Linde Trio at Tomi Jazz. 9:30pm. $10
Diabate & Bassekou Kouyate and others. 123 W. 43rd St. cover; no min. 239 E. 53rd St., lower level. 646-497-1254.
(Bet. 6th & Broadway) 212-307-4100. newaudiences.com/ tomijazz.com
concerts • Sat 11/13: Amy Cervini at 55 Bar. 7:00pm. No cover. 55
• Wed 11/10: Fernando Otero Quintet at Zinc Bar. 82 W. Christopher St. 212-929-9883. 55bar.com. amycervini.com
3rd St. 21-477-8337. zincbar.com • Sat 11/13: Adam Kromelow, Gregg Bendian & Jon
• Tues 11/10: Miles’ Café. Dave Frank at 7:30pm. Todd Irabagon at Café Vivaldi. 8:15pm. 32 Jones St. 212-691-
Horton with Jim Ridl, Chico Huff & Aaron Comess at 7538. caffevivaldi.com
9:30pm. $10 cover; $10 min. 212 E. 52nd St., 3rd Fl. (Bet. 2nd • Sat 11/13: Randy Weston & His Orchestra at Tribeca
Fl. (Bet. 2nd & 3rd Ave.) 212-371-7657. milescafe.com & 3rd Ave.) 212-371-7657. milescafe.com Performing Arts Center. 8:00pm. Uhuru Afrika 50th Anni-
• Tues 11/9: Eugene Marlow’s Haritage Ensemble with • Wed 11/10: Cindy Blackman with Marc Cary, Aurelien Bu- versay Concert Celebration. $25, $15 students & seniors;
Bobby Sanabria at NYC Baha’i Center. 8:00pm & dynek & Felix Pastorius at (le) poisson rouge. 6:30pm. $35, $25 students & seniors; $45.199 Chambers St. 212-
9:30pm. $15; $10 for students. 53 E. 11th St. (Bet University $15. 158 Bleecker St. 212-505-FISH. lepoissonrouge.com 220-1460. tribecapac.org
Place & Broadway) 212-222-5159. bahainyc.org/jazz.html • Wed 11/10, 11/17: Boo Frazier at Irene Diamond Educa- • Sat 11/13: Miles’ Café. Yuki Shibata with Jonathan Green-
• Tues 10/9: Brad Mehldau & the Saint Paul Chamber Or- tion Center, Lincoln Center. 6:30pm. Swing University:
stein, Yoshiki Yamada & Jun Young Song at 5:30pm. Ju-
chestra, Scott Yoo conductor at Carnegie Hall, Zankel “Dizzy Gillespie.” Broadway @ 60th St. 212-721-6500. jalc.
lian Pollack with Noah Garabedian & Evan Hughes at
Hall. 8:30pm. $48-$56. With Joshua Redman, Jeff Bal- org
7:30pm. Sam Ryder, Magnus Schriefl, Florian Hoefner,
lard, Matt Chamberlain & Larry Grenadier. 57th St. & 7th • Wed 11/10: Chris Potter with Adam Rogers, Craig Taborn
Ruben Samama & Peter Gall at 9:30pm. $10 cover; $10
Ave. 212-247-7800. carnegiehall.org & Nate Smith at Carnegie Hall, Zankel Hall. 9:30pm. $38-
min. 212 E. 52nd St., 3rd Fl. (Bet. 2nd & 3rd Ave.) 212-371-7657.
• Tues 11/9: Florian Hoefner, Mike Ruby, Ruben Samama $48. 57th St. & 7th Ave. 212-247-7800. carnegiehall.org
milescafe.com
& Peter Gall at Café Vivaldi. 9:30pm. 32 Jones St. 212- • Wed 11/10: Dafnis Prieto & John Amira with Loop 243
• Sat 11/13: John McLaughline with Gary Husband, Mark
691-7538. caffevivaldi.com at The Tank. 8:00pm. $15. 354 W. 45th St. 212-563-6269.
Mondesir & Etieene M’Bappe at Town Hall. 8:00pm. $65,
• Tues 11/9: Craig Handy Quartet at Rue 57 Restaurant. thetanknyc.org
$50 & $35. With Eliades Ochoa 7 Grupo Patria, Toumani
• Sun 11/11: The Art of David Stone Martin at Peter Jay
8:00pm. No cover; $15 min. 60 W. 57th St. (Corner of Av- Diabate & Bassekou Kouyate and others. 123 W. 43rd St.
Sharp Arcade, Lincoln Center. 11:00am & 1:00pm.Free
enue of the Americas) 212-307-5656. rue57.com (Bet. 6th & Broadway) 212-307-4100. newaudiences.com/
guided gallery talks with curators. Broadway @ 60th St.
212-721-6500. jalc.org concerts
• Thurs 11/11: David Amram at Leonard Nimoy Thalia. • Sun 11/14: Joe Fonda, Billy Bang & Barry Altschul at
7:30pm. $75; $55; $35. “The first 80 years!” With Queens Roulette. 8:30pm. 20 Greene St. (Bet. Canal & Grand)
College Orchestra, Brooklyn Conservatory of Music 212-219-8242. roulette.org
Jazz Orchestra & Gospel Choir, Earl McIntype,Renee • Sun 11/14: 5C Cultural Center & Café. Daniel Ori Quar-
Manning and special guests. 2537 Broadway @ 95th St. tet at 8:00pm. Norberto Tamburrino at 10:30pm. 68 Ave.
212-864-5400. symphonyspace.org C @ E. 5th St. 212-477-5993. 5ccc.com
• Thurs 11/11: Angelique Kidjo with Youssou N’Dour, • Sun 11/14: Secret Architecture with Wade Ridenhour,
Omara Portuondo, Dianne Reeves & Romero Lu- Julian Smith, Zach Mangan & Fraser Campbell at Café
bambo at Carnegie Hall, Zankel Hall. 8:00pm. $13.50- Vivaldi. 9:30pm. 32 Jones St. 212-691-7538. caffevivaldi.
74. 57th St. & 7th Ave. 212-247-7800. carnegiehall.org com
• Fri 11/11: Miles’ Café. Asen Doykin Trio at 7:30pm. • Sun 11/14: Roz Corral & Eddie Monteiro at North Square
Nadav Snir with Ted Rosenthal & Todd Coolman at Lounge. 12:30pm & 2:00pm. No cover or min. 103 Waverly
9:30pm. $10 cover; $10 min. 212 E. 52nd St., 3rd Fl. (Bet. 2nd Pl. @ MacDougal. 212-254-1200. northsquareny.com
& 3rd Ave.) 212-371-7657. milescafe.com • Sun 11/14: Miles’ Café. Bryan Carter Quintet at 5:30pm.
• Thurs-Sat 11/11-13: Henry Threadgill with Zooid & Strings Alicia Rau, Adam Lomeo, Marcus McLaurine & Bruce
at Roulette. 8:30pm. $20; $15 students, seniors, under Cox at 7:30pm. Isamu McGregor, Evan Crane & Jeff
30. 20 Greene St. (Bet. Canal & Grand) 212-219-8242. Hatcher at 9:30pm. $10 cover; $10 min. 212 E. 52nd St., 3rd
roulette.org Fl. (Bet. 2nd & 3rd Ave.) 212-371-7657. milescafe.com
• Thurs 11/11: Burt Eckoff Duo at 5C Cultural Center & • Mon 11/15: Charlie Hunder Trio & Mark Guiliana’s Beat
Café. 8:00pm. 68 Ave. C @ E. 5th St. 212-477-5993. 5ccc. Music at (le) poisson rouge. 6:00pm. $15. 158 Bleecker
com St. 212-505-FISH. lepoissonrouge.com
• Thurs 11/11: Pamela Luss with Houston Person at Met- • Mon 11/15, 11/22, 11/29: Emilio Solla with John Bailey,
ropolitan Room. 7:00pm. $20 cover, 2-drink min. 34 W John Ellis, Tim Armacost, Alan Ferber, Victor Prieto,
22nd St. (Bet. 5th & 6th Ave.) 212-206-0440. metropolitan Meg Okukra, Jorge Roeder & Mark Ferber at Miles’
room.com Café. $10 cover; $10 min. 212 E. 52nd St., 3rd Fl. (Bet. 2nd &
• Wed 11/11: Dafnis Prieto Quartet at Zinc Bar. 82 W. 3rd 3rd Ave.) 212-371-7657. milescafe.com
St. 21-477-8337. zincbar.com • Tues 11/16: Mingus, Monk & Dizzy: Great Jazz Combos
• Fri 11/12: Miles’ Café. Chris Crocco with Peter Slavov on Film at Tribeca Performing Arts Center. 7:30pm.
& Ross Pederson at 7:30pm. Rale Micic at 9:30pm. $10 “Scenes through the Cinema Lens.” Free..199 Chambers
cover; $10 min. 212 E. 52nd St., 3rd Fl. (Bet. 2nd & 3rd Ave.) St. 212-220-1460. tribecapac.org
212-371-7657. milescafe.com • Tues 11/16: Elio Villafranca Quintet at Zinc Bar. 82 W.
• Fri 11/12-Sat 13: Bobby McFerrin at Rose Theater, Fred- 3rd St. 21-477-8337. zincbar.com
erick P. Rose Hall, Lincoln Center. 8:00pm. $30, $50, $75, • Tues 11/16: Miles’ Café. Napua Davoy, Gaku Taka-
$95, $120. Broadway @ 60th St. 212-721-6500. jalc.org nashi & Kirk Driscoll at 7:30pm. Lisa Engelken, Josh
• Fri 11/12-Sat 11/13: Jon Weber at Knickerbocker Bar Deutsch & Jarrett Cherner at 9:30pm. $10 cover; $10
& Grill. 9:45pm. 33 University Pl. 212-228-8490. knicker min. 212 E. 52nd St., 3rd Fl. (Bet. 2nd & 3rd Ave.) 212-371-
bockerbarandgrill.com 7657. milescafe.com

• Wed 11/17: Melissa Stylianou with Pete McCann, Gary • Fri 11/19: Miles’ Café. Bethany Wild, Glafkos Konteme- Kaufman at 7:30pm. Shauli Einav, Jean Caze, Ronen
Wang & Rodney Green at 55 Bar. 7:00pm. No cover. niotis & Apostolos Sideris at 7:30pm. Bossa Nova Trio Shmueli & Joseph Lepore at 9:30pm. $10 cover; $10
55 Christopher St. 212-929-9883. 55bar.com. melissa at 9:30pm. $10 cover; $10 min. 212 E. 52nd St., 3rd Fl. (Bet. min. 212 E. 52nd St., 3rd Fl. (Bet. 2nd & 3rd Ave.) 212-371-
stylianou.com 2nd & 3rd Ave.) 212-371-7657. milescafe.com 7657. milescafe.com
• Wed 11/17: Miles’ Café. Jazz Patrol at 7:30pm. Dreyas • Fri 11/19: Piano trios at 5C Cultural Center & Café. • Sun 11/21: Brianna Thomas with Ethan Mann & Elias
Barnes at 9:30pm. $10 cover; $10 min. 212 E. 52nd St., 3rd 8:00pm. 68 Ave. C @ E. 5th St. 212-477-5993. 5ccc.com Bailey at North Square Lounge. 12:30pm & 2:00pm. No
Fl. (Bet. 2nd & 3rd Ave.) 212-371-7657. milescafe.com • Sat 11/20: Jazz at Lincoln Center Orchestra with Wyn- cover or min. 103 Waverly Pl. @ MacDougal. 212-254-
• Wed 11/17: Fernando Otero Quintet at Zinc Bar. 82 W. ton Marsalis at Rose Theater, Frederick P. Rose Hall, 1200. northsquareny.com
3rd St. 21-477-8337. zincbar.com Lincoln Center. 1:00pm & 3:00pm. $12, $20, $28. Jazz • Sun 11/21: Secret Architecture with Wade Ridenhour,
• Thurs 11/18: Yukai & Chris Dingman at 5C Cultural Cen- for Young People: “What Is Jazz?” Broadway @ 60th St. Julian Smith, Zach Mangan & Fraser Campbell at Café
ter & Café. 8:00pm. 68 Ave. C @ E. 5th St. 212-477-5993. 212-721-6500. jalc.org Vivaldi. 6:00pm. 32 Jones St. 212-691-7538. caffevivaldi.
5ccc.com • Sat 11/20: Roswell Rudd with Steve Swell, Deborah com
• Thurs 11/18: Juan Carlos Formell & Johnny’s Dream Weisz, Bob Stewart, Ken Filiano & Barry Altschul at • Tues 11/23: National Jazz Museum in Harlem Annual
Club at Zinc Bar. 82 W. 3rd St. 21-477-8337. zincbar.com City Winery. 8:00pm. $25-$45. Roswell Rudd 75th birthday
Gala at The Players. 6:30pm. Tickets $1000. Honoree:
• Thurs 11/18: Miles’ Café. Marc McDonald, Jim Ridl & Sim party. 155 Varick St. @ Vandam. 212-608-0555. citywinery.
Arthur H. Barnes. Performances by Geri Allen & Car-
Cain at 7:30pm. Jorge Sylvester with Nora McCarthy, com
men Lundy. 16 Gramercy Park S. 212-763-8590. http://
Waldron Mahdi Ricks, Pablo Vergara, Donald Nicks & • Sat 11/20: Carol Sudhalter, Yuima & Burt Eckoff at 5C
jazzmuseuminharlem.org/events.php
Michael Wimberly at 9:30pm. $10 cover; $10 min. 212 E. Cultural Center & Café. 8:00pm. 68 Ave. C @ E. 5th St.
• Tues 11/23: Mark Morganelli & the Jazz Forum All-
52nd St., 3rd Fl. (Bet. 2nd & 3rd Ave.) 212-371-7657. milescafe. 212-477-5993. 5ccc.com
Stars at Rue 57 Restaurant. 8:00pm. No cover; $15 min.
com • Sat 11/20: Miles’ Café. Ted Kooshian with Jeff Lederer,
• Thurs 11/18: Wayne Krantz at 55 Bar. 10:00pm. 55 Chris- Tom Hubbard & Warren Odze at 5:30pm. Bruce Arnold, 60 W. 57th St. (Corner of Avenue of the Americas) 212-307-
topher St. 212-929-9883. 55bar.com Dean Johnson & Tony Moreno at 7:30pm.Brad Shepik 5656. rue57.com
• Thurs 11/18: Ismail Lumanovski with Tamer Pinarbasi, Trio at 9:30pm. $10 cover; $10 min. 212 E. 52nd St., 3rd Fl. • Tues 11/23: Miles’ Café. Elisabeth Lohninger & Walter
Panogiotis Andreu, Engin Gunaydin & Jason Lindner (Bet. 2nd & 3rd Ave.) 212-371-7657. milescafe.com Fischbacher at 7:30pm. GP5 at 9:30pm. $10 cover; $10
at Drom. 10:00pm. $10; $15 at door. 85 Ave. A (Bet. 5th & 6th • Sun 11/21: Swingadelic at Swing 46. 9:30pm. 349 W. 46th min. 212 E. 52nd St., 3rd Fl. (Bet. 2nd & 3rd Ave.) 212-371-
St.) 917-312-5585. dromnyc.com. myspace.com/nygypsy St. swing46.com 7657. milescafe.com
allstars. • Sun 11/21: Mose Allison with JC Hopkins Band, El- • Tues 11/23: Jon De Lucia at Tomi Jazz. 9:30pm. $10
• Thurs 11/18: Champian Fulton Trio at Tomi Jazz. vis Costello, Amy Allison, Jolie Holland, Lea Delaria, cover; no min. 239 E. 53rd St., lower level. 646-497-1254.
9:30pm. $10 cover; no min. 239 E. 53rd St., lower level. Dandy Wellington & Lucy Woodward at City Winery. tomijazz.com
646-497-1254. tomijazz.com 8:30pm. $25-$40. 155 Varick St. 212-608-0555. citywinery. • Tues 11/23: Pedro Giraudo Sextet at Zinc Bar. 82 W. 3rd
• Fri 11/19-Sat 11/20: Ben Wolfe & Tardo Hammer at com. moseallison.com. jchopkins.com St. 21-477-8337. zincbar.com
Knickerbocker Bar & Grill. 9:45pm. 33 University Pl. • Sun 11/21: Miles’ Café. Amie Amis Quartet at 5:30pm. • Wed-Thurs 11/24-25: Osmany Paredes Quartet at Zinc
JSjinov10 10/12/10 6:14 PM Page 1
212-228-8490. knickerbockerbarandgrill.com Paul Jones with LeonBoykins, Nick P aul & Dustin Bar. 82 W. 3rd St. 21-477-8337. zincbar.com
�MINGUS� MON NOV 15 �MINGUS�

�MONDAYS� MINGUS BIG BAND �MONDAYS�
TUE & WED NOV 16 & 17
SHEILA JORDAN’S
“Jazz Venue of the Year” - ALL ABOUT JAZZ • “Best Jazz Club” - NEW YORK MAGAZINE & CITYSEARCH 82ND BIRTHDAY CELEBRATION
MON NOV 1 WITH STEVE KUHN
�MINGUS� �MINGUS�
�MONDAYS� MINGUS BIG BAND �MONDAYS� THU-SUN NOV 18-21
´
BENITO GONZALEZ QUINTET
TUE NOV 2
DANILO PÉREZ
AZAR LAWRENCE - MYRON WALDEN - ESSIET OKON ESSIET - JEFF “TAIN” WATTS
WED-SUN NOV 3-7 TRIO
CHRISTIAN McBRIDE
BEN STREET - ADAM CRUZ
�MONDAYS� MINGUS ORCHESTRA �MONDAYS�
& INSIDE STRAIGHT

