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www.jazzINSIDEMAGAZINE.com
May 2015
Interviews
& Features
Steve Getz
On Stan Getz & More!
Albare
Trumpets, Fri, May 22
Blue Note, Tue, May 26
Karrin Allyson
Deborah Latz
Expanded CD Review Section!
Roger
Davidson
Comprehensive Directory
of NY Club Concert &
Event Listings
New CD & Performance Series at Caffe Vivaldi
The Jazz Music Dashboard — Smart Listening Experiences
Roger Davidson
Albare
Susie Meissner
National Jazz Museum In Harlem
Thad Jones - Mel Lewis
2015 Benefit Concert
June 10 • 7:30pm
Like Us
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Great American Standards and popular songs
including “If I Were a Bell” (Frank Loesser);
“Tea For Two,” “Our Love is Here to Stay”
(George Gershwin); “I Didn’t Know What
Time it Was,” “Triste” (Antonio Carlos Jobim);
“Say It Isn’t So” / “Always” (Irving Berlin) and
eight more.
Featuring:
Susie Meissner, vocals
Ken Peplowski, clarinet
Larry McKenna, tenor sax
John Swana, trombone, EVI
Freddie Hendrix, trumpet, flugelhorn
Paul Meyers, guitar
John Shaddy, piano
Lee Smith, bass
Dan Monaghan, drums
New CD
Tea For Two
“Ms. Meissner is definitely in the
top tier of today’s female jazz singers.” — Ron Forman of WKRB-FM
“Might as well confess! Susie Meissner can really sing!” — Jazz Inside Magazine
“Fresh reads of enduring standards” — Jazziz Magazine
www.SusieMeissner.com
Roger Davidson
LIVE AT
CAFFE VIVALDI
VOL 1 (SR 4001)
Roger Davidson
Pablo Aslan
Original tangos by Roger Davidson
with some standards
SOUNDBRUSH RECORDS
presents
LIVE AT
LIVE AT
CAFFE VIVALDI
VOL 2 (SR 4002)
Roger Davidson Trio
Roger Davidson, piano
David Finck, bass
Adriano Santos, drums
Original Brazilian Jazz composed
by Roger Davidson
Volume 2
For a complete discography visit
ROGER DAVIDSON TRIO
rogerdavidsonmusic.net
www.allegro-music.com
Feature
From Tango to Klezmer
By Alex Henderson
Roger Davidson has not been an easy
artist to pigeonhole. The veteran acoustic pianist/composer, now 62, has devoted much of
his career to bop, drawing on the influence of
Bill Evans, Hank Jones, Red Garland, Wynton
Kelly, Tommy Flanagan and others. Yet he
also has a long history of performing European classical music, religious chorale music
and world music, and he has combined jazz
with styles ranging from Brazilian samba,
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Argentinean tango and Afro-Cuban salsa to
Jewish klezmer.
Born in Paris in 1952 to a French mother
and an American father, Davidson was only a
baby when he moved to New York City with
his parents—and he has spent most of his life
around the Northeastern Corridor. One person
who had a major impact on Davidson’s career
was the late Helen Keane, best remembered
for producing and managing Evans. Davidson
had been concentrating on classical and religious music when he met Keane in the 1980s,
but Keane urged him to perform jazz as
well—and in 1991, she produced the boporiented Ten to Twelve for him. Davidson
went on to launch his own independent label,
Soundbrush Records, in 2002 and has used the
company to release an abundance of his own
albums as well as albums by other artists—
including singer Carol Fredette, klezmer trumpeter Frank London and Argentinean bassist
Pablo Aslan. At Soundbrush, Davidson has
experimented with everything from tango on
May 2015 Jazz Inside Magazine www.JazzInsideMagazine.com
(Continued on page 4)
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Roger Davidson
(Continued from page 2)
Amor por el Tango to klezmer on 2011’s On
the Road of Life (a collaboration with London) to Brazilian music on Journey to Rio,
Brazilian Love Song and Rodgers in Rio (a
Brazilian jazz tribute to Tin Pan Alley icon
Richard Rodgers).
During an April 21 interview, Davidson
discussed his past and present activities.
JAZZ INSIDE: In what ways has your label,
Soundbrush Recordings, grown and evolved
during its 13-year history?
ROGER DAVIDSON: I started the label as a
name in 1998, but nothing happened until
later. My original vision, with the name
Soundbrush, was to combine the visual arts
and music in projects that would involve
painters and sculptors and musicians working
together. That ended up not working out.
There was an informal recording I did in the
beginning with a painter friend of mine. I
would improvise music while watching him
paint, and he would improvise painting while
watching me play music. That’s where the
name started—my friend and I came up with
the name Soundbrush. But it has a more general meaning as well, and eventually, it turned
into a full-fledged label that involved all kinds
of music—particularly jazz and world music,
Latin music, music from Brazil, classical music. Having said that, the quality of our covers
is something we paid close attention to—and
we were picked up by Museum Music because
of the artistic quality of our covers. Soundbrush has thrived in that way because we pay
attention to the artistry of our CD covers as
well as the quality of our music.
JI: It’s obvious that Soundbrush puts a lot of
effort into its CD covers.
RD: Thank you. I miss LPs. You have more
room for art work with LPs, but artists have
been doing a good job with CDs as well. We
have had many good graphic designers work-
ing for us, and they have all done really well.
JI: And you have been emphasizing the foldout covers and cardboard covers rather than
simply booklets with plastic jewel boxes.
RD: We started out with jewel boxes and
found that they always broke. So we decided
to be more practical and have the cardboard
foldout covers with the booklets. They last,
and they work better.
JI: How is the popularity of digital downloads
affecting your label?
RD: The popularity of digital downloads has
been both a boon and a problem at the same
time. As you know, the nature of the digital
music world means that almost anybody can
copy anything and not pay for it if they know
what they’re doing. But on the other hand, it
also disseminates the music more widely. Our
chief interest is dissemination, but of course,
we also want income. That’s been a problem
for many musicians around the world. Anyway, we’re proud of the CDs we’ve done at
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and I tried to do one thing. But it didn’t work
because I wasn’t happy. And I’m glad I took
the path in life that I did. I went on and explored the world of music as a player and
composer, and I’ve had a great life doing it.
Roger Davidson
Soundbrush, and I’ve enjoyed being able to
put out a lot of my music on Soundbrush.
Some of my music is on one or two other labels as well, but most of my music has been
on Soundbrush.
JI: You’ve built a diverse catalogue at Soundbrush.
RD: We have. Very diverse. We try not to be
too diverse, but we’ve ended up with a community of Soundbrush musicians—if you
want to call it that—and many of them know
each other. I’m glad to be working with many
good musicians who are enormously talented
and a joy to work with.
JI: Your own albums at Soundboard have
experimented with everything from Brazilian
music to tango to klezmer.
RD: The nature of my career has been like
moving many pieces on the board at the same
time—and often incrementally because you
can’t do everything at once. But I have a lot of
musical passions, and they’re all related to
each other. For example, one of my passions
is Brazilian music. I’ve loved the music and
spirit of Brazil since I was about nine years
old and discovered the early Bossa Nova recordings—and it went on from there. Likewise, I’ve always loved the Argentine tango
and many other types of music from South
America, Central America and the Caribbean.
Of course, I’m steeped in European classical
music and was educated that way from the
beginning. And I’m steeped in a lot of American traditions as well, including the AfricanAmerican experience and gospel music—
which I love. American traditions are part of
my vocabulary as well.
JI: You don’t make cookie-cutter music.
RD: It’s difficult to make cookies from me
because you think there’s one edge, and then,
it goes on to another. But to tell you the truth,
no matter how funny the shape of a cookie
is—or no matter how many cookies there
are—they’re all related to each other. In other
words, music is music. And it communicates
with an audience. I’ve never specialized in
one thing, against the advice of some of my
professors who said, “Roger, you should just
do one thing well.” For example, I went to see
Nadia Boulanger in France a long time ago in
the ‘70s. I was pretty young at the time. I
played the piano, I played the violin, I was a
composer. And she said, “Mr. Davidson,
you’re very talented. But you have to concentrate on one thing at a time.” I listened to her,
JI: Another type of world music you have
embraced is Klezmer.
RD: I started working with Frank London,
which resulted in the album, On the Road of
Life. That album was a barrel of fun to do.
So it makes more sense for the titles to be in
Spanish. I’m also reaching out to the Spanishspeaking world. Likewise, with the Portuguese titles for many of my Brazilian tunes,
I’m reaching out to Brazil and the Portuguesespeaking community. It’s just natural for me
to think of a title in Portuguese when I’m
composing Brazilian music. And I have some
Brazilian tunes with French titles because the
nature of those tunes is very French.
JI: How many languages do you speak?
“the nature of the digital music world
means that almost anybody can
copy anything and not pay for it if
they know what they’re doing. But
on the other hand, it also disseminates the music more widely. Our
chief interest is dissemination, but of
course, we also want income.”
JI: You’ve said that your interest in Klezmer
stems from your own European background.
RD: Very much from my own background. I
couldn’t play it if it weren’t in my own background. I’m interested in Japanese music, but
I don’t feel as comfortable doing it as a native
Japanese musician would even though I can
try. I have a lot of empathy for many cultures.
Even though I’m not Brazilian, I’ve spent so
much time with Brazilian music that it feels as
natural as breathing to me. And Brazilian music is close to many European traditions.
There are cultural threads that come in there
as well. Likewise with jazz, which is related
to all the things I’ve grown up with.
JI: Many of the titles of your original songs
have been in languages other than English,
depending on the nature of the music. For
example, you have come up with Portuguese
song titles on Brazilian projects and Spanish
song titles on your tango projects such as
Amor por el Tango.
RD: I’m keen on that because if I’m playing
tango, for example, tango comes from a Spanish-speaking culture—and to me, it makes
more sense to have the title in Spanish. I’m
already thinking of Argentine culture when
I’m thinking of tango and composing tango.
RD: Fluently, I speak English and French. I
was born in France and grew up mostly in the
U.S., but I grew up bilingual. My mother is
French, and my father was American. My
parents decided that they were mostly going to
speak English at home, but occasionally, they
spoke French—and I always spoke French
with my cousins in France. I speak German
pretty well too because I studied German in
college. It was my major. Instead of majoring
in music, I thought I was going to be a language teacher, among other things. It didn’t
work out that way, but German proved to be
tremendously useful in music. And it’s also
part of my heritage. Most of my heritage is
German. My mom was from Eastern France,
but her background goes into Germany as
well.
JI: And you also understand Portuguese?
RD: I do. I’m learning Portuguese because
my wife, Nilcelia, is from Brazil. We’ve been
married now a year. My wife’s name is Nilcelia Davidson. She’s an amazing lady from
Brazil. I have to say that my musical life has
gotten better since I met her. She improves my
life in all ways. I speak French, and my wife
and I have fun because of how similar French
and Portuguese are. I started learning Portu-
May 2015  Jazz Inside Magazine  www.JazzInsideMagazine.com
7
guese a bit before I met her, but since we met,
I’ve been learning it in earnest. I’m taking
lessons, and I love speaking Portuguese. I
speak Portuguese at home with my wife
sometimes. I love the language. I’m learning
to sing some Brazilian songs as well, and
maybe that will pop up on an album someday
if I’m brave enough.
them into live albums?” And so, we started
doing that. It started with a duo album with
Pablo Aslan, my friend and colleague on the
bass—and it went on to a trio with David
Finck on bass and Adriano Santos, the Brazilian drummer. That’s my Brazilian jazz trio.
That’s the second volume of Live at Caffè
Vivaldi, which is coming out May 20. The
third one is going to be a solo-piano album,
and the fourth one will most likely be a duo. I
don’t know how many there will be after the
fourth volume. The Live at Caffè Vivaldi series is an opportunity, at a relatively lost cost,
to put out wonderful albums.
JI: Is Italian one of the languages you’ve
studied?
JI: What are some of the things you like
about that particular venue, Caffè Vivaldi?
RD: It is, but briefly. I studied it in high
school. I went to school in Switzerland during
my senior year of high school because my dad
was working in Europe. We all moved to
Europe for a while. There happened to be a
very good Italian teacher in that school, and I
learned quite a bit of Italian—which is spoken
in some parts of Switzerland. I always loved
Italian, which is one of the greatest singing
languages in the world. Looking back at my
musical life, it’s been a very happy one—an
adventurous one. I’ve learned a lot. And of
course, you learn from other musicians too.
But I’m always eager to have other musicians
play my music. It’s a wonderful community.
RD: It has a real piano, for one thing. I will
tolerate electronic pianos if I have to—I have
one at home and like the sound of it—but I
like playing most of my gigs on real pianos.
There’s so much more you can do on a real
piano. And Caffè Vivaldi is a warm, congenial
place where you can get a good dinner and
relax with fun music. There are a lot of interesting artists who go through Caffè Vivaldi.
It’s a joy to record there. Caffè Vivaldi has
attentive, lively audiences. It’s a wonderful
place. I’ve played at other places in New York
too, such as Zinc Bar and Iridium. But Caffè
Vivaldi has been a steady thing the past two
and one-half years.
Roger Davidson
“That’s the wonderful thing about
the 20th Century—there was an
explosion of the musical vocabulary
in the concert world, the jazz world
and the classical world. The things
that nobody thought were possible
became possible, which was a
wonderful advantage for musicians.”
JI: One of your current projects at Soundbrush is Live at Caffè Vivaldi, a series of live
recordings made at Caffè Vivaldi in Manhattan’s West Village.
RD: I came up with the idea with my manager. I was playing at Caffè Vivaldi frequently
anyway and thought, “Why not record there,
pick the best performances, and then turn
8
JI: You can tell that Caffè Vivaldi is playing
up its Italian theme not only because it is
named after Antonio Vivaldi, but also, because they spell Caffè the Italian way with
two f’s instead of one.
RD: Exactly. It is the Italian spelling. One of
these days, I’m going to have to do a concert
entirely of jazz variations of Vivaldi. That
would be fun. We haven’t done that yet. I’m
not sure what Vivaldi would think about that.
JI: Let’s discuss some of the pianists who
have inspired you along the way.
RD: I love Scott Joplin and James P. Johnson.
I love ragtime and the early stride pianists. I
love playing ragtime. People don’t know that
because I’ve rarely performed it, but I love
ragtime and old stride piano. I also love Erroll
Garner, Wynton Kelly, Red Garland and
Oscar Peterson. Bill Evans is one of my top
stars—I’ve been heavily influenced by him.
Bill Evans invented a huge harmonic language
in jazz and did it in such an original way. He’s
always been one of my musical heroes.
JI: What about Tommy Flanagan?
RD: Tommy Flanagan, for sure. I love
Tommy Flanagan’s playing. And Hank Jones.
I love Thelonious Monk too, particularly as a
composer. I’m fascinated by him. The list
goes on and on.
JI: What were some of the things you learned
from Red Garland’s playing?
RD: Playing melody and harmony at the same
time and keeping the swing going. I had a few
jazz lessons from Harold Danko, who was a
jazz professor. I took some private lessons
from Harold in New York in the late ‘90s, and
he had me transcribe Red Garland’s solos and
practice them. So I got inside of the musical
mind of Red Garland when he was improvising.
JI: Red Garland had such a great sense of
melody, and one can hear his influence on
McCoy Tyner when McCoy plays the block
chords—although McCoy is quite distinctive
himself.
RD: Exactly. I sometimes play with block
chords when I feel like it. It’s fun. It’s part of
the jazz vocabulary and part of the piano vocabulary. That’s the wonderful thing about the
20th Century—there was an explosion of the
musical vocabulary in the concert world, the
jazz world and the classical world. The things
that nobody thought were possible became
possible, which was a wonderful advantage
for musicians. By the way, I’m a major fan of
Oliver Jones. I don’t want to leave him out.
He’s a Canadian jazz pianist who was a close
friend of Oscar Peterson. Oliver Jones is a
truly great pianist, perhaps the greatest living
jazz pianist. I definitely put him at the top of
my list. Also, I like the playing of Eliane
Elias, the Brazilian jazz pianist and singer.
She’s a phenomenal pianist. And I think
Diana Krall plays really well too.
JI: What are some of the things you admire
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Roger Davidson
about Wynton Kelly’s playing?
RD: I didn’t study Wynton Kelly as closely as
Red Garland, but I love listening to him. He
had a natural melodic sense and swings very
easily. He’s a pleasure to listen to. Wynton
now. David played on that first album, called
Ten to Twelve, which we recorded in New
York City in 1991. And 20 years later in
2011, I got back into the studio with David
and decided to do a memorial album for
Helen. We Remember Helen was in honor of
Helen, who passed away in 1996. Lewis Nash
was on the drums. It was amazing to play with
Lewis Nash, who I had never played with
before. That was fun.
JI: What are some of the things that tie all of
“the most important thing about
music is that it come from the
heart—that it not be artificially
constructed from the outside in …
Music means very little to me
unless it comes from the inside
out and is generated from
within your soul.”
Kelly is definitely one of my favorites.
JI: Another one of your interests is spiritual
your work together? What is the common
thread?
JI: What about Chick Corea? Would you
consider him an inspiration?
RD: He used to be in the early days, when I
heard him on an album he did in 1967 with
Stan Getz, Sweet Rain. When he got more
modern and radical, I sort of parted ways with
his aesthetic. But I love the early Chick Corea.
Another pianist who is a great talent is Keith
Jarrett. He’s very diverse and pulls it off well.
And let’s not forget Marian McPartland. She’s
another great figure in the history of jazz piano.
JI: One of your albums that received a lot of
attention was We Remember Helen, dedicated
to Helen Keane.
RD: We Remember Helen was done 20 years
after my first jazz album, which was produced
by Helen Keane—who was Bill Evans’ producer and produced many other great jazz
musicians as well. Helen passed away before I
had a chance to get other projects going with
her. In the ‘80s, Helen persuaded me to get
into active jazz playing—which I did immediately. I followed her advice, and eventually,
Helen introduced me to the bassist David
Finck—who I have known for over 20 years
10
along the way, but it will still be part of that
focus. A related statement is something I remember Stan Getz saying in 1983. I went to
the Stanford Jazz Workshop two summers in a
row in 1983 and 1984, and in the summer of
1983, Stan Getz was one of the main features
of the Workshop. I remember that he said,
“When you’re improvising on a melody, stay
close to the melody because the melody is
what means the most.” And the other thing I
remember Stan Getz saying was, “It’s more
important to know what to leave out than what
to put in. All of you are very talented young
musicians, and you know how to play a lot of
notes. But that’s not what matters. What matters is how clearly you’re putting the music
out.” I already believed that myself, but it was
good to hear Stan Getz say it. Having had
many years of experience as a great improviser, he said that the melody was always the
king. You can improvise on the melody and
on the harmony all over the place, but stay
focused on the melody all the way through.
And the second thing Stan said was that it’s
OK to leave spaces in the music—breathing
points. Miles Davis was a genius at that too. I
remember that when Miles Davis played
“Bye, Bye, Blackbird,” he didn’t actually play
every note in the tune. But you knew what it
was.
RD: To me, the most important thing about
music is that it come from the heart—that it
not be artificially constructed from the outside
in. In other words, music means the most
when it is an expression of love and an expression of life whether it be joy or sadness or
spiritual aspirations. Music means very little
to me unless it comes from the inside out and
is generated from within your soul. For me,
the most important thing as a player and as a
composer is, “Where does the music want to
go?” That’s the key question to me. Once
you’ve launched the ship and have decided
what the spirit of that ship is going to be, then
the music follows that spirit. I try to generate
the best energy that I can whenever I make
music whether it be as a composer or as a
player. That underlies everything that I do.
JI: Your albums, although improvisatory,
always sound very focused—not random.
RD: Improvisation, to me, is not the least bit
random. Improvisation is composed, in a way.
If you are improvising with a focus, the notes
that result from that will be part of that focus.
They will be going in the same direction even
though it may be very diverse. It may change
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but not from a particular faith. The purpose of
that seminary is very similar to the Society for
Universal Sacred Music, going beyond the
boundaries of religions and focusing on how
they are connected.
Roger Davidson
RD: And then there’s the combination of
tango and jazz, which I love. I think that my
composition, “Adios, Dolór,” is one of my
best examples of combining tango and jazz.
JI: “Goodbye, Pain.”
music, which you highlighted with your organization, the Society for Universal Sacred
Music.
RD: Soundbrush adopted the recordings of
the Society for Universal Sacred Music, which
I founded in 2000. The Society for Universal
Sacred Music closed its doors—temporarily,
anyway—a couple of years ago. Our budget
ran out; so we had to make choices. But it
may start up again. The Society ran for about
12 years and put out over 50 compositions by
composers around the world for the purpose
of disseminating a universal spiritual message.
When I started writing what I call universal
sacred music in the early 1980s, I wanted to
express a universal, all-inclusive message.
JI: The Society has maintained a nonsectarian focus.
RD: Exactly. Why do we take up arms against
our brothers and sisters? Because we have
forgotten that we’re brothers and sisters. It’s
time to remember that we are brothers and
sisters and lay down our arms. Unfortunately,
the religious conflicts are still going on, as
you know. Muslims are fighting Muslims.
Jews are fighting Jews. Christians are fighting
Christians. And they’re all fighting each other.
None of it makes any sense because we all
have the same God. Each club is saying, “My
God is better than your God, and if you don’t
realize that my God is better than yours, I’ll
kill you.” And how stupid is that? That is the
“I remember that [Stan Getz] said, ‘When
you’re improvising on a melody, stay
close to the melody because the melody
is what means the most ... It’s more important to know what to leave out than
what to put in. All of you are very talented
young musicians, and you know how to
play a lot of notes. But that’s not what
matters. What matters is how clearly
you’re putting the music out.’”
The Society for Universal Sacred Music was a
dream of mine that came true, and we had
many wonderful concerts. And although the
office is closed, the mission goes on. The
composers are still there. We have the music
archived, and it’s available to any music directors that wish to perform it.
JI: The Society for Universal Sacred Music
got into a variety of spiritual music.
RD: There were many types of music that we
produced, not just chorale concert music. We
also had Indian musicians. We had gospel
songs. The music we put out varied tremendously. My wife and I have been students in
an interfaith seminary in the New York area
for the past two years, and we will be graduating at the end of May as ordained ministers—
12
ultimate shame in humanity. If anything is
blasphemous, that is.
JI: You’ve performed in different parts of the
world, including Argentina.
RD: Argentina, of course, is where the tango
started. The tango become very popular in the
rest of the world. When I was growing up, my
grandfather on the French side became fascinated by the tango. He was a tango dancer as a
hobby. He danced the Argentine tango, and I
watched him sometimes. That’s how I got
interested in tango, which is very popular in
France.