STEVE WILSON - WARREN WOLF - CHRISTIAN SANDS - CARL ALLEN
MARIA
TUE-SUN NOV 23-28
SCHNEIDER
�MONDAYS� MINGUS ORCHESTRA �MONDAYS�
ORCHESTRA
TUE & WED NOV 9 & 10
JULIAN LAGE GROUP

DAN BLAKE - JORGE ROEDER - ARISTIDES RIVAS - TUPAC MANTILLA
THU-SUN NOV 11-14 THU NOV 25 CLOSED FOR THANKSGIVING
CYRUS CHESTNUT �MINGUS�

�MONDAYS� MINGUS DYNASTY
MON NOV 29 �MINGUS�
�MONDAYS�
TRIO
TUE & WED NOV 30-DEC 1
DEZRON DOUGLAS - NEAL SMITH

PETER BERNSTEIN QUARTET
MIKE LeDONNE - JOHN WEBBER - JOE FARNSWORTH
� � � � � JAZZ FOR KIDS WITH THE JAZZ STANDARD YOUTH ORCHESTRA EVERY SUNDAY AT 2PM - DIRECTED BY DAVID O’ROURKE� � � � �

& other jazz musicians at Café Vivaldi. Starting @ St. waterstreetrestaurant.com. phishbacher.com
6:00pm. 32 Jones St. 212-691-7538. caffevivaldi.com • Wed 11/3: Trevor Dunn & Phillip Greenlief at Barbés.
• Sat 11/27: Rob Duguay’s Songevity Quartet with Steve 7:00pm. 376 9th St. @ 6th Ave. 347-422-0248. barbes
Wilson, Justin Kauflin & Nadav Snir at Galapagos Art brooklyn.com
Space. 2:00pm. $10. 16 Main St. 718-222-8500. galapagos • Thurs 11/4: Ted Rosenthal, Noriko Ueda & Quincy Da-
artspace.com vis at Bargemusic. 8:00pm. $25; $20 senior; $10 student.
• Sat 11/27: Miles’ Café. Michael Dease, Mark Whit- Selections by Brahms, Chopin, Mozart, Puccini, Schubert,
field, Corcoran Holt & Andrew Swift at 5:30pm. Mika Schumann & Tchaikovsky reinvented for the jazz piano
at 7:30pm. Roberta Piket Trio at 9:30pm. $10 cover; $10 trio. Fulton Ferry Landing, at the foot of the Brooklyn
min. 212 E. 52nd St., 3rd Fl. (Bet. 2nd & 3rd Ave.) 212-371- Bridge. 718-624-2083. bargemusic.org
7657. milescafe.com • Thurs 11/4: Daniel Kelly with Chris Tarry & Jordan Perl-
• Sun 11/28: Roz Corral with Gene Bertoncini & Harvie S son at Tea Lounge. 9:00pm. No cover; $5 donation per
at North Square Lounge. 12:30pm & 2:00pm. No cover set. 837 Union St., Park Slope. 718-789-2762. tealoungeny.
or min. 103 Waverly Pl. @ MacDougal. 212-254-1200. com. dymaxion4.com
northsquareny.com • Fri 11/5: Oran Etkin at Barbés. 8:00pm. 376 9th St. @ 6th
• Sun 11/28: Secret Architecture with Wade Ridenhour, Ave. 347-422-0248. barbesbrooklyn.com
Julian Smith, Zach Mangan & Fraser Campbell at Café • Sat 11/6: Yeyi at Nublu. 9:00pm. $15. 62 Ave. C. 212-375-
• Wed 11/24: Miles’ Café. David Gibson, Freddie Hen- Vivaldi. 9:30pm. 32 Jones St. 212-691-7538. caffevivaldi. 1500. nublu.net
drix, Jared Gold & Anwar Marshall at 7:30pm. Yayoi com • Sat 11/6: Tito Puente Jr. Orchestra at Brooklyn Col-
Ikawa, Eddy Khaimovich & John Davis at 9:30pm. $10 • Sun 11/28: Miles’ Café. Chiyong, Kuroda Takura, Jamaal lege, Walt Whitman Theatre. 8:00pm. $37; $40 at door.
cover; $10 min. 212 E. 52nd St., 3rd Fl. (Bet. 2nd & 3rd Ave.) Sawyer, Dymski, Etsuko Tajima, Soshi Uchida & To- 2900 Bedford Ave. 718-951-5847. brooklyn.cuny.edu
212-371-7657. milescafe.com moaki Kanno at 6:30pm. Daryl Johnson, Lonnie Plaxico • Sat 11/6: Puppets Jazz Bar. C. Apicella & Iron City @
• Fri 11/26-Sat 11/27: Jay Leonhart & Ted Firth at Knick- & Lionel Cordew at 7:30pm. David Berkman, Gianluca 6:00pm. Puppets Jazz Collective Jam Session @ mid-
erbocker Bar & Grill. 9:45pm. 33 University Pl. 212-228- Renzi & Gene Jackson at 9:30pm. $10 cover; $10 min. night. 481 5th Ave., Park Slope. 718-499-2622. puppetsjazz.
8490. knickerbockerbarandgrill.com 212 E. 52nd St., 3rd Fl. (Bet. 2nd & 3rd Ave.) 212-371-7657. com
• Fri 11/26: Ian Duerr Duo at Tomi Jazz. 9:30pm. $10 milescafe.com • Sat 11/6: Tea Lounge. Super Seaweed Sex Scandal @
• Mon 11/29: Melissa Stylianou with Jamie Reynolds & 9:00pm. Killer BOB @ 10:30pm. No cover; $5 donation per
cover; no min. 239 E. 53rd St., lower level. 646-497-1254.
Gary Wang at The Bar Next Door. 8:30pm. $12 each set, set. 837 Union St., Park Slope. 718-789-2762. tealoungeny.
tomijazz.com
1-drinnk min. 129 MacDougal St. 212-529-5945. lalanter- com. dymaxion4.com
• Fri 11/26: Miles’ Café. Linda Ciofalo & John Hart at
nacaffe.com. melissastylianou.com • Sat 11/6: Akua Dixon & Aziza Miller at Sistas’ Place.
7:30pm. David Calwell-Mason, Kellen Harrison & Ari
• Mon 11/29: Lewis Nash at Irene Diamond Education 9:00pm & 10:30pm. $20; $25 at door. 456 Nostrand Ave.
Hoenig at 9:30pm. $10 cover; $10 min. 212 E. 52nd St., 3rd @ Jefferson Ave. 718-398-1766. sistasplace.org
Center, Lincoln Center. 6:30pm. Swing University:
Fl. (Bet. 2nd & 3rd Ave.) 212-371-7657. milescafe.com “Drums and the Rhythm Section.” Broadway @ 60th St. • Sun 11/7: Vinnie Sperrazza/Matt Blostein Band at Bar-
• Sat 11/27: 5-Hour Jam Session with Melissa Aldana 212-721-6500. jalc.org bés. 7:00pm. 376 9th St. @ 6th Ave. 347-422-0248. barbes
• Tues 11/30: Tributes to Dennis Sandole at Roulette. brooklyn.com
8:30pm. With David First, Bruce Eisenbeil, Matthew • Sun 11/7: Brooklyn Gospel Celebration at Brooklyn
Shipp, Bobby Zankel, Dylan Taylor, Denise Sandole, College, Walt Whitman Theatre. 4:00pm. Free. 2900
Brian Groder, Ian Ash & Rob Brown. 20 Greene St. Bedford Ave. 718-951-5847. brooklyn.cuny.edu
(Bet. Canal & Grand) 212-219-8242. roulette.org • Sun 11/7, 11/14, 11/21, 11/28: Zack O’Farrill Quartet at
• Tues 11/30: Michael Feinstein at Feinstein’s at Loews Puppets Jazz Bar. Noon. 481 5th Ave., Park Slope. 718-
Regency. 8:30pm. “Swing in the Holidays.” 540 Park Ave. 499-2622. puppetsjazz.com
@ 61st St. 212-339-4095. http://feinsteinsattheregency.com • Sun 11/7, 11/14, 11/21, 11/28: Stephane Wrembel at Bar-
• Tues 11/30: Allan Harris Quartet at Rue 57 Restaurant. bés. 9:00pm. $10. 376 9th St. @ 6th Ave. 347-422-0248.
8:00pm. No cover; $15 min. 60 W. 57th St. (Corner of Av- barbesbrooklyn.com
enue of the Americas) 212-307-5656. rue57.com • Tues 11/9: Korzo. Tyshawn Sorey at 9:30pm. Ben Ger-
• Tues 11/30: Miles’ Café. Alexei Tsiganov, Jorge Roeder stein, James Carney & Tyshawn Sorey at 11:00pm. 667
& Richie Barshay at 7:30pm. Matt Slocum, Danny Gris- 5th Ave. (Bet. 19th & 20th St.) 718-285-9425. myspace.com/
sett, Massimo Biolcati & Matt Slocum at 9:30pm. $10 konceptions. korzorestaurant.com
cover; $10 min. 212 E. 52nd St., 3rd Fl. (Bet. 2nd & 3rd Ave.) • Wed 11/10: Littlefield. Anat Cohen Quartet @ 8:00pm
212-371-7657. milescafe.com & 9:30pm. WORKS with Ralph Alessi & Chris Lightcap
• Tues 11/30: Pedro Giraudo Sextet at Zinc Bar. 82 W. 3rd @ 11:00pm. $14. 622 Degraw St. (Bet. 3rd & 4th Ave.) 718-
St. 21-477-8337. zincbar.com 855-3388. littlefieldnyc.com
• Tues 11/30: Gil Scott-Heron at B.B. King’s Blues Club & • Wed 11/10: Tyler Blanton, Scott Ritchie & Anthony Pin-
Grill. 8:00pm. $30; $35 day of show 237 W. 42nd St. 212- ciotti at Café Steinhof. 10:30pm. No cover. 422 7th Ave.,
307-7171. http://gilscottheron.net. bbkingblues.com Park Slope.
• Wed 11/10, 11/17: Arturo O’Farrill at Puppets Jazz Bar.
Brooklyn 7:00pm. $10 donation suggested. 481 5th Ave., Park Slope.
718-499-2622. puppetsjazz.com
• Mon 11/1, 11/8, 11/15, 11/22, 11/29: John McNeil/Mike Fa- • Thurs 11/11: Charles Brewer with Mike Shobe, Dan Fab-
hie Jam Session at Puppets Jazz Bar. 9:00pm. 481 5th ricatore & Gabriel Gloege at Tea Lounge. 9:00pm. No
Ave., Park Slope. 718-499-2622. puppetsjazz.com cover; $5 donation per set. 837 Union St., Park Slope. 718-
• Tues 11/2, 11/9, 11/16, 11/23, 11/30: Jenny Scheinman 789-2762. tealoungeny.com. dymaxion4.com
at Barbés. 7:00pm. 376 9th St. @ 6th Ave. 347-422-0248. • Thurs 11/11: John McNeil Quintet at Puppets Jazz Bar.
barbesbrooklyn.com 9:00pm. 481 5th Ave., Park Slope. 718-499-2622. puppets
• Tues 11/2: Angelica Sanchez Trio at Korzo. 9:30pm. 667 jazz.com
5th Ave. (Bet. 19th & 20th St.) 718-285-9425. myspace.com/ • Sat 11/12: The Dymaxion Quartet at Tea Lounge. 9:00pm.
konceptions. korzorestaurant.com No cover; $5 donation per set. 837 Union St., Park Slope.
• Tues 11/2 & 11/16: Eric Frazier with Danny Mixon & Gene 718-789-2762. tealoungeny.com. dymaxion4.com
Torres at Rustik Restaurant. 471 Dekalb Ave. 347-406- • Sat 11/12: G. Calvin Weston’s Treasures of the Spirit at
9700. ericfraziermusic.com Puppets Jazz Bar. 9:00pm. Music of the Mahavishnu Or-
• Wed 11/3, 11/10, 11/17, 11/24: Walter Fischbacher Trio chestra. 481 5th Ave., Park Slope. 718-499-2622. puppets
at Water Street Restaurant. 8:00pm. No cover. 66 Water jazz.com

• Sun 11/13: Puppets Jazz Bar. Australian Jazz All-Stars • Sun 11/7: Diane Hoffman with Joe Tranchina, Bill Mc- Dance Theater at Tilles Center. 8:30pm. $62-$122.
with Sean Wayland @ 6:00pm. Puppets Jazz Collective Crossen & Rudy Petschauer at New York Institute of “Gala 30.” 720 Northern Blvd, Brookville. 516-299-3100.
Jam Session @ midnight. 481 5th Ave., Park Slope. 718- Technology. 3:00pm. Salten Hall, Northern Blvd, Old http://tillescenter.org
499-2622. puppetsjazz.com Westbury. • Sun 11/14: Diane Hoffman with Joe Tranchina, Bill Mc-
• Sat 11/13: Charenee Wade at Sistas’ Place. 9:00pm & • Fri 11/12: Asian Jazz Fusion Concert at LaGuardia Per- Crossen & Scott Neumann at Syosset Public Library.
10:30pm. $20; $25 at door. 456 Nostrand Ave. @ Jeffer- forming Arts Center. 8:00pm. With Jeff Fairbanks Jazz 2:00pm. 225 S. Oyster Bay Rd., Syosset. 516-921-7161.
son Ave. 718-398-1766. sistasplace.org Orchestra and guests Han Gyeol Cho, Yosun Yoo &
• Tues 11/16: Korzo. Lisa Mezzacappa with Aaron Ben- Yeongjoo Jang. $15; $20 at door; $10 for students. 31-10 Westchester County
nett, John Finkbeiner & Vijay Anderson at 9:30pm. Thomson Ave., Long Island City. 718-482-5151. laguardia
Ben Syversen, Xander Naylow & Jeremy Guston at performingarts.org • Sun 11/14: Winard Harper at First Presbyterian Church.
11:00pm. 667 5th Ave. (Bet. 19th & 20th St.) 718-285-9425. • Sat 11/13: Jazz at Lincoln Center Orchestra with Wyn- 5:15pm. $18; $12 students; $10 PJS members. Free wine &
myspace.com/konceptions. korzorestaurant.com ton Marsalis, Ann Hampton Callaway & Linda Celeste tea available. E. Lincoln & N. Columbus Ave., Mt. Vernon.
• Wed 11/17: Tomas Janzon & Ken Filiano at the Brook-
Sims & Matthew Rushing of the Alvin Ailey American 914-667-0823. pjsjazz.org
lyn Lyceum. 8:00pm & 9:30pm. $10. 2274th Ave. 718-857-
4816. brooklynlyceum.com. tomasjanzon.com
• Fri 11/19-Sat 11/20: Arturo P’Farrill Quartet at Puppets
Jazz Bar. 9:00pm. 481 5th Ave., Park Slope. 718-499-
2622. puppetsjazz.com
• Sat 11/20: Vanessa Rubin at Sistas’ Place. 9:00pm &
10:30pm. $20; $25 at door. 456 Nostrand Ave. @ Jeffer-
son Ave. 718-398-1766. sistasplace.org
• Tues 11/23: Loren Stillman & Russ Lossing at Korzo.
9:30pm. 667 5th Ave. (Bet. 19th & 20th St.) 718-285-9425.
myspace.com/konceptions. korzorestaurant.com
• Fri 11/26: Puppets Jazz Bar. Ralph Hamperian’s Tuba
D’Amore @ 6:00pm. Arturo O’Farrill Quartet @ 9:00pm.
481 5th Ave., Park Slope. 718-499-2622. puppetsjazz.com
• Sat 11/27: Puppets Jazz Bar. Alex Blake Quartet @
9:00pm. Puppets Jazz Collective Jam Session @ mid-
night. 481 5th Ave., Park Slope. 718-499-2622. puppets
jazz.com
• Tues 11/30: Jeff Davis, Russ Lossing & Eivind Opsvik at
Korzo. 9:30pm. 667 5th Ave. (Bet. 19th & 20th St.) 718-285-
9425. myspace.com/konceptions. korzorestaurant.com
Bronx
• Sun 11/14: Allen Toussaint, Nicholas Payton & Joe

Krown Trio at Lehman Center. 6:00pm. $35, $30, $25.
“New Orleans Nights.” 250 Bedford Park Blvd. West. 718-
960-8833. lehmancenter.org
Queens
• Wed 11/3: Wycliffe Gordon & Friends at Flushing Town

Hall. 10:00am & 11:30am. $6.50 per student; one free
chaperone ticket for every 10 student tickets purchased.
School performance for students in grades 6-12. 137-35
Northern Blvd. 718-463-7700, x222. flushingtownhall.org
• Sat 11/6: Vijay Iyer at Flushing Town Hall. 7:30pm. Free.
137-35 Northern Blvd. 718-463-7700, x222. flushingtown
hall.org
• Sat 11/6: Bill Jacobs Ensemble at York College Perform-
ing Arts Center. 7:00pm. $20; $10 students & seniors.
94-45 Guy R. Brewer Blvd., Jamaica. 212-352-3101. york.
cuny.edu
• Thurs 11/18: Red Baraat with Sunny Jain at Jamaica
Performing Arts Center. 7:30pm. Free. 153-10 Jamaica
Ave. 718-658-7400, ext. 123. carnegiehall.org
• Fri 11/19: NEA Jazz Masters Concert at Flushing Town
Hall. 8:00pm. $40; $32 members; $20 students. “A tribute
to Benny Powell featuring Jimmy Heath.” 137-35 North-
ern Blvd. 718-463-7700, x222. flushingtownhall.org
• Sat 11/20: Manhattan Brass Quintet with Wayne du
Maine, Lew Soloff, RJ Kelley, Michael Seltzer & David
Taylor at Langston Hughes Library. 2:00pm. Free. 100-
01 Northern Blvd. 718-651-1100. carnegiehall.org
• Mon 11/22: Diane Hoffman with Pat Firth & Craig Akin
at Queens Village Library. 6:30pm. Free. 94-11 217th St.
718-776-6800.
Long Island

• Sat 11/6: Jackie Jones at Chico’s House of Jazz. 7:00pm. $25-$27. One Center St., Newark. 973-642-8989.
9:00pm. $10 In Shoppes at the Arcade, 631 Lake Ave., As- http://njpac.org
bury Park. 732-774-5299. http://chicoshouseofjazz.com • Sat 11/13: Nat Adderly Trio at Shanghai Jazz. 24 Main
• Sun 11/7: Connie Crothers with Richard Tabnik, Roger St., Madison. 973-822-2899. shanghaijazz.com
Mancuso & Ken Filiano at Shea Center, William Pater- • Fri 11/14: Marlene Verplanck at Shanghai Jazz. 24 Main
son University. 4:00pm. $15; $12 university community & St., Madison. 973-822-2899. shanghaijazz.com
seniors; $8 students. 300 Pompton Rd, Wayne. 973-720- • Mon 11/15: Daryl Sherman with Jay Leonhart at Bick-
2000. Tickets.wpunj.edu ford Theatre. 8:00pm. $15 in advance; $18 at door. On
Columbia Turnpike @ Normandy Heights Road, east of
• Sun 11/7: Geovanni Arencibia at Chico’s House of Jazz.
downtown Morristown. 973-971-3706. njjs.org
8:00pm. $10 In Shoppes at the Arcade, 631 Lake Ave., As-
• Tues 11/16: Bonerama at Chico’s House of Jazz.
bury Park. 732-774-5299. http://chicoshouseofjazz.com
8:00pm. $17; $20 at door. In Shoppes at the Arcade, 631
• Mon 11/8: Chris Botti at McCarter Theater. 8:00pm. 91
Lake Ave., Asbury Park. 732-774-5299. http://chicoshou-
University Pl., Princeton. 609-258-2787. mccarter.org
seofjazz.com. boneramamusic.com
• Tues 11/9: Joe Wilder, Nicki Parrott & Jack Wilkins at • Wed 11/17: Jazz Research Roundtable at Rutgers
Rutgers University, Dana Library, Dana Room. 2:00pm. University, Dana Library, Dana Room. 7:00pm. Free.
Free. 185 University Ave., Newark. 973-353-5595. http:// Jamale Davis, Jared Negley & Joe Peterson: “Bottoms
newarkwww.rutgers.edu Up: The Bass in Jazz.” 185 University Ave., Newark. 973-
New Jersey • Wed 11/10: Bucky Pizzarelli at Shanghai Jazz. 24 Main 353-5595. http://newarkwww.rutgers.edu
St., Madison. 973-822-2899. shanghaijazz.com • Wed 11/17: Jim NcNeely Group at Shanghai Jazz. 24
• Thurs 11/4: Warren Vaché at Shanghai Jazz. 24 Main • Fri 11/12: Bernie Williams & William Paterson Jazz Or- Main St., Madison. 973-822-2899. shanghaijazz.com
St., Madison. 973-822-2899. shanghaijazz.com chestra at Shea Center, William Paterson University. • Fri 11/19: Diane Marino Quartet at Trumpets. $15 cover;
• Thurs 11/4: Ellington Legacy Band at Trumpets. $10 7:00pm. $45-$125. Senior citizen, student and alumni dis- $12 min. 6 Depot Sq., Montclair. 973-744-2600. trumpets
cover; $10 min. 6 Depot Sq., Montclair. 973-744-2600. counts. 300 Pompton Rd, Wayne. 973-720-2000. Tickets. jazz.com
wpunj.edu • Sat 11/20: Groove Apparatus at Chico’s House of Jazz.
trumpetsjazz.com
• Fri 11/12: Jazz at Lincoln Center Orchestra with Wyn- 9:00pm. $10 In Shoppes at the Arcade, 631 Lake Ave., As-
• Fri 11/5: Blackberry Blues Band at Chico’s House of
ton Marsalis at New Jersey Performing Arts Center’s bury Park. 732-774-5299. http://chicoshouseofjazz.com.
Jazz. 9:00pm. $10 In Shoppes at the Arcade, 631 Lake
Prudential Hall. 8:00pm. $25-$109. One Center St., New- grooveapparatus.com
Ave., Asbury Park. 732-774-5299. http://chicoshouseofjazz. ark. 973-642-8989. http://njpac.org • Sat 11/20: Chris Geith at Trumpets. $15 cover; $12 min. 6
com • Fri 11/12: Charmaine Clamor with Sounds of Manila at Depot Sq., Montclair. 973-744-2600. trumpetsjazz.com
• Fri 11/5: Chris Botti at New Jersey Performing Arts Bergen Community College. 7:30pm. $20. Anna Maria • Sun 11/21: Sonido Costeno at Chico’s House of Jazz.
Center’s Prudential Hall. 8:00pm. $23-$92. One Center Ciccone Theatre, 400 Paramus Rd., Paramus. 201-477- 7:00pm. $10 In Shoppes at the Arcade, 631 Lake Ave., As-
St., Newark. 973-642-8989. http://njpac.org 7428. bergen.edu bury Park. 732-774-5299. http://chicoshouseofjazz.com.
• Fri 11/5: Rob Paparozzi Quartet at Shanghai Jazz. 24 • Fri 11/12: All-State Jazz Ensemble & Jazz Choir at New sonidocosteno.net
Main St., Madison. 973-822-2899. shanghaijazz.com Jersey Performing Arts Center’s Victoria Theater. • Sun 11/21: Nicky Parrott, Chuck Redd & Rossano
Sportiello at Shanghai Jazz. 24 Main St., Madison. 973-
822-2899. shanghaijazz.com
• Wed 11/24: Nicky Parrott & Warren Vaché at Shanghai
Randy Weston
Jazz. 24 Main St., Madison. 973-822-2899. shanghaijazz.
com
• Fri 11/26-Sun 11/18: Tribute to Phyllis Hyman at Chico’s
Uhuru Afrika
House of Jazz. 8:00pm. With Solitude Jazz Trio, Angel
ARTS CENTER Rose & Cheryl Hicks. $15; $20 at door In Shoppes at the
Arcade, 631 Lake Ave., Asbury Park. 732-774-5299. http://
PERFORMING
50th Anniversary •
chicoshouseofjazz.com
Sat 11/27: Jerry Vivino Quartet at Shanghai Jazz. 24
Concert Celebration Main St., Madison. 973-822-2899. shanghaijazz.com
with Randy Weston • Fri 11/12-Sun 11/14: Cape May Jazz Festival. With Javon
Jackson & Les McCann, The Yellowjackets, Terell
& The African Stafford Quintet, Umar Raheem, Taeko Fukoa, Jonny
Rhythms Orchestra Hirsch, Tom Larsens, Ralph Peterson with Sean Jones
& Gary Thomas, 3D Ritmo De Vida, Bob DeVos Trio,
Chris Bergson, Joe Baione & Mark Sganga Trio. Various
Sat., November 13 venues in Cape May, NJU. 609-884-7200, 877-7-CMJAZZ.
capemayjazz.com
at 8PM • Wed 11/17: Jeff Barnhart at Ocean County Library.
8:00pm. $13 advance; $15 at door. 101 Washington St.,
Jazz legend and visionary Randy Weston will perform with a 27-piece orchestra Toms River. 732-255-0500. ocean.edu
featuring a number of jazz greats including Candido Camero and Charlie Persip. • Sun 11/21: Lauren Hooker at Madre’s Cuban Cuisine.
7:00pm. 477-B Cedar Lane, Teaneck. 201-530-5100. ma-
Randy Weston African Rhythms Orchestra: dresnj.com. laurenhooker.com
Percussion: Candido Camero & Charlie Persip (from the original album), Ray Mantilla, Kwaku Obeng, • Mon 11/22: Big Apple Jazz Band directed by Dick Voigt
Neil Clarke, Roland Guerrero; Vocals: Jann Parker, Gregory Porter; Trumpet: Eddie Henderson, Eddie at Bickford Theatre. 8:00pm. $15 in advance; $18 at door.
Allen, Cecil Bridgewater; Trombone: Bob Trowers, Craig Harris, Barry Cooper; French Horn: Vincent
Chancey; Saxophone: T.K. Blue, James Spaulding, Billy Harper, Alex Harding, Bill Saxton; Bass: Alex On Columbia Turnpike @ Normandy Heights Road, east of
Blake, Essiet Essiet; Guitar: Ron Jackson; Conductor: Paul West. downtown Morristown. 973-971-3706. njjs.org
• $45 center orchestra • Tues 11/30: Stéphane Séva with New York Washboard
• $35 rear orch and lower mezz ($25 Students/Seniors) at Bickford Theatre. 8:00pm. $15 in advance; $18 at door.
• $25 upper mezz ($15 Students/Seniors) On Columbia Turnpike @ Normandy Heights Road, east of
downtown Morristown. 973-971-3706. njjs.org
Call Ticketing 212.220.1460
or Visit the Box Office located on the campus of …And Beyond
the Borough of Manhattan Community College,
199 Chambers St., NYC.
Order single tickets online: www.tribecapac.org • Mon 11/1, 11/8, 11/15, 11/22, 11/29: John Richmond with
• Follow us on Facebook & Twitter • The Bob Meyer Trio at Turning Point Café. 8:00pm. $5.
Open Jam Session. 468 Piermont Ave., Piermont, NY.

845-359-1089. turningpointcafe.com thefalcon.com
• Thurs 11/4: The Funk Junkies at The Falcon. 7:00pm. • Sat 11/13: John Funkhouser Trio at the Buttonwood
1348 Rt. 9W, Marlboro, NY. liveatthefalcon.com Tree Performing Arts Center. 8:00pm. $10 suggested
• Thurs 11/4: Native Soul with Steve Johns, Noah Haidu, donation. 605 Main St., Middletown, CT. 860-347-4957.
Peter Brainin & Marcus McLaurine at Turning Point buttonwood.org
Café. 7:30pm & 10:00pm. 468 Piermont Ave., Piermont, • Sat 11/13: Ted Rosenthal, Todd Coolman & Nadav Snir
NY. 845-359-1089. turningpointcafe.com at The Falcon. 8:00pm. 1348 Rt. 9W, Marlboro, NY. liveat
• Fri 11/5: Stephan Crump with David Phillips, John thefalcon.com
O’Gallagher, Rez Abbasi & Tony Moreno at Firehouse • Sun 11/14: John Abercrombie, Adam Nussbaum & Jared
12. 8:30pm & 10:00pm. $18 & $12. 45 Crown St., New Ha- Gold at Turning Point Café. 7:30pm. $15. 468 Piermont
ven, CT. 203-785-0468. http://firehouse12.com Ave., Piermont, NY. 845-359-1089. turningpointcafe.com
• Fri 11/5: Aaron Goldberg, Reuben Rogers & Eric Har- • Fri 11/14: Medeski Martin & Wood at Tarrytown Music
land at The Falcon. 8:00pm. 1348 Rt. 9W, Marlboro, NY. Hall. 7:00pm. 13 Main St., Tarrytown, NY. 877-840-0457.
liveatthefalcon.com tarrytownmusichall.org
• Sat 11/6: Ted Rosenthal, Thomson Kneeland & Matt • Fri 11/19: Ches Smith with Andrea Parkins, Mary Hal-
Wilson at Wilton Library’s Brubeck Room. 7:30pm. $10 vorson & Tony Malaby at Firehouse 12. 8:30pm &
suggested donation. 137 Old Ridgefield Rd., Wilton, CT. 10:00pm. $18 & $12. 45 Crown St., New Haven, CT. 203-
203-762-3950. wiltonlibrary.org 785-0468. http://firehouse12.com Nov 2nd: Chip Shelton & The Bassline Quintet
• Sat 11/6: John Stetch, Joe Martin & Greg Ritchie at The • Fri 11/19: John Abercrombie & Andy LaVerne Quartet Nov 9th: Pianist/Composer Eugene Marlow’s
Falcon. 8:00pm. 1348 Rt. 9W, Marlboro, NY. liveatthe at The Falcon. 8:00pm. 1348 Rt. 9W, Marlboro, NY. liveat Heritage Ensemble
falcon.com thefalcon.com
• Wed 11/10: Gandalf Murphy & the Slambovian Circus • Fri 11/19: Jimmy Vivino & Felix Cabrera Band at Turn- Nov 16th: Richard Boukas Brazilian Quartet
of Dreams at the Buttonwood Tree Performing Arts ing Point Café. 9:00pm. $30. 468 Piermont Ave., Pier- Nov 23: Harmonica Virtuoso Enrico Granafei
Center. 7:30pm. 605 Main St., Middletown, CT. 860-347- mont, NY. 845-359-1089. turningpointcafe.com
4957. buttonwood.org • Sat 11/20: Mayhem Circus Electric at Firehouse 12. Nov 30th: Mike Longo’s 17 piece NY State of the Art
• Thurs 11/11: Adam Levy & The Mint Imperials at The Fal- 10:00pm. 45 Crown St., New Haven, CT. 203-785-0468. Jazz Ensemble w/ vocalist Ira Hawkins
con. 8:00pm. 1348 Rt. 9W, Marlboro, NY. liveatthefalcon. http://firehouse12.com
com • Sun 11/21: Gabriele Tranchina with Joe Vincent
• Fri 11/12: David Phillips with John O’Gallagher, Rez Tranchina, Renato Thoms, Andy Eulau & Bobby San-
Abbasi & Tony Moreno at Firehouse 12. 8:30pm & abria at Turning Point Café. 7:30pm. $15. 468 Piermont
10:00pm. $18 & $12. 45 Crown St., New Haven, CT. 203- Ave., Piermont, NY. 845-359-1089. turningpointcafe.com.
785-0468. http://firehouse12.com gabrieletranchina.com
• Fri 11/12: Jen Chapin, Stephan Crump & Jamie Fox at • Sat 11/27: Winard Harper at The Falcon. 8:00pm. 1348
The Falcon. 8:00pm. 1348 Rt. 9W, Marlboro, NY. liveat Rt. 9W, Marlboro, NY. liveatthefalcon.com

Calendar of Events
1 Mon MELODY FADER PLAYS PIANO MUSIC

OF CHOPIN AND MENDELSSOHN;
TOM TALLITSCH
2 Tues BLUE TUESDAYS: JULIE HARDY
3 Wed SUNNY JAIN
4 Thur STEPHAN CRUMP WITH ROSETTA TRIO
5 Fri RALPH ALESSI AND
MODULAR THEATRE
6 Sat LUCIAN BAN’S DECO HEART
FEATURING BOB STEWART &
MAT MANERI
7 Sun GREG WARD’S FITTED SHARDS
8 Mon THE CHINA PROJECT: UMS ‘N JIP
9 Tues LINDSEY HORNER
10 Wed POST FOLK: SEAN WAYLAND;
POST FOLK: NATE WOOD
11 Thur MICHAEL BATES’ OUTSIDE SOURCES
12 Fri THE JAMIE SAFT SPECIAL QUINTET
13 Sat THE JAMIE SAFT SPECIAL QUINTET
14 Sun SPOKE
15 Mon CORNELIA TONIGHT WITH PAT DIXON
16 Tues BLUE TUESDAYS: PETER ELDRIDGE
17 Wed HAPPY BIRTHDAY, DAVID AMRARM
PLUS ROBIN HIRSCH,
MINISTER OF CULTURE
18 Thur THE KIRK KNUFFKE QUARTET
19 Fri ADAM KOLKER TRIO FEATURIING
BILLY HART AND JOHN HEBERT
20 Sat ELLERY ESKELIN TRIO
21 Sun BOBBY AVEY QUARTET FEATURING
DAVE LIEBMAN
22 Mon 21ST CENTURY SCHIZOID MUSIC
PRESENTS: PRESTER JOHN
23 Tues TOM BECKHAM GROUP “REBOUND”
24 Wed DAN RUFOLO TRIO: CD RELEASE
25 Thur HAPPY THANKSGIVING!
26 Fri JOHN MCNEIL’S URBAN LEGEND
27 Sat JOHN MCNEIL’S URBAN LEGEND
28 Sun MARK DRESSER QUINTET
29 Mon HARRIS EISENSTADT AND
CANADA DAY
30 Tues JONATHAN KREISBERG QUARTET