RD: Exactly. “Goodbye, Pain”—that’s what
that title means in Spanish. “Adios, Dolór” is
one of my favorite tunes that I’ve written. It’s
a good example of how combining jazz and
tango works.
JI: Jazz and tango certainly work well together. Incorporating jazz was one of the
things that the late, great Astor Piazzolla was
known for. That was one of his innovations.
RD: Absolutely. And my musical partner,
Pablo Aslan, is himself a
pioneer of combining tango and jazz.
JI: Many people hear the term Latin jazz and
strictly think of Afro-Cuban jazz. But there is
so much Latin music out there in addition to
Afro-Cuban music and salsa.
RD: Oh, yeah. And Brazilian jazz, of course.
Sometimes, it’s hard to see where Brazilian
music ends and jazz starts. They really are
brother and sister, and they go so well together. Stan Getz, Charlie Byrd and other
great musicians in the 1960s were the first to
bring bossa nova to the United States when
they came over with João Gilberto and others.
The American musicians who visited Brazil
brought bossa nova and samba back here and
fused it with jazz, and they brought that back
to Brazil and influenced Brazilians. They went
back and forth, and it’s been a wonderful synergy over the decades. Speaking of Brazil, I
have a book of Brazilian music—it’s called To
Brazil with Love and contains 120 of my Brazilian tunes written over a three- or five-year
period. And I’m about to come out with a
second volume of Brazilian music with over
100 tunes written in various Brazilian styles.
The next book after that will be a book of
about 100 of my tango compositions, followed by a jazz book with well over 100 jazz
tunes that I’ve written over a long period of
time.
JI: Who are some of the Brazilian musicians
who have inspired you?
RD: Of course, one of my Brazilian heroes is
Antonio Carlos Jobim. My others are Carlos
Lyra, Roberto Menescal, Gilberto Gil and
João Donato. I met Roberto in Rio de Janeiro
and in New York. There’s a wonderful picture
of Roberto with my wife and myself. All of
those guys have been great influences on my
Brazilian writing.
JI: Tango is unique. It’s so different from the
tropical forms of Latin music such as salsa,
merengue, cumbia and bachata.

Jazz Inside Magazine
ISSN: 2150-3419 (print) • ISSN 2150-3427 (online)
May 2015 – Volume 6, Number 10
Cover Design by Shelly Rhodes
Cover photo of Roger Davidson
(Courtesy of Soundbrush Recordings)
Publisher: Eric Nemeyer
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CONTENTS
CLUBS, CONCERTS, EVENTS
15 Calendar of Events, Concerts, Festivals and Club Performances
30 Clubs & Venue Listings
24 How To Connect With Jazz Inside
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FEATURES
2 Roger Davidson
42 Albare
45 Deborah Latz
INTERVIEWS
32 Karrin Allyson
34 Steve Getz
REVIEWS OF RECORDINGS
47 Beegie Adair; Albare; Harry Allen,
Scott Hamilton; Joe Alterman; Ray
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Yallopin' Hounds at Swing 46, 9PM. 349 W. 46th.
Jill McCarron 2 at Knickerbocker Bar, 9:45 PM. 33 University Pl.
Raphael D'Lugoff 5 at Fat Cat, 10:30 PM. 75 Christopher.
E.J. Strickland 5 feat. Nir Felder at Smalls, 183 W. 10th St.
Alex LoRe 4 at Whynot Jazz Room, 10:30 PM. 14 Christopher.
Akiko Tsuruga 3 at Garage, 10:45 PM. 99 7th Ave. S.
Chris Pattishall at Dizzy's Club Coca Cola, 11:15 PM. 10 Columbus Cir. #10.
 Chris Massey & Nue Jazz Project at Blue Note, 12:30 AM. 131
W. 3rd St.
 Greg Glassman at Fat Cat, 1:30 AM. 75 Christopher.
 Stacy Dillard at Smalls, 1:30 AM. 183 W. 10th St.
Sunday, May 3
 Takeshi Ohbayashi 3 at Blue Note, 11:30 AM and 1:30 PM. 131
W. 3rd St.
 Lee Metcalf 3 at Garage, 11:30 AM. 99 7th Ave.S.
Friday, May 1
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Jam w/Corey Wallace Dubtet at Smalls, 4:00 PM. 183 W. 10th St.
Greg Murphy 3 at Fat Cat, 6PM. 75 Christopher.
Jon Batiste at Minton's, 6PM. 206 W. 118th.
Marianne Solivan at Astor Room, 6PM. 34-12 26th St., Queens.
Tony DeSare 3 at Shanghai Jazz, 6PM. 24 Main St., Madison NJ.
Stachel 5 at Whynot Jazz Room, 7PM. 14 Christopher.
Joe Giglio at Bar Next Door, 7:30 PM. 129 MacDougal.
Joe Temperley/ Wess Anderson at Dizzy's Club Coca Cola,
7:30 and 9:30 PM. 10 Columbus Cir. #10.
Gary Bartz 5 at Jazz Standard, 7:30 and 10PM. 116 E. 27th.
Ed Cherry 3 at Smalls, 7:30 PM. 183 W. 10th St.
Ian Herman/Sean Harkness at SubCulture, 7PM. 45 Bleecker.
The Bad Plus at Blue Note, 8:00 and 10:30 PM. 131 W. 3rd St.
Leni Stern 3 & 4 at Greenwich House, 8PM. 46 Barrow.
Enrico Pieranunzi 4 at Village Vanguard, 178 7th Av
Gregorio Uribe Big Band at Zinc Bar, 8:30 PM. 82 W. 3rd St.
John Pizzarelli/Daniel Jobim at Cafe Carlyle, 8PM. 35 E. 76th.
Gerald Cannon/Mike LeDonne at Mezzrow, 9PM. 163 W. 10th St.
Abe Ovadia at Sugar Bar, 9PM. 254 W. 72nd.
Ron Sunshine Orchestra at Swing 46, 9PM. 349 W. 46th.
E. J. Strickland at Smalls, 10:30 PM. 183 W. 10th St.
Kevin Dorn & Big 72 at Garage, 10:45 PM. 99 7th Ave. S.
Chris Pattishall at Dizzy's Club Coca Cola, 11:15 PM. 10 Columbus Cir. #10.
Saturday, May 2
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Jam w/Tuomo Uusitalo 3 at Smalls, 4:00 PM. 183 W. 10th St.
Larry Newcomb 4 at Garage, 12:00 PM. 99 7th Ave. S.
Jolly Pops at Shapeshifter, 4:00 PM. 18 Whitwell, Bklyn.
Michael Franks at NJ Performing Arts Center, 5:00 and 8PM.
Rescheduled from Nov. 15, 2014. Tickets for the earlier performance will be honored. 1 Center St., Newark NJ.
Jay Leonhart at Birdland, 6PM. 315 W. 44th.
Jon Batiste at Minton's, 6PM. 206 W. 118th.
Noshir Mody at Silvana, 6PM. 300 W. 116th.
William Parker/Tony Malaby + William Parker Book Signing at
Downtown Music Gallery, 6:30 PM. 13 Monroe.
Mike King 4 at Fat Cat, 7PM. 75 Christopher.
NYU Jazz Repertory 9 at Shapeshifter, 7PM. 18 Whitwell, Bklyn.
East West Guitar Trio feat. Gene Bertoncini at Bar Next Door,
7:30 PM. 129 MacDougal.
Joe Temperley/ Wess Anderson at Dizzy's Club Coca Cola,
Alexis Hightower at Ginny's, 7:30 and 9:30 PM. 310 Lenox.
Gary Bartz 5 at Jazz Standard, 7:30 and 10PM. 116 E. 27th.
Marcus Parsley Band at Smalls, 7:30 PM. 183 W. 10th St.
Nicolas Bearde & Nat Adderley Jr. Trio at Trumpets, 7:30 and
9:30 PM. 6 Depot Sq., Montclair NJ.
The Bad Plus at Blue Note, 8:00 and 10:30 PM. 131 W. 3rd St.
Lluis Capdevilla 3 at Cleopatra's Needle, 8PM. 2485 Broadway.
Jason Lindner Big Band at Jazz Gallery, 8PM. 1160 Broadway.
Ben Goldberg, The Stone, 8:00 and 10PM. 2nd St. @ Avenue C.
Arturo O'Farrill Afro-Latin Jazz Orchestra at Peter Jay Sharp
Theater, Symphony Space, 8PM. 2537 Broadway.
Enrico Pieranunzi 4 at Village Vanguard, 178 7th Av
Daniel Haedicke 4 at Whynot Jazz Room, 8PM. 14 Christopher.
John Pizzarelli/Daniel Jobim at Cafe Carlyle, 8:45 and 10:45
PM. 35 E. 76th.
John Malino Band at Flatiron Room, 9PM. 37 W. 26th.
Gerald Cannon/Mike LeDonne at Mezzrow, 9PM. 163 W. 10th St.
Robert Rutledge: Tribute to Lee Morgan at Sistas' Place, 9:00
and 10:30 PM. 456 Nostrand, Bklyn.
Irini Res & The Jazz Mix at Sugar Bar, 9PM. 254 W. 72nd.
15
• Dandy Wellington at Rainbow Room, 12PM. 30 Rockefeller Plz.
• Manny Moreira & Julie E at B. B. King's, 1:00 PM. 237 W. 42nd.
• Jeff King 4 at Emmanuel Baptist Church, 3:00 PM. 279 Lafayette Ave., Bklyn.
• Madelaine Warren at Metropolitan Room, 4:00 PM. 34 W. 22nd.
• Marianne Solivan Big Band at Smalls, 4:30 PM. 183 W. 10th St.
• Willerm Delisfort 6 at Minton's, 5:00 PM. 206 W. 118th.
• Magos Herrera 4 at St. Peter's, 5:00 PM. 619 Lexington.
• Jazz 4 All Workshop at St. Peter's, 6:30 PM. 619 Lexington.
• Margi Giaquinto at Caffe Vivaldi, 7PM. 32 Jones.
• Jo-Hann feat. Sarah Bernstein at Whynot Jazz Room, 7PM. 14
Christopher.
• Bucky Pizzarelli/Ed Laub at Mezzrow, 7:15 PM. 163 W. 10th St.
• Joe Temperley/ Wess Anderson at Dizzy's Club Coca Cola,
• Gary Bartz 5 at Jazz Standard, 7:30 and 10PM. 116 E. 27th.
• Yaala Ballin Band at Smalls, 7:30 PM. 183 W. 10th St.
• The Bad Plus at Blue Note, 8:00 and 10:30 PM. 131 W. 3rd St.
• Dion Kerr at Caffe Vivaldi, 8PM. 32 Jones.
• Rema Hasumi 6 at Shapeshifter, 8PM. 18 Whitwell, Bklyn.
• Myra Melford 5 feat. Ben Goldberg at The Stone, 8PM. 2nd St.
@ Avenue C.
• Sara Serpa 4 at Cornelia St. Cafe, 8:30 PM. 29 Cornelia.
• Fat Cat Big Band at Fat Cat, 8:30 PM. 75 Christopher.
• Enrico Pieranunzi 4 at Village Vanguard, 178 7th Av
• Gerald Cannon/Mike LeDonne at Mezzrow, 9PM. 163 W. 10th St.
• Ben Goldberg at The Stone, 10PM. 2nd St. @ Avenue C.
• Mark Johnson at Whynot Jazz Room, 10PM. 14 Christopher.
• Alex Nguyen 4 at Iridium, 10:30 PM. 1650 Broadway.
• Behn Gillece 5 at Smalls, 10:30 PM. 183 W. 10th St.
• Abe Ovadia 3 at Garage, 11PM. 99 7th Ave.S.
• Brandon Lewis at Fat Cat, 1:00 AM. 75 Christopher.
Monday, May 4
• Benjamin Bryden 3 at Bar Next Door, 6:30 PM. 129 MacDougal.
• Nate Wooley at Downtown Music Gallery, 6:30 PM. 13 Monroe.
• A Conversation with Stanley Crouch and Wycliffe Gordon at
Minton's, 7PM. 206 W. 118th.
• Chris Biesterfeldt 4: Music of Phineas Newborn at
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Shapeshifter, 7:00 and 8:15 PM. 18 Whitwell, Bklyn.
• Kalena Nash at Zinc Bar, 7PM. 82 W. 3rd St.
• John Miller 4 + 3 at Cutting Room, 7:30 PM. 44 E. 32nd.
• Dan Nimmer 3 at Dizzy's Club Coca Cola, 7:30 and 9:30 PM. 10
Columbus Cir. #10.
• Michael Valeanu 3 at Smalls, 7:30 PM. 183 W. 10th St.
• Angela Johnson at Blue Note, 8PM. 131 W. 3rd St.
• Griffin House at The Falcon, 8PM. 1348 Rte. 9W, Marlboro NY.
• Herb Gardner 7 at Morris Museum, 8PM. 6 Normandy Hts. Rd.,
Morristown NJ.
• Tyshawn Sorey at Roulette, 8PM. 509 Atlantic, Bklyn.
• Never Matter at Shrine, 8PM. 2271 7th Ave.
• Jackson Hardaker 4 at Whynot Jazz Room, 8PM. 14 Christopher.
• Nora McCarthy at Bar Next Door, 8:30 PM. 129 MacDougal.
• Count Basie Orchestra feat. Carmen Bradford at Birdland, 8:30
and 11PM. 315 W. 44th.
• David Amram & Co. at Cornelia St. Cafe, 8:30 PM. 29 Cornelia.
• Simona Premazzi Band at Fat Cat, 9PM. 75 Christopher.
• Chris Flory 3 at Mezzrow, 9PM. 163 W. 10th St.
• Fillet of Soul at Shrine, 9PM. 2271 7th Ave.
• Mike Stern 3 at 55 Bar, 10PM. 55 Christopher.
• Jon LaTona 3 + Gilad Hekselman at Whynot Jazz Room, 10PM.
14 Christopher.
• Sharel Cassity at Blue Note, 10:30 PM. 131 W. 3rd St.
• Kate Cosco 3 at Garage, 10:30 PM. 99 7th Ave. S.
• Joel Frahm Band at Smalls, 10:30 PM. 183 W. 10th St.
• Billy Kaye at Fat Cat, 12:30 AM. 75 Christopher.
• Jonathan Michel at Smalls, 1:00 AM. 183 W. 10th St.
Tuesday, May 5
•
•
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•
•
•
•
•
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Nightingale Jazz Band at Flatiron Room, 5:30 PM. 37 W. 26th.
Marianne Solivan at Shrine, 5:30 PM. 2271 7th Ave.
Pasquale Grasso 3 at Garage, 6PM. 99 7th Ave.S.
Johnny O'Neal at Minton's, 6PM. 206 W. 118th.
Nolan Byrd at Silvana, 6PM. 300 W. 116th.
Matt Sollinger 3 at Bar Next Door, 6:30 PM. 129 MacDougal.
Leni Stern at Barbes, 7PM. 376 9th St., Bklyn.
Dida Pelled 4 at Fat Cat, 7PM. 75 Christopher.
Blues Culture, Jazz & The Written Word: A Lecture by Greg
Thomas at National Jazz Museum, 7PM. 104 E. 126th.
• Chris Komer Group at Shapeshifter, 7PM. 18 Whitwell, Bklyn.
• Solange Pratt + Simple Lovers + Sol Liebeskind at Whynot
Jazz Room, 7:00 and 9PM. 14 Christopher.
• Dan Nimmer 3 at Dizzy's Club Coca Cola, 7:30 and 9:30 PM. 10
Columbus Cir. #10.
• Michael Carvin at Jazz Standard, 7:30 and 10PM. 116 E. 27th.
• Stanley Clarke at Blue Note, 8:00 and 10:30 PM. 131 W. 3rd St.
• Evan Christopher at Mezzrow, 8PM. 163 W. 10th St.
• Frank Perowsky Ensemble at NYC Baha'i Center, 8:00 and 9:30
PM. 53 E. 11th St.
• Jeanann Dara/John King, The Stone, 8PM. 2nd St. @ Avenue C.
• Johnny O'Neal 3 at Zinc Bar, 8PM. 82 W. 3rd St.
• J.C. Sanford 4 at Shapeshifter, 8:15 PM. 18 Whitwell, Bklyn.
• Jure Pukl 3 at Bar Next Door, 8:30 PM. 129 MacDougal.
• Count Basie Orchestra feat. Carmen Bradford at Birdland, 8:30
and 11PM. 315 W. 44th.
• Musette Explosion at Cornelia St. Cafe, 8:30 PM. 29 Cornelia.
• Miss Ida Blue at Freddy's Bar, 8:30 PM. 627 5th Ave., Bklyn.
• Camila Meza & Friends at Iridium, 8:30 and 10:30 PM. 1650
Broadway.
• Swingadelic at Swing 46, 8:30 PM. 349 W. 46th.
• Brad Meldhau 3 at Village Vanguard, 178 7th Av
• Judy Collins at Cafe Carlyle, 8:45 PM. 35 E. 76th.
• Daan Kleijn 4 at Flatiron Room, 9PM. 37 W. 26th.
• Adam Kolker 4 at Korzo, 9PM. 667 5th Ave., Bklyn.
• Noel Simon Wippler at Silvana, 9PM. 300 W. 116th.
• Robert Sabin 10 at Shapeshifter, 9:30 PM. 18 Whitwell, Bklyn.
• Kato Hideki/John King at The Stone, 10PM. 2nd St. @ Avenue C.
• Daniel Haedicke 4 at Toshi's Living Room, 10PM. 1141 Broadway.
• Chris Carroll 3 at Garage, 10:30 PM. 99 7th Ave.S.
• Curtis Hasselbring 3 at Korzo, 10:30 PM. 667 5th Ave., Bklyn.
• Riley Mulherkar at Dizzy's Club Coca Cola, 11:15 PM. 10
Columbus Cir. #10.
• Zaccai Curtis at Fat Cat, 12:30 AM. 75 Christopher.
Wednesday, May 6
• Bob Dorough at St. Peter's, 1:00 PM. 619 Lexington.
• Jazz Clinic: Art of the Riff at Flushing Town Hall, 6PM. For high
school students and older. 135-37 Northern Blvd., Queens.
• Mauricio DeSouza 3 at Garage, 6PM. 99 7th Ave.S.
Thursday, April 30, 2015 18:55
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Minton's Players at Minton's, 6PM. 206 W. 118th.
Nick Grinder Group at Silvana, 6PM. 300 W. 116th.
Tine Bruhn at Toshi's Living Room, 6PM. 1141 Broadway.
Rafal Sarnecki 3 at Bar Next Door, 6:30 PM. 129 MacDougal.
John Abercrombie/Rob Scheps 5 at The Falcon, 7PM. 1348
Rte. 9W, Marlboro NY.
Raphael D'Lugoff Trio+ at Fat Cat, 7PM. 75 Christopher.
Jam Session at Flushing Town Hall, 7PM. 135-37 Northern
Blvd., Queens.
Greg Diamond at Flute Gramercy, 7PM. 40 E. 20th.
Bucky Pizzarelli, Shanghai Jazz, 7PM. 24 Main St., Madison NJ.
Velocity Duo + special guests at Whynot Jazz Room, 7PM. 14
Christopher.
Roger Davidson 3 at Caffe Vivaldi, 7:15 PM. 32 Jones.
Juilliard Jazz Orchestra: Music of Duke Ellington at Dizzy's
Club Coca Cola, 7:30 and 9:30 PM. 10 Columbus Cir. #10.
Michael Carvin Experience at Jazz Standard, 7:30 and 10PM.
116 E. 27th.
Stanley Clarke at Blue Note, 8:00 and 10:30 PM. 131 W. 3rd St.
Kristina Koller 4 at Toshi's Living Room, 8PM. 1141 Broadway.
Valery Ponomarev 6 at Zinc Bar, 8PM. 82 W. 3rd St.
Brian Pareschi & The BP Express at Shapeshifter, 8:15 PM. 18
Whitwell, Bklyn.
Count Basie Orchestra feat. Carmen Bradford at Birdland, 8:30
and 11PM. 315 W. 44th.
Claudia Quintet feat. Chris Speed at Cornelia St. Cafe, 8:30
PM. 29 Cornelia.
Brad Meldhau 3 at Village Vanguard, 178 7th Av
Judy Collins at Cafe Carlyle, 8:45 PM. 35 E. 76th.
Groover Trio at Fat Cat, 9PM. 75 Christopher.
Richard Johnson 2 at Mezzrow, 9PM. 163 W. 10th St.
John King at The Stone, 10PM. 2nd St. @ Avenue C.
Ben Patterson 3 at Garage, 10:30 PM. 99 7th Ave.S.
Michael Veal & Aqua Ife at Shrine, 11PM. 2271 7th Ave.
Riley Mulherkar at Dizzy's Club Coca Cola, 11:15 PM. 10
Columbus Cir. #10.
Valery Ponomarev at Zinc Bar, 12:00 AM. 82 W. 3rd St.
Ned Goold at Fat Cat, 12:30 AM. 75 Christopher.
Thursday, May 7
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May 2015
 5th: Frank Perowsky Ensemble
 12th: John Lordelewky’s Makanda Project
 19th: Vibraphonist Warren Chiasson Tal Farlow
Celebration
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18
Ray Blue 3 at Flatiron Room, 5:30 PM. 37 W. 26th.
Champian Fulton 4 at Garage, 6PM. 99 7th Ave.S.
Charenee Wade 7 at Minton's, 6PM. 206 W. 118th.
Christopher Fleck 5 at Shrine, 6PM. 2271 7th Ave.
Nathan Ecklund at Silvana, 6PM. 300 W. 116th.
Tobias Meinhart 3 at Bar Next Door, 6:30 PM. 129 MacDougal.
Amy Cervini 4 at 55 Bar, 7PM. 55 Christopher.
Cat Toren Band at Caffe Vivaldi, 7PM. 32 Jones.
Larry Newcomb 3 at Cleopatra's Needle, 7PM. 2485 Broadway.
Heather Robb at The Falcon, 7PM. 1348 Rte. 9W, Marlboro NY.
Yunie Mojica 6 at Fat Cat, 7PM. 75 Christopher.
Madelaine Warren at Metropolitan Room, 7PM. 34 W. 22nd.
Interview with Dan Morgenstern at National Jazz Museum,
7PM. 104 E. 126th.
Sean Clapis' Bad Idea at Shapeshifter, 7PM. 18 Whitwell, Bklyn.
Lluis Capdevilla 3 at Whynot Jazz Room, 7PM. 14 Christopher.