ER
NT
CE
N
OL
NC
LI
AT
ZZ
JA
6
R
5–
BE OF
M IC
E S N
ORRA W IMT HE S
N OV MU
E
8 PM TH H
Y EST JA
R A RCH JOS
É
S TE N T E ROOC A L I S T 13
L Y LN C S V 2 –
L
B IT L I N CSOA L I S P L 1
U
R
N
RI
A R M BE
VE R
Z Z A
JA N M O E
CF
T O N
YN M
W
8P
Y
M 20
B B ER T
B M ER
BO N O VE
C O NC
Z ?
Z SALIS
&3
PM I LY J A R
M S NM A
T WI Y N T O
1P
M
LE
FA
OP
A
WS TH
PE
G TH
UN WI
YO RA
OR F E
ZZ CH
JA OR
ER
NT
CE
L N
CO
LIN
AT
ZZ
JA
CenterCharge
212-721-6500
Box Office / Entrance

Broadway at 60th
jalc.org
Preferred Card of
Jazz at Lincoln Center
Photo of Billy Strayhorn courtesy of the Frank Driggs Collection

WESTCHESTER JAZZ ORCHESTRA
SAT, DEC 4, 8 PM
TRUMPET MASTERS:
MUSIC OF
MILES, POPS
& DIZZY
SAT, JAN 29, 8 PM
MUSIC OF
HERBIE
HANCOCK
FEATURING
THE MAIDEN VOYAGE SUITE
Irvington Town Hall Theater, Irvington, NY
TICKETS: $35 Adults/$30 Sen/$10 Stu
www.westjazzorch.org
914-861-9100
WJO “has built a reputation for deeply researched,

strikingly executed performances that is reaching
well beyond the orchestra’s home county.”
The New York Times

November 2010 Jazz Schedule
___________________________________________________________
Sundays – La Fayette Harris Jazz Open-Mic
7:00pm-11pm $10 Cover/$16 Drink Min
___________________________________________________________
Mondays – November 8th & 15th, Patience Higgins
and the Sugar Hill Quartet
November 1st, 22nd & 29th, Eric Wyatt Jam Session
9:30pm-2:30am $10 Cover/$16 Drink Min
___________________________________________________________
Tuesdays – Joey Morant 8:00pm-12am $10 Cover, $16 Drink Min
___________________________________________________________
Wednesdays – Nate Lucas Organ Trio 8:00pm-12am
$3 Table Cover per person/$16 Drink Min
November 24th, Comedian Paul Mooney Live In Harlem 8pm
$30 advance/$40 at door/$16 Drink Min
___________________________________________________________
Thursdays November 4th & 11th, Calvin Cody West 8pm-12am
November 18th & 25th, Dakota & Nite Hawke 8pm-12am
___________________________________________________________
Zebra Room: weekends – 3 Shows 8:30pm, 10:00pm, 11:30 pm
$20 cover per set plus $16 Drink Min per set - per person
November 5th Benny Russell Trio

November 6th Melba Joyce, Vocalist
November 12th Lou Volpe, Guitarist
November 13th Sabrina Bridge Bach
November 13th Scorpios Birthday Party
November 19th Ms. Vinnie Knight &
The Knight Riders, Vocalist
November 20th Onaje Allan Gumbs Trio
November 26th & 27th Houston Person

Clubs & Venues
55 Bar, 55 Christopher St. (betw 6th & 7th Ave.), 212-929-9883, FB Lounge, 172 E. 106th St., New York, 212-348-3929, Mixed Notes Café, 333 Elmont Rd., Elmont, NY (Queens area),
www.55bar.com www.fondaboricua.com 516-328-2233, www.mixednotescafe.com
92nd Street Y, 1395 Lexington Ave, New York, NY 10128 Feinstein’s at Loew’s Regency, 540 Park Avenue (at 61st Street), Mo-Bay Uptown, 17 W. 125th St., 212-876-9300,
212.415.5500, www.92ndsty.org NY, 212-339-4095, feinsteinsattheregency.com www.mobayrestaurant.com
Aaron Davis Hall, City College of NY, Convent Ave., 212-650- Five Spot, 459 Myrtle Ave, Brooklyn, NY, Tel: 718-852-0202, Fax: Montauk Club, 25 Eighth Ave., Brooklyn, NY, 718-638-0800,
6900, www.aarondavishall.org 718-858-8256, www.fivespotsoulfood.com www.montaukclub.com
Alice Tully Hall, Lincoln Center, Broadway & 65th St., 212-875- Flushing Town Hall, 137-35 Northern Blvd., Flushing, NY, Museum of the City of New York, 1220 Fifth Ave. (between 103rd
5050, www.lincolncenter.org/default.asp 718-463-7700 x222, www.flushingtownhall.org & 104th St.), 212-534-1672, www.mcny.org
Musicians’ Local 802, 332 W. 48th St., 718-468-7376 or
Allen Room, Lincoln Center, Time Warner Center, Broadway and Frank’s Cocktail Lounge, 660 Fulton St. (at Lafayette), Brooklyn,
860-231-0663
60th, 5th floor, 212-258-9800, www.lincolncenter.org/default.asp NY, 718-625-9339, www.frankscocktaillounge.com
Newark Museum, 49 Washington Street, Newark, New Jersey
American Museum of Natural History (Starry Nights), 81st St. & Freddy’s Backroom, 485 Dean St., Brooklyn, NY 11217, 718-622-7035 07102-3176, 973-596-6550, www.newarkmuseum.org
Central Park W., 212-769-5100, www.amnh.org Galapagos, 70 N. 6th St., Brooklyn, NY, 718-782-5188, New Jersey Performing Arts Center, 1 Center St., Newark, NJ,
Arthur’s Tavern, 57 Grove St., 212-675-6879 or 917-301-8759, www.galapagosartspace.com 07102, 973-642-8989, www.njpac.org
www.arthurstavernnyc.com Garage Restaurant and Café, 99 Seventh Ave. (betw 4th and New School Performance Space, 55 W. 13th St., 5th Floor (betw
Arts Maplewood, P.O. Box 383, Maplewood, NJ 07040; 973-378- Bleecker), 212-645-0600, www.garagerest.com 5th & 6th Ave.), 212-229-5896, www.newschool.edu.
2133, www.artsmaplewood.org Glen Rock Inn, (Glen Rock, New Jersey) 222 Rock Road, New School University-Tishman Auditorium, 66 W. 12th St., 1st
Avery Fischer Hall, Lincoln Center, Columbus Ave. & 65th St., Glen Rock, NJ 07452, 800-400-2362 Floor, Room 106, 212-229-5488, www.newschool.edu
212-875-5030, www.lincolncenter.org Greenwich Village Bistro, 13 Carmine St., 212-206-9777, New York City Baha’i Center, 53 E. 11th St. (betw Broadway &
Backroom at Freddie’s, 485 Dean St. (at 6th Ave.), Brooklyn, NY, www.greenwichvillagebistro.com University), 212-222-5159, www.bahainyc.org
718-622-7035, www.freddysbackroom.com Harlem Tea Room, 1793A Madison Ave., 212-348-3471, Night of the Cookers, 767 Fulton St., Brooklyn, NY, Tel: 718-797-
BAM Café, 30 Lafayette Ave., Brooklyn, NY, 718-636-4100, www.harlemtearoom.com 1197, Fax: 718-797-0975
www.bam.org Havana Central West End, 2911 Broadway/114th St), NYC, North Square Lounge, 103 Waverly Pl. (at MacDougal St.),
Bar4, 7 Ave and 15th, Brooklyn NY 11215, 718-832-9800, 212-662-8830, www.havanacentral.com 212-254-1200, www.northsquarejazz.com
www.Bar4.net Hawaiian Tropic Zone, 729 7th Ave (at 49th St), NY Nublu, 62 Ave. C (betw 4th & 5th St.), 212-979-9925, www.nublu.net
Nuyorican Poet’s Café, 236 E. 3rd St. (betw Ave. B & C), 212-505-
Barbes, 376 9th St. (corner of 6th Ave.), Park Slope, Brooklyn, 212-626-7312, www.hawaiiantropiczone.com
8183, www.nuyorican.org
718-965-9177, www.barbesbrooklyn.com Hopewell Valley Bistro, 15 East Broad St, Hopewell, NJ 08525,
Oak Room at The Algonquin Hotel, 59 W. 44th St. (betw 5th and
Barge Music, Fulton Ferry Landing, Brooklyn, 718-624-2083, 609-466-9889, www.hopewellvalleybistro.com 6th Ave.), 212-840-6800, www.thealgonquin.net
www.bargemusic.org Iridium, 1650 Broadway (below 51st St.), 212-582-2121, Orbit, 2257 First Ave. (at 116th St.), 212-348-7818,
B.B. King’s Blues Bar, 237 W. 42nd St., 212-997-4144, www.iridiumjazzclub.com www.orbiteastharlem.com
www.bbkingblues.com Jazz 966, 966 Fulton St., Brooklyn, NY, 718-638-6910 Orchid, 765 Sixth Ave. (betw 25th & 26th St.), 212-206-9928
Beacon Theatre, 74th St. & Broadway, 212-496-7070 Jazz at Lincoln Center, 33 W. 60th St., 212-258-9800, www.jalc.org Palio Bar at Piano Due Restaurant, 151 West 51st Street, 212-
Birdland, 315 W. 44th St., 212-581-3080 Frederick P. Rose Hall, Broadway at 60th St., 5th Floor 399-9400 , www.pianoduenyc.net
Blue Note, 131 W. 3rd St., 212-475-8592, Dizzy’s Club Coca-Cola, Reservations: 212-258-9595 Parlor Entertainment, 555 Edgecomb Ave., 3rd Floor (betw 159 &
www.bluenotejazz.com/newyork Rose Theater, Tickets: 212-721-6500 160 St.), 212-781-6595, www.parlorentertainment.com
Bluestone Bar & Grill, 117 Columbia St., Brooklyn, NY, 718-403- THE ALLEN ROOM, Tickets: 212-721-6500 Parlor Jazz, 119 Vanderbilt Ave. (betw Myrtle & Park), Brooklyn,
7450, www.bluestonebarngrill.com Jazz Gallery, 290 Hudson St., Tel: 212-242-1063, Fax: 212-242- NY, 718-855-1981, www.parlorjazz.com
Bourbon Street Bar and Grille, 346 W. 46th St, NY, 10036, 0491, www.jazzgallery.org Perk’s, 535 Manhattan Ave, New York NY 10027,
212-245-2030, contact@bourbonny.com, The Jazz Spot, 375 Kosciuszko St. (enter at 179 Marcus Garvey 212-666-8500
contact@frenchquartersny.com Blvd.), Brooklyn, NY, 718-453-7825, www.thejazz.8m.com Performance Space 122, 150 First Av., 212-477-5829, www.ps122.org
Bowery Poetry Club, 308 Bowery (at Bleecker), 212-614-0505, Jazz Standard, 116 E. 27th St., 212-576-2232, www.jazzstandard.net Priory Restaurant & Jazz Club: 223 W Market St., Newark, NJ
07103, 973-639-7885
www.bowerypoetry.com Joe’s Pub at the Public Theater, 425 Lafayette St & Astor Pl.,
Proper Café, 217-01 Linden Blvd., Queens, NY 11411, 718-341-
Brooklyn Public Library, Grand Army Plaza, 2nd Fl, Brooklyn, 212-539-8778, www.joespub.com
2233, jazz Wednesdays
NY, 718-230-2100, www.brooklynpubliclibrary.org John Birks Gillespie Auditorium (see Baha’i Center)
Prospect Park Bandshell, 9th St. & Prospect Park W., Brooklyn,
Café Carlyle, 35 E. 76th St., 212-570-7189, www.thecarlyle.com Jules Bistro, 65 St. Marks Place, Tel: 212-477-5560, Fax: 212-420- NY, 718-768-0855
Café Loup, 105 W. 13th St. (West Village) , between Sixth and 0998, www.julesbistro.com Prospect Wine Bar & Bistro, 16 Prospect St. Westfield, NJ,
Seventh Aves., 212-255-4746 Kitano Hotel, 66 Park Ave., 212-885-7000 or 800-548-2666, 908-232-7320, www.16prospect.com, www.cjayrecords.com
Cafe Mozart, 308 Mamaroneck Ave., Mamaroneck, NY www.kitano.com Puppets Jazz Bar, 294 5th Ave. at 1st Street, Park Slope, Brooklyn,
Café St. Bart’s, 109 E. 50th St. (at Park Ave.), 212-888-2664, Knickerbocker Bar & Grill, 33 University Pl., 212-228-8490, NY, 718-499-2627, www.PuppetsJazz.com
www.cafestbarts.com www.knickerbockerbarandgrill.com Red Eye Grill, 890 Seventh Ave. (at 56th St.), 212-541-9000,
Café Steinhof, 422 Seventh Ave. (14th St., Park Slope S.), Brooklyn, The Knitting Factory, 74 Leonard St., Tel: 212-219-3132, www.redeyegrill.com
NY, 718-369-7776, www.cafesteinhof.com www.knittingfactory.com Richie Cecere’s Restaurant and Supperclub, 2 Erie Street
Carnegie Club, 156 W. 56th St., 212-957-9676, La Lanterna (Next Door at La Lanterna), 129 MacDougal Street, Montclair, NJ 07042, 973.746.7811, www.RICHIECECERE.com
www.hospitalityholdings.com New York, 212-529-5945, www.lalanternarcaffe.com Rockwood Music Hall, 196 Allen St, New York, NY 10002
Carnegie Hall, 7th Av & 57th, 212-247-7800, www.carnegiehall.org Le Grand Dakar Cafe, 285 Grand Ave, Clinton Hill, Brooklyn, 212-477-4155
Cecil’s Jazz Club & Restaurant, 364 Valley Rd, West Orange, NJ, http://nymag.com/listings/restaurant/le-grand-dakar/ Rose Center (American Museum of Natural History), 81st St.
Phone: 973-736-4800, www.cecilsjazzclub.com Le Madeleine, 403 W. 43rd St. (betw 9th & 10th Ave.), New York, (Central Park West & Columbus), 212-769-5100, www.amnh.org/rose
Rose Hall, 33 W. 60th St., 212-258-9800, www.jalc.org
Charley O’s, 713 Eighth Ave., 212-626-7300 New York, 212-246-2993, www.lemadeleine.com
Rosendale Café, 434 Main St., PO Box 436, Rosendale, NY 12472,
Cleopatra’s Needle, 2485 Broadway (betw 92nd & 93rd), Lenore Raphael’s JazzSpot, Air time – Sundays at 8am and
845-658-9048, www.rosendalecafe.com
212-769-6969, www.cleopatrasneedleny.com 8pm, Fridays 11pm and Saturdays at 3pm, Eastern time at www.
Roth’s Westside Steakhouse, 680 Columbus Ave., Tel: 212-280-
Cobi’s Place, 158 W. 48th (bet 5th & 6th Av.), 516-922-2010 purejazzradio.com. Every week a visit with a different guest artist 4103, Fax: 212-280-7384, www.rothswestsidesteakhouse.com
Copeland’s, 547 W. 145th St. (at Bdwy), 212-234-2356 featuring intimate conversations and great live performances. Rustik, 471 DeKalb Ave, Brooklyn, NY, 347-406-9700, www.
Cornelia Street Café, 29 Cornelia St., 212-989-9319, www. Lenox Lounge, 288 Lenox Ave. (above 124th St.), 212-427-0253, rustikrestaurant.com
corneliastreetcafe.com www.lenoxlounge.com St. Mark’s Church, 131 10th St. (at 2nd Ave.), 212-674-6377
Creole Café, 2167 Third Ave (at 118th), 212-876-8838. Les Gallery Clemente Soto Velez, 107 Suffolk St. (at Rivington St. Nick’s Pub, 773 St. Nicholas Av (at 149th), 212-283-9728
Crossroads at Garwood, 78 North Ave., Garwood, NJ 07027, St.), 212-260-4080 St. Peter’s Church, 619 Lexington (at 54th), 212-935-2200,
908-232-5666 Linn Restaurant & Gallery, 29-13 Broadway, Queens, Astoria, www.saintpeters.org
Cutting Room, 19 W. 24th St, Tel: 212-691-1900, New York, www.linnrestaurant.com Salon at Rue 57, 60 West 57th Street, 212-307-5656, www.rue57.com
www.thecuttingroomnyc.com Live @ The Falcon, 1348 Route 9W, Marlboro, NY 12542, 8:00pm, Savoy Grill, 60 Park Place, Newark, NJ 07102, 973-286-1700
Destino, 891 First Ave. & 50th St., 212-751-0700 www.liveatthefalcon.com Schomburg Center, 515 Malcolm X Blvd., 212-491-2200,
Detour, 349 E. 13th St. (betw 1st & 2nd Ave.), 212-533-6212, Living Room, 154 Ludlow St. (betw Rivington & Stanton), www.nypl.org/research/sc/sc.html
www.jazzatdetour.com 212-533-7235, www.livingroomny.com Shanghai Jazz, 24 Main St., Madison, NJ, 973-822-2899,
Division Street Grill, 26 North Division Street, Peekskill, NY, The Local 269, 269 E. Houston St. (corner of Suffolk St.), NYC www.shanghaijazz.com
Showman’s, 375 W. 125th St., 212-864-8941
914-739-6380, www.divisionstreetgrill.com Makor, 35 W. 67th St. (at Columbus Ave.), 212-601-1000,
Sidewalk Café, 94 Ave. A, 212-473-7373
Dizzy’s Club Coca Cola, Broadway at 60th St., 5th Floor, 212-258- www.makor.org
Silvermine Tavern, 194 Perry Ave. Norwalk, CT 06850, 203-847-
9595, www.jalc.com Merkin Concert Hall, Kaufman Center, 129 W. 67th St. (betw 4558, www.silverminetavern.com
The Ear Inn, 326 Spring St., NY, 212-226-9060, www.earinn.com Broadway & Amsterdam), 212-501-3330, www.ekcc.org/merkin.htm Sista’s Place, 456 Nostrand Ave. (at Jefferson Ave.), Brooklyn, NY,
eighty-eights, 1467 Main Street, Rahway, NJ, 732-499-7100 Metropolitan Room, 34 West 22nd Street New York City, NY 718-398-1766, www.sistasplace.org
El Museo Del Barrio, 1230 Fifth Ave (at 104th St.), Tel: 212-831- 10012, 212-206-0440, www.metropolitanroom.com Skippers Plane Street Pub Restaurant & Jazz Club, 304
7272, Fax: 212-831-7927, www.elmuseo.org MetroTech Commons, Flatbush & Myrtle Ave., Brooklyn, NY, University Ave. Newark NJ 07102 (Across from Essex County
The Encore, 266 W. 47th St., 212-221-3960, www.theencorenyc.com 718-488-8200 or 718-636-4100 (BAM) College), 973-733-9300, www.skippersplanestreetpub
Fat Cat, 75 Christopher St. (at &th Ave.), 212-675-7369, Miles Cafe, 212 E. 52nd St., New York, NY 10022, 212-371-7657 Small’s, 183 W. 10th St. (at 7th Ave.), 212-929-7565,
www.fatcatjazz.com Mirelle’s, 170 Post Ave., Westbury, NY, 516-338-4933 www.fatcatjazz.com

Smith’s Bar, 701 8th Ave, New York, 212-246-3268 SCHOOLS, COLLEGES, CONSERVATORIES William Paterson University Jazz Studies Program, 300 Pompton
Sofia’s Restaurant - Club Cache’ [downstairs], Edison Hotel, Rd, Wayne, NJ, 973-720-2320
221 W. 46th St. (between Broadway & 8th Ave), 212-719-5799 92nd Street Y, 1395 Lexington Ave, New York, NY 10128
212.415.5500; www.92ndsty.org
South Orange Performing Arts Center (SOPAC), One SOPAC RADIO
Way, South Orange, NJ 07079, www.sopacnow.org, 973-313-2787 Brooklyn-Queens Conservatory of Music, 42-76 Main St.,
South Street Seaport, 207 Front St., 212-748-8600, Flushing, NY, Tel: 718-461-8910, Fax: 718-886-2450 WBGO 88.3 FM, 54 Park Pl, Newark, NJ 07102, Tel: 973-624-
www.southstseaport.org. Brooklyn Conservatory of Music, 58 Seventh Ave., Brooklyn, NY, 8880, Fax: 973-824-8888, www.wbgo.org
Spoken Words Café, 266 4th Av, Brooklyn, 718-596-3923 718-622-3300, www.brooklynconservatory.com WCWP, LIU/C.W. Post Campus
Stanley H. Kaplan Penthouse, 165 W. 65th St., 10th Floor, City College of NY-Jazz Program, 212-650-5411, WFDU, http://alpha.fdu.edu/wfdu/wfdufm/index2.html
212-721-6500, www.lincolncenter.org Columbia University, 2960 Broadway, 10027 WKCR 89.9, Columbia University, 2920 Broadway
The Stone, Ave. C & 2nd St., www.thestonenyc.com Drummers Collective, 541 6th Ave, New York, NY 10011, Mailcode 2612, New York, NY 10027, Listener Line: (212) 854-
Sugar Bar, 254 W. 72nd St., 212-579-0222 212-741-0091, www.thecoll.com 9920, www.columbia.edu/cu/wkcr, jazz@wkcr.org
Swing 46, 349 W. 46th St.(betw 8th & 9th Ave.), Five Towns College, 305 N. Service Rd., 516-424-7000, ext.163, One Great Song, Hosted by Jay Harris, www.wmnr.org (at 6 on
212-262-9554, www.swing46.com Dix Hills, NY Saturdays, and at www.tribecaradio.net at 11AM Sundays and again
Symphony Space, 2537 Broadway, Tel: 212-864-1414, Fax: 212- Greenwich House Music School, 46 Barrow St., Tel: 212-242- on Monday and Thursday nights at 11PM.)
932-3228, www.symphonyspace.org 4770, Fax: 212-366-9621, www.greenwichhouse.org
Tea Lounge, 837 Union St. (betw 6th & 7th Ave), Park Slope, Juilliard School of Music, 60 Lincoln Ctr, 212-799-5000 PERFORMING GROUPS
Broooklyn, 718-789-2762, www.tealoungeNY.com LaGuardia Community College/CUNI, 31-10 Thomson Ave.,
Terra Blues, 149 Bleecker St. (betw Thompson & LaGuardia), Long Island City, 718-482-5151 Westchester Jazz Orchestra, Emily Tabin, Exec. Director,
212-777-7776, www.terrablues.com Lincoln Center — Jazz At Lincoln Center, 140 W. 65th St., 10023, PO Box 506, Chappaqua, NY 10514, 914-861-9100,
Theatre Row, 410 W. 42nd, 212-714-2442, www.theatrerow.org 212-258-9816, 212-258-9900 www.westjazzorch.org
Tito Puente’s Restaurant and Cabaret, 64 City Island Avenue, Long Island University — Brooklyn Campus, Dept. of Music,
City Island, Bronx, 718-885-3200, www.titopuentesrestaurant.com University Plaza, Brooklyn, 718-488-1051, 718-488-1372 ADDITIONAL JAZZ RESOURCES
Tonic, 107 Norfolk St. (betw Delancey & Rivington), Tel: 212-358- Manhattan School of Music, 120 Claremont Ave., 10027,
212-749-2805, 2802, 212-749-3025 Big Apple Jazz, www.bigapplejazz.com, 718-606-8442, gordon@
7501, Fax: 212-358-1237, tonicnyc.com
New Jersey City University, 2039 Kennedy Blvd., Jersey City, NJ bigapplejazz.com
Town Hall, 123 W. 43rd St., 212-997-1003
07305, 888-441-6528 Louis Armstrong House, 34-56 107th St, Corona, NY 11368,
Triad Theater, 158 W. 72nd St. (betw Broadway & Columbus Ave.),
212-362-2590, www.triadnyc.com New School, 55 W. 13th St., 212-229-5896, 212-229-8936 718-997-3670, www.satchmo.net
Tribeca Performing Arts Center, 199 Chambers Street, 10007, New York University-Jazz/Contemporary Music Studies, 35 Institute of Jazz Studies, John Cotton Dana Library, Rutgers-
info@tribecapac.org, www.tribecapac.org West 4th St. Room#777, 212-998-5446, 212-995-4043 Univ, 185 University Av, Newark, NJ, 07102, 973-353-5595
Trumpets, 6 Depot Square, Montclair, NJ, 973-744-2600, www. Princeton University-Dept. of Music, Woolworth Center Musical Jazzmobile, Inc., 154 W. 126th St., 10027, 212-866-4900,
trumpetsjazz.com Studies, Princeton, NJ, 609-258-4241, 609-258-6793 www.jazzmobile.org
the turning point cafe, 468 Piermont Ave. Piermont, N.Y. 10968 Queens College — Copland School of Music, City University of Jazz Museum in Harlem, 104 E. 126th St., 212-348-8300,
(845) 359-1089, http://www.turningpointcafe.com/ NY, Flushing, 718-997-3800 www.jazzmuseuminharlem.org
Village Vanguard, 178 7th Avenue South, 212-255-4037, Rutgers Univ. at New Brunswick, Jazz Studies, Douglass Campus, Jazz Foundation of America, 322 W. 48th St. 10036,
www.villagevanguard.net PO Box 270, New Brunswick, NJ, 908-932-9302 212-245-3999, www.jazzfoundation.org
Vision Festival, 212-696-6681, info@visionfestival.org, SUNY Purchase, 735 Anderson Hill Rd., Purchase, NY New Jersey Jazz Society, 1-800-303-NJJS, www.njjs.org
www.visionfestival.org 914-251-6300, 914-251-6314 New York Blues & Jazz Society, www.NYBluesandJazz.org
Watchung Arts Center, 18 Stirling Rd, Watchung, NJ 07069, Turtle Bay Music School, 244 E. 52nd St., New York, NY 10022, Rubin Museum, 150 W. 17th St, New York, NY,
908-753-0190, www.watchungarts.org 212-753-8811, www.tbms.org 212-620-5000 ex 344, www.rmanyc.org.
Watercolor Café, 2094 Boston Post Road, Larchmont, NY 10538,
914-834-2213, www.watercolorcafe.net
Weill Receital Hall at Carnegie Hall, 57th & 7th Ave,
212-247-7800
Williamsburg Music Center, 367 Bedford Avenue, Brooklyn, NY
11211, (718) 384-1654 www.wmcjazz.org
Wolf & Lamb, 10 East 48th Street, New York, NY 10017
Zankel Hall, 881 7th Ave, New York, 212-247-7800
Zebulon, 258 Wythe St., Brooklyn, NY, 11211, 718-218-6934,
www.zebuloncafeconcert.com
Zinc Bar, 82 West 3rd St., 212-477-8337, www.zincbar.com
Zorzi, 1 East 35th Street, 212-213-9167, www.zorzi-nyc.it
RECORD STORES
Barnes & Noble, 1960 Broadway, at 67th St, 212-595-6859
Colony Music Center, 1619 Broadway. 212-265-2050,
www.colonymusic.com
Downtown Music Gallery, 13 Monroe St, New York, NY 10002,
(212) 473-0043, www.downtownmusicgallery.com
J&R Music World, 13 Monroe Street, 212-238-9000, www,jr.com
Jazz Record Center, 236 W. 26th St., Room 804,
212-675-4480, www.jazzrecordcenter.com
Norman’s Sound & Vision, 67 Cooper Sq., 212-473-6599
Princeton Record Exchange, 20 South Tulane Street, Princeton,
NJ 08542, 609-921-0881, www.prex.com
Rainbow Music 2002 Ltd., 130 1st Ave (between 7th & St. Marks
Pl.), 212-505-1774
Scotti’s Records, 351 Springfield Ave, Summit, NJ, 07901,
908-277-3893, www.scotticd.com
MUSIC STORES
Manny’s Music, 156 W. 48th St. (betw. 6th and 7th Ave),
212-819-0576, Fax: 212-391-9250, www.mannysmusic.com
Drummers World, Inc., 151 W. 46th St., NY, NY 10036, 212-840-
3057, 212-391-1185, www.drummersworld.com
Roberto’s Woodwind & Brass, 149 West 46th St. NY, NY 10036,
Tel: 646-366-0240, Fax: 646-366-0242, Repair Shop: 212-391-
1315; 212-840-7224, www.robertoswoodwind.com
Rod Baltimore Intl Woodwind & Brass, 168 W. 48 St. New York,
NY 10036, 212-302-5893
Sam Ash, 160 West 48th St, 212-719-2299, www.samash.com
Sadowsky Guitars, 20 Jay St. Brooklyn, NY, 718-422-1123,
www.sadowsky.com
Steve Maxwell Vintage Drums, 723 7th Ave, 3rd Floor, New York,
NY 10019, 212-730-8138, www.maxwelldrums.com

Reviews Continued from Page 64 “Moon Ray,” a romantic ballad, once again high- Lorenzo Dunn, bass synthesizer; Natasha Agrama,
Hutcherson-influenced lyricism is a real treat. “The lights Reed’s fluid piano coupled with Stallings’ vocals. vocals; Ilsey Juber, vocals.
Great Trip (let)” is reminiscent of early acoustic Miles She brings an added level of experience when she sings
Davis where Sherman and Magnarelli work off each “BRING BACK MY LOVE TO ME” that makes the By Matt Marshall
other nicely. Thelonius Monk’s “Trinkle Tinkle” is a song a much more intense and personal one.
clever addition to the mix where Sherman’s atypical “Mad About the Boy,” a popular song written Perhaps a Modern Man back in 1978, bassist
vibes passages possess an almost Ruth Underwood/ by the English playwright Sir Noël Coward, is all Stanley Clarke seems rather mired in the past on his
Frank Zappa quality. about unrequited love for a star on the big screen, but latest effort, The Stanley Clarke Band. The funk is
“The Winning Life” follows with a very upbeat the theme of unrequited love is what stands out most. thick and heavy and snapping, and, for a while, has
and cinematic essence to it. “Hope” is next in the set With her careful phrasing, Stallings again adds a cer- the listener’s body grooving. But it all soon stretches
and continues that uplifting sentiment. tain level of intimacy to the song that will resonate into a sameness, a strain not helped by the lack of
There are fantastic performances here from truly with the listener. pauses between most of the album’s tracks. Nor does
world class players. And while their talent is clearly On Dream, the album takes the “less is more” it help that the opening track, “Soldier,” is the al-
evident one should be sure and check out the extras approach very seriously – one that isn’t heard too bum’s strongest and most varied. Subsequent tracks
for insightful interviews with the musicians that com- often in music today. It’s an approach that seems to “No Mystery” and “Labyrinth” light new sparks, but
prise this outstanding band. Also of note are the stel- work particularly well for this effort because Stall- the magic is never sustained.
lar production values. Not only is the audio superb but ings’ truly understands her role as a jazz vocalist. But that opening track may be worth the price of
you get an extensive array of camera angles to catch all She works in conjunction with the band members admission on its own. Within it swims all the voices of
the action. It’s the next best thing to being there! rather than separate from them. These musicians not Clarke’s muse, perfectly choreographed. Moving from
only shine as a collective group, but thanks to Reed’s a somewhat ethereal, melodic beginning, Clarke swats
ample arrangements, it gives Mary Stallings the spot- fat solo lines that resonate off his electric bass, leading
light she truly deserves. into a surging electric guitar chorus that will resurface
throughout the piece, driving it with a Radiohead-
esque propulsion. Some warped, tangling bass state-
ments follow, capped by the renewed guitar surge that
in turn gives way to the modal piano stylings of Ruslan
Sirota. (Sirota’s piano work, coupled with that of guest
pianist Hiromi, who played on Clarke’s 2009 trio ef-
Mary Stallings fort Jazz in the Garden and contributes to three tracks
here, make for some of the album’s most interesting
DREAM – Close Enough for Love; That Old Black moments.) Clarke weaves a solo of rapid-fire lines and
Magic; Moon Ray; Never Knew; A Weaver of Dreams; THE STANLEY individual notes of bluesy burden that is quite effec-
Mad About the Boy; Dream Dancing; Hey Now; tively resolved by the return of the guitar kick. Voices
Watching You Watching Me; Before You Know It; A CLARKE BAND of new-age swoon then enter, adding yet another di-
Timeless Place (The Peacocks) mension to the piece and leading it to a ruminative,
PERSONNEL: Mary Stallings, vocals; Eric Reed, THE STANLEY CLARKE BAND – Heads solo piano finish that ends mid-thought.
piano & arrangements; Hamilton Price, bass; Ralph Up HUCD3161. www.headsup.com. Soldier; Fu- “No Mystery,” a rather perky, modernistic
Penland, drums; Adriana Evans & Mary Stallings, lani; Here’s Why Tears Dry; I Wanna Play for You number, actually carries something of a mysterious
vocal duet on “Never Knew.” Too; Bass Folk Song No. 10; No Mystery; How Is the air at its beginning, with Hiromi adopting a repeated
Weather Up There?; Larry Has Traveled 11 Miles and figure like that from theme to the movie Halloween.
The influence of her contemporaries, like the Waited a Lifetime for the Return of Vishnu’s Report; But her wonderful duet with Clarke a few minutes
great Nancy Wilson, can be heard in her vocals, but Labyrinth; Sonny Rollins; Bass Folk Song No. 6 (Mo into the piece sets the whole a-blazing and the band
on the latest effort Dream, Mary Stallings’ voice also Anam Cara). never looks back. “Labyrinth” likewise features Hi-
possesses a unique quality and richness that sets her PERSONNEL: Stanley Clarke, electric and acous- romi and, like all the tracks up to the closing ballad,
apart from other jazz singers. tic basses, Alembic bass guitar, talk box, vocals; Rus- “Bass Folk Song No. 6,” is a quick, driving piece. But,
“Close Enough for Love” starts things off with a lan Sirota, acoustic and electric piano, synthesizer, in Hiromi’s hands, it is also the album’s most emo-
great arrangement from pianist Eric Reed. The piece vocals; Ronald Bruner Jr., drums; Rob Bacon, guitar; tive, touching dark, lonesome spaces of the spirit.
opens slowly to showcase Stallings’ wide vocal range. Hiromi, piano; Charles Aluna, electric guitar; Ar- There are nice surprises elsewhere and some odd-
Then the band subtly picks up the tempo to a nice mand Sabal-Lecco, electric bass guitar; Chris Clarke, ities as well, such as the curiously ambivalent global-
upswing for Stallings to play around with. She’s not drum programming; Jon Hakakian, programming, warming piece, “How’s the Weather Up There?,”
one for unnecessary flourishes or embellishments in drum programming; Felton Pilate, keyboards; Bob constructed from conflicting environmental messages
her vocal improvisation. It’s just the simple yet beau- Sheppard, tenor and soprano saxophone; Cheryl supposedly left in Clarke’s voicemail. But at 63 min-
tiful playfulness of Stallings’ full-bodied voice that Bentyne, vocals; Doug Webb, saxophone; Andrew utes, the swirl of this funky, electronic stew, spins a
will linger on in the listener’s mind. Lippman, trombone; John Papenbrook, trumpet; little too long. It’s perhaps best enjoyed in courses.
DeSouza Continued from Page 26 you received from one of your mentors or leaders for “Keep playing your heart out.” Coming from Mr.
something you would like to see changed that would whom you’ve worked that made a significant impact Stern, that really means a lot to me. It seems to me
help the music, the artists and or the business? on you? that the main message is to keep going, persevere.