Juilliard Jazz Orchestra: Music of Duke Ellington at Dizzy's
Steve Wilson & Wilsonian's Grain at Jazz Standard, 7:30 and
10PM. 116 E. 27th.
Leo Kottke at South Orange Performing Arts Center, 7:30 PM.
1 SOPAC Way, South Orange NJ.
Kelsey Jillette & The Americas Project at Zinc Bar, 7:30 PM. 82
W. 3rd St.
Luz Pinos at Barbes, 8PM. 376 9th St., Bklyn.
Stanley Clarke at Blue Note, 8:00 and 10:30 PM. 131 W. 3rd St.
Jean Rohe & The End of the World Show at The Falcon, 8PM.
1348 Rte. 9W, Marlboro NY.
Dust Storm feat. Dan Blake at Firehouse Space, 8PM. 246
Frost, Bklyn.
Stafford Hunter, Hotoke, 8PM. 350 George, New Brunswick NJ.
Lena Bloch 4 at Kitano, 8:00 and 10PM. 66 Park Ave.
ICP Orchestra w/Mary Halvorson & Marcus Rojas at Roulette,
8PM. 509 Atlantic, Bklyn.
George Lewis 3 feat. John King at The Stone, 8PM. 2nd St. @
Avenue C.
Robert Cray Band at Tarrytown Music Hall, 8PM. 13 Main St.,
Tarrytown NY.
NJGMS Guitar Night feat. Muriel Anderson at Trumpets, 8PM.
6 Depot Sq., Montclair NJ.
Sam Yahel 3 at Shapeshifter, 8:15 PM. 18 Whitwell, Bklyn.
Assaf Kehati 3 at Bar Next Door, 8:30 PM. 129 MacDougal.
Count Basie Orchestra feat. Carmen Bradford at Birdland, 8:30
and 11PM. 315 W. 44th.
Claudia Quintet feat. Chris Speed at Cornelia St. Cafe, 8:30
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PM. 29 Cornelia.
Flin van Hemmen at Spectrum, 8:30 PM. 121 Ludlow.
Harlem Renaissance Orch at Swing 46, 8:30 PM. 349 W. 46th.
Brad Meldhau 3 at Village Vanguard, 178 7th Av
Red Light New Music feat. Dan Blake at Firehouse Space,
9PM. 246 Frost, Bklyn.
Afro-Dysia at Flatiron Room, 9PM. 37 W. 26th.
Richard Johnson 2 at Mezzrow, 9PM. 163 W. 10th St.
Michael Packer Blues Band at Silvana, 9PM. 300 W. 116th.
Andrew Van Tassel at Whynot Jazz Room, 14 Christopher.
Axel Tosca Laugart & (U)nity at Zinc Bar, 9PM. 82 W. 3rd St.
Cocomama at Joe's Pub, 9:30 PM. 425 Lafayette.
Yaron Herman/Ziv Ravitz at Shapeshifter, 18 Whitwell, Bklyn.
Andy Statman at Barbes, 10PM. 376 9th St., Bklyn.
Saul Rubin Zebtet at Fat Cat, 10PM. 75 Christopher.
Gelsey Bell at The Stone, 10PM. 2nd St. @ Avenue C.
Ray Parker 3 at Garage, 10:30 PM. 99 7th Ave.S.
Riley Mulherkar at Dizzy's Club Coca Cola, 11:15 PM. 10
Columbus Cir. #10.
Alexi David at Fat Cat, 1:30 AM. 75 Christopher.
Friday, May 8
 Essentially Ellington High School Competition at Rose Theater, Lincoln Center, 2:00 PM. Broadway @60th.
 Chloe Trio at Flatiron Room, 5:30 PM. 37 W. 26th.
 Jarod Kashkin 3 at Fat Cat, 6PM. 75 Christopher.
 J.C. Hopkins Biggish Band feat. Jazzmeia Horn at Minton's,
6PM. 206 W. 118th.
 Baby Soda at Pera Mediterranean, 6PM. 303 Madison Ave.
 Tamuz Nissim at Shrine, 6PM. 2271 7th Ave.
 Valentino Marino at Silvana, 6PM. 300 W. 116th.
 Brooks Hartell 3 at Garage, 6:15 PM. 99 7th Ave.S.
 Jay Rattman 4 at Deer Head Inn, 7PM. 5 Main St., Delaware
Water Gap PA.
 Aaron Zimmer at The Falcon, 7PM. 1348 Rte. 9W, Marlboro NY.
 David Torn at SubCulture, 7PM. 45 Bleecker.
 Jon Irabagon at Bar Next Door, 7:30 PM. 129 MacDougal.
 Juilliard Jazz Orchestra: Music of Duke Ellington at Dizzy's
 Steve Wilson & Wilsonian's Grain at Jazz Standard, 7:30 and
10PM. 116 E. 27th.
 Stanley Clarke at Blue Note, 8:00 and 10:30 PM. 131 W. 3rd St.
 Masami Ishikawa, Cleopatra's Needle, 8PM. 2485 Broadway.
 Florencia Gonzalez at Silvana, 8PM. 300 W. 116th.
 Rosio Valentin at SOB's, 8:00 and 10PM. 204 Varick.
 Jenny Lin at The Stone, 8PM. 2nd St. @ Avenue C.
 Standard Procedures at Tomi Jazz, 8PM. 239 E. 53rd.
 T.K. Blue at Trumpets, 8PM. 6 Depot Sq., Montclair NJ.
 Valery Ponomarev Big Band at Zinc Bar, 8PM. 82 W. 3rd St.
 Troy Roberts 4 feat. Jeff “Tain” Watts at Shapeshifter, 8:15
PM. 18 Whitwell, Bklyn.
 Count Basie Orchestra feat. Carmen Bradford at Birdland, 8:30
and 11PM. 315 W. 44th.
 Claudia Quintet feat. Chris Speed at Cornelia St. Cafe, 8:30
PM. 29 Cornelia.
 Omer Avital at Iridium, 8:30 and 10:30 PM. 1650 Broadway.
 Brad Meldhau 3 at Village Vanguard, 178 7th Av
 Judy Collins at Cafe Carlyle, 8:45 PM. 35 E. 76th.
 Michele Rosewoman's New Yor-Uba at Joe's Pub, 9:30 PM.
425 Lafayette.
 Ehud Asherie 2 at Knickerbocker Bar, 9:45 PM. 33 University Pl.
 Raz Mesinai/John King, The Stone, 10PM. 2nd St. @ Avenue C.
 Lauren Sevian 4 at Fat Cat, 10:30 PM. 75 Christopher.
 Peter Valera at Garage, 10:45 PM. 99 7th Ave.S.
 Riley Mulherkar at Dizzy's Club Coca Cola, 11:15 PM. 10
Columbus Cir. #10.
 Valery Ponomarev at Zinc Bar, 12:00 AM. 82 W. 3rd St.
 Deborah Latz at Blue Note, 12:30 AM. 131 W. 3rd St.
 David Weiss at Fat Cat, 1:30 AM. 75 Christopher.
Saturday, May 9
 Essentially Ellington High School Competition at Rose Theater, Lincoln Center, 10:00 AM. Broadway @60th.
 Daniela Shaechter 3 at Garage, 12:00 PM. 99 7th Ave.S.
 Laurie Krauz at Metropolitan Room, 1:00 PM. 34 W. 22nd.
 J.C. Biggish Band at Minton's, 6PM. 206 W. 118th.
 Josh Deutsch/Nico Soffiato at Whynot Jazz Room, 6PM. 14
Christopher.
 Al Marino 3 at Garage, 6:15 PM. 99 7th Ave.S.
 Wilson “Chembo” Corneil: Buena Vista Social Club Special at
Drom, 6:30 and 9PM. 85 Avenue A.
 Bjorn Solli 3 at Bar Next Door, 7:30 PM. 129 MacDougal.
topher.
 Thomas Bergeron Ensemble at Shapeshifter, 8:15 PM. 18
Whitwell, Bklyn.
 Dida Pelled at Bar Next Door, 8:30 PM. 129 MacDougal.
 Michael Blanco 4 feat. Kevin Hays at Cornelia St. Cafe, 8:30
PM. 29 Cornelia.
 Dan Tepfer 2 at Mezzrow, 9PM. 163 W. 10th St.
 Eva Lindal/Virg Dzurinko at I Beam, 9:30 PM. 168 7th St., Bklyn.
 Matthew Shipp/Michael Bisio at The Stone, 10PM. 2nd St. @
Avenue C.
 Three Daves feat. Dave Schnug at Whynot Jazz Room, 10PM.
14 Christopher.
 Alex Menassian 3 at Garage, 10:30 PM. 99 7th Ave.S.
 Ric Molina Group at Stage 1, Rockwood Music Hall, 11PM. 196
Allen.
 Jonathan Barber at Smalls, 1:00 AM. 183 W. 10th St.
“Integrity is a bit like
pregnancy. A person can
no more have just some integrity,
any more than a woman can be a
little bit pregnant. It’s
all or nothing.”
—
 Juilliard Jazz Orchestra: Music of Duke Ellington at Dizzy's
10PM. 116 E. 27th.
 Count Basie Orchestra feat. Carmen Bradford at Birdland, 8:30
and 11PM. 315 W. 44th.
 Pat Carroll 4 at Whynot Jazz Room, 8:30 PM. 14 Christopher.
 Kris Davis 4 at Cornelia St. Cafe, 9PM. 29 Cornelia.
 T.K. Blue: Tribute to Little Jimmy Scott at Sistas' Place, 9:00
and 10:30 PM. 456 Nostrand, Bklyn.
 Ehud Asherie 2 at Knickerbocker Bar, 9:45 PM. 33 University Pl.
 Bruce Williams 4 at Fat Cat, 10PM. 75 Christopher.
 Sebastian Noelle at Whynot Jazz Room, 10PM. 14 Christopher.
 Virginia Mayhew 4 at Garage, 10:45 PM. 99 7th Ave.S.
 Riley Mulherkar at Dizzy's Club, 11PM. 10 Columbus Cir. #10.
 r'kardo st'von at Blue Note, 12:30 AM. 131 W. 3rd St.
 Greg Glassman at Fat Cat, 1:30 AM. 75 Christopher.
Tuesday, May 12
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Sunday, May 10
 Judy Wexler w/Mark Soskin 3 at Blue Note, 11:30 AM and 1:30
PM. 131 W. 3rd St.
 Lou Caputo 4 at Garage, 11:30 AM. 99 7th Ave.S.
 Antoinette Montague: Mother's Day Celebration at Minton's,
5:00 PM. 206 W. 118th.
 To Hope: A Jazz Mass by Dave Brubeck at St. Peter's, 5:00
PM. Artists include Ike Sturm, Alan Ferber, and many others. 619
Lexington.
 Daniel Reichard Sings Rodgers & Hammerstein at Birdland,
6PM. 315 W. 44th.
 Brian Adler & Shankar at Barbes, 7PM. 376 9th St., Bklyn.
 Kevin Thomas at Caffe Vivaldi, 7PM. 32 Jones.
 Jeff Hamilton 3 at Dizzy's Club Coca Cola, 7:30 and 9:30 PM.
10 Columbus Cir. #10.
10PM. 116 E. 27th.
 Saul Rubin at Mezzrow, 7:30 PM. 163 W. 10th St.
 Michael Valeanu at Caffe Vivaldi, 8PM. 32 Jones.
 Secret Quartet: Selections from Free Palestine String Quartets
at The Stone, 8PM. 2nd St. @ Avenue C.
 John Raymond 4 feat. Billy Hart at SubCulture, 8PM. 45
Bleecker.
 Vanessa Trouble at Swing 46, 8PM. 349 W. 46th.
 Oded Tzur 4 at Cornelia St. Cafe, 8:30 PM. 29 Cornelia.
 Livio Almeida 10 at Iridium, 8:30 PM. 1650 Broadway.
 Kevin Hays 2 at Mezzrow, 9:30 PM. 163 W. 10th St.
 Stephanos Chytiris, Whynot Jazz Room, 10PM. 14 Christopher.
 Adriano Santos 4 at Iridium, 10:30 PM. 1650 Broadway.
 Jason Ennis 3 at Garage, 11PM. 99 7th Ave.S.
 Brandon Lewis at Fat Cat, 1:00 AM. 75 Christopher.
Monday, May 11
 Yehonatan Cohen 3 at Bar Next Door, 6:30 PM. 129 MacDougal.
 NY Youth Symphony Jazz Band at Garage, 8PM. 99 7th Ave.S.
 Jeff Hamilton 3 at Dizzy's Club Coca Cola, 7:30 and 9:30 PM.
 Mingus Orchestra at Jazz Standard, 7:30 and 10PM. 116 E. 27th.
 NYU Jazz Orchestra at Blue Note, 8:00 and 10:30 PM. 131 W.
3rd St.
 Bill Payne/Connie Crothers at I Beam, 8PM. 168 7th St., Bklyn.
 Marty Ehrlich 9 feat. Steve Swell: Celebration of Downtown
Music Gallery at The Stone, 8PM. 2nd St. @ Avenue C.
 David Aaron & Flip City at Whynot Jazz Room, 8PM. 14 ChrisTo Advertise CALL: 215-887-8880
Visit www.JazzNewswire.com
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Benjamin Sutton 4 at Garage, 6PM. 99 7th Ave.S.
Jazzmeia Horn at Minton's, 6PM. 206 W. 118th.
Arath Corral 3 at Bar Next Door, 6:30 PM. 129 MacDougal.
Film Screening: Benny Carter Symphony in Riffs at Maysles
Cinema, 7PM. 343 Lenox.
Rubens Salles 4 at Shapeshifter, 7PM. 18 Whitwell, Bklyn.
Sofia Ribeiro 2 at Whynot Jazz Room, 7PM. 14 Christopher.
The Flail w/Dan Blankinship at Dizzy's Club Coca Cola, 7:30
and 9:30 PM. 10 Columbus Cir. #10.
Johnathan Blake 4 feat. Chris Potter at Jazz Standard, 7:30
and 10PM. 116 E. 27th.
Dizzy Gillespie Afro-Cuban Experience at Blue Note, 8:00 and
10:30 PM. 131 W. 3rd St.
Nicki Parrott/Rossano Sportiello at Mezzrow, 163 W. 10th St.
John Lordelewky's Makanda Project at NYC Baha'i Center,
8:00 and 9:30 PM. 53 E. 11th St.
Yuka Honda at The Stone, 8PM. 2nd St. @ Avenue C.
Alan Plachta/Jason Yeager at Caffe Vivaldi, 8:15 PM. 32 Jones.
John Clark 6 feat. Mark Egan at Shapeshifter, 8:15 PM. 18
Whitwell, Bklyn.
Freddy Cole 4 + Houston Person at Birdland, 8:30 and 11PM.
315 W. 44th.
Alex Levine 3 at Bar Next Door, 8:30 PM. 129 MacDougal.
Guillermo Klein 11 feat. Miguel Zenon & Ben Monder at Village
Vanguard, 178 7th Av
Laura Angyal 4 at Flatiron Room, 9PM. 37 W. 26th.
Glenn Zaleski 3 at Korzo, 9PM. 667 5th Ave., Bklyn.
Denitia 4 at Whynot Jazz Room, 9PM. 14 Christopher.
Nels Cline 4 feat. Yuka Honda at The Stone, 10PM. 2nd St. @
Avenue C.
Yvonnick Prene 3 at Garage, 10:30 PM. 99 7th Ave.S.
New England Conservatory Honors Jazz Quintet at Korzo,
10:30 PM. 667 5th Ave., Bklyn.
Sammy Miller & The Congregation at Dizzy's Club Coca Cola,
11:15 PM. 10 Columbus Cir. #10.
Wednesday, May 13
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Cecilia Coleman Big Band at St. Peter's, 1PM. 619 Lexington.
Yvonnick Prene 3 at Garage, 6PM. 99 7th Ave.S.
Minton's Players at Minton's, 6PM. 206 W. 118th.
Sivan Arbel at Shrine, 6PM. 2271 7th Ave.
Sergej Avanesov, Toshi's Living Room, 6PM. 1141 Broadway.
Yuto Kanazawa 3 at Bar Next Door, 6:30 PM. 129 MacDougal.
One More Once Big Band, Trumpets, 6 Depot Sq., Montclair NJ.
Anna Elizabeth Kendrick at Flute Midtown, 7PM. 204 W. 54th.
Michael Feinstein's Blue Eyed Saloon Songs at Appel Room,
Lincoln Center, 7PM. Broadway @ 60th.
Tish Rabe at Metropolitan Room, 7PM. 34 W. 22nd.
Curtis Nowosad 5 at Shapeshifter, 7PM. 18 Whitwell, Bklyn.
Pete Muller 3 at Caffe Vivaldi, 7:30 PM. 32 Jones.
Eva Cortes: In Bloom at Dizzy's Club Coca Cola, 7:30 and 9:30
PM. 10 Columbus Cir. #10.
Johnathan Blake 4 feat. Chris Potter at Jazz Standard, 7:30
and 10PM. 116 E. 27th.
Dizzy Gillespie Afro-Cuban Experience at Blue Note, 8:00 and
10:30 PM. 131 W. 3rd St.
Adam O'Farrill at Cornelia St. Cafe, 8PM. 29 Cornelia.
Hot Club of Flatbush at Flatiron Room, 8PM. 37 W. 26th.
Chris McNulty at New Brunswick Hyatt, 8PM. 2 Albany, New
Brunswick NJ.
19
 OP1+ Project feat. Yuka Honda at The Stone, 8PM. 2nd St. @
Avenue C.
 Mareike Weining 6 feat. Rich Perry at Shapeshifter, 8:15 PM.
18 Whitwell, Bklyn.
 Freddy Cole 4 + Houston Person at Birdland, 8:30 and 11PM.
315 W. 44th.
 John Patitucci 4 feat. Brian Blade at Iridium, 8:30 and 10:30
PM. 1650 Broadway.
 Guillermo Klein 11 feat. Miguel Zenon & Ben Monder at Village
 Nicki Parrott/Rossano Sportiello at Mezzrow, 163 W. 10th St.
 Adam O'Farrill 4 at Cornelia St. Cafe, 9:30 PM. 29 Cornelia.
 Mike Stern 3 at 55 Bar, 10PM. 55 Christopher.
 Yuka Honda at The Stone, 10PM. 2nd St. @ Avenue C.
 Lintet Organ Edition at Garage, 10:30 PM. 99 7th Ave.S.
 Sammy Miller & The Congregation at Dizzy's Club Coca Cola,
Thursday, May 14
 Diane Marino 4 feat. Ralph Lalama at Birdland, 6PM. 315 W.
44th.
 George Weldon 3 at Garage, 6PM. 99 7th Ave.S.
 J.C. Hopkins Biggish Band feat. Charles Turner & King Solomon Hicks at Minton's, 6PM. 206 W. 118th.
 AyeFam at Shrine, 6PM. 2271 7th Ave.
 James Zollar at Silvana, 6PM. 300 W. 116th.
 Nick Brust 3 at Bar Next Door, 7:30 PM. 129 MacDougal.
 Jazz Mix Trio at Cleopatra's Needle, 7PM. 2485 Broadway.
 Matuto at The Falcon, 7PM. 1348 Rte. 9W, Marlboro NY.
 Michael Feinstein's Blue Eyed Saloon Songs at Appel Room,
 Tomas Fujiwara 3 at Shapeshifter, 7PM. 18 Whitwell, Bklyn.
 Ria Curley/Chuck Lamb at Caffe Vivaldi, 7:30 PM. 32 Jones.
 Mike Rodriguez 5 at Dizzy's Club Coca Cola, 7:30 and 9:30 PM.
 Gil Evans Project feat. Steve Wilson, Frank Kimbrough, Lewis
Nash and others at Jazz Standard, 7:30 and 10PM. 116 E. 27th.
 Odean Pope Sax Choir feat. Ravi Coltrane at Blue Note, 8:00
and 10:30 PM. 131 W. 3rd St.
 New Mastersounds at Brooklyn Bowl, 8PM. 61 Wythe, Bklyn.
 William Hooker 6: Evidence (The Baldwin Suite) at Firehouse
Space, 8PM. 246 Frost, Bklyn.
 Ralph Peterson Unity Project at Hotoke, 8PM. 350 George, New
Brunswick NJ.
 Tony Tixier 3 at Jazz Gallery, 8:00 and 10PM. 1160 Broadway.
 Wayne Shorter at Rose Theater, Lincoln Center, 8PM. Broadway @ 60th.
 Charles Evans 4 at Shapeshifter, 8PM. 18 Whitwell, Bklyn.
 Jazz E Matt at Silvana, 8PM. 300 W. 116th.
 OP1+ PRoject feat. Yuka Honda & Sean Lennon at The Stone,
8PM. 2nd St. @ Avenue C.
 Jeff McLaughlin 3 at Bar Next Door, 8:30 PM. 129 MacDougal.
315 W. 44th.
 Stephan Crump 3 at Cornelia St. Cafe, 8:30 PM. 29 Cornelia.
PM. 1650 Broadway.
 Harlem Renaissance Orch at Swing 46, 8:30 PM. 349 W. 46th.
 Mitch Frohman 5 at Zinc Bar, 8:30 PM. 82 W. 3rd St.
 Zona Sul at Flatiron Room, 9PM. 37 W. 26th.
 Ethan Iverson/Ron Carter at Mezzrow, 9PM. 163 W. 10th St.
 Mostly Other People Do the Killing at Shapeshifter, 9PM. 18
Whitwell, Bklyn.
 Scot Albertson/Lee Tomboulian at Tomi Jazz, 9PM. 239 E. 53rd.
 Nick Wright 3 at Garage, 10:30 PM. 99 7th Ave.S.
 Sammy Miller & The Congregation Big Band at Dizzy's Club
Coca Cola, 11:15 PM. 10 Columbus Cir. #10.
Friday, May 15
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Luke Hendon 3 at Flatiron Room, 5:30 PM. 37 W. 26th.
Christian Scott at Minton's, 6PM. 206 W. 118th.
Andre Matos/Oscar Penas at Silvana, 6PM. 300 W. 116th.
Joe Pino 4 at Garage, 6:15 PM. 99 7th Ave.S.
Rhythm Future: The Music of Django Reinhardt at Shanghai
Jazz, 6:30 PM. 24 Main St., Madison NJ.
 The Songs of Cy Coleman at 54 Below, 7PM. Artists include
Randy Graff, Lillias White, and others. 254 W. 54th.
 Joe Lovano/Dave Douglas 5 at Appell Room, Lincoln Center,
7:00 and 9:30 PM. Broadway @ 60th.
 Alex Cummings & Flame Axis at Shapeshifter, 7PM. 18 Whitwell, Bklyn.
 Quentin Angus 3 at Bar Next Door, 7:30 PM. 129 MacDougal.
 Music of Wayne Shorter: The Early Years at Dizzy's Club Coca
Cola, 7:30 and 9:30 PM. Artists include Stacy Dillard, Tivon
Pennicott, Sullivan Fortner, and others. 10 Columbus Cir. #10.
 Dan Blake 4: Jazz Theater Without Words at Greenwich
House, 7:30 PM. 46 Barrow.
Nash and others at Jazz Standard, 7:30, 10:00, & 11:45 PM. 116
E. 27th.
 Esperanza Spalding: Emily's D+Evolution at (Le) Poisson
Rouge, 7:30 PM. 158 Bleecker.
 Odean Pope Sax Choir feat. James Carter at Blue Note, 8:00
and 10:30 PM. 131 W. 3rd St.
 New Mastersounds at Brooklyn Bowl, 8PM. 61 Wythe, Bklyn.
 Sarah Slonim 3 at Cleopatra's Needle, 8PM. 2485 Broadway.
 Mike Moreno 3 w/Aaron Parks at Jazz Gallery, 8:00 and 10PM.
1160 Broadway.
 NDR Big Band: Tall Tales of Jasper County at Shapeshifter,
8PM. 18 Whitwell, Bklyn.
 Yuka Honda at The Stone, 8PM. 2nd St. @ Avenue C.
 Enrico Granafei 4 at Trumpets, 8:00 and 10PM. 6 Depot Sq.,
Montclair NJ.
315 W. 44th.
 Sam Bardfeld 3 + Todd Reynolds Group at I Beam, 8:30 PM.
168 7th St., Bklyn.
PM. 1650 Broadway.
 Lage Lund 4 at Cornelia St. Cafe, 9PM. 29 Cornelia.
 Yael Dray at Flatiron Room, 9PM. 37 W. 26th.
 Jack Jeffers & NY Classics at Zinc Bar, 9:30 PM. 82 W. 3rd St.
 Warren Chiasson, Knickerbocker, 9:45 PM. 33 University Pl.
 100%: Devin Hoff 3 Plays Music of Sonic Youth at The Stone,
 Hot House at Garage, 10:45 PM. 99 7th Ave.S.
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Karrin Allyson
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Sat, june 13 @ 8pm
sun, june 21 @ 8pm
Ottmar Liebert
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Al Di Meola
Di Meola returns with a fiery
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this world-class guitar deity
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an innovative music force.
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tue, june 23 @ 8pm
sat, july 11 @ 7:30pm
Madeleine
Peyroux
Glenn Miller
Orchestra
Singer-songwriter Peyroux’s
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“The difference
between the right word
and the almost right word is
like the difference between
lightning and a lightning
bug.”
— Mark Twain
 Miss Ida Blue: A Billie Holiday Centennial at Joe's Pub, 11PM.
425 Lafayette.
 Marko Djordjevic, Whynot Jazz Room, 11PM. 14 Christopher.
 Dulie at Blue Note, 12:30 AM. 131 W. 3rd St.
Saturday, May 16
 Larry Newcomb 4 at Garage, 12:00 PM. 99 7th Ave.S.
 Drum Clinic w/Bernard “Pretty” Purdie at The Falcon, 1:00 PM.
 Duane Eubanks at Candlelight Lounge, 3:30 PM. 24 Passaic,
Trenton NJ.
 Sofija Knezevic at Flatiron Room, 5:30 PM. 37 W. 26th.
 Christian Scott at Minton's, 6PM. 206 W. 118th.
 Asako Takasaki at Shrine, 6PM. 2271 7th Ave.
 William “Chan” Hall at Silvana, 6PM. 300 W. 116th.
 Mark Marino 3 at Garage, 6:15 PM. 99 7th Ave.S.
 The Songs of Cy Coleman at 54 Below, 7PM. Artists include
 Phil Woods 3 feat. Vic Juris at Deer Head Inn, 7PM. 5 Main St.,
Delaware Water Gap PA.
 Bernard “Pretty” Purdie w/special guests at The Falcon, 7PM.
 Joe Lovano/Dave Douglas 5 at Appell Room, Lincoln Center,
 New Jazz Trio w/Calligraphy Live Performance at
Shapeshifter, 7:00 and 8:15 PM. 18 Whitwell, Bklyn.
 Jennifer Wrobleski at Winnie's, 7PM. 63 W. 38th.
 Paul Bollenback 3 feat. Sylvia Cuenca at Bar Next Door, 7:30
PM. 129 MacDougal.
 Music of Wayne Shorter: The Early Years at Dizzy's Club Coca
Nash and others at Jazz Standard, 7:30, 10:00 &11:45 PM. 116
E. 27th.
 Paulette McWilliams at Joe's Pub, 7:30 PM. 425 Lafayette.
 Odean Pope Sax Choir feat. Ravi Coltrane at Blue Note, 8:00
and 10:30 PM. 131 W. 3rd St.
 The New Mastersounds at Brooklyn Bowl, 8PM. 61 Wythe,
Bklyn.
 Alan Rosenthal 3 at Cleopatra's Needle, 8PM. 2485 Broadway.
 Ben van Gelder 5 at Jazz Gallery, 8:00 and 10PM. 1160 Broadway.
 Joshua Breakstone 4 at Puffin Cultural Forum, 8PM. 2 Puffin
Way, Teaneck NJ.
 Livio Almeida 10 feat. Helio Alves & Eduardo Neves at Zinc
Bar, 8PM. 82 W. 3rd St.
315 W. 44th.
 Ellery Eskelin/Nick Fraser at I Beam, 8:30 PM. 168 7th St., Bklyn.
PM. 1650 Broadway.
 Dave Pollack 4 at Whynot Jazz Room, 8:30 PM. 14 Christopher.
 Michael Formanek's Resonator at Cornelia St. Cafe, 9PM. 29
Cornelia.
 Underground Horns at Drom, 9PM. 85 Avenue A.
 Tom DiPietra at Flatiron Room, 9PM. 37 W. 26th.
22
 Brittany Anjou 3 at Stage 1, Rockwood Music Hall, 9PM. 196
Allen.
 Zamba 2 Samba at Silvana, 9PM. 300 W. 116th.
 Alan Palmer at Sistas' Place, 9:00 and 10:30 PM. 456 Nostrand,
Bklyn.
 Swingadelic at Swing 46, 9PM. 349 W. 46th.
 Judi Silvano at Caffe Vivaldi, 9:30 PM. 32 Jones.
 Frank DiBussolo at Metropolitan Room, 9:30 PM. 34 W. 22nd.
 Matt Panayides Group at Shapeshifter, 9:30 PM. 18 Whitwell,
Bklyn.
 Warren Chiasson 2 at Knickerbocker Bar, 9:45 PM. 33 University Pl.
 Lina Allemano's Titanium Rot at I Beam, 10PM. 168 7th St.,
Bklyn.
 Yuka Honda 6 at The Stone, 10PM. 2nd St. @ Avenue C.
 Dawn Drake & Zap0te at Way Station, 10PM. 683 Washington,
Bklyn.
 Daylight Blues Band at Garage, 10:45 PM. 99 7th Ave.S.
 Hot 8 Brass Band at Cutting Room, 11:55 PM. 44 E. 32nd.
 Fuzz Band at Blue Note, 12:30 AM. 131 W. 3rd St.
Sunday, May 17
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Roni Ben-Hur, Blue Note, 11:30 AM and 1:30 PM. 131 W. 3rd St.
Kayo Hiraki 4 at Garage, 11:30 AM. 99 7th Ave.S.
Elias Meister 4 at Minton's, 12:00 PM. 206 W. 118th.
Karrin Allyson at Ridgefield Playhouse, 1:00 PM. 80 E. Ridge,
Ridgefield CT.
Brandee Younger 4 at Minton's, 5:00 PM. 206 W. 118th.
Sara Caswell 4 at St. Peter's, 5:00 PM. 619 Lexington.
Jamie deRoy & Friends at Birdland, 6PM. 315 W. 44th.
Kazuki Yamanaka at Silvana, 6PM. 300 W. 116th.
Chris Fortune/Rich Syracuse at The Falcon, 6:30 PM. 1348 Rte.
9W, Marlboro NY.
Teri Roiger 2 at Caffe Vivaldi, 7PM. 32 Jones.
Vinny Golia/Ken Filiano at Whynot Jazz Room, 7PM. 14 Christopher.
Music of Wayne Shorter: The Early Years at Dizzy's Club Coca
Cyrille Aimme/Michael Valeanu
Leo Kottke at Infinity Music Hall, 7:30 PM. 20 Greenwoods Rd.
W., Norwalk CT.
Gil Evans Project feat. Steve Wilson, Frank Kimbrough, Lewis
Nash and others at Jazz Standard, 7:30 and 10PM. 116 E. 27th.
Pasquale Grasso at Mezzrow, 7:30 PM. 163 W. 10th St.
Cristina Pato 4 at SubCulture, 7:30 PM. 45 Bleecker.
Odean Pope Sax Choir feat. Ravi Coltrane at Blue Note, 8:00
and 10:30 PM. 131 W. 3rd St.
Williamsburg Salsa Orchestra at Brooklyn Bowl, 8PM. 61
Wythe, Bklyn.
Sarah James 2 at Caffe Vivaldi, 8PM. 32 Jones.
Guy Mintus/Yinon Muallem at Drom, 8PM. 85 Avenue A.
Zoe Pose + Bridging the Gap at Shapeshifter, 8PM. 18 Whitwell, Bklyn.
HC3 at Shrine, 8PM. 2271 7th Ave.
Laurie Anderson/Yuka Honda at The Stone, 8PM. 2nd St. @
Avenue C.
Swingadelic at Swing 46, 8PM. 349 W. 46th.
Edu Neves 4 at Cornelia St. Cafe, 8:30 PM. 29 Cornelia.
Guillermo Klein 11 feat. Miguel Zenon & Ben Monder at Village
Jeremy Daneman 4 feat. William Parker at Whynot Jazz Room,
8:30 PM. 14 Christopher.
Emily Wolf Project at Pianos, 9PM. 158 Ludlow.
Freddie Bryant 3 at Mezzrow, 9:30 PM. 163 W. 10th St.
Manny's Boogaloo Crew at Silvana, 10PM. 300 W. 116th.
Yuka Honda 5 feat. Sean Lennon & Nels Cline at The Stone,
Masami Ishikawa 3 at Garage, 11PM. 99 7th Ave.S.
Monday, May 18
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Tim Talavera 4 at Silvana, 6PM. 300 W. 116th.
Caroline Davis 3 at Bar Next Door, 6:30 PM. 129 MacDougal.
Moonglowers at Garage, 7PM. 99 7th Ave.S.
Meeting: International Women in Jazz at St. Peter's, 7PM. 619
Lexington.
Monika Herzig Band feat. Jamie Baum & Lakecia Benjamin at
Shapeshifter, 7PM. 18 Whitwell, Bklyn.
Elisabeth Lohninger at Zinc Bar, 7PM. 82 W. 3rd St.
Ingrid Jensen Berklee 5 at Dizzy's Club Coca Cola, 7:30 and
NY Youth Symphony Jazz Band w/Jane Monheit at Appell
Room, Lincoln Center, 7:30 PM. Broadway @ 60th.
 Beacon Hill Jazz Band at Morris Museum, 8PM. 6 Normandy
Hts. Rd., Morristown NJ.
 Baylor Project feat. Jean & Marcus Baylor at Blue Note, 8PM.
131 W. 3rd St.
 Joseph Kubera: Piano Works by John King, Anthony Coleman
and others at Roulette, 8PM. 509 Atlantic, Bklyn.
 Ben Sutin & Klazz Ma Tazz at Silvana, 8PM. 300 W. 116th.
 Trumpeter Avishai Cohen & Troveni at SubCulture, 8PM. 45
Bleecker.
 Todd Marcus Jazz Orchestra at Shapeshifter, 8:15 and 9:30
PM. 18 Whitwell, Bklyn.
 Linda Ciofalo at Bar Next Door, 8:30 PM. 129 MacDougal.
 David Lopato 4 at Cornelia St. Cafe, 8:30 PM. 29 Cornelia.
 Hilary Gardner/Ehud Asherie at Mezzrow, 9PM. 163 W. 10th St.
 Funkaholics Anonymous at Silvana, 9PM. 300 W. 116th.
 Mike Stern 3 at 55 Bar, 10PM. 55 Christopher.
 Jay Rodriguez & Sounder at Blue Note, 10:30 PM. 131 W. 3rd
St.
 Ray Blue 3 at Garage, 10:30 PM. 99 7th Ave.S.
 Jonathan Michel at Smalls, 1:00 AM. 183 W. 10th St.
Tuesday, May 19
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Nightingale Jazz Band at Flatiron Room, 5:30 PM. 37 W. 26th.
NOWtet at Garage, 6PM. 99 7th Ave.S.
Brandon Bain 4 at Minton's, 6PM. 206 W. 118th.
Triologue at Silvana, 6PM. 300 W. 116th.
Alicyn Yaffee 3 at Bar Next Door, 6:30 PM. 129 MacDougal.
Carmela Rappazzo at Metropolitan Room, 7PM. 34 W. 22nd.
Juilliard Jazz Trio feat. Mathis Picard: Music of Billy Strayhorn
at National Jazz Museum, 7PM. 104 E. 126th.
Dayna Stephens' 3WI feat. Gilad Hekselman at Stage 3, Rockwood Music Hall, 7PM. 196 Allen.
J.C. Sanford Orchestra at Shapeshifter, 7PM. 18 Whitwell,
Bklyn.
Sidney Bechet Society: The Sweet & Lowdown Band Reunion
at Peter Jay Sharp Theater, Symphony Space, 7:15 PM. 2537
Broadway.
Bill Charlap 3 at Dizzy's Club Coca Cola, 7:30 and 9:30 PM. 10
Columbus Cir. #10.
Song Yi Jeon 5 at Drom, 7:30 PM. 85 Avenue A.
Fred Hersch/Brad Mehldau at Jazz Standard, 7:30 and 10PM.
116 E. 27th.
Casenave New Trio at (Le) Poisson Rouge, 7:30 PM. 158
Bleecker.
Dave Holland & Prism at Blue Note, 8:00 and 10:30 PM. 131 W.
3rd St.
Kendra Shank 2 at Mezzrow, 8PM. 163 W. 10th St.
Warren Chiasson: A Tal Farlow Celebration at NYC Baha'i
Center, 8:00 and 9:30 PM. 53 E. 11th St.
International Contemporary Ensemble & JACK Quartet Perform String Pieces by John Zorn and others at Roulette, 8PM.
509 Atlantic, Bklyn.
Aram Bakajian 3 feat. Kirk Knuffke: Tribute to Yusef Lateef at
The Stone, 8PM. 2nd St. @ Avenue C.
Vladan/Martin Duo at Tomi Jazz, 8PM. 239 E. 53rd.
Martina Fiserova at Way Station, 8PM. 683 Washington, Bklyn.
Asuka Kakitani Orchestra at Shapeshifter, 8:15 PM. 18 Whitwell, Bklyn.
Hendrik Meurkens at Bar Next Door, 8:30 PM. 129 MacDougal.
Diane Schuur at Birdland, 8:30 and 11PM. 315 W. 44th.
Dan Willis & Velvet Gentlemen: The Satie Project at Cornelia
St. Cafe, 8:30 PM. 29 Cornelia.
Natasha Agrama at Iridium, 8:30 PM. 1650 Broadway.
Erik Deutsch & The Jazz Outlaws at Stage 3, Rockwood Music
Hall, 8:30 PM. 196 Allen.
Peter Bernstein 4 at Village Vanguard, 178 7th Av
Megan Hilty at Cafe Carlyle, 8:45 PM. 35 E. 76th.
Daan Kleijn 4 at Flatiron Room, 9PM. 37 W. 26th.
Rich Halley 4 at Korzo, 9PM. 667 5th Ave., Bklyn.
Nathan Parker Smith Big Band at Shapeshifter, 9:30 PM. 18
Whitwell, Bklyn.
Aram Bakajian 3 feat. Mat Maneri: Tribute to Yusef Lateef at
The Stone, 10PM. 2nd St. @ Avenue C.
Daniel Haedicke, Toshi's Living Room, 10PM. 1141 Broadway.
Jim Piela Group at Garage, 10:30 PM. 99 7th Ave.S.
Marc Hannaford 4 at Korzo, 10:30 PM. 667 5th Ave., Bklyn.
Clovis Nicolas at Dizzy's Club Coca Cola, 11:15 PM. 10 Columbus Cir. #10.
Wednesday, May 20
 Valerie Capers at St. Peter's, 1:00 PM. 619 Lexington.
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Eric Plaks 5 at Cornelia St. Cafe, 6PM. 29 Cornelia.
Marc Devine 3 at Garage, 6PM. 99 7th Ave.S.
Brandon Bain at Minton's, 6PM. 206 W. 118th.
David Love at Shrine, 6PM. 2271 7th Ave.
Sam Trapchak 4 at Silvana, 6PM. 300 W. 116th.
Gianni Gagliardi 3 at Bar Next Door, 6:30 PM. 129 MacDougal.
The Songs of Cy Coleman at 54 Below, 7PM. Artists include
Organissimo at The Falcon, 7PM. 1348 Rte. 9W, Marlboro NY.
Anna Elizabeth Kendrick at Flute Gramercy, 7PM. 40 E. 20th.
Harmonius 5 at Trumpets, 7:00 and 8:30 PM. 6 Depot Sq.,
Montclair NJ.
Roger Davidson 3 at Caffe Vivaldi, 7:15 PM. 32 Jones.
Columbus Cir. #10.
Fred Hersch/Miguel Zenon at Jazz Standard, 7:30 and 10PM.
116 E. 27th.
3rd St.
French Cookin' Blues Band at B. B. King's, 8PM. 237 W. 42nd.
Aram Bakajian 2 & 3 at The Stone, 8PM. 2nd St. @ Avenue C.
Matt Holman & 10th Muse at Cornelia St. Cafe, 8:30 PM. 29
Cornelia.
Stephan Crump at Seeds, 8:30 PM. 617 Vanderbilt, Bklyn.
John DiMartino at Mezzrow, 9PM. 163 W. 10th St.
Misha Piatigorsky at Zinc Bar, 9:30 PM. 82 W. 3rd St.
Aram Bakajian at The Stone, 10PM. 2nd St. @ Avenue C.
Assaf Kehati 3 at Garage, 10:30 PM. 99 7th Ave.S.
Lucas Brody at Way Station, 11PM. 683 Washington, Bklyn.
Thursday, May 21
 Hunter College Jazz Band at Lexington Plaza, 12:30 PM.
Lexington @ 53rd.
 Ray Blue 3 at Flatiron Room, 5:30 PM. 37 W. 26th.
 Lorin Cohen at Birdland, 6PM. 315 W. 44th.
 Alex Navarro/Nick Sample 5 at Cornelia St. Cafe, 6PM. 29
Cornelia.
 Rick Stone 3 at Garage, 6PM. 99 7th Ave.S.
 J.C. Hopkins Biggish Band feat. Charles Turner & King Solomon Hicks at Minton's, 6PM. 206 W. 118th.
 Noe Codija 4 at Shrine, 6PM. 2271 7th Ave.
 Gioel Severini 3 at Bar Next Door, 6:30 PM. 129 MacDougal.
 K.J. Denhert/Lynette Williams at Stage 3, Rockwood Music
Hall, 6:30 PM. 196 Allen.
 Winkelman Duet at Cleopatra's Needle, 7PM. 2485 Broadway.
 Luis Perdomo & Controlling Ear Unit at The Falcon, 7PM. 1348
 Bill Charlap 3 at Dizzy's Club Coca Cola, 7:30 and 9:30 PM. 10
Columbus Cir. #10.
 Fred Hersch/Kate McGarry at Jazz Standard, 7:30 and 10PM.
116 E. 27th.
 Henry Butler at Leonard Nimoy Thalia, Symphony Space, 7:30
PM. 2537 Broadway.
 Dave Holland & Prism at Blue Note, 8:00 and 10:30 PM. 131 W.
3rd St.
 Briggan Kraus at Firehouse Space, 8PM. 246 Frost, Bklyn.
 Freddie Hendrix 4 at Hotoke, 8PM. 350 George, New Brunswick
NJ.
 Eric Doob 4 at Jazz Gallery, 8:00 and 10PM. 1160 Broadway.
 Felix Cabrera/Robert Ross Band at B. B. King's, 8PM. 237 W.
42nd.
 Alan Semerdjian/ Aram Bakajian at The Stone, 8PM. 2nd St. @
Avenue C.
 Carte Blanche at Way Station, 8PM. 683 Washington, Bklyn.
 Roxy Coss 3 at Bar Next Door, 8:30 PM. 129 MacDougal.
 Diane Schuur at Birdland, 8:30 and 11PM. 315 W. 44th.
 Matt Pavolka's Horns Band at Cornelia St. Cafe, 8:30 PM. 29
Cornelia.
 Glenn Crytzer Savoy 7 at Swing 46, 8:30 PM. 349 W. 46th.
 Peter Bernstein 4 at Village Vanguard, 178 7th Av
 Ray Vega 5 at Zinc Bar, 8:30 PM. 82 W. 3rd St.
 Megan Hilty at Cafe Carlyle, 8:45 PM. 35 E. 76th.
 Afro-Dysia at Flatiron Room, 9PM. 37 W. 26th.
 OWL Trio at Mezzrow, 9PM. 163 W. 10th St.
 Aram Bakajian at The Stone, 10PM. 2nd St. @ Avenue C.
 Tom Tallitsch 3 at Garage, 10:30 PM. 99 7th Ave.S.
 Joe Goehle & The Cerebral People Project at Whynot Jazz
Your Marketing Blueprint:
The First Step
Dear Artists, Industry Professionals and Business Owners,
In order to help you be more successful, here is how to effectively
reach us at Jazz Inside Magazine — to buy advertising space, marketing & promotional services, get your CD reviewed, and for any and all
editorial and feature considerations.
Room, 11PM. 14 Christopher.
 Roman Diaz & Midnight Rumba at Zinc Bar, 11PM. 82 W. 3rd St.
 Clovis Nicolas at Dizzy's Club Coca Cola, 11:15 PM. 10 Columbus Cir. #10.
Friday, May 22
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Please send a letter of interest with complete information and all of
your contact data (phone, e-mail, street or P.O. Box mailing address) in
an email to Eric Nemeyer at [email protected]
For immediate attention put “Business Inquiry” in the SUBJECT field,
followed by one or all of the following: “AD”, “CD”, “Marketing/
Promotion.”