MD: Put jazz on prime time TV so more people MD: My favorite inspirational quote came from Mr. JI: What do you do to recharge your batteries?
Morello. He said that one of his teachers, George
could become familiar with it. A lot of people don’t
Lawrence Stone, told him, “Joe, the secret to failure MD: I’m a constant reader, Dean Koontz and Ste-
really know what jazz is or sounds like. Most enjoy it is trying to please everybody. The secret to success phen King are my favorite writers. I really like com-
once they become familiar with it. is being too dumb to quit.” Recently, Mike Stern, medy - movies, stand up comedians. I enjoy playing
with whom I had the great pleasure of working on chess and my favorite sports are mountain biking and
JI: What advice, words, or fragments of wisdom have two tunes for my new album – Here. There - told me, paintball.
Holiday JazzGift
Holiday Jazz Gift
Catalog
Catalog
HUI-32030-02
Fourplay provides another great combination of straight-ahead and contemporary jazz music
with Let’s Touch The Sky – the supergroup of keyboardist Bob James, bassist Nathan East,
and drummer Harvey Mason welcome Chuck Loeb on guitar for his first recording with the group.
Includes guest performances by Anita Baker and Ruben Studdard.
CD Reviews
band as a whole fires explosively on all cylinders. Drummer Corey Rawls’ arrangement of Stevie
The remaining seven numbers are compositions Wonder’s Superstition is about as slickly jazzy as one
by three of the group’s members: two from Cables, can get, adding a new understanding of the poten-
two from Harper and three from bassist Cecil McBee. tial of Wonder’s genius. You couldn’t hope for a more
Harper’s “Priestess” is perhaps the standout of the set. imaginative envisioning of the now classic tune.
It feeds off a melodic theme of acute familiarity, yet Don’t Work demonstrates Cronheim’s ways
always eludes capture. The trio of soloists – Harper, with the blues and the tones of a larger ensemble of
Weiss and alto saxophonist Craig Handy – take the instruments. She’s groovy, and, wouldn’t you guess
THE COOKERS piece through exuberance, contemplation and peace- it, so is Adams who pretty much monopolizes lead
ful resolution. McBee’s “Ladybugg” also delights with in solos on the early cuts (not to complain). Wall bel-
WARRIORS – Jazz Legacy Productions JLP Henderson’s muted trumpet and solo space for the lies up to the trough on this track and shoves Adams
1001009. www.jazzlegacyproductions.com. The bassist to improvise within his own composition. But aside for a bit in a welcome wailing sax solo. Then
Core; Spookarella; Close To You Alone; Priestess; then, the entire album delights, really. It’s old-school Brain Glassman takes his turn showing is proficiency
Sweet Rita Suite part 2: Her Soul; Capra Black; La- without in any way being old. And reminds that jazz, and bluesy prowess on the double bass. It all blends
dybugg; U Phoria. at its best, is both energetic and substantial. and builds back toward Cronheim’s final chorus with
PERSONNEL: Billy Harper, tenor saxophone; everyone chiming in behind her.
Eddie Henderson, trumpet; David Weiss, trumpet; Ah, the Fender Rhodes, that incomparable inven-
Craig Handy, alto saxophone, flute; George Cables, tion so suitable to that Woodstock feel of the always
piano; Cecil McBee, bass; Billy Hart, drums. moving, lazily loving Summertime, which as done here
is the one indispensable rendering of the lot. This track
By Matt Marshall could hold its own as a single release. Wall is again in-
spired and at one with the groovy ness of Aaron Wei-
Something of a throwback album, Warriors man and his Rhodes. Glassman again asserts himself,
recalls the weighty, exhilarating post-bop sets of the
1960s. Appropriately, The Cookers, a group of all-star PATTY CRONHEIM not as a kind of tagalong but as an essential ingredient
to the cause. Put them all together and it’ll all give you
veterans, chose to kick off this record – their first as goose bumps of poignancy and pleasure.
a unit – with the aptly titled Freddie Hubbard tune, DAYS LIKE THESE – Say So Records, PO Box The cut to match it, or almost so (if such choices
“The Core.” It serves non only as the foundation for 536, Penington NJ 08534. Estando Aqui; Stella by must be made) as a kind of up-beat, scatting book
the album, but as a statement of the band’s core “be- Starlight; Don’t Walk Anymore; Summertime; Su- end, is Bye Bye Blackbird, that whining announce-
liefs” – a proclamation of who they are, where they perstition; Doggone Blues; I Feel the Heat; Made for ment of being misunderstood but determined to
come from, what they value and where they intend to Love; Days Like These; Bye Bye Blackbird. be wanted. Corey Rawls says as much with sticks
direct their music. PERSONNEL: Patty Cronheim, vocals; Aaron
and skin, so light the light for him and the sidemen
A driving, hard-bop number, originally re- Weiman, piano/Rhodes; Brian Glassman, bass; Weiman and Glassman. Cronheim avoids any pri-
corded by Hubbard on his final album with Art Corey Rawls, drums; Greg Wall and Audrey Welber, madonna sense of regarding the group as merely in-
Blakey’s Jazz Messengers (Free For All, 1964), “The saxophones; Clifford Adams, trombone. cidental to the vocals. Just chalk it up to a feeling of
Core” is an excellent set-up piece. Trumpeter Eddie Team Cronheim, and do so boldly. So get out the sun
Henderson takes the first solo and has a field day By Bob Gish block , the cooling beverage, and the fans, Cronheim
running full-bore through the spacious field the tune Days Like These is hot, sultry stuff.
spreads before him. Trumpeter David Weiss also so- As vocalist (and composer of seven of the re-
los on the piece (after tenor saxophonist Billy Harper corded tunes), Patty Cronheim has a way with words,
has his go), making for expedient and intriguing and melody too, of course. She leads off in Spanish, es-
comparison of the pair’s individual attacks – Hen- tablishing her fluency in that romance language, filled
derson open and heavy, Weiss favoring a more con- as it is with trills and tongue twists. “I am here,” she
stricted and pinched delivery. Pianist George Cables announces and so does her band, especially Clifford
and drummer Billy Hart also get solo time, and the Adams with his trombone solo, the first of many, on
the first cut. Cronheim and company are all here to
play, no hesitations, no regrets. They get it on and so
must listeners, get this CD on i-pod or stereo ASAP. Cyrus Chestnut Trio
Stella by Sunlight follows suit, not as a burner
so often associated with the tune’s nocturnal cousin, JOURNEYS – JLP (Jazz Legacy Productions).
but as a ballad, with lyrics and tonality more condu- www.jazzlegacyproductions.com. Smitty’s Joint;
cive to beach front reveries and observations. Adams Lover; Eyes of an Angel; Little Jon; New Light; Jour-
chimes in here too with muted trombone, underscor- neys; The Flowers on the Terrace; Yu’s Blues; In the
ing the softness of the treatment. Stella in the morn- Still Hours; Goliath
ing light is hardly a fright – more a sight to behold PERSONNEL: Cyrus Chestnut, piano; Dezron
Two for the Show Media offers special, one-on-one with Ipanema sighs. Douglas, bass; Neal Smith, drums.
attention to the Jazz artist and their personal campaigns. Another Cronheim composition like Stella is
Our experience includes publicity, concert promotion, artist I Feel the Heat--a similar track, body heat and corre- On his latest effort Journeys, Cyrus Chestnut
development, and marketing. We have established media
contacts (print, radio, and television) and we have the ability
sponding climatic zones, encapsulating the passions of does what he does best – he plays the piano. As a side-
and know-how to effectively translate our client’s goals. enticements not always realized. Greg Wall’s soprano man, he’s played with everyone from the late greats
Chris DiGirolamo: Chris@TwofortheShowMedia.com sax intensifies the trembling temptations of the lyrics. (Dizzy Gillespie, Betty Carter, Freddie Hubbard) to
Office: 631-298-7823 | Cell: 718-669-0752 His solo is alluring in a kind of Pied Piper fashion add- his contemporaries (Donald Harrison, Jr., Terence
www.twofortheshowmedia.com ing to the exoticism and the eroticism of the tune. Blanchard). His work as a sideman has given Chest-
Announcing: The Release Of A Fantastic
New Product That Will Revolutionize The Way
You Think About And Play Jazz…
The biggesT breakThough for jazz
educators since the inception of jazz education
is now available to you and your students
though this fabulous new DvD by Mike longo.
You can now help yourself and your students return to the
passion-arousing music that turned on jazz fans of the past.
By experiencing the sensual gratification produced by the
polyrhythmic and polymetric jazz of great jazz masters such as
Bird and D iz, you can pass this experiential knowledge on to
your students, protecting them from slipping into much of the
lifeless “head” music that has practically elimina ted the jazz
audience while causing former jazz fans to proclaim the music
they hear in clubs and festivals today often sounds “dead”.
To order this product or any of Mike Longo’s recordings call 1 800 BEBOPYO (1 800 232 6796)
Operators are standing by 24/7. To order by mail send
a check or money order in the amount of $28.97 +
$4.95 S&H to: Consolidated Artists Productions Inc.,
290 Riverside Dr., Suite 11-D, New York, NY 10025
Matt
“In a world of jazz albums where the only thing different about the content
of the album is the lineup, Melancholia stands out and will deliver a new
atmosphere to the room. The hipness is that the blowing isn’t planned out...
his playing is always IN THE MOMENT, which is my favorite part
because it remains modern and true to the jazz tradition.
CrisCuolo John Judd, guitarist/composer, JohnJuddJazz.com
www.mattcriscuolo.com • 203-856-4040

Hear a fresh new slant on New Orleans Jazz
New Orleans’ Own
DUKES of Dixieland
New Orleans Mardi Gras Christmas in New Orleans
The 12 tunes and 54 minutes of Mardi Gras music set the mood Need to put a little spring in your step this holiday season?
for the return of the Greatest Party on Earth. Listen to this new With arrangments from dixieland to jazzy blues, “The Dukes
CD, get into the mood and then come on down to New Orleans of Dixieland’s album gives the season a snappy beat, a crisp
to a stupendous, astounding, humongous PARTY with glittering and catchy character. Bring the spirit of New Orleans into
beads, big brass bands, parades, doubloons, flambeaux, reeally your living room with originals and standards. “Christmas
fancy costumes, and giant horses. You can even dress up and wear in New Orleans” strikes a poignant chord this year but
your own crown with the DUKES (New Orleans Royalty of Jazz). everything that makes New Orleans such a beloved city is
wrapped up right here in one heck of a seasonal disc.
New Orleans born LUTHER KENT
(formerly Blood Sweat & Tears lead vocalist) joins Earl Bonie - Clarinet • Mike Fulton - Trumpet
the Dukes for a sound you’ve never heard before. Everett Link - Bass • Scott Obenschain - Piano
Ben Smith- Trombone • Richard Taylor- Drums
Earl Bonie - Clarinet • Mike Fulton - Trumpet
Everett Link - Bass • Scott Obenschain - Piano
Special Guest Artists:
Ben Smith - Trombone • Richard Taylor - Drums Luther Kent • Moses Hogan’s Gospel Choir
The Pfister Sisters • Bells by the Salvation Army
Special Guest Artists:
Charles Brent - Tenor Sax/Guitar • Barney Floyd - Trumpet SONGS:
Brian O’Neill - Trombone/Bass Trombone • Steve Reynolds - Guitar 1. Jingle Bells
Luther Kent - Vocals 2. I’ll Be Home for Christmas
3. The Little Light of Mine
SONGS: 4. Christmas Time in New Orleans
1. Carnival Time 5. Away in a Manger
2. All on a Mardi Gras Day 6. Winter Wonderland
3. Go to the Mardi Gras 7. Merry Christmas Baby
4. Mardi Gras Mambo 8. Silver Bells
5. Bourbon Street Parade 9. Come Home for Christmas
6. While we danced at the Mardi Gras 10. O Tannenbaum
7. Big Chief 11. Second Line Santa
8. Second Line 12. Here Comes Santa
9. Sick and Tired 13. Big Drummer Boy
10. Hey Pocky Way 14. Holiday Time in New Orleans
11. New Suit 15. Holly Jolly Christmas
12. Saints (Street Beat) 16. Have Yourself a Merry Little Christmas
17. Sleigh Ride
18. The Christmas Song
Call to Order: 1-800-321-1499

www.dukesofdixieland.com • www.leisurejazz.com
747 Magazine Street, New Orleans, LA 70156 • 504-299-9000
MAURICIO ZOTTARELLI
Live at: BLUE NOTE NYC
131 West 3rd St -Greenwich Village, NYC
(212) 475-8492 www.bluenote.net
Saturday, November 13th, 2010

Late night groove series – 12:30am (into Sunday)
Performing music from his critically acclaimed album “7 Lives”
“(...)the listener is struck by the vibrancy, joy and

energetic enthusiasm generated by this group. Centering
it all is Zottarelli’s melodic and rhythmic drumming.”
B. Walseth, www.jazzchicago.net
“(…)the stupendous drummer Mauricio Zottarelli…”

The News Group online/Latino América Exterior online, Spain
“Zottarelli is not only a gifted composer but

also a great producer. ‘7 Lives’ is a hit!”
S. Gerosa, Jazz n’ More Magazine,
Switzerland
“(…) Featuring Zottarelli’s

many different rhythmic and
compositional skills, this album
is high-quality Brazilian jazz”.
H.Sugita, Swing Journal, Japan
Buy/Download Mauricio’s
CD 7 Lives @ iTunes,
Amazon, CDBaby,
Digstation
More info:
www.mzdrums.com
Photos by www.poby.net
with a twist. Instead of playing the piece as a slow bespeaks the ageless, ancient sounds of Xanadu and
tempo ballad, he instead opts for a slightly faster pace. the primal rhythms of the orient.
The arrangement allows for Neal Smith’s drums and All of the solos are superb and when each musi-
Douglas’s bass to step out into the forefront. At one cian takes a turn it’s compelling, if not spell binding,
moment, Chestnut’s single-note playing style, reminis- the solos enhanced by the absolutely synchronized
cent of Monk, not only allows the listener to hear the accompaniment – all contributing to a special beauty
melody line more clearly, but it again draws the atten- and sense of regeneration much in need in today’s
tion to Douglas’s wonderfully rhythmic bass line. harried, frenetic world. Rachel Z is a phenomenal
“Eyes of an Angel” brings things down quite a keyboardist with still developing and untapped tal-
bit. Not to a melancholic place, but instead it goes to ents. And when she and Dean lead out on “My Ro-
a more contemplative one. Chestnut’s piano is clearly mance” and “My Ship” it’s luscious, creamy delight,
at the helm, but the great timing and rhythm of the as if partaking of some elixir of honeydew or the pro-
bass and drums gives Chestnut complete freedom for verbial milk of paradise.
some wonderful improvising on the piano. All of the tunes, new and old, most notably
“Journeys,” the title track, stays in the same con- “Bardo” and “Akasha” contribute to that special rich-
templative mood as “Eyes of an Angel,” but instead, ness of imagery and sound, alluded to in the lyrics
nut ample experience to draw from as a group leader of “My Ship” – music of gold and silk and precious
and with his wonderful arrangements, original com- this track highlights all three players. Chestnut’s pi-
ano is rightly understated where it needs to be and it jewels, the music of peace and love.
positions and progressive musicians, Chestnut can
join the long line of jazz greats who explore all of the creates ample room for Smith’s drums and Douglas’s
possibilities in the music rather than play it safe. bass to weave in and out nicely.
“Smitty’s Joint” starts off with an upswing The Cyrus Chestnut Trio will take the listener
bounce of Chestnut’s piano. His playfulness defi- through a vast range of emotional moods on Journeys
nitely expands on this piece as he warms up. The lis- thanks in part to not only thoughtful compositions
tener will become mesmerized with Chestnut’s play- from Chestnut but also the addition of Douglas and
ing as he creates a nice crescendo while attacking the Smith who round out this wonderful, in sync trio.
keys with gusto. Things slowly quiet down as Dezron
Douglas gives the piece its rhythmic spine with his GARY GRANT
decisive fingering on the bass.
On “Lover,” a Rodgers & Hart composition, DON’T HOLD YOUR BREATH – www.
Chestnut gives us a touch of his romantic side – but garygrantmusic.com.Tres Gatos Profundos; Thank
You, Michael; Set it Straight; I Still Hear You; Ire-
land; American Native; Skunkin’; Live for the Day;
GG Song; Skyrise; Subatomic; One Peace.
COLIN DEAN PERSONNEL: Gary Grant, Wayne Bergeron, trum-
pet; Wally Minko, piano; Dan Higgins, reeds; Vinie
Colaiuta, John Robinson, Johnny Friday drums.
SHIWASU – Colin Dean, Roots and Grooves Pub-
lishing, www.rootsandgrooves.com. Growth, Wa-
By Bob Gish
kan, My Romance: Bardo; Akasha; Brooklyn Ferry;
My Ship.
This is a superbly well-produced CD and well
PERSONNEL: Colin Dean, acoustic bass; Sean
worth the effort instilled in it, both envisioned and
Nowell, tenor and soprano sax; Colin Stranahan,
achieved. The sound quality is striking and the ar-
drums; Rachel Z, piano.
rangements are of the first order. Which is not in any
way to undervalue the quality of the compositions –
By Bob Gish
all original and striking.
The entire effect from first cut to last evidences
Colin Dean is what you call a dedicated musi- quality, giving special meaning to the title for both
cian, and at the threshold of his career states, “I want Grant and his audience (as well as his band) all find
to contribute to peace through every note I play and themselves holding their breaths both literally and
every composition.” It’s a sentiment much in need figuratively at both the technique and the instru-
in the stressed world today, although not a particu- mentation.
larly novel resolution for most jazz musicians whose The trumpet, whether in jazz club, a symphony
music, whose world is something of a refuge to be at hall or at a bull fight is a commanding and demand-
once protected and shared. This project surely affirms ing instrument . . . daring one, tempting one to
Dean’s aspirations because every track, whether new heights of pitch, tonality, and virtuosity.
or an established standard, is a loving, caring contri- Grant establishes first one dazzling plateau then
bution to peace and reconciliation. another one, up and onward to the scaling of more
Dean’s assembly of side personnel is stellar, than one musical height. Super players like Grant
most notably Rachel Z, a pianist and recording artist soon leave the valley for the mountaintop, aspiring
of some considerable recent repute, and Sean Nowell, not merely to climb the mountains but to leap from
another fresh voice whose tenor and soprano sax so- peak to peak.
los are custom fitted to Dean’s crafted and soothing All musicians and jazz fans will learn and grow
bass tonalities. Colin Stranahan’s drums are, as well, when engaging this CD! Trumpet players will espe-
a perfect match for this ensemble. His work on such cially be inspired and, yes, awestruck, resulting in
dreamy, ethereal tunes as “Growth” and “Wakan” breathless adoration.
Drummer BoB Levey,
Son of Legendary Bebop Pioneer
Stan Levey Returns to the Scene
with “Homey”
by his Group “The Intervention Band”
Justin Pfeifer, piano • Ashton Taufer, bass
Tim Fox, trumpet and piano
“Bob, I Love the record Homey”