For example: Business Inquiry – Marketing/Promotion.
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In Music, and Continued Success to Your Goals.
Eric
Cara Dineen 3 at Flatiron Room, 5:30 PM. 37 W. 26th.
Melissa Aldana & Crash Trio at Minton's, 6PM. 206 W. 118th.
George Kostopoulos 3 at Shrine, 6PM. 2271 7th Ave.
Andre Carvalho at Silvana, 6PM. 300 W. 116th.
Mauricio DeSouza 3 at Garage, 6:15 PM. 99 7th Ave.S.
Pepito Gomez: Buena Vista Social Club Special at Drom, 6:30
and 9PM. 85 Avenue A.
Melba Moore at 54 Below, 7PM. 254 W. 54th.
Manny Moreira & Julie E: Tribute to Tom Jobim at Cafe Wha,
7PM. 115 MacDougal.
Syberen Van Muster at Bar Next Door, 7PM. 129 MacDougal.
Columbus Cir. #10.
Fred Hersch/Ravi Coltrane at Jazz Standard, 7:30 and 10PM.
116 E. 27th.
3rd St.
Dirty Dozen Brass Band at Brooklyn Bowl, 8PM. 61 Wythe,
Bklyn.
Art Lillard 3 at Cleopatra's Needle, 8PM. 2485 Broadway.
City Boys Allstars feat. “Blue Lou” Marini & Tom “Bones”
Malone at The Falcon, 8PM. 1348 Rte. 9W, Marlboro NY.
Kenny Garrett at Iridium, 8:00 and 10:30 PM. 1650 Broadway.
Ohad Talmor Grand Ensemble: Book of Etudes at Jazz Gallery, 8:00 and 10PM. 1160 Broadway.
International Contemporary Ensemble Performs George
Lewis' Afterword at Roulette, 8PM. 509 Atlantic, Bklyn.
Sarah Partridge at South Orange Performing Arts Center, 8PM.
1 SOPAC Way, South Orange NJ.
Aram Bakajian/ Joe Morris at The Stone, 8PM. 2nd St. @ Avenue C.
Rob Silverman 4 at Sugar Bar, 8PM. 254 W. 72nd.
Larry Ochs 3 feat. Dave Rempis at Firehouse 12, 8:30 and
10PM. 45 Crown, New Haven CT.
Matt Brewer 3 at Cornelia St. Cafe, 9PM. 29 Cornelia.
Kaylin Lee Clinton at Flatiron Room, 9PM. 37 W. 26th.
Ben Sidran 2 at Mezzrow, 9PM. 163 W. 10th St.
Ron Sunshine Orchestra at Swing 46, 9PM. 349 W. 46th.
Mark Soskin/Tom Kennedy at Knickerbocker Bar, 9:45 PM. 33
University Pl.
Julie Ulehla/ Aram Bakajian at The Stone, 10PM. 2nd St. @
Avenue C.
Double Down: Rat Pack Swing at Way Station, 10PM. 683
Washington, Bklyn.
Jim Piela Group at Whynot Jazz Room, 10PM. 14 Christopher.
Peter Valera & The Jump Blues Band at Garage, 10:45 PM. 99
7th Ave.S.
Ritmosis at B. B. King's, 11PM. 237 W. 42nd.
Ricardo Grilli Group at Blue Note, 12:30 AM. 131 W. 3rd St.
Saturday, May 23
 Marsha Heydt & The Project of Love at Garage, 12:00 PM. 99
7th Ave.S.
 Sharon Rae North at Metropolitan Room, 1:00 PM. 34 W. 22nd.
 Les Grant at Flatiron Room, 5:30 PM. 37 W. 26th.
 Victor Lin 3 at Cornelia St. Cafe, 6PM. 29 Cornelia.
 Melissa Aldana & Crash Trio at Minton's, 6PM. 206 W. 118th.
 Alberto Miranda at Silvana, 6PM. 300 W. 116th.
 Champian Fulton 4 at Garage, 6:15 PM. 99 7th Ave.S.
 Melba Moore at 54 Below, 7PM. 254 W. 54th.
 Blue Vipers of Brooklyn at Winnie's, 7PM. 63 W. 38th.
 Jerome Sabbagh 3 at Bar Next Door, 7:30 PM. 129 MacDougal.
Columbus Cir. #10.
 Fred Hersch/Kenny Barron at Jazz Standard, 7:30 and 10PM.
116 E. 27th.
 Dave Holland & Prism at Blue Note, 8:00 and 10:30 PM. 131 W.
3rd St.
 Denton Darien 3 at Cleopatra's Needle, 8PM. 2485 Broadway.
 Kenny Garrett at Iridium, 8:00 and 10:30 PM. 1650 Broadway.
 Ohad Talmor Grand Ensemble: Book of Etudes at Jazz Gal-
Eric Nemeyer
24
25
“A nation of sheep
will beget a government
of wolves .”
— Edward R. Murrow
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lery, 8:00 and 10PM. 1160 Broadway.
Aram Bakajian 5 at The Stone, 8PM. 2nd St. @ Avenue C.
Garry Dial at Trumpets, 8PM. 6 Depot Sq., Montclair NJ.
Shu Odamura 3 at Whynot Jazz Room, 8:30 PM. 14 Christopher.
Nate Radley 4 at Cornelia St. Cafe, 9PM. 29 Cornelia.
Ben Sidran 2 at Mezzrow, 9PM. 163 W. 10th St.
Dwight West: Tribute to Amiri Baraka at Sistas' Place, 9:00 and
10:30 PM. 456 Nostrand, Bklyn.
Mark Soskin/Harvie S at Knickerbocker Bar, 9:45 PM. 33
University Pl.
Aram Bakajian 5 feat. Frank London at The Stone, 10PM. 2nd
St. @ Avenue C.
Virginia Mayhew 4 at Garage, 10:45 PM. 99 7th Ave.S.
Lee Hogans at Blue Note, 12:30 AM. 131 W. 3rd St.
Sunday, May 24
 Klezmer Brunch: Tavche Gravche at City Winery, 11:00 AM.
155 Varick.
 Steven Feifke at Blue Note, 11:30 AM, 1:30 PM. 131 W. 3rd St.
 Matt Parker 4 at Garage, 11:30 AM. 99 7th Ave.S.
26
 Christopher McBride & The Whole Proof at Minton's, 12:00
PM. 206 W. 118th.
 Bill Mays/Marvin Stamm at Deer Head Inn, 5:00 PM. 5 Main St.,
 Brianna Thomas at Minton's, 5:00 PM. 206 W. 118th.
 Ike Sturm & Evergreen at St. Peter's, 5:00 PM. 619 Lexington.
 Tom Tallitsch 6 at Birdland, 6PM. 315 W. 44th.
 Gabriel Zucker at Silvana, 6PM. 300 W. 116th.
 Carrie Feiner 2 at Caffe Vivaldi, 7PM. 32 Jones.
 Alberto Carrión at Metropolitan Room, 7PM. 34 W. 22nd.
 Charles Downs' Centipede at Whynot Jazz Room, 7PM. 14
Christopher.
Columbus Cir. #10.
 Fred Hersch/Regina Carter at Jazz Standard, 7:30 and 10PM.
116 E. 27th.
 Dave Holland & Prism at Blue Note, 8PM. 131 W. 3rd St.
 Ahmad Hassan Muhammad at Caffe Vivaldi, 8PM. 32 Jones.
 Jeremy Powell 4 at Cornelia St. Cafe, 8PM. 29 Cornelia.
 Kenny Garrett at Iridium, 8:00 and 10:30 PM. 1650 Broadway.
 Tori Gee at Shrine, 8PM. 2271 7th Ave.
 Dolphy Formations feat. Aram Bakajian at The Stone, 8:00 and
 Peter Bernstein 4 at Village Vanguard, 178 7th Av
 Caleb Curtis & Walking Distance at Cornelia St. Cafe, 9:30 PM.
29 Cornelia.
 Yotam Silberstein 3 feat. Aaron Goldberg at Mezzrow, 9:30 PM.
163 W. 10th St.
 Dave Kain Group at Garage, 11PM. 99 7th Ave.S.
Monday, May 25
 Andrew Van Tassel, Bar Next Door, 6:30 PM. 129 MacDougal.
 Nick Spangler Sings Rodgers & Hammerstein at 54 Below,
7PM. 254 W. 54th.
 Cecilia Coleman Big Band at Garage, 7PM. 99 7th Ave.S.
 Angela Roberts at Zinc Bar, 7PM. 82 W. 3rd St.
 Ibrahim Maalouf at Dizzy's Club Coca Cola, 7:30 and 9:30 PM.
 Gato Barbieri at Blue Note, 8:00 and 10:30 PM. 131 W. 3rd St.
 Beat Kaestli 3 at Bar Next Door, 8:30 PM. 129 MacDougal.
 New Aires Tango at Cornelia St. Cafe, 8:30 PM. 29 Cornelia.
 Spike Wilner 3 at Mezzrow, 9:30 PM. 163 W. 10th St.
 Kenny Shanker 4 at Garage, 11PM. 99 7th Ave.S.
 Jonathan Barber at Smalls, 1:00 AM. 183 W. 10th St.
Tuesday, May 26
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Eric Wyatt 3 at Garage, 6PM. 99 7th Ave.S.
Suzanne Douglas at Minton's, 6PM. 206 W. 118th.
Joe Pino 5 at Shrine, 6PM. 2271 7th Ave.
Mark Lockett 5 at Silvana, 6PM. 300 W. 116th.
Alex Sugerman 3 at Bar Next Door, 6:30 PM. 129 MacDougal.
Interview with Reggie Workman at National Jazz Museum,
7PM. 104 E. 126th.
Sergej Avanesov 3 at Pianos, 7PM. 158 Ludlow.
Columbus Cir. #10.
Matthew Stevens Group at Jazz Standard, 7:30 and 10PM. 116
E. 27th.
Albare at Blue Note, 8:00 and 10:30 PM. 131 W. 3rd St.
Alan Ferber 9 at Jazz Gallery, 8:00 and 10PM. 1160 Broadway.
Mark Dresser at The Stone, 8PM. 2nd St. @ Avenue C.
Kristina Koller 4 at Toshi's Living Room, 8PM. 1141 Broadway.
Greg Diamond at Zinc Bar, 8PM. 82 W. 3rd St.
Alex Norris w/Paul Bollenback at Bar Next Door, 8:30 PM. 129
MacDougal.
BossaBrasil: Marcos Valle w/Carlos Lyra at Birdland, 8:30 and
11PM. 315 W. 44th.
Glenn Zaleski 3 at Cornelia St. Cafe, 8:30 PM. 29 Cornelia.
Daniel Levin/Juan Pablo Carletti at Freddy's Bar, 8:30 PM. 627
5th Ave., Bklyn.
George Cables 3 feat. Victor Lewis at Village Vanguard, 178
7th Av
Noa Fort 2 at Caffe Vivaldi, 9PM. 32 Jones.
Atomic Funk Project at Club Groove, 9PM. 125 MacDougal.
Laura Angyal 4 at Flatiron Room, 9PM. 37 W. 26th.
James Carney 3 feat. Mark Helias at Korzo, 9PM. 667 5th Ave.,
Bklyn.
Michal Urbaniak at Drom, 9:30 PM. 85 Avenue A.
Sam Kulik at Freddy's Bar, 10PM. 627 5th Ave., Bklyn.
SLM Ensemble feat. Jane Ira Bloom & Mark Dresser at The
Stone, 10PM. 2nd St. @ Avenue C.
 Alex Bryson 3 at Garage, 10:30 PM. 99 7th Ave.S.
 John Stetch 3 at Korzo, 10:30 PM. 667 5th Ave., Bklyn.
 Joseph Doubelday at Dizzy's Club Coca Cola, 11:15 PM. 10
Columbus Cir. #10.
Wednesday, May 27
 William Bolcom/Joan Morris at St. Peter's, 1:00 PM. 619 Lexington.
 Victor Jones Orchestrio at Garage, 6PM. 99 7th Ave.S.
 Kyle K. Green at Shrine, 6PM. 2271 7th Ave.
 Christina Christofi 4 at Toshi's Living Room, 6PM. 1141 Broadway.
 Paul Jones 3 at Bar Next Door, 6:30 PM. 129 MacDougal.
 bigBANG Jazz Gang: Mostly Mingus at The Falcon, 7PM. 1348
 Susan Tobocman at Flute Gramercy, 7PM. 40 E. 20th.
 Dorian Devins at Flute Midtown, 7PM. 204 W. 54th.
 Ms. Blu at Zinc Bar, 7PM. 82 W. 3rd St.
Columbus Cir. #10.
 Terence Blanchard E-Collective at Jazz Standard, 7:30 and
10PM. 116 E. 27th.
 Linda Oh's Sun Pictures at SubCulture, 7:30 PM. 45 Bleecker.
 Gato Barbieri at Blue Note, 8:00 and 10:30 PM. 131 W. 3rd St.
 Isaac Darche Group at Cornelia St. Cafe, 8PM. 29 Cornelia.
 Chloe Trio at Flatiron Room, 8PM. 37 W. 26th.
 Trio M feat. Myra Melford & Mark Dresser at The Stone, 8PM.
2nd St. @ Avenue C.
 BossaBrasil: Marcos Valle w/Carlos Lyra at Birdland, 8:30 and
11PM. 315 W. 44th.
 Equilibrium at Caffe Vivaldi, 8:30 PM. 32 Jones.
 Greg Joseph 3 at Seeds, 8:30 PM. 617 Vanderbilt, Bklyn.
 Donny McCaslin at SubCulture, 8:30 PM. 45 Bleecker.
 George Cables 3 feat. Victor Lewis at Village Vanguard, 178
7th Av
 Adam Birnbaum 2 at Mezzrow, 9PM. 163 W. 10th St.
 Roberta Donnay & The Prohibition Mob at Sugar Bar, 9PM. 254
W. 72nd.
 Eddie Allen Aggregation Big Band at Zinc Bar, 9PM. 82 W. 3rd
St.
 Pablo Masis 4 at Cornelia St. Cafe, 9:30 PM. 29 Cornelia.
 Michael Sarian & The Big Chabones at Drom, 9:30 PM. 85
Avenue A.
 Ryan Keberle & Catharsis at SubCulture, 9:30 PM. 45 Bleecker.
 Baby Soda at The Wayland, 9:30 PM. 700 E. 9th St.
 Jones Jones feat. Larry Ochs & Mark Dresser at The Stone,
 Emilio Teubal 3 at Garage, 10:30 PM. 99 7th Ave.S.
Columbus Cir. #10.
Thursday, May 28
 Manhattan School of Music Band at Lexington Plaza, 12:30
PM. Lexington @ 53rd.
 Dre Barnes Project at Garage, 6PM. 99 7th Ave.S.
 David Kardas at Shrine, 6PM. 2271 7th Ave.
 Vitaly Golavnev at Silvana, 6PM. 300 W. 116th.
 NanJo Lee at Bar Next Door, 6:30 PM. 129 MacDougal.
 Yoshiko Iwata 3 at Cleopatra's Needle, 7PM. 2485 Broadway.
 Meeting: Duke Ellington Society at St. Peter's, 7PM. 619
Lexington.
Columbus Cir. #10.
10PM. 116 E. 27th.
 Ark Ovrutski at Zinc Bar, 7:30 PM. 82 W. 3rd St.
 Yellowjackets at Blue Note, 8:00 and 10:30 PM. 131 W. 3rd St.
 Primitive Arkestra feat. David Haney & Steve Swell at Firehouse Space, 8PM. 246 Frost, Bklyn.
 Lee Hogans 4 at Hotoke, 8PM. 350 George, New Brunswick NJ.
 Jazz Composers Workshop at Jazz Gallery, 8:00 and 10PM.
1160 Broadway.
 Ned Rothernberg/Mark Dresser at The Stone, 8PM. 2nd St. @
Avenue C.
 Adam Larson 3 at Bar Next Door, 8:30 PM. 129 MacDougal.
 BossaBrasil: Marcos Valle w/Carlos Lyra at Birdland, 8:30 and
11PM. 315 W. 44th.
 David Cook 5 at Cornelia St. Cafe, 8:30 PM. 29 Cornelia.
 Deric Dickens Campaign at I Beam, 8:30 PM. 168 7th St., Bklyn.
 Steve Smith & Vital Information at Iridium, 8:30 and 10:30 PM.
1650 Broadway.
 Vanessa Trouble w/Red Hot Swing at Swing 46, 8:30 PM. 349
W. 46th.
 George Cables 3 feat. Victor Lewis at Village Vanguard, 178
7th Av
 Zona Sul at Flatiron Room, 9PM. 37 W. 26th.
 Adam Birnbaum 2 at Mezzrow, 9PM. 163 W. 10th St.
 Carbon Mirage at Shrine, 9PM. 2271 7th Ave.
 Liz Childs at Bar Thalia, Symphony Space, 9PM. 2537 Broadway.
 Afuriko at Terraza 7, 9PM. 40-19 Gleane, Queens.
 Francisco Mora-Catlett & Afrohorn feat. Oliver Lake at Zinc
Bar, 9PM. 82 W. 3rd St.
 Adison Evans 5 at Drom, 9:30 PM. 85 Avenue A.
 Arabic for Beginners feat. Lena Bloch & Deric Dickens at I
Beam, 9:45 PM. 168 7th St., Bklyn.
 Deep Tones for Peace Bass Ensemble at The Stone, 10PM. 2nd
St. @ Avenue C.
 Todd Herbert 3 at Garage, 10:30 PM. 99 7th Ave.S.
Columbus Cir. #10.
 Darren Lyons at Blue Note, 12:30 AM. 131 W. 3rd St.
Friday, May 29
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J.C. Hopkins Biggish Band at Minton's, 6PM. 206 W. 118th.
MinJin Seo 5 at Silvana, 6PM. 300 W. 116th.
Bobby Katz 3 at Garage, 6:15 PM. 99 7th Ave.S.
Cyrille Aimee 4 at Shanghai Jazz, 6:30 PM. 24 Main St., Madison NJ.
Denny Carrig/Skip Wilkins at Deer Head Inn, 7PM. 5 Main St.,
Ayman Fanous 3 at Firehouse Space, 7PM. 246 Frost, Bklyn.
Michael Sheridan at Flute Gramercy, 7PM. 40 E. 20th.
Bill Frisell 5 feat. Greg Osby at Appell Room, Lincoln Center,
Perry Smith 3 at Bar Next Door, 7:30 PM. 129 MacDougal.
Columbus Cir. #10.
Hailey Niswanger at Drom, 7:30 PM. 85 Avenue A.
Terence Blanchard E-Collective at Jazz Standard, 7:30 and
10PM. 116 E. 27th.
Yellowjackets at Blue Note, 8:00 and 10:30 PM. 131 W. 3rd St.
“A guitarist with an instantly recognizable
voice, his original compositions are joyous
whirlwinds of thematic expression, rich
with emotion and personality. Both vulnerable and commanding, he puts it all on
the line and goes for it, the experience is
thrilling.”
— Jazz Inside
27
What Are You
Waiting For?
A Lifetime Of
Jazz Listening,
 Kermit Ruffins & The BBQ Swingers at Brooklyn Bowl, 8PM.
61 Wythe, Bklyn.
 Sonelius Smith 3 at Cleopatra's Needle, 8PM. 2485 Broadway.
 Ayman Fanous 3 feat. Denman Maroney at Firehouse Space,
8PM. 246 Frost, Bklyn.
 Isabella Lundgren at Greenwich House, 8PM. 46 Barrow.
 Diane Moser/Mark Dresser at The Stone, 8PM. 2nd St. @ Avenue C.
 Adam Caine 4 at Whynot Jazz Room, 8PM. 14 Christopher.
 Isabella Lundgren w/Joe Alterman 3 at Caffe Vivaldi, 8:30 PM.
32 Jones.
 Brian Charette's Mighty Grinders at Firehouse 12, 8:30 and
10PM. 45 Crown, New Haven CT.
 Steve Smith & Vital Information at Iridium, 8:30 and 10:30 PM.
1650 Broadway.
 George Cables at Village Vanguard, 178 7th Av
 David Smith 4 at Cornelia St. Cafe, 9PM. 29 Cornelia.
 Frank Kimbrough 2 at Mezzrow, 9PM. 163 W. 10th St.
 Swingaroos at Metropolitan Room, 9:30 PM. 34 W. 22nd.
 Jarrett Gilgore 4 feat. Deric Dickens: Music of Jimmy Lyons at
I Beam, 9:45 PM. 168 7th St., Bklyn.
 Jay Leonhart 2 at Knickerbocker Bar, 9:45 PM. 33 University Pl.
 Marty Ehrlich 3 feat. Andrew Cyrille & Mark Dresser at The
Stone, 10PM. 2nd St. @ Avenue C.
Columbus Cir. #10.
 Abe Ovadia at Blue Note, 12:30 AM. 131 W. 3rd St.
Saturday, May 30
 Kyoko Oyobe at Garage, 12:00 PM. 99 7th Ave.S.
 Juan Antonio Simarro: Flamenco Infused Jazz at Cornelia St.
Cafe, 6PM. 29 Cornelia.
 Andy Bey at Minton's, 6PM. 206 W. 118th.
 Michika Fukumori 3 at Garage, 6:15 PM. 99 7th Ave.S.
 Bill Frisell 5 feat. Greg Osby at Appell Room, Lincoln Center,
 Will Sellenraad at Bar Next Door, 7:30 PM. 129 MacDougal.
Columbus Cir. #10.
10PM. 116 E. 27th.
YOU REALLY COULD BE GETTING A
LOT MORE PRINT, DIGITAL AND
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Press Release and Video Press Release
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In 27 Minutes?
 Jamie Baum 8 at Jazz Gallery, 8:00 and 10PM. 1160 Broadway.
 Ali Jackson: The Artistry of Max Roach at Rose Theater,
 Jessica Molaskey at NJPAC, 8PM. 1 Center St., Newark NJ.
 Roswell Rudd at The Stone, 8PM. 2nd St. @ Avenue C.
 Dave Stryker at Trumpets, 8PM. 6 Depot Sq., Montclair NJ.
 George Cables at Village Vanguard, 178 7th Av
 Jon Irabagon 4 at Cornelia St. Cafe, 9PM. 29 Cornelia.
 Frank Kimbrough 2 at Mezzrow, 9PM. 163 W. 10th St.
 New Cookers feat. Kenyatta Beasley at Sistas' Place, 9:00 and
10:30 PM. 456 Nostrand, Bklyn.
 Marcus Goldhaber, Symphony Space, 9PM. 2537 Broadway.