—Dezron Douglas, bassist with Louis Hayes,
Cyrus Chestnut and many others
Available on Amazon, CDBaby, iTunes and

www.theinterventionband.com
Please contact us at (212) 283-1481 or
maxx@myrickmedia.com
Stan Levey • www.stanlevey.com
BEST OF THE VINTAGE

“ Gini plays with taste and
passion, and plenty of creativity...”
—Jazz Inside Magazine
SFCJQ
( THE SAN FRANCISCO
CHAMBERJAZZ QUARTET)
4 STARS! In the spirit of the
Gini
Modern Jazz Quartet, this
ensemble …combines great jazz
improvisation with the structure
and intimacy of a chamber
Wilson
ensemble in the classical tradition.”
—Irwin Block, Montreal Gazette
THE CROSSING POINT

THE GINI WILSON QUARTET
“Wilson’s precise execution sounds
nothing short of regal...delicate,
deeply emotional playing...”
—Ken Hohman, All About Jazz

known, but, as the title (and title track) makes clear, sen immediately follows this number with a medley
she also stakes a claim as the music’s Representative. whose construction is found in its title: “Frank Sina-
It’s not an unfounded boast. But, then again, labeling tra Cha Cha Cha” – a quartet of songs made famous
Hansen and her band as representative of Salsa may by Ol’ Blue Eyes, set to a cha cha cha beat. Hansen
be selling them a bit short. sings the second song in the set, “It Could Happen to
While the violin certainly has a well-established You,” in a strong, clear voice that seems the sweeter
history and strong contemporary presence within of her two instruments. The more angular, aggressive
Latin music, setting the strings aquiver with elec- fare is left to the five strings under her chin, culmi-
SUSIE HANSEN trical juice can safely be said to be outside the tradi- nating in a ripping, yet highly – and appropriately
tional norm. As is the way in which Hansen employs – intellectual solo on the album’s final number, “Y
REPRESENTANTE DE LA SALSA – Jazz Cali- her aggressive bowing, often scraping away to fill the Sigue Pensando.” She sings again on “I Want to Love
ente JZC232. www.jazzcaliente.com. Respresentante sonic wave more regularly assigned to a horn section. You,” but leaves the Spanish lyrics in the throats of
de la Salsa; Te Quiero, Te Amo; Vehicle; Frank Sinatra Yet with the oomph granted by electric current and Abbo and, primarily, George Balmaseda, who are
both excellent throughout.
Cha Cha Cha; Ne Te Metas Conmigo; Si No Contigo; her own naturally powerful playing, Hansen con-
tinually pulls off the switch without sacrificing any So, representative of Salsa? Yes, but not neces-
I Want to Love You; Si Me Vas a Querer; Las Calles de
brassy thunder. In fact, listeners who allow their ears sarily Salsa típica. Hansen and her band play for live,
Chicago; Beyond the Sea; Y Sigue Pensando.
to drift may be caught enjoying several blasts from 21st-century listeners and dancers, not some musical
PERSONNEL: Susie Hansen, electric violin, lead museum.
the horn section only to later realize it was primar-
vocal, background vocal; George Balmaseda, lead vo-
ily Hansen who was entertaining them. Check out
cal, background vocal; Kaspar Abbo, lead vocal, back- “Te Quiero, Te Amo” and “I Want to Love You” and
ground vocal; David Stout, trombone; Tim Messina, you’ll hear what I mean.
tenor sax, flute; Joe Rotondi, piano; René Camacho, And aside from this innovative flare with which
bass, background vocal; Jimmy Branly, timbales; Joe she attacks the traditional form, Hansen also makes
De Leon, congas; Erich Bulling, background vocal; some intriguing choices from the pop music world
Ricardo “Tiki” Pasillas, bongo, hand percussion. to bring into the Salsa fold. First up is “Vehicle,” the
1970 Ides of March hit. Rendered here faithfully
By Matt Marshall through the opening two verses, with singer Kas-
par Abbo on the English lead vocal, the song sub- JAIMOE’S JASSZ BAND
On this, her third album as a leader, electric sequently – and effortlessly – morphs into Spanish,
violinist Susie Hansen not only serves up more of as the supporting music likewise moves south of the ED BLACKWELL MEMORIAL CONCERT
the hard-driving Latin jazz for which she’s become border, revealing the Salsa at the song’s heart. Han- – Lil’ Johnieboy Records, Moonbunny, Inc. www.
Eric FraziEr
“It’s no small wonder why Eric Frazier’s music gets the attention of Jazz lovers
everywhere! His eclectic approach captures the interest, sustains good feelings
and peaks the energy for appreciation of great music!”
From his great grand Dad Fred B. Green, trumpeter for the John Phillip Sousa
Marching Band to his dad Gilbert W. Frazier, Country and Western singer. Like
the laws of physic say “energy is neither lost or gained it is merely transformed”.
Lineage, influences and great people like you share a part in making the music
those of us compose. So take a bow and allow us to communicate our sincere
gratitude for your inspiration!
The Eric Frazier Trio appears every 1st and 3rd Tuesday each month at
Rustik Restaurant • 471 Dekalb Avenue, Brooklyn, NY • 347-406-9700
Eric Frazier: Congas, Vocals • Danny Mixon: keyboard • Gene Torres: Bass
It’s Eric Frazier’s great Open Mic Jazz Jam Session with wonderful vocalists and
musicians who come to Jam!! Join us for an experience you will not soon forget!
Visit www.ericfraziermusic.com

DaviD BraiD • www.DavidBraid.com
2009 Jazz Pianist of the Year in Canada
“David Braid – evoking a curious combination of
Bill Evans & George Gershwin!” —All About Jazz
“If Bill Evans were alive, I’d send Braid’s CDs to him.” —The Jazzletter
“David Braid - A Jazz Genius to Call Our Own” —Maclean’s Magazine
CanaDian Brass • www.CanadianBrass.com

“The Canadian Brass showed themselves to be entertainers who also happen to be
really crack players … the playing was virtuosic.” —The Boston Globe
“These are the men who put brass playing on the map” —Washington Post
“The Canadian Brass was on a mission to entertain… The quintet offered up
polished musicality with impish levity to match.” —Los Angeles Times
Canadian Brass on tour

nov 30-dec 1, Yoshi’s-san Francisco, Ca • dec 9, Frank Center-shepherdstown, WV
dec 11, nJPaC-newark, nJ • dec 12, troy Music Hall-troy, nY • dec 13, roy thompson-toronto, on
dec 18, outer Edge stage-appleton, Wi • dec 21, Fischer Hall-detroit, Mi • dec 23, Powell Hall-
st. Louis, Mo • dec 29, Van Wezel PaC-sarasota, FL • dec 31, Von Braun Center-Huntsville, aL
Chip White
Dedications Series More Dedications
HHHH “[More Dedications] cruises
like a fine car . . .White exudes
Double Dedication confidence and swings with abandon
through nine originals.”
“With Double Dedication, Chip White presents a program of —Downbeat, November 2010
entirely original music, performed by a truly all-star band. The
music swings hard from the first note and keeps on swingin’ This second two-disc set features original compositions
throughout the disc.” —David Miele, JazzImprov NY and poetry for Milt Jackson, Miles Davis, Clifford Brown, Joe
Henderson, Bobby Hutcherson, and Tony Williams, among others.
A two-disc set of original compositions
and poetry for jazz icons including Duke Steve Nelson (vibes), Wycliffe Gordon (trombone), Duane Eubanks (trumpet &
Ellington, Lester Young, Charlie Parker, fluegelhorn), Patience Higgins (alto & soprano sax, flute), Mulgrew Miller (piano),
Peter Washington (bass), Chip White (compositions, poetry, and drums)
Dizzy Gillespie, Thelonious Monk.
Gail Allen (vocals), Steve Wilson (alto & flute),
Randy Brecker (trumpet & fluegelhorn), Read Chip’s interview in the July 2010 issue of
Wycliffe Gordon (trombone), Kenny Barron (piano),
Ray Drummond (bass), Chip White (compositions,
JazzInside Magazine New York, p. 37, with part 2
poetry, and drums) to appear in an upcoming quarterly issue.
Both CDs are available on CDBaby at www.cdbaby.com/artist/chipwhite

Find out more about Chip’s other CDs, poetry, and upcoming concerts on his web site www.chipwhite.jazz.com
jaimoe.com. Softly as in a Morning Sunrise; Twilight Richard Boulger’s trumpet and flugel horn solos seem
Waltz; People Get Ready; Dewey’s Tune; I Believe inspired by Gabriel himself who is imagined upstairs
I’ ll Make a Change; Impressions; A Change is Gona celestially jamming with none other than Blackwell
Come; Mercy, Mercy, Mercy. himself. Junior Mack and David Stoltz are nothing
PERSONNEL: Jaimoe, drums; Junior Mack, guitar less than inspired when their solos come round.
and vocals; David Stoltz; bass; Mathias Schuber, key- All of the tracks are long ones, allowing all the
boards, back ground vocals; Richard Boulger, trum- band to stretch out and reach their own epitomes (if
pet and flugel horn; Jay Collins, tenor, soprano saxes not epiphanies), and listeners will groove to each and
and flute; Frank Kozyra, tenor sax; Chris Karlick, every song and arrangement of the compositional ideas PETE LEVIN
baritone sax. in inspirations of Hammerstein, Romberg, Cedar
Walton, Curtis Mayfield, Walter Dewey Redman, Ju- JUMP! – Pete Levin Music. www.petelevin.com.
By Bob Gish nior Mack, Coltrane, Sam Cooke, and Josef Zawinul. Jump!; Exclamation!; That Was Then; The Big Dog
The songs and Blackwell’s memory remain the Is Always Right; Talk to the Animals; Nostalgia in
focus yet each musician pays respects with the glories Times Square; Little Sunflower; Candido; Alone To-
Ed Blackwell (1929-1992), the notable Ameri-
of their talents and improvisations. The applause of
can free jazz drummer, is honored in this two-disc gether; Honeysuckle Rose.
the audience pays respect in return.
tribute and memorial concert, performed by the PERSONNEL: Pete Levin, organ; Dave Stryker,
Junior Mack and Mathias Schuber shine forth
Jaimoe’s Jassz Band, and recorded live in February Joe Beck, guitar; Lenny White, drums; Manolo Da-
in their true blues, guitar and organ offering of Mack’s
of 2008. He would be proud indeed for the perfor- “I Believe I’ll Make a Change”. They bring it home in drena, percussion; Danny Gottlieb, drums.
mance is heartfelt and both audience and musicians the most authentic of ways and Mack’s string-bend-
are impassioned and inspired. ing, wailing guitar, and his raspy, “I’m here to sing it, By Bob Gish
Jaimoe stands out on drums in his special kin- brother” vocal is ironically selflessly show-stopping.
ship with Blackwell and each beat is a thank you for Sam Cooke’s “A Change is Gonna Come”, as sung by Funky! Cool to the max! Pete Levin and com-
their shared love and legacy. Saxophonists Jay Col- Mack, is as moving and plangently inspirational as pany have a winner here! So, jump with joy at the
lins, Frank Kozyra, and Chris Karlick blow hard and one will ever hear. The two songs capture the moods release of JUMP!, a great constellation of songs and
free capturing Blackwell’s spirit felt by musicians and and expectations of hope and disappointment inher- musicians who not only know their business but feel
audience alike – and listeners to the recordings by ex- ent in not just mutability but mortality. it too.
tension. Karlick’s baritone is alarmingly resonant and Everyone is honored by this recording, espe- Pete toasts and treats the listener and his co-
clear. Kozra and Collins bring their tenors to front cially the yearning of the human soul and spirit for horts to a rompin’ good time across the keys and ped-
and center with cogent solos and recede when lead- the beauty and triumph of art, of life’s expression als of his velvety-sounding organ. Altitude is always
ing tones and helpful obligato are in the works. And through jazz. a factor in jumps, whether high or broad, and what’s
Paris Red
Order the CD IMPROMPTU
LIVE AT CECILS JAZZ CLUB
available at myspace.com/Paris Red
CDBaby.com
Winner of the BMA Awards

in Las Vegas, Nevada for 2007, 2008
Entertainer of the Year,

Best Jazz Vocalist
2009 Best Female Vocalist Overall
Best Jazz Vocialist and Best CD Recording

PARIS RED Impromptu

CD SPOTLIGHT • CD SPOTLIGHT • CD SPOTLIGHT
CD AvAilAble At
Roch Lockyer www.jamessilberstein.com
www.jazzbeat.com
“Nondirectional is notable not only for
Lockyer’s thoughtful solos and original email: jdsguitar@aol.com
voice on the guitar but for his intriguing
compositions…improvisations develop
logically...a surprising amount of variety...
versatility in his playing....excellent modern
jazz set...” —Scott Yanow
Booking:
Roch Lockyer
408-483-4858
www.rochlockyer.com “A totally complete, fulfilling cd led by
Jim’s amazing, masterful soloing, with an
array of arrangements, all with interesting
orchestrations and all complimenting his
unique concept for each tune. Every player
Photo credit: James Harger

here is a giant.” –Gene Bertoncini
“James Silberstein is a great guitarist with

something of his own to say ... a great CD
with much depth and many contrasts of
mood and feeling.” –Peter Bernstein
www.ampzilla2000.com
MATT NELSON TRIO • NOSTALGIAMANIAC