 Manuel Valera & The Groove Square at Terraza 7, 9:30 PM. 4019 Gleane, Queens.
 Jay Leonhart 2 at Knickerbocker Bar, 9:45 PM. 33 University Pl.
 Mark Dresser 3 feat. Denman Maroney at The Stone, 10PM. 2nd
St. @ Avenue C.
Columbus Cir. #10.
Sunday, May 31
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Rotem Sivan at Blue Note, 11:30 AM and 1:30 PM. 131 W. 3rd St.
Iris Ornig 4 at Garage, 11:30 AM. 99 7th Ave.S.
Uri Gurvich 4 at Minton's, 12:00 PM. 206 W. 118th.
Brick City Jazz Orchestra at NJ Performing Arts Center, 3:00
PM. 1 Center St., Newark NJ.
Andy Bey at Minton's, 5:00 PM. 206 W. 118th.
Jon Cowherd at St. Peter's, 5:00 PM. 619 Lexington.
Rob Edwards 4 at Garage, 6:15 PM. 99 7th Ave.S.
Leana Courtney at Caffe Vivaldi, 7PM. 32 Jones.
Jason Mears 4 at Whynot Jazz Room, 7PM. 14 Christopher.
Columbus Cir. #10.
Terence Blanchard E-Collective at Jazz Standard, 7:30 and
10PM. 116 E. 27th.
Yellowjackets at Blue Note, 8:00 and 10:30 PM. 131 W. 3rd St.
Ian Foster at Caffe Vivaldi, 8PM. 32 Jones.
Ray Anderson/Mark Dresser at The Stone, 8PM. 2nd St. @
Avenue C.
Patick Cornelius 8 at Cornelia St. Cafe, 8:30 PM. 29 Cornelia.
George Cables at Village Vanguard, 178 7th Av
Peter Evans at The Stone, 10PM. 2nd St. @ Avenue C.
Mauricio DeSouza 3 at Garage, 10:45 PM. 99 7th Ave.S.
Monday, June 1
 Benjamin Bryden 3 at Bar Next Door, 6:30 PM. 129 MacDougal.
 Aaron Goldberg 3 at Dizzy's Club Coca Cola, 7:30 and 9:30 PM.
 3 Aces of New Jazz from Italy at Roulette, 7:30 PM. 509 Atlantic, Bklyn.
 Deborah Latz 3 at Bar Next Door, 8:30 PM. 129 MacDougal.
Tuesday, June 2
 Aaron Goldberg 3 at Dizzy's Club Coca Cola, 7:30 and 9:30 PM.
 Silver Arrow Band at Drom, 7:30 PM. 85 Avenue A.
 Savion Glover at Blue Note, 8:00 and 10:30 PM. 131 W. 3rd St.
 Mike Longo & New York State of the Art Jazz Ensemble at
NYC Baha'i Center, 8:00 and 9:30 PM. 53 E. 11th St.
 James Silberstein at Bar Next Door, 8:30 PM. 129 MacDougal.
 Maria Schneider Orchestra at Birdland, 8PM. 315 W. 44th.
 Terrell Stafford at Village Vanguard, 178 7th Av
 Alan Cumming at Cafe Carlyle, 8:45 PM. 35 E. 76th.
Wednesday, June 3
 Etienne Charles: Creole Soul at Dizzy's Club Coca Cola, 7:30
 Savion Glover at Blue Note, 8:00 and 10:30 PM. 131 W. 3rd St.
 Terrell Stafford at Village Vanguard, 178 7th Av
VideoPressReleaser.com  215-887-8880
28
Thursday, June 4
 Etienne Charles: Creole Soul at Dizzy's Club Coca Cola, 7:30
Thalia, Symphony Space, 8PM. 2537 Broadway.
 Maria Schneider Orchestra at Birdland, 8PM. 315 W. 44th.
“The study
of history is a powerful
antidote to contemporary
arrogance. It is humbling to discover
how many of our glib assumptions,
which seem to us novel and plausible,
have been tested before, not once but
many times and in innumerable
guises; and discovered to be,
at great human cost,
wholly false.”
Thursdays (5/7, 5/14, 5/21, 5/28)
 Chris Gillespie at Bemelmans, 5:30 PM. 35 E. 76th.
 Marques/Stinson/O'Farrill at Caffe Vivaldi, 9PM. 32 Jones.
 David Budway 3 at Bemelmans, 9:30 PM. 35 E. 76th.
REGULAR GIGS
Mondays (5/4, 5/11, 5/18, 5/25)
— Paul Johnson, American Novelist
 Al Kooper Birthday Celebration w/special guests at B. B.
King's, 7:30 PM. 237 W. 42nd.
 Terrell Stafford, Village Vanguard, 178 7th Av
 Emily Wolf Project at Pianos, 9PM. 158 Ludlow.
Friday, June 5
 Film Screening: Sweet Smell of Success (1957) with score by
Chico Hamilton at Classroom, 92nd St, Y, 10:00 AM. Lexington
@ 92nd.
 Tom Dempsey 3 at Bar Next Door, 7:30 PM. 129 MacDougal.
 Tootie Heath Birthday Celebration feat. David Wong at Dizzy's
 Al Kooper Birthday Celebration w/special guests at B. B.
King's, 7:30 PM. 237 W. 42nd.
 Florencia Gonzalez Candombe Project at Shrine, 8PM. 2271 7th
Ave.
 Neo Bass Ensemble: Music of Jazz Greats at Leonard Nimoy
 Mingus Big Band (except 5/11 and 5/25) at Jazz Standard, 7:30
and 10PM. 116 E. 27th.
 John Merrill & Guests at Mezzrow, 7:30 PM. 163 W. 10th St.
 Jon Weiss 3 at Cleopatra's Needle, 8PM. 2485 Broadway.
 Swingadelic at Swing 46, 8:30 PM. 349 W. 46th.
 Vanguard Jazz Orchestra at Village Vanguard, 178 7th Av
 Woody Allen & Eddy Davis New Orleans Jazz Band at Cafe
Carlyle, 8:45 PM. 35 E. 76th.
 Earl Rose 3 at Bemelmans, 9PM. 35 E. 76th.
 Jam Session at Cleopatra's Needle, 10PM. 2485 Broadway.
 Jim Campilongo 3 (except 5/18) at Stage 1, Rockwood Music
Hall, 10PM. 196 Allen.
Tuesdays (5/5, 5/12, 5/19, 5/26)
 Stan Rubin Orchestra feat. Joe Politi at Swing 46, 7:15 PM. 349
W. 46th.
 Marc Devine 3 at Cleopatra's Needle, 8PM. 2485 Broadway.
 Annie Ross at Metropolitan Room, 9:30 PM. 34 W. 22nd.
 Jam Session at Cleopatra's Needle, 10PM. 2485 Broadway.
 Jam Session at Mezzrow, 11PM. 163 W. 10th St.
Wednesdays (5/6, 5/13, 5/20, 5/27)







Chris Gillespie at Bemelmans, 5:30 PM. 35 E. 76th.
Louis Armstrong Eternity Band at Birdland, 5PM. 315 W. 44th.
Les Kurtz 3 at Cleopatra's Needle, 7PM. 2485 Broadway.
Jonathan Kreisberg, Bar Next Door, 8:30 PM. 129 MacDougal.
David Budway 3 at Bemelmans, 9:30 PM. 35 E. 76th.
Nathan Brown at Cleopatra's Needle, 11PM. 2485 Broadway.
Jam Session at Mezzrow, 11:30 PM. 163 W. 10th St.
Fridays (5/1, 5/8, 5/15, 5/22, 5/29)
 Double Down: Rat Pack Swing (except 5/22) at Toshi's Living
Room, 6PM. 1141 Broadway.
 Ehud Asherie at Mezzrow, 7PM. 163 W. 10th St.
 Mimi Jones Jam Session at Bar Thalia, Symphony Space,
8PM. 2537 Broadway.
 Jam w/Joanna Sternberg at Cleopatra's Needle, 12:30 AM.
2485 Broadway.
Saturdays (5/2, 5/9, 5/16, 5/23, 5/30)
 NY Jazz Academy Workshop (except 5/9) at St. Peter's, 12:00
PM. 619 Lexington.
 Barbara Carroll (except 5/2) at Birdland, 6PM. 315 W. 44th.
 Spike Wilner & Guests at Mezzrow, 7PM. 163 W. 10th St.
 Misha Patigorsky 3 (except 5/16) at Zinc Bar, 8PM. 82 W. 3rd St.
Sundays (5/3, 5/10, 5/17, 5/24, 5/31)
 Keith Ingham at Cleopatra's Needle, 4:00 PM. 2485 Broadway.
 Terry Waldo at Fat Cat, 6PM. 75 Christopher.
 Noel Brennan (except 5/17) at Caffe Vivaldi, 6PM. (5:00 PM on
5/24.) 32 Jones.
 David Coss 4 (except 5/3 and 5/31) at Garage, 6:30 PM. 99 7th
Ave.S.
 Broadway Brassy at Flatiron Room, 7PM. 37 W. 26th.
 Peter Mazza 3 at Bar Next Door, 8PM. 129 MacDougal.
 Felix and the Cats (except 5/10 and 5/17) at Swing 46, 8PM. 349
W. 46th.
 Billy Stritch/Jim Caruso at Bemelmans, 9PM. 35 E. 76th.
 Arturo O'Farrill Afro Latin Jazz Orchestra at Birdland, 9:00 and
11PM. 315 W. 44th.
 John Lander 3 at Caffe Vivaldi, 9PM. 32 Jones.

Get Your Own
FREE Music Business
LEAD GENERATION
Website System
LIMITED AVAILABILITY
29
Clubs, Venues & Jazz Resources
55 Bar, 55 Christopher St. 212-929-9883, 55bar.com
92nd St Y, 1395 Lexington Ave, New York, NY 10128,
212.415.5500, 92ndsty.org
Aaron Davis Hall, City College of NY, Convent Ave., 212-6506900, aarondavishall.org
Alice Tully Hall, Lincoln Center, Broadway & 65th St., 212875-5050, lincolncenter.org/default.asp
Allen Room, Lincoln Center, Time Warner Center, Broadway
and 60th, 5th floor, 212-258-9800, lincolncenter.org
Alor Cafe, 2110 Richmond Rd., Staten Island. 718-351-1101.
alorcafe.com
American Museum of Natural History, 81st St. & Central
Park W., 212-769-5100, amnh.org
Arthur’s Tavern, 57 Grove St., 212-675-6879 or 917-3018759, arthurstavernnyc.com
Arts Maplewood, P.O. Box 383, Maplewood, NJ 07040; 973378-2133, artsmaplewood.org
Avery Fischer Hall, Lincoln Center, Columbus Ave. & 65th St.,
212-875-5030, lincolncenter.org
BAM Café, 30 Lafayette Av, Brooklyn, 718-636-4100, bam.org
Bar Chord, 1008 Cortelyou Rd., Brooklyn, barchordnyc.com
Barbes, 376 9th St. (corner of 6th Ave.), Park Slope, Brooklyn,
718-965-9177, barbesbrooklyn.com
Barge Music, Fulton Ferry Landing, Brooklyn, 718-624-2083,
bargemusic.org
B.B. King’s Blues Bar, 237 W. 42nd St., 212-997-4144,
bbkingblues.com
Beacon Theatre, 74th St. & Broadway, 212-496-7070
Bickford Theatre, on Columbia Turnpike @ Normandy Heights
Road, east of downtown Morristown. 973-744-2600
Birdland, 315 W. 44th St., 212-581-3080
Blue Note, 131 W. 3rd St., 212-475-8592, bluenotejazz.com
Bourbon St Bar and Grille, 346 W. 46th St, NY, 10036,
212-245-2030, [email protected]
Bowery Poetry Club, 308 Bowery (at Bleecker), 212-614-0505,
bowerypoetry.com
BRIC House, 647 Fulton St. Brooklyn, NY 11217, 718-6835600, http://bricartsmedia.org
Brooklyn Public Library, Grand Army Plaza, 2nd Fl, Brooklyn, NY, 718-230-2100, brooklynpubliclibrary.org
Buttonwood Tree Performing Arts & Cultural Center, 605
Main St., Middletown, CT. 860-347-4957, buttonwood.org.
Café Carlyle, 35 E. 76th St., 212-570-7189, thecarlyle.com
Café Loup, 105 W. 13th St. (West Village) , between Sixth and
Seventh Aves., 212-255-4746
Café St. Bart’s, 109 E. 50th St, 212-888-2664, cafestbarts.com
Cafe Noctambulo, 178 2nd Ave. 212-995-0900. cafenoctambulo.com
Caffe Vivaldi, 32 Jones St, NYC; caffevivaldi.com
Candlelight Lounge, 24 Passaic St, Trenton. 609-695-9612.
Carnegie Hall, 7th Av & 57th, 212-247-7800, carnegiehall.org
Chico’s House Of Jazz, In Shoppes at the Arcade, 631 Lake
Ave., Asbury Park, 732-774-5299
City Winery, 155 Varick St. Bet. Vandam & Spring St., 212608-0555. citywinery.com
Cleopatra’s Needle, 2485 Broadway (betw 92nd & 93rd), 212769-6969, cleopatrasneedleny.com
Copeland’s, 547 W. 145th St. (at Bdwy), 212-234-2356
Cornelia St Café, 29 Cornelia, 212-989-9319
Count Basie Theatre, 99 Monmouth St., Red Bank, New Jersey
07701, 732-842-9000, countbasietheatre.org
Crossroads at Garwood, 78 North Ave., Garwood, NJ 07027,
908-232-5666
Cutting Room, 19 W. 24th St, thecuttingroomnyc.com, 212691-1900
“Only fools
and charlatans think they
know and understand everything.
The stupider they are, the wider they
conceive their horizons to be. And if
an artist decides to declare that he
understands nothing of what he
sees—this in itself constitutes a
considerable clarity in the realm
of thought, and a great
step forward.”
—- Anton
Anton Chekhov
Chekhov
30
Division St Grill, 26 North Division St, Peekskill, NY, 914-7396380, divisionStgrill.com
Dizzy’s Club Coca Cola, Broadway at 60th St., 5th Floor, 212258-9595, jalc.com
DROM, 85 Avenue A, New York, 212-777-1157, dromnyc.com
The Ear Inn, 326 Spring St., NY, 212-226-9060, earinn.com
El Museo Del Barrio, 1230 Fifth Ave (at 104th St.), Tel: 212831-7272, Fax: 212-831-7927, elmuseo.org
The Falcon, 1348 Rt. 9W, Marlboro, NY., 845) 236-7970,
Fat Cat, 75 Christopher St., 212-675-7369, fatcatjazz.com
Five Spot, 459 Myrtle Ave, Brooklyn, NY, 718-852-0202,
fivespotsoulfood.com
Flushing Town Hall, 137-35 Northern Blvd., Flushing, NY,
718-463-7700 x222, flushingtownhall.org
For My Sweet, 1103 Fulton St., Brooklyn, NY 718-857-1427
Galapagos, 70 N. 6th St., Brooklyn, NY, 718-782-5188, galapagosartspace.com
Garage Restaurant and Café, 99 Seventh Ave. (betw 4th and
Bleecker), 212-645-0600, garagerest.com
Garden Café, 4961 Broadway, by 207th St., New York, 10034,
212-544-9480
Ginny’s Supper Club, 310 Malcolm X Boulevard Manhattan,
NY 10027, 212-792-9001, http://redroosterharlem.com/ginnys/
Glen Rock Inn, 222 Rock Road, Glen Rock, NJ, (201) 4452362, glenrockinn.com
Greenwich Village Bistro, 13 Carmine St., 212-206-9777,
greenwichvillagebistro.com
Harlem Tea Room, 1793A Madison Ave., 212-348-3471,
harlemtearoom.com
Hat City Kitchen, 459 Valley St, Orange. 862-252-9147. hatcitykitchen.com
Havana Central West End, 2911 Broadway/114th St), NYC,
212-662-8830, havanacentral.com
Hibiscus Restaurant, 270 S. St, Morristown, NJ, 973-359-0200,
hibiscusrestaurantnj.com
Highline Ballroom, 431 West 16th St (between 9th & 10th Ave.
highlineballroom.com, 212-414-4314.
Hopewell Valley Bistro, 15 East Broad St, Hopewell, NJ 08525,
609-466-9889, hopewellvalleybistro.com
Hyatt New Brunswick, 2 Albany St., New Brunswick, NJ
IBeam Music Studio, 168 7th St., Brooklyn, ibeambrooklyn.com
Iridium, 1650 Broadway, 212-582-2121, iridiumjazzclub.com
Jazz 966, 966 Fulton St., Brooklyn, NY, 718-638-6910
Jazz at Lincoln Center, 33 W. 60th St., 212-258-9800, jalc.org
 Frederick P. Rose Hall, Broadway at 60th St., 5th Floor
 Dizzy’s Club Coca-Cola, Reservations: 212-258-9595
 Rose Theater, Tickets: 212-721-6500, The Allen Room,
Tickets: 212-721-6500
Jazz Gallery, 1160 Broadway, New York, NY 10001, (212)
242-1063, jazzgallery.org
The Jazz Spot, 375 Kosciuszko St. (enter at 179 Marcus Garvey
Blvd.), Brooklyn, NY, 718-453-7825, thejazz.8m.com
Jazz Standard, 116 E. 27th St., 212-576-2232, jazzstandard.net
Joe’s Pub at the Public Theater, 425 Lafayette St & Astor Pl.,
212-539-8778, joespub.com
John Birks Gillespie Auditorium (see Baha’i Center)
Jules Bistro, 65 St. Marks Place, Tel: 212-477-5560, Fax: 212420-0998, julesbistro.com
Kasser Theater, 1 Normal Avenue, Montclair State College,
Montclair, 973-655-4000, montclair.edu/arts/
performancefacilities/alexanderkasser.html
Key Club, 58 Park Pl, Newark, NJ, 973-799-0306, keyclubnj.com
Kitano Hotel, 66 Park Ave., 212-885-7119. kitano.com
Knickerbocker Bar & Grill, 33 University Pl., 212-228-8490,
knickerbockerbarandgrill.com
Knitting Factory, 74 Leonard St, 212-219-3132, knittingfactory.com
Langham Place — Measure, Fifth Avenue, 400 Fifth Avenue
New York, NY 10018, 212-613-8738, langhamplacehotels.com
La Lanterna (Bar Next Door at La Lanterna), 129 MacDougal
St, New York, 212-529-5945, lalanternarcaffe.com
Le Cirque Cafe, 151 E. 58th St., lecirque.com
Le Madeleine, 403 W. 43rd St. (betw 9th & 10th Ave.), New
York, New York, 212-246-2993, lemadeleine.com
Les Gallery Clemente Soto Velez, 107 Suffolk St. (at Rivington St.), 212-260-4080
Live @ The Falcon, 1348 Route 9W, Marlboro, NY 12542,
Living Room, 154 Ludlow St. 212-533-7235, livingroomny.com
The Local 269, 269 E. Houston St. (corner of Suffolk St.), NYC
Makor, 35 W. 67th St., 212-601-1000, makor.org
Lounge Zen, 254 DeGraw Ave, Teaneck, NJ, (201) 692-8585,
lounge-zen.com
Maxwell’s, 1039 Washington St, Hoboken, NJ, 201-653-1703,
maxwellsnj.com
McCarter Theater, 91 University Pl., Princeton, 609-258-2787,
mccarter.org
Merkin Concert Hall, Kaufman Center, 129 W. 67th St., 212501-3330, ekcc.org/merkin.htm
Metropolitan Room, 34 West 22nd St NY, NY 10012, 212206-0440
Mezzrow, 163 West 10th Street, Basement, New York, NY
10014. 646-476-4346. www.mezzrow.com
Minton’s, 206 W 118th St., 212-243-2222, mintonsharlem.com
Mirelle’s, 170 Post Ave., Westbury, NY, 516-338-4933
MIST Harlem, 46 W. 116th St., myimagestudios.com
Mixed Notes Café, 333 Elmont Rd., Elmont, NY (Queens area),
516-328-2233, mixednotescafe.com
Montauk Club, 25 8th Ave., Brooklyn, 718-638-0800,
montaukclub.com
Moscow 57, 168½ Delancey. 212-260-5775. moscow57.com
Museum of the City of New York, 1220 Fifth Ave. (between
103rd & 104th St.), 212-534-1672, mcny.org
Musicians’ Local 802, 332 W. 48th, 718-468-7376
Newark Museum, 49 Washington St, Newark, New Jersey
07102-3176, 973-596-6550, newarkmuseum.org
New Jersey Performing Arts Center, 1 Center St., Newark,
NJ, 07102, 973-642-8989, njpac.org
New Leaf Restaurant, 1 Margaret Corbin Dr., Ft. Tryon Park.
212-568-5323. newleafrestaurant.com
New School Performance Space, 55 W. 13th St., 5th Floor
(betw 5th & 6th Ave.), 212-229-5896, newschool.edu.
New School University-Tishman Auditorium, 66 W. 12th St.,
1st Floor, Room 106, 212-229-5488, newschool.edu
New York City Baha’i Center, 53 E. 11th St. (betw Broadway
& University), 212-222-5159, bahainyc.org
Night of the Cookers, 767 Fulton St., Brooklyn, NY, Tel: 718797-1197, Fax: 718-797-0975
North Square Lounge, 103 Waverly Pl. (at MacDougal St.),
212-254-1200, northsquarejazz.com
Novita Bistro & Lounge, 25 New St, Metuchen.
Nublu, 62 Ave. C (betw 4th & 5th St.), 212-979-9925
Nuyorican Poet’s Café, 236 E. 3rd St. (betw Ave. B & C), 212505-8183, nuyorican.org
Oak Room at The Algonquin Hotel, 59 W. 44th St. (betw 5th
and 6th Ave.), 212-840-6800, thealgonquin.net
Oceana Restaurant, 120 West 49th St, New York, NY 10020
212-759-5941, oceanarestaurant.com
Opia, 130 East 57th St, New York, NY 10022, 212-688-3939
opiarestaurant.com
Orchid, 765 Sixth Ave. (betw 25th & 26th St.), 212-206-9928
Palazzo Restaurant, 11 South Fullerton Avenue, Montclair.