Matt Nelson - piano; Graham Czach - bass; Matt Nischan - drums
“... the best piano-trio album to come out of Chicago in 2010...
comparing it with piano-trio projects from across the nation, where the competition
is naturally fiercer... I’ll place Nostalgiamaniac among the year’s top four or five,
along with those of such well established players as Fred Hersch and Jason Moran...
one of Chicago’s most promising jazzmen, and one of the freshest pianists
on the national scene.” - Neil Tesser (from the liner notes)
Victor Garcia & Darwin Noguera’s
CHICAGO AFRO LATIN JAZZ ENSEMBLE • BLUEPRINTS
with special guests : Neal Alger, Ricky Luis, Paoli Mejias & Steve Turre
“...a Latin jazz masterpiece...
fresh and daring and marvelously versatile band co-led by trumpeter Victor Garcia
and pianist Darwin Noguera. Inventive melodies vie with authentic rhythms,
lacing jazz history with infectious Caribbean beats... play this album again and again,
the better to absorb the sharpest new sound in Latin jazz.”
- Neil Tesser (from the liner notes)
Available at : ChicagoJazz.com, CDBaby.com, iTunes, CDUniverse
www.chicagosessions.com
heard on this CD is nothing less than high, far, and illustrious panoply of great jazz organists then and Fine; The Secret Lake; Square Brown/From Father to
wide. Call it soaring for lack of a better word. Just now from Jimmy Smith to Joey DeFrancesco. Friend.
take a gander at the play list and your pleasure will Just about any track becomes a favorite and lis- Personnel: Mike Mainieri, vibraphone; Marnix
only be heightened to hear what these slinky stal- teners will jump back to hear again what they’ve mar- Busstra, guitars and bouzouki; Eric van der Westen,
warts have to say about them. veled at hearing. Shuffle might be the best setting. Be double bass; Pieter Bast, drums.
There’s jumpin’ Dave Stryker on a cool double- it deliberate or random, jumping through with these
cutaway, double pick-up long neck Gibson, not just tunes is pure delight. So excuse me while I pause to By Eric Harabadian
joining the jump but leading it too, at times taking jump back to hear “Little Sunflower”, and then ahead
what can only be thought of as double-daring tram- to catch “Alone Together” one more time, before I This live 2008 two disc set was recorded in early
poline, six-string tricks vertically and horizontally jump back and “Talk to the Animals”, or maybe a December over three days in Belgium and The Nether-
across the frets. Levin of course answers such lines jump to Jump! is in order. lands. This is a strong and vibrant pairing of American
with fire-works fingers, more laddy than lady, of his vibraphonist Mainieri with three European musicians
own in cherry-bomb and sky rocket keyboard explo- for a meeting that brings together a modern impres-
sions pointing the way, in turn to Stryker and on sionistic sensibility with good old fashioned bebop.
“Honeysuckle Rose” to jolly Joe Beck who knows The date begins with the simply titled “Piece.”
musical somersaulting in all its variations. This intrepid tune is fueled by a deceptively simple
In the broad-jump vein there are great groovy bass hook that anchors the entire composition, al-
tunes such as “That Was Then”, “Little Sunflower”, lowing for a simultaneous ebb and flow of established
and “Candido” where the Latin sway motivates the melody and full-on experimentation to take place.
moves and sweet it is, soft and tender and tough and “My Good Leg” recalls Mainieri’s tenure with Steps
textured. Motion and rhythms are indeed marvelous
and multitudinous. Lenny White, Manolo Dadrena
Mike Mainieri/ Ahead as he gracefully addresses the vibes supported
by a funky yet swinging rhythm section. A take on
(especially on the “Big Dog is Always Right”) and Marnix Busstra a traditional Indian children’s song “Kannada” is
Danny Gottlieb (on “Honeysuckle Rose”), provide an interesting departure in the program as Busstra
the snuggly, embracing blanket of drums and percus- Quartet approaches the melody on bouzouki. “Don’t Break
sion. And these dancing cats do contain multitudes Step” ushers in a traditional bebop element, with a
of moves, hits, and strikes with sticks, brushes, and Trinary Motion/Live in Europe – NYC Records, brisk and somewhat angular unison head by Busstra
hands. NYC 6042. CD1: Piece; My Good Leg; Kannada; and Mainieri. “Strega” brings in another flavor again
Levin and Stryker are through and through Don’t Break Step; Strega; It’s Done; Lost in Little that is darkly cool and a tad film noir. “It’s Done” is
much in the tradition of Burrell and Montgomery Spain. CD2: Three Years, Three Months, Three Weeks, a somber and serene piece that is beautifully played
when it comes to blending guitar and organ and the Three Days; All in a Row; Trinary Motion; Young and by Busstra. And “Lost in Little Spain” concludes the
Celebrating its 30th Anniversary Season
November 14, 2010

SuNday at 6pm
New
OrleaNs
Nights
Featuring
alleN touSSaiNt,
NicholaS paytoN, and
the Joe KrowN trio
Brilliance on every Note
Tickets: $35, $30, $25
BOX OFFICE 718.960.8833 TICKETS ONLINE www.LehmanCenter.org 250 Bedford Park Boulevard West, Bronx, NY 10468 FREE PARKING
Cab Calloway
& Bobby Lavell
Musician • Writer-Composer Multi-instrumentalist • Educator
Bobby LaVell has spent his entire life in music from his introduction in high school to
the more than ten years he has spent with the Duke Ellington Orchestra. He has also
continued that commitment with the creation of the Hudson River Jazz Orchestra years Slide Hampton,
Bobby, Jimmy Heath
ago. His beginning as a writer can be heard on his CD Bobby LaVell and The Hudson
River Jazz Orchestra. In addition to this he teaches at a number of private schools in
the New York area among them are, The Learning Tree Multi-Cultural School (Queens,
New York) and Youth Theatre Interaction (Yonkers, New York) an after school program. He
has also for the last two years maintained a close association with Jeff Huddleston a music Bobby &
teacher at Overton High School in Memphis TN. His hometown. “Giving back is important” Frank Wess
says LaVell born (Robert LaVell Garner). Having young musicians see someone that is
currently in the business is important, it was to me when I was young and I believe it still is.
Jeff is a great guy and a wonderful musician and teacher. I always enjoyed working with him
and my time at home.
The Ten and Twenty Band is his most recent recording. It features several of LaVell’s original
compositions and gives a peak into his artistry. I say peak because there is so much more to Bobby
& Slide
this wonderful musician/ writer-composer/
multi-instrumentalist/ educator.
For more info or to purchase, visit

www.nichelsonentertainment.com
1-800-Buy My CD Available for dates:
clinician; small or big band
Contact: Ray Reneri Management
Office: 888-811-9723 Cell: 201-923-8683
Email: rrshows@yahoo.com
Mark Sherman WInnER in Downbeat Magazine’s

Critics Poll 2007-2010
‘LIVE AT SWEET RHYTHM’
Mark Sherman Quintet (Miles High)
Want to check out a furiously hip vibes player? Well,

Mark Sherman’s live, two-CD set will convince you
that his hard bop chops are on fire! Of course, it takes
a village to put out all that heat, and this village
includes Allen Farnham, piano, Dean Johnson, bass,
and Tim Horner, drums. —JSO Jazz Scene
“Live at Sweet Rhythm” by vibist Mark Sherman and
his band provides the kind of entertainment that
can give club-like life to an evening at home.
Besides being a great vibist, Sherman also is
a talented composer and wrote nine of the 10
songs. The music all is straight-forward jazz, high-
lighted by Sherman’s fine playing and the excel-
lent trumpet and flugelhorn playing of Joe Mag-
narelli. He and Sherman show the combination
of the vibes and flugelhorn is one that deserves more
exploration. Besides the fine play, which is good
enough to invite multiple listenings, the DVD has in-
terviews with each member of the band and one in
www.markshermanmusic.com which they all talk about the band. — Bob Karlovits

EXTRA-
ORDINARY
first set/disc with a raga-like drone that sets the pace The Great Trip(let); Trust; Trinkle Tinkle; The Win-
for a Scofield/Stern inspired piece. ning Life; Hope; Sandy; Ella Bella; Hardship.
POWERS!
The second set/disc continues the festivities in Personnel: Mark Sherman, vibraphone; Joe
a cool and relaxed manner. There is an urbane feel to Magnarelli, trumpet and flugelhorn; Allen Farnham,
the opening of their performance here that is an in- piano; Dean Johnson, bass; Tim Horner, drums.
ventive balance of ambience and the blues. Mainieri’s
“All in a Row” seems like somewhat of a musical ex- By Eric Harabadian
ercise but remains playful, with its odd and angular
melody. The title track “ Trinary Motion” is another Recorded live in NYC in July 2009, Mark Sher-
Mainieri composition, with very inspired phrasing man and his award-winning band were definitely on
and inventive ideas. The vibist really steps out floating
their game for this excellent DVD concert. There is
on a sea of strong rhythm and tasteful comping from
a simpatico with this outfit that exudes confidence,
Busstra. Marnix Busstra’s acoustic guitar resolves the
positivity and engages the audience to come along for
night on “Square Brown/From Father to Friend”
1964 1969 providing an intriguing blend of folk and swing.
the ride. You are in for a good time and the master of
Super Super This two disc set is an incredible package and ceremonies is Sherman himself.
400 CES, 400 CN, offers a really interesting and engaging display of Kudos to the band for the foresight to capture
vintage blonde, this night for visual posterity as well as audio because
sunburst acoustic some true modern jazz masters at work.
watching them perform is as riveting and as fun as
listening to the music. Sherman is situated front and
center amidst the stage area and he thrusts his all
into every mallet strike and facial expression. He’s
certainly in the moment and feeds voraciously off the
Gibson® raw and palpable energy that is being shared by his
Super 400s musical compadres.

The majority of tunes were written by Sher-
man beginning with the strong mid-tempo swingfest
MARK SHERMAN “Tip Top Rhythm.” They slow things down a tad for
629 Forest Ave. • Staten Island, NY 10310 the waltz-like “Little Lullaby.” Farnham’s sensitive
718-981-8585 • mandolin
194 pan mandoweb.com
@ LIVE AT SWEET RHYTHM – Miles High Re- Tyner-like comping blended with Sherman’s Bobby
mandoweb.com cords MHR-8610, Tip Top Rhythm; Little Lullaby; Continued on Page 48
Adventurous and accessible jazz guitar

“Harlem Homecoming is a breath of
with
fresh air, a powerful musical statement
that will surely give hope to those who
Rob Levit
w w w. s a l i m w a s h i n g t o n . c o m
bemoan the future of jazz. These ten

original songs were mostly composed www.roblevit.com
by Washington and executed by the www.cdbaby.com/all/levit
formidable Harlem Arts Ensemble” roblevit@roblevit.com
410-263-6265
“A master tenor saxophonist, multi-reedman,
composer, and jazz educator, Salim Washington
“Last night in a small Annapolis restaurant,
is one of the fastest rising stars on the I came face to face with musical greatness.
New York Jazz scene” Levit seemed unconstrained, both technically
and imaginatively, launching into passages
that recalled Pat Metheny, Bill Frisell,
Wes Montgomery, Danny Gatton, and most
especially John McLaughlin.”
—The Washington Post

Steve Maxwell vintage and CuStoM druMS
410 S. Michigan Ave. Ste 802
Chicago, IL. 60605 • 312-360-9881
723 7th Ave. • 3rd Floor
New York, NY. 10019 • 212-730-8138 intage and
Steve’s cell: 630-865-6849 o ur v m
y ru speci
www.maxwelldrums.com
Our Manhattan location is only a short distance from
omd ali
where Frank Ippolito had his great shop, which was where
s t s
Steve studied with Papa Jo Jones back in the early 70s and u
ts
c
where he got his first glimpse of the beauty of custom
drums from Al Duffy, who was truly the first custom
drum builder and a mainstay at Frank’s shop. We’re proud
MANHATTAN to be in Manhattan and we hope to carry on the tradition
of the great shops like Frank’s.
and CHICAGO NEW: Effective April 1, Willie Martinez joins our

staff heading up our new repair department. Willie is
Our Manhattan shop is located at 723 the best in the business and his name is known all over
Manhattan. Repair shop is open, so come on down and
7th Ave. 3rd floor. We’re right at the let us help you with your gear.
corner of 7th avenue and 48th street,
which is known as “music row” in Our new shOp includes:
Manhattan. Our NYC manager is Jess craviOttO: World’s largest selection of Craviotto
one-ply snares and drum sets
Birch and he and Steve will both be at vintage: Extensive inventory of high end vintage
the shop. Steve is in the Chicago store snare drums, sets and cymbals
on Saturdays. MuseuM: A showcase for some of the rarest and
historic sets and snares.
gretsch: USA Custom drums in bebop sizes made
famous by the 60s era jazz greats and including our
Gretsch Vintage Tribute kits available only through
us. True vintage build out with rail consolette and even
burgundy sparkle among other colors.
cyMbals: Istanbul, Bosphorus, Zildjian, Old As, Old
Ks, Dream and our own Turkish made Session cymbals
· All of the great sticks, heads, hardware, bags,
etc that we offer.
At our Manhattan store

(all items are available for sale):
· Gene Krupa’s late 30s radio King snare drum
· Rare Slingerland black beauty snare drum.
One of only 12 known.
· Rare Gretsch cadillac nitron green
50s era 3 ply kit
practice space: Our NY store has drum set

practice available for rent on an hourly basis. Call 212-
730-8138 for details!
teaching studiO: Ron Tierno has relocated
his long standing teaching studio to our shop. Call Ron
directly at 646-831-2083 for lesson information and visit
his site at www.nydrumlessons.com
new! We now have our brand new vintage style Rail
Consolette tom holder assembly in stock. Check it out on
the website and in our stores.
stOre hOurs:
(chic): sat: 10–4 Other hours by appointment
(nyc): Mon-sat: 11–7 sun: closed Manager: Jess birch
WORLD’S FINEST JAZZ CLUB & RESTAURANT
1 3 1 W. 3 R D S T N Y C 2 1 2 - 4 7 5 - 8 5 9 2 W W W. B L U E N O T E J A Z Z . C O M
DIZZY GILLESPIE™ ALUMNI ALL-STARS KYLE EASTWOOD

DIZZY’S BIRTHDAY CELEBRATION W/SPECIAL GUESTS NOVEMBER 9 - 10
NOVEMBER 2 - 7
OTTMAR LIEBERT: CASSANDRA WILSON

AN EVENING OF SOLO GUITAR
NOVEMBER 11 - 14 NOVEMBER 16 - 17
TWO LEGENDS: KEIKO MATSUI

CHARLIE HADEN & PAUL BLEY NOVEMBER 23 - 25
NOVEMBER 18 - 21
DAVE BRUBECK JOHN SCOFIELD

NOVEMBER 26 - 28 & ROBBEN FORD
NOVEMBER 30 - DECEMBER 5
L AT E N I G H T G R O OV E S E R I E S S U N DAY J A Z Z B R U N C H
COLIN DEAN FRI, NOV 5 KENNY WERNER & HIS NYU ENSEMBLE S U N , N O V 7
SAM BARSH SAT, NOV 6 SOFIA TOSELLO SUN, NOV 14
MELVIN SPARKS FRI, NOV 12 JUILLIARD JAZZ BRUNCH: SUN, NOV 21

BOUNCIN' WITH BUD: THE MUSIC OF BUD POWELL
MAURICIO ZOTTARELLI SAT, NOV 13
ELIO VILLAFRANCA SUN, NOV 28
MALIKA ZARR SAT, NOV 20
M O N DAYS AT T H E B L U E N O T E
ERIC PERSON & METAMORPHOSIS MON, NOV 1 MAYA AZUCENA MON, NOV 22
CD RELEASE SHOW
MON, NOV 8
CHRISTMAS AT THE BLUE NOTE MON, NOV 29
ABBY DOBSON CD RELEASE SHOW -NYU BIG BAND
TESSA SOUTER MON, NOV 15 & SP. GUESTS!
®
AMERICANEXPRESS GOLD
CARDPREFERREDSEATING

JINY Nov10 webFINAL PDF

Uploaded by

Copyright:

Available Formats

JINY Nov10 webFINAL PDF

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

JINY Nov10 webFINAL PDF

Uploaded by

Copyright:

Available Formats

What events are highlighted in the jazz cruise catalog?

What events are highlighted in the jazz cruise catalog?

What information is provided about Jazz Inside magazine?

What information is provided about Jazz Inside magazine?

Holiday Jazz Gift

OLE Produced by:

+800.8JAZZ.USA se.com Moon Ca

Credit: Greg Allen

LIVE PERFORMANCE REVIEWS

You asked for the playability and

Otto Link Vintage

www.jjbabbitt.com Mouthpieces for clarinets and saxophones

JI: This is your first record for Concord, right?

JI: That’s great man! You know it takes a lot of cour-

DK: Well, yeah. I think the key element here was

Credit: Greg Allen

JI: Yep. You can hear it.

DK: Marcus Miller came up with the arrangements.

Seeing & Playing is Believing!

DK: Okay..! I’ll suggest that!

DK: That’s a great question. I’ve had the chance over

8 November 2010 • Jazz Inside™ Monthly • www.jazzinsidemagazine.com To Advertise CALL: 215.887.8880

THE NATIoNAL JAzz MuSEuM IN HARLEM pRESENTS

11/4: Eric Person 11/11: Dave Valentin

Alto Saxophonist Flautist

“The people will delight in the joy of him

Courtesy Jazz At Lincoln Center

10 November 2010 • Jazz Inside™ Monthly • www.jazzinsidemagazine.com To Advertise CALL: 215.887.8880

With Hello Tomorrow, Dave Koz has created a record

DAVE KOZ ON TOUR:

“The challenge is to try to stimulate people’s

Credit: Michael Wilson

12 November 2010 • Jazz Inside™ Monthly • www.jazzinsidemagazine.com To Advertise CALL: 215.887.8880

Guided House Tours

34-56 107th Street, Corona • Queens, NY 11368

fall 2010 performances LAHM_JI_SU09 3.indd 1 6/11/09 1:33:16 PM

“Montague has a voice that is immediately appealing, and is

AETNA THEATER ST ALBANS

For Bookings: Call 203-820-8819 or email: annie@antoinettemontague.com

David Amram – www.JazzForumArts.net John McLaughlin www. newaudiences.com

Credit: Ken Weiss

Credit: Lee Crum

Danilo Perez www.JazzStandard.com Charlie Haden-Paul Bley www.BlueNote.net

Ken Peplowski-Bucky Pizzarelli www.JALC.org Billy Hart 4 www.IridiumJazzClub.org

1973, then Stan Getz, Charles Lloyd, and many others. He

14 November 2010 • Jazz Inside™ Monthly • www.jazzinsidemagazine.com To Advertise CALL: 215.887.8880

“Ms. Luss and Mr. Person could

Pamela and Houston will be not be

November 4th, 6th, & 11th

Pamela Luss (vocals)

Christopher Loudon of Jazz Times

Sabir Mateen, Raymond A. King

Muhal Richard Abrams

Michael White, Perry Robinson

David Ware Fay Victor

Gunter Baby Sommer

16 November 2010 • Jazz Inside™ Monthly • www.jazzinsidemagazine.com To Advertise CALL: 215.887.8880

“From a label’s perspective, it’s a new thing to get

www.JazzAudioWall.com the influence of genius interior design and fiber art,