973-746-6778. palazzonj.com
Pigalle, 790 8th Ave. 212-489-2233. pigallenyc.com
Priory Restaurant & Jazz Club: 223 W Market St., Newark,
NJ 07103, 973-639-7885
Private Place, 29 S. Center St, South Orange, NJ, 973-675-6620
privateplacelounge.com
Proper Café, 217-01 Linden Blvd., Queens, 718-341-2233
Prospect Park Bandshell, 9th St. & Prospect Park W., Brooklyn, NY, 718-768-0855
Prospect Wine Bar & Bistro, 16 Prospect St. Westfield, NJ,
908-232-7320, 16prospect.com, cjayrecords.com
Red Eye Grill, 890 Seventh Ave. (at 56th St.), 212-541-9000,
redeyegrill.com
Ridgefield Playhouse, 80 East Ridge, parallel to Main St.,
Ridgefield, CT; ridgefieldplayhouse.org, 203-438-5795
Rockwood Music Hall, 196 Allen St, 212-477-4155
Rose Center (American Museum of Natural History), 81st St.
(Central Park W. & Columbus), 212-769-5100, amnh.org/rose
Rose Hall, 33 W. 60th St., 212-258-9800, jalc.org
Rosendale Café, 434 Main St., PO Box 436, Rosendale, NY
12472, 845-658-9048, rosendalecafe.com
Rubin Museum of Art - “Harlem in the Himalayas”, 150 W.
17th St. 212-620-5000. rmanyc.org
Rustik, 471 DeKalb Ave, Brooklyn, NY, 347-406-9700,
rustikrestaurant.com
St. Mark’s Church, 131 10th St. (at 2nd Ave.), 212-674-6377
St. Nick’s Pub, 773 St. Nicholas Av (at 149th), 212-283-9728
St. Peter’s Church, 619 Lexington (at 54th), 212-935-2200,
saintpeters.org
Salon at Rue 57, 60 W. 57th St, 212-307-5656, rue57.com
Sasa’s Lounge, 924 Columbus Ave, Between 105th & 106th St.
NY, NY 10025, 212-865-5159, sasasloungenyc.yolasite.com
Savoy Grill, 60 Park Place, Newark, NJ 07102, 973-286-1700
Schomburg Center, 515 Malcolm X Blvd., 212-491-2200,
nypl.org/research/sc/sc.html
Session Bistro. 245 Maywood Ave, Maywood. 201-880-7810.
Shanghai Jazz, 24 Main St., Madison, NJ, 973-822-2899,
shanghaijazz.com
ShapeShifter Lab, 18 Whitwell Pl, Brooklyn, NY 11215
shapeshifterlab.com
Showman’s, 375 W. 125th St., 212-864-8941
Sidewalk Café, 94 Ave. A, 212-473-7373
Silver Spoon, 124 Main St., Cold Spring, NY 10516, 845-2652525, silverspooncoldpspring.com
Sista’s Place, 456 Nostrand Ave. (at Jefferson Ave.), Brooklyn,
NY, 718-398-1766, sistasplace.org
Skippers Plane St Pub, 304 University Ave. Newark NJ, 973733-9300, skippersplaneStpub.com
Smalls Jazz Club, 183 W. 10th St. (at 7th Ave.), 212-929-7565,
SmallsJazzClub.com
Smith’s Bar, 701 8th Ave, New York, 212-246-3268
Sofia’s Restaurant - Club Cache’ [downstairs], Edison Hotel,
221 W. 46th St. (between Broadway & 8th Ave), 212-719-5799
Somethin’ Jazz Club, 212 E. 52nd, NY, 212-371-7657
Sophie’s Bistro, 700 Hamilton St., Somerset. nbjp.org
South Gate Restaurant & Bar, 154 Central Park South, 212484-5120, 154southgate.com
South Orange Performing Arts Center, One SOPAC
Way, South Orange, NJ 07079, sopacnow.org, 973-313-2787
South St Seaport, 207 Front St., 212-748-8600
Spectrum, 2nd floor, 121 Ludlow St.
Spoken Words Café, 266 4th Av, Brooklyn, 718-596-3923
Stanley H. Kaplan Penthouse, 165 W. 65th St., 10th Floor,
212-721-6500, lincolncenter.org
The Stone, Ave. C & 2nd St., thestonenyc.com
Strand Bistro, 33 W. 37th St. 212-584-4000
SubCulture, 45 Bleecker St., subculturenewyork.com
Sugar Bar, 254 W. 72nd St, 212-579-0222, sugarbarnyc.com
Swing 46, 349 W. 46th St.(betw 8th & 9th Ave.),
212-262-9554, swing46.com
Symphony Space, 2537 Broadway, Tel: 212-864-1414, Fax:
212- 932-3228, symphonyspace.org
Tea Lounge, 837 Union St. (betw 6th & 7th Ave), Park Slope,
Broooklyn, 718-789-2762, tealoungeNY.com
Terra Blues, 149 Bleecker St. (betw Thompson & LaGuardia),
212-777-7776, terrablues.com
Theatre Row, 410 W. 42nd, 212-714-2442, theatrerow.org
Tito Puente’s Restaurant and Cabaret, 64 City Island Avenue,
City Island, Bronx, 718-885-3200, titopuentesrestaurant.com
Tomi Jazz, 239 E. 53rd St., lower level. 646-497-1254, tomijazz.com
Tonic, 107 Norfolk St. (betw Delancey & Rivington), Tel: 212358-7501, Fax: 212-358-1237, tonicnyc.com
Town Hall, 123 W. 43rd St., 212-997-1003
Trash Bar, 256 Grand St. 718-599-1000. thetrashbar.com
Triad Theater, 158 W. 72nd St. (betw Broadway & Columbus
Ave.), 212-362-2590, triadnyc.com
Tribeca Performing Arts Center, 199 Chambers St, 10007,
[email protected], tribecapac.org
Trumpets, 6 Depot Square, Montclair, NJ, 973-744-2600,
trumpetsjazz.com
Tumulty’s Pub, 361 George St., New Brunswick
Turning Point Cafe, 468 Piermont Ave. Piermont, N.Y. 10968
(845) 359-1089, http://turningpointcafe.com/
Village Vanguard, 178 7th Ave S., 212-255-4037,
villagevanguard.net
Vision Festival, 212-696-6681, [email protected],
visionfestival.org
Watchung Arts Center, 18 Stirling Rd, Watchung, NJ 07069,
908-753-0190, watchungarts.org
Watercolor Café, 2094 Boston Post Road, Larchmont, NY
10538, 914-834-2213, 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 wmcjazz.org
Zankel Hall, 881 7th Ave, New York, 212-247-7800
Zebulon, 258 Wythe St., Brooklyn, NY, 11211, 718-218-6934,
zebuloncafeconcert.com
Zinc Bar, 82 West 3rd St.
RECORD STORES
Academy Records, 12 W. 18th St., New York, NY 10011, 212242-3000, http://academy-records.com
Downtown Music Gallery, 13 Monroe St, New York, NY
10002, (212) 473-0043, downtownmusicgallery.com
Jazz Record Center, 236 W. 26th St., Room 804,
212-675-4480, jazzrecordcenter.com
Princeton Record Exchange, 20 South Tulane St, Princeton,
NJ 08542, 609-921-0881, prex.com
Scotti’s Records, 351 Springfield Ave, Summit, NJ, 07901,
908-277-3893, scotticd.com
MUSIC STORES
Drummers World, Inc., 151 W. 46th St., NY, NY 10036, 212840-3057, 212-391-1185, drummersworld.com
Roberto’s Woodwind & Brass, 149 West 46th St. NY, NY
10036, 646-366-0240, Repair Shop: 212-391-1315; 212-8407224, robertoswoodwind.com
Rod Baltimore Intl Woodwind & Brass, 168 W. 48 St. New
York, NY 10036, 212-302-5893
Sam Ash, 333 W 34th St, New York, NY 10001
Phone: (212) 719-2299 samash.com
Sadowsky Guitars Ltd, 2107 41st Avenue 4th Floor, Long
Island City, NY 11101, 718-433-1990. sadowsky.com
Steve Maxwell Vintage Drums, 723 7th Ave, 3rd Floor, New
York, NY 10019, 212-730-8138, maxwelldrums.com
92nd St Y, 1395 Lexington Ave, New York, NY 10128
212.415.5500; 92ndsty.org
Brooklyn-Queens Conservatory of Music, 42-76 Main St.,
Flushing, NY, Tel: 718-461-8910, Fax: 718-886-2450
Brooklyn Conservatory of Music, 58 Seventh Ave., Brooklyn,
NY, 718-622-3300, brooklynconservatory.com
City College of NY-Jazz Program, 212-650-5411,
Columbia University, 2960 Broadway, 10027
Drummers Collective, 541 6th Ave, New York, NY 10011,
212-741-0091, thecoll.com
Five Towns College, 305 N. Service Rd., 516-424-7000,
ext.163, Dix Hills, NY
Greenwich House Music School, 46 Barrow St., Tel: 212-2424770, Fax: 212-366-9621, greenwichhouse.org
Juilliard School of Music, 60 Lincoln Ctr, 212-799-5000
LaGuardia Community College/CUNI, 31-10 Thomson Ave.,
Long Island City, 718-482-5151
Lincoln Center — Jazz At Lincoln Center, 140 W. 65th St.,
10023, 212-258-9816, 212-258-9900
Long Island University — Brooklyn Campus, Dept. of Music,
University Plaza, Brooklyn, 718-488-1051, 718-488-1372
Manhattan School of Music, 120 Claremont Ave., 10027,
212-749-2805, 2802, 212-749-3025
New Jersey City University, 2039 Kennedy Blvd., Jersey City,
NJ 07305, 888-441-6528
New School, 55 W. 13th St., 212-229-5896, 212-229-8936
New York University-Jazz/Contemporary Music Studies, 35
West 4th St. Room#777, 212-998-5446, 212-995-4043
NY Jazz Academy, 718-426-0633 NYJazzAcademy.com
Princeton University-Dept. of Music, Woolworth Center Musical Studies, Princeton, NJ, 609-258-4241, 609-258-6793
Queens College — Copland School of Music, City University
of NY, Flushing, 718-997-3800
Rutgers Univ. at New Brunswick, Jazz Studies, Douglass
Campus, PO Box 270, New Brunswick, NJ, 908-932-9302
Rutgers University Institute of Jazz Studies, 185 University
Avenue, Newark NJ 07102, 973-353-5595
newarkrutgers.edu/IJS/index1.html
SUNY Purchase, 735 Anderson Hill, Purchase, 914-251-6300
Swing University (see Jazz At Lincoln Center, under Venues)
William Paterson University Jazz Studies Program, 300 Pompton Rd, Wayne, NJ, 973-720-2320
RADIO
“Never esteem anything as of
advantage to you that will make
you break your word or lose
your self-respect.”
— Marcus Aurelius
WCWP, LIU/C.W. Post Campus
WFDU, http://alpha.fdu.edu/wfdu/wfdufm/index2.html
WKCR 89.9, Columbia University, 2920 Broadway
Mailcode 2612, New York, NY 10027, Listener Line: (212) 8549920, columbia.edu/cu/wkcr, [email protected]
PERFORMINGS
Orpheus Chamber Orchestra, 490 Riverside Drive, 11th Floor
New York, NY 10027, 212-896-1700, orpheusnyc.com
Westchester Jazz Orchestra, Emily Tabin, Director, PO Box
506, Chappaqua, NY 10514, 914-861-9100, westjazzorch.org
ADDITIONAL JAZZ RESOURCES
Big Apple Jazz, bigapplejazz.com, 718-606-8442,
[email protected]
Louis Armstrong House, 34-56 107th St, Corona, NY 11368,
718-997-3670, satchmo.net
Institute of Jazz Studies, John Cotton Dana Library, RutgersUniv, 185 University Av, Newark, NJ, 07102, 973-353-5595
Jazzmobile, Inc., jazzmobile.org
Jazz Museum in Harlem, 104 E. 126th St., 212-348-8300,
jazzmuseuminharlem.org
Jazz Foundation of America, 322 W. 48th St. 10036,
212-245-3999, jazzfoundation.org
New Jersey Jazz Society, 1-800-303-NJJS, njjs.org
New York Blues & Jazz Society, NYBluesandJazz.org
Rubin Museum, 150 W. 17th St, New York, NY,
212-620-5000 ex 344, rmanyc.org.



WBGO 88.3 FM, 54 Park Pl, Newark, NJ 07102, Tel: 973-6248880, Fax: 973-824-8888, wbgo.org
ARE YOU BUYING RESULTS OR JUST
MARKETING & PROMOTIONAL SERVICES?
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215-887-8880
SCHOOLS, COLLEGES, CONSERVATORIES
31
Interview
ideas that you could possibly translate into
your own.
Karrin Allyson
Vocalist
Interview by Eric Nemeyer
Hear Karrin Allyson
at Ridgefield Playhouse, CT
Sunday Jazz Brunch, May 17 2015
Visit www.ridgefieldplayhouse.org
JI: What recordings initially sparked for your
interest in Jazz?
KA: One of them was Nancy Wilson, Cannonball. Let’s see, Monk was a big thing. It really
JI: How have you strived to develop your own
voice?
KA: You know I listen to a lot of instrumentalists, and I always have. I started as an instrumentalist, as a pianist. I’m playing more and
more these days for myself and I think I probably listen to instrumentalists almost as much, if
not more than singers. And also I don’t actually
listen to jazz singers all the time. I listen to
other styles of singers. I love Joni Mitchell,
Aretha Franklin, Bonnie Raitt, and classical
music too.
“Talking about child-like qualities,
I’m constantly searching in my
adulthood for things that make me
feel that kind of innocence and
wonder again. You think, wow!
There are certain people that can
make you feel that way.”
sparked my curiosity as a classical piano major
when I discovered jazz in college—thru classmates who would give me tapes at that time, or
albums of folks to listen to. One was the Cannonball and Nancy Wilson. I love Cannonball
anyway, and I love Nat Adderley as well. In
fact, on Footprints we ended up doing what
were the instrumental tunes on that album and
vocals: “Never Say Yes,” “Teaneck” and others. Bill Evans and I think the Vanguard sessions really opened my eyes and ears. Carmen
McRae, I love her stuff. Louis Armstrong, Ella
of course. I think their duet album again
opened by ears. And I love Clifford Brown,
anything from Clifford Brown, Gal Costa, Ivan
Lins, and Guingua. He’s a guitarist, and songwriter and singer and he’s kind of just coming
into his own from Brazil. He’s fabulous – very,
very interesting stuff.
32
JI: I think it’s a really good idea to listen to
other instrumentalists who play an instrument
other than your own, and transcribe or learn
and understand what they’re doing, and apply
it to your own instrument. That forces you to
negotiate phrasing and do things on your instrument that do not necessarily work as easily
as they might have on the other person’s. After
studying several vibraphonists, I became interested in players who were not pattern players,
or lick oriented, on other instruments – notably
Thad Jones, and saxophonist Joe Henderson.
That way you create a different way of hearing
and developing your voice on your instrument.
KA: Right, that’s an excellent point. I think it’s
important possibly not to listen to what you
already do and are already doing—and sort of
open up your mind and soul and ears to other
JI: In these creative pursuits, I think it’s essential to develop and maintain curiosity. One of
my favorite quotes is by Ashley Montague and
he said: “Better to grow old in your childlike
qualities than, heaven forbid, your adult qualities.” It’s that child-like intuition, and curiosity
that got us all interested in this music in the
first place.
KA: Yeah, I know. It’s also important for us to
listen to live music too. As professionals we
are so caught up in our own things. Of course,
the travel takes its toll and when you get home
it’s not like you want to jump out and go to
hear music right away. I know when I do go,
I’m so glad I did. It puts another shot in the
arm and reminds me of why I got into it in the
first place. Talking about child-like qualities,
I’m constantly searching in my adulthood for
things that make me feel that kind of innocence
and wonder again. You think, wow! There are
certain people that can make you feel that way.
JI: Could you just share some of your diverse
experiences and understandings of human nature as an artist performer and business person?
KA: You know, sometime I think everyone
wants something for themselves in this. That’s
kind of a sad discovery. Can’t we just get everybody to do their jobs, and do those to their
best ability, be as honest as you can, and have a
good time while you’re doing it? But that is not
always the case. Having a good time is very
important in this business. Why else would you
go through this grueling travel stuff? That’s
why it’s so important to really love the players
that you’re playing with - because they are
closer to you, in a way, than your family members are. You’re with them more often. You’re
going through things with them all the time.
So, mostly I find on the other hand that it’s
worth it once you get there. The venues are
usually very happy to see you. They want to
make your performance a success, usually. So I
mostly think that people want to see you succeed.
JI: How have you developed peace of mind to
accompany the success you have achieved?
KA: I think you must develop a sense of being
content with yourself, and in order to do that
you have to keep striving for certain things.
You also have to be able to sit back and give
yourself a break. Sometimes that’s not so easy
to do in this business. You always think I could
be so much further, I could be doing this, I
could be doing that, because so and so is doing
this. You cannot think that way. You have to
be just sort of steadfast and dogged about moving forward. It’s not just about running up a
hill. It’s about one foot in front of the other.

Interview
Steve Getz
Musician, Jazz Impresario, Talent Buyer/Music Director
A Visionary With a Beautiful and Beneficent
Heart Brings His Music Hall to Lehman College.
By Nora McCarthy
Billy and I would switch, I’d play percussion, he
played the drums of course—the great Billy
Hart—and then I’d play drums and he’d play
percussion and I learned so much on that tour
playing with master musicians. That was a challenge. My father was pleased with my improvements at each and every concert. In Caracas he
was off to the side of the stage listening to me
play, I believe it was the Chick Corea tune,
“Windows” with Joanne and Clint and he got
this big smile on his face and so when he came
up to me at the end of the tune and said, “You
know son, you play pretty good for a White
man!” I said back to him, “You play pretty good
for a White man too.”
JI: How old were you then?
JI: I am very happy to speak with you and excited on behalf of the entire jazz community
because of your new upcoming series that’s
going to be taking place in September at Lehman
College, Steve Getz Music Hall and Stan Getz
Memorial Jazz Workshop, but before we get into
that, let’s talk about your journey thus far which
has been very amazing starting off of course
with your being the son of the great tenor saxophone legend, Stan Getz. Steve, what was it like
growing up with such a famous father?
SG: It was a very beautiful and interesting journey. I remember when I was three years old my
father was in Los Angeles recording, Stan Getz
Plays. The album cover is a picture of a little
boy and my father who is beckoning me to come
over and give him a kiss on the cheek because he
said that I’d been there in the studio too long—it
was my first moment in music and I was overjoyed as far as I can recall to be there but he
said, “No son, you have to go home now, you’ve
been here too long, so I’m putting you in a cab
and you’re going to go home, just come over
here and give me a kiss on the cheek.” I said,
“What do you mean a cab, I’m only three years
old, I can’t go in a cab by myself.” So, they took
that picture, it’s the album cover for Stan Getz
Plays; that was the beginning.
JI: And did you go home in the cab by yourself?
SG: Yes, I did.
JI: Quite the little man.
SG: I guess so.
JI: Where were some of the places that you
lived when you were young?
SG: We lived in L.A., we lived in New York.
When I was a little older, my father had had it
with the drug scene in New York so we moved
to Denmark. I was about ten years old, my father, my step-mother, myself and my siblings
went to Denmark to live; I was there for about a
year. Then my step-mother thought it would be a
good idea to cart me off to boarding school in
Switzerland which was a great experience but
traumatic. We were all over the place.
34
JI: What age was your Dad at, and at what stage
in his career was he when you were born?
SG: I was about thirty five, thirty-six years old
at the time.
SG: Well, he had met my mother Beverly Byrne
a jazz singer in Gene Krupa’s big band in 1946.
He was smitten by the little Irish beauty and I
was born two years after in 1948; I’m 66 years
young. He was just in the process of starting to
form his own quartets and he had just done that
famous recording with Johnny Smith called,
Moonlight In Vermont, which was his first hit.
When people heard that, of course Dad had been
to the big band scene with Woody Herman—the
Four Brothers—Zoot Sims, Serge Chaloff, and
Herbie Steward. He also went on to be in Stan
Kenton’s band but he got tired of the road. He
got started with Jack Teagarden when he was
fifteen. So I came just around the time when he
was starting to feel his own oats, if you will, and
was ready to explore being a bandleader.
JI: Did you have your own groups at that time?
JI: So you were obviously exposed to the greats
in this business growing up around your father.
Who were some of the first ones that you recall
and who left the deepest impression on you?
SG: Years later, when I had come back from the
boarding school in Switzerland, we were in
Westchester County in Irvington, New York, I
was about fifteen years old then and I put on this
record, Stan Getz/Bob Brookmeyer (1961) with
Steve Kuhn, Ron Nevins and Roy Haynes. When
I heard Roy Haynes play the drums, so musical
and good, like a dancer on the snare drum, I got
smitten with the notion of becoming a jazz
drummer, which I am. I’ve been in retirement for
awhile but I had my own groups for about seventeen years when I was at the University of Colorado in the ‘70s but when I left Colorado and
came to New York, someone asked me if I’d be
interested in learning the trade of becoming a
talent buyer and music director of a jazz club
and that’s where I ended up at Fat Tuesday’s for
eight years.
JI: Tell me about your life as a jazz musician.
SG: I enjoyed it so much; I had my own quartets. My father called me one time from Colorado and said, “How would you like to do a tour
of South America with me?” I said, “I would
love that.” So, I went off with his quartet with
Joanne Brackeen, Clint Houston and Billy Hart.
SG: Oh yes, in Colorado I had my own groups.
I used to tour for the Colorado Council of the
Arts and Humanities—played all the mountain
towns and jazz festivals. I sent him George Wein
a tape of my quartet and we were the second
national runners up to play the Newport Jazz
Festival but I got beat out by one other group.
However, I got a nice mention. So for a White
man, I’m a pretty good drummer. I ain’t no Tony
Williams, my hero, or Roy, or Elvin Jones but,
you know, I can swing.
JI: So you studied and did all that it entails to
be good on your instrument?
SG: Yes, but I owe it mostly to the inspiration
of two drummers, Roy Haynes first and then
Billy Hart.
JI: So with all of these great cats that came over
to the house what was it like around your place?
SG: It was wonderful. They’d have rehearsals
in the house, Chick Corea would come by, and
Joao Gilberto came by during the Bossa Nova
years. Baden Powell, Brazilian guitarist, and all
kinds of folks would show up at the house, Dad
enjoyed that.
JI: How many siblings do you have?
SG: I have a full brother, a full sister, from
Dad’s first marriage. A half brother and a half
sister from Dad’s second marriage – there are
five of us and I’m the oldest.
JI: I’d like to talk a little bit about your Mom.
Tell me your most vivid memories of your
mother. I know she was a singer with the Gene
Krupa Orchestra—did she give up her career
when she married your Dad?
SG: She did—she got introduced to drugs and
alcohol with my father. She had this really kind
of musty beautiful voice. I have a recording of
her playing with Dad at an after-hours gig when
they recorded it, sort of a husky tone in such a
to have children of her own, Nicholas and Pam
with my father. We’ve had our ups and downs
over the years, but today the relationship is quite
good.
Steve Getz
little bitty woman. She was very sweet and good;
I lost her when I was ten. I never would see her
again but she was exceptionally kind, loving and
spiritual person that just got dragged through the
mud mostly by the drugs.
JI: Very painful for you at a young age to be
experiencing something like that—it’s heavy
stuff.
SG: Yes, it was. Then my step-mother Monica
showed up because my father had left my mother
at some point and we were living with my
mother and he met this beautiful blond-haired
blue-eyed Swedish woman, Monica Getz, who’s
my step-mother who now is eighty years old and
still alive and doing well. She looked like
Marilyn Monroe, this new woman in my father’s
life, I recall Monica coming to the apartment
where we were living in Queens and when she
got out of the car—wow she was a knockout, my
God she was a beautiful woman, this Monica
Getz. My mother was a knock out too, but she
wasn’t looking so great by then because of
drugs. But, I remember Monica had taken me on
a trip to get an ice-cream cone and I remember
when she brought me back home we went upstairs and my mother was pulling on one side of
me with one hand and Monica is pulling on the
other, and I remember this sort of a tug-of-war
going on between them, because my mother was
ticked off that this new woman had shown up
and was trying to take over.
JI: That must have been very difficult for you.
SG: I was caught between these two women,
my real mother and my step-mother, and my
step-mother Monica would be the one who
would take over after my mother lost custody of
us kids in the court system. The court system,
took a look at my father who was a drug addict
and an alcoholic and then took a look Monica
Getz—the court awarded custody to my stepmother. They awarded my father custody too but
he wasn’t in the best of shape in those years.
JI: So they ended up marrying after he divorced
your mother?
SG: Yes, they ended up marrying in 1956.
Donna Reed the actress was maiden of honor—
they had a Hollywood wedding, the whole nine
yards, that kind of thing.
JI: Your life was like a movie Steve.
SG: As long as it’s not a Fellini movie.
[Laughter]
JI: So you got on with your Scandinavian stepmother?
SG: Yes, I got along with her. I always wanted
to know if she really loved me—she said she
did—I didn’t trust her, somehow I didn’t trust. I
guess she did in her own way. She would go on
JI: Did she remain married to your Dad until he
passed?
SG: No my father divorced her in 1986 in one
of the ugliest divorces in New York State history.
year and a half under my tenure. I was there for
eight years. I had them all play there: Freddie
Hubbard, McCoy Tyner—Bill Evans played his
last two nights of music for me there. I had Tito
Puente, Mongo Santamaria, my father, Phil
Woods, Ron Carter, they all played there and
they loved to play for me because I set the tone
to have a relaxed place for artists of that caliber
to feel good and feel at home when they were
recording. Then I got the bug to be creative in
the process, and so I approached people like Ron
“The best advice I ever got was to
care about my fellow artists. The best
advice I ever gave is for other artists
to try and care for other artists. In
other words, I want to pass on my
kindness, care and love. I want artists
to begin to treat other artists who are
in need of support, to do the same.”
JI: Did he ever remarry after that?
SG: No, he got close, on his death bed, to marrying a gold digger who was forty years his junior, but thank the good Lord, God intervened
there and it didn’t happen and he never did remarry.
JI: So he was with Monica for some time, about
30 years?
SG: Yes, about twenty-five/thirty years.
JI: When did you move out of the house and
become your own man?
SG: I went to the University of Colorado in
1967 and I was out on my own, and that’s when
I started playing in my own groups and that’s
where I began my journey to learn something
about the music business. There was a gentleman
in Denver who wanted to see if I had the chops
to become an agent. I used to book Pat Metheny
and some people in the mountains through the
agency and I got the bug. I had been playing
with just my own quartet but now I got the bug
to learn something about the music business. I
did that and then I got the call to come to New
York to do Fat Tuesday’s; my father had put in a
good word for me. That was 1980, so I would be
about thirty two. I had to learn my trade like who
draws and who doesn’t draw; I was flying by the
seat of my pants. It took me about a year to get
my bearings but then Fat Tuesday’s became the
number one jazz club in New York after about a
Carter very gingerly of course, because I’m always in awe of Mr. Carter, because he played
with my favorite jazz quintet of all time, which
was Miles Davis with Tony and Herbie, Ron and
Wayne. I remember one day Ron came down to
Fat Tuesday’s and he had to rehearse his quintet
and I’m sitting there just listening to him and his
band and he took a break and came over. I said
Ron, “I’m a little nervous about asking you but,
what would you think about adding four cellos to
your quintet?” He said, “What?” I said, “Yeah,
four cellos.” He said, “That’s a fantastic idea.”
So the Ron Carter String Nonet was born in Fat
Tuesday’s and it went on to record internationally and play the Blue Notes and do very well.
Ron was always very happy with me that I made
that creative suggestion. I did the same thing
with McCoy when he came in with his trio or the
quintet. I said, “McCoy do you have big band
charts?” He said, “Yeah, I got them.” I said,
“How would you like to have your own big band
playing here for two weeks every Thanksgiving?” He said, “I would love that.” I said, “How
many pieces?” He said, “I could do it with about
thirteen pieces.” So every Thanksgiving for two
weeks, McCoy would come down and there
would be a line around the block, because people
“The degree of one’s emotion
varies inversely with one’s knowledge
of the facts — the less you know
the hotter you get.”
-- Bertrand Russell, Philosopher
35
Steve Getz
loved it.
JI: What was it like back in those days in terms
of marketing, I know the tools were different
then, we didn’t have the internet, but you were
booking the talent, what about the marketing and
promotion, were you doing that as well?
SG: In part I did. I always had the New York
Times behind me. John S. Wilson, who is a
beautiful jazz critic, used to come to my
shows—he loved my shows. So we got a lot of
press, the Daily News would cover us, the Post
…. so the word got out. We did have a publicist
working at Fat Tuesday’s also.
JI: The audiences were different back then,
right? Did you pack the house?
SG: It was always packed unless I had a week
where it was an off week or a holiday, or I’d
book an artist, once in a while I’d book an artist
knowing full well they weren’t going to pack the
house but I’d want them so much. I brought in
Shirley Horn to come in with her trio because
she had not played at a New York club since
Miles took her to the Vanguard in the ‘50s where
he discovered her. She didn’t do the numbers but
I didn’t give a sh*t; I wanted her to play because
I loved her. I would also bring in up and coming
people which is what I’m trying to do now. I
would try to bring them into Fat Tuesday’s and
create a package. I had my personal favorite
piano player, Marc Cohen—he changed his
name I believe to Copland. Anyway, I paired
him with Gary Peacock, and Peacock has a
name, so it was that sort of thing.
JI: What about any singers? Did you bring in
any singers?
glare, she would look at me a certain way
like…”NOW”….but I always hit the mark with
her because I’m a musician and I have sensitive
ears, so she was always real pleased with me—I
loved Betty, oh my God. She has a song called
“Sounds” that’s a masterpiece. That is the most
creative and best scat I ever heard by any one
period, male or female. She recorded that at the
Great American Music Hall and that was a big
hit for her that record, it’s brilliant.
JI: Oh, yes, it is brilliant, I’ve listen to it countless times, it’s inspiring to me. Betty was and
remains very inspiring to me. When I first heard
her live it was in Cleveland, Ohio at Tri-C Community College I believe in the early ‘80s. When
she walked out on the bandstand, there were two
things—well more than two—but the initial two
first impressions when she came out was that she
had the dynamite figure of a young woman, the
expression on her face however, looked like she
had launched a thousand ships—a real boss—
and then she opened her mouth to sing and she
swallowed the room. What a sound. Her sound
filled every crevice in the concert hall. And, at
that point, I was hypnotized and her interaction
with her band members was as wicked as they
come, yes!
SG: John Hicks—forget about it. John Hicks,
Kenny Washington, so alert, because she’d create tempos, you remember “Sounds” where
they’re going super up tempo where all of a
sudden she stops on a dime; unbelievable masterpiece.
JI: Yes, she’s one of my favorites her and
Jimmy Scott. I maintain, she’s the one singer
that continued to evolve the instrument. She
started off like all of them did singing standards,
then because of her improvisational ability got
the moniker of “Be-Bop Betty”, she could scat
her ass off, and then she began with her own
groups to evolve the instrument into all of these
other possibilities, she IS a vocal instrument, she
“It took me about a year to get my bearings but
then Fat Tuesday’s became the number one jazz
club in New York after about a year and a half
under my tenure. I was there for eight years. I
had them all play there: Freddie Hubbard,
McCoy Tyner—Bill Evans played his last
two nights of music for me there.”
SG: Always, always. I had Helen Merrill, I had
Sheila Jordan, I had, Esther Satterfield, I even
had Phyllis Hyman before she committed suicide. I had them all—Betty Carter—she busted
my chops every time she came. She’d just look
at me a certain way out of the corner of her eye,
because I had to run the sound too you see, and
if the monitor wasn’t happening, she would give
me the Betty Carter glare, forget about the Getz
36
paved the way for singers like Bobby McFerrin
and Al Jarreau, but Betty never stopped evolving. What a renowned composer in my opinion.
Her re-harmonizations of chordal structures and
her obtuse melodies—she was the baddest. And
for my money, nobody can touch her today, say
what you will, it’s not what’s up. But, that she
set the bar so high for all of us, that is her legacy.
SG: She died of pancreatic cancer. She played
for me at one of my last shows at the Blue Note.
She was fine and then six months later she’s
dead.
JI: I never knew how Betty left us. Pancreatic
cancer doesn’t play around. It’s a monster.
Thank you for talking a bit about Betty, Steve.
I’d like to now go back to the Fat Tuesday
years—eight years that was quite a stretch.
Those were the hay days, huh?
SG: It ended two times. Once in 1983 because I
was interviewed by a critic from the Daily News
and I said something about the owner of Fat
Tuesday’s and so he didn’t like me and fired me.
But ten months later, he’s no longer the owner of
Fat Tuesday’s, there’s a new owner and the guy
that took over for me, ended up putting my baby
at Fat Tuesday’s down the toilet, so they called
me back to resuscitate it which I did in ‘84 and
then I was there until ‘88. I was with my father
in a Paris hotel room when I got the call from an
agent that they had let me go behind my back;
that was the gratitude that they had—that’s New
York club owners, that’s what they do to you
sometimes; for no good reason by the way.
JI: Yeah, that was just the way the wind was
blowing that day, huh? Wow, to me it’s always
something to do with money. I don’t know if that
was the case in your situation.
SG: They weren’t paying me a lot of money. I
made them thousands and thousands of dollars
over my eight year tenure. They were only paying me $600 a week, what’s the big deal?
JI: So that’s where you learned all your chops?
SG: That’s where I learned my chops as talent
buyer/music director and budding jazz impresario which I am now.
JI: So where did you go from there?
SG: I went to Yoshi’s Night Spot in Oakland,
CA, I worked for the Japanese folks at Yoshi’s
which is a famous jazz club in Oakland. I was
there for six months until they ran me into the
ground and I decided to quit. I was doing everything: the booking, the sound, picking up the
musicians, taking them to the hotel, back to the
club, back to the hotel. I said, “You know, I’m
only one person.” I have a serious work ethic but
that was ridiculous. From there I went on and on.
I was at the Blue Note for six months, and then I
was interested in becoming an agent and manager. Jack Whittemore was one of my mentors
who had them all, Betty, Ron and then Stan,
Phil, McCoy. I went to Jack and asked, “What
do you think? Do I have the chops to be a great
agent?” He said, “Absolutely, you have the
chops, you’re one of the most interesting folks
I’ve ever met; you have the chops of a talent
buyer and seller.” So I went to Abby Hoffer and
I worked there for a number of years, and that’s
where I was representing and managing people
like, McCoy Tyner and Phil Woods—booking
Stephane Grappelli, Elvin Jones—that sort of
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thing.
JI: What year did your father pass?
SG: In 1991.
JI: So he was out doing his thing while you
were out doing all this other stuff, was it only
that one time that you worked with your Dad on
that tour?
SG: No, I went to Israel with him in 1985. He
had asked me again to play drums. And, I went
over to do a couple of concerts for the crippled
children in the hospital in Jerusalem. We played
three concerts over there and I had a ball. We
had a party where people dress up as other people and my father had put this wig on and became Ben Gurion—my father loved to do things
like that—he had a great sense of humor.
JI: When your father passed, had he been ill for
a long time?
SG: In about 1986-87, the doctor told him he
had cirrhosis and that he had had it since the
1970s and now he had liver cancer and Hepatitis
C. So the doctor told him he had to do chemo but
my father refused and instead went on a macrobiotic diet and thought he was going to beat it.
About 1990, the cancer came back and that’s
when he went to Europe with Kenny Baron, to
record the masterpiece, People Time (Live,
1991) at Club Montmarte in Denmark and he
came home in March of 1991 and passed in June
of 1991.
JI: Did he die in the hospital?
SG: No he died at home. He had a nurse, in fact
he had the same nurse as Miles Davis, because
Miles was living in Malibu also, and they had a
nurse there who took care of him as he slid into
the heavens.
JI: Obviously the psychological suffering must
have been immense for him, because he was still
a young man.
SG: He was 64.
JI: What was that like for you?
SG: It was very hard for me. I loved him very
much. He was sober physically the last five
years of his life. He was pulling his act together
and he was treating people better. It was very
hard on me and it’s still hard on me today, But, I
have my memories. I have his sense of humor
with me; I have his music with me constantly.
My father was my greatest teacher. I’ve had
many teachers—Max Gordon, the owner of the
Vanguard, he was a mentor, whom I loved
dearly. I had Jack Whittemore, I had Abby Hoffer and I had my father. But, my father was the
greatest teacher. He taught me about the sensitivities of music. He taught me about supporting
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artists and going out into the world—to be a
mensch—to try and be helpful to people and my
fellow musicians and singers. But I took it a step
beyond what he recommended because I’m trying to create something now that is “out of this
world” as you know.
JI: Can you expound a little on your relationship with the Village Vanguard?
SG: Well, I loved Max so much. He was a
sweetheart; Ukrainian like I am. So we had this
in common on my father’s side and on my
mother’s side, of course, Irish. But, I’d leave Fat
Tuesday’s after a busy night and go out and hang
out with Max Gordon and he would be in the
back of the room; at the time he was in his mid
eighties. He was pretty tired and beat up then but
he was so cute; you never wake up the master.
I’d sit by him at the back of the Vanguard and
wait until he woke up and he would wake up
suddenly and say, “Hi kid, how’re you doing?”
I’d say, “Hi Max how’s everything?” He’d say,
“What’s this about McCoy Tyner’s big band you
had in your place?” I’d say, “What do you mean
Max?” He’d say, “You got him in your joint,
how much did you pay him?” I’d say,
“$12,000.00 versus 75% of the door.” He’d say,
“Too much, man, too much!” Then he’d fall
asleep again. Then ten minutes later he’d wake
up. “Ron Carter’s String Nonet—what in the ‘F’
is that?” I’d say, “Max, it’s a quintet, piano,
bass, drums, percussion, piccolo bass and four
cellos.” He’d say, “What, four cellos, whose idea
was that?” I’d say, “It was my idea.” He’d say,
“What! You did that?” I’d say, “Yes.” He’d say,
“How much?” I’d say, “$7,500 versus 75%.”
He’d say, “Too much,” and fall back asleep.
That’s my Max Gordon story.
JI: That is a scene right out of a movie. He
sounds like he was such an amazing man, quite a
character.
SG: When he got sick he was in Mount Sinai
Hospital and I went to visit him. I brought him a
box of prune Danish, a Stan Getz cassette and a
box of Cortez cigars, and he turned around and
looked at me as I was coming into his hospital
room and I thought I was looking at my grandfather, Alexander. He loved me very much, he
wanted me to replace him when he died but you
know the rest.
JI: I never met the man, I wasn’t in New York
then, but I can tell you I’ve interviewed so many
musicians who knew him and whenever they get
to talking about the Vanguard or Max Gordon,
they all say such positive and glowing things
about him. I feel like I missed out on knowing a
wonderful human being.
SG: He was a sweetheart but he could be very
tough if he didn’t like the way you were playing.
JI: What a story. The Vanguard is synonymous
with jazz in New York, that’s it. That’s why
people from all over the world come here to go
there. The atmosphere in those days surrounding
the music, what was it like compared to now?
SG: Night and day; the real deal. More audience
participation, more vibrancy—today, well, you
know the story better than I do, you’re a professional singer and musician and you understand
what is going on out there today. When I was at
the Blue Note, the New York Times interviewed
me and they wanted to know what my feeling
was about the jazz business in particular and I
said, “Well you can’t just book the old warhorses, you have to make an investment in the up
and coming people or there will be no music.”
That was nineteen years ago when I made that
comment and it was right on target. Yes, there
are of course great artists, and I mean great, like
yourself, and others that are still on the scene but
the club scene is very unhealthy. You know,
there are people working for the door, they are
not paid a flat guarantee and nothing is changing, and it’s getting worse.
JI: It’s getting worse and what will the final
outcome be? Do you think that something can
turn this around? What suggestions do you have?
A lot of people believe that jazz is dead and we
37
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JI: Let’s now talk about your spiritual mission
through the music; your new endeavor.
have a lot of young ones that are coming out of
the schools but the scene itself is not that healthy
in the city that is synonymous with jazz.
SG: It’s lengthy title is the Steve Getz Music
Hall and the Stan Getz Memorial Jazz Workshop
but it’s basically the Steve Getz Music Hall and
it’s going to debut on September 11, 2015 at
Lehman College in the Bronx.
SG: The clubs are dumb.
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Steve Getz
JI: I feel for anyone trying to make a living in
this business now. There are so many talented
young musicians out there, and they are keeping
it positive and putting out the energy, but it is so
competitive and there really aren’t that many
opportunities by comparison to get paid. What
do you think about America versus Europe in
terms of the appreciation of the music and opportunities?
JI: How did you decide on the Lehman College?
SG: It’s better in Europe and, it’s better in Japan.
SG: I’d been searching to find a home to present the music somewhere and I thought wouldn’t it be kind of neat to associate with a university or college. Originally, I tried it at SUNY
New Paltz but the Dean didn’t get it, he thought
it was too ambitious and too complicated, so I
said, “Next!” I have a friend who is also my
partner in this, Lou Ramirez, who has contacts at
Lehman so we took a meeting at Lehman and
they said, “Yes, it sounds great, we love it.”
JI: Moving on, I’d like to know, who is Steve
Getz? What motivates and drives you?
JI: And, it’s in the Bronx where your father
grew up.
SG: Well, what motivates and drives me is that
I am first and foremost a musician, I am an artist,
and I’m a spiritual being. I genuinely care for my
fellow artists. So given the vast knowledge that I
have, that God gave me through the mentoring I
received from these masters: Max and my father,
and Jack Whittemore, I’ve always cared for the
artists and want to support them. At my core, is a
SG: That’s right, it’s where my father grew up,
so it’s almost coming spiritually back home.
JI: What is your vision for this endeavor?
SG: My vision is very simple. My vision is for
great artists, or good artists, or people that want
to strive to be good, to come to me, submit their
This Might Not “Well you can’t just book the
old warhorses, you have to
Be For You!
make an investment in the up
and coming people or there
will be no music.”
A Lifetime Of
Jazz Listening,
love, a certain degree of wanting to nurture,
wanting to explore with artists what their full
potential is and their art, because I’m always
interested in that, I’m interested in pushing the
envelope a little bit. When an artist comes to
play for me, I’m always searching, I’m always in
the process but I don’t want to make all of the
decisions. I want the artist to be involved in the
process of creativity along with me. My feeling
is that I’m trying to create a certain force field of
goodness to allow artists to come perform for me
in this future endeavor of mine so that their music soars, because that’s my goal. I want everyone who comes, to feel so relaxed, loved and
nurtured that their music is going to soar—that’s
it, end of story.
materials and for me to give them an opportunity
to work the music hall, to be supported, to be
nurtured, to be loved, to feel more of a sense of
spirit and direction, and to do it under my umbrella where they feel that somebody genuinely
cares about them. I’m not stupid, I’m very intelligent and I understand that I will never be able
to change the character of the music business,
never. My father warned me about the music
business; he said it was a terrible business. But,
I’m just trying to create something, plant a little
seed, do something right, just like in the Field of
Dreams—when you build it, they will come.
They will come because in the jazz community
in New York there is no one who genuinely
cares for them as I do—no one, that’s all.
38
Steve Getz
mit their materials for consideration so they get a
chance to be a part of this wonderful new endeavor that you’re putting forth with all your
love and expertise.
JI: With regard to the various kinds of jazz
music, are all genres/styles welcome?
SG: It’s real simple. Usually a musician or
singer will have to bang on the club owner’s
door and say here’s my CD and the club owner
will either throw it in the trash or bury it on his
desk. I’m asking people to simply write me at
my email address: [email protected]. If
they communicate with me, I will communicate
back and give them my mailing address and just
ask them to send me their CD. I’m an old fashioned guy. I love to listen to the music in my car
and I like to study it so I know what I’m talking
about. It’s really that simple.
SG: All styles are welcome. I’m not big on
avant-garde jazz, sometimes it’s OK but I’m into
people who play mostly lyrical good music,
great singers and great instrumentalists. I’m
open though. My ears and my instincts will tell
me if something is going to fly and will be appropriate for the music hall. I just try and pay
attention to that. If I hear someone who is struggling but who I feel has potential, I’m going to
book them anyway because that’s what I do. I
like to give someone an opportunity, a lift in
their own life, to come in and perform.
JI: So that includes musicians who need the
opportunity, the exposure and the experience.
SG: I’ll go a step further than that. I’m going to
have a concert series for children.
JI: That’s wonderful and so important.
SG: For young artists, it’s called my, Young
Artist Series. They are going to play and the
place will be packed with parents who will be
able to see their young child up there on the
stage, that’s another thing I’m going to do.
JI: What about some of the people that you
have already booked and others that you have in
your artistic sites…”cross hairs.”
SG: In the first three weeks I have the great
pianist, Andy LaVerne who used to play with
my father. His show is called, “Andy LaVerne
Plays The Stan Getz Song Book and Originals.”
He’ll be there with his quartet Billy Drewes on
tenor saxophone, and vocalist, Alexis Cole. Then
I have a great young pianist, Sarah Jane Cion
and she’s coming in with her quartet. I have the
great Harry Allen who is a Getzian tenor, he’ll
be coming with something I call Tenor Madness.
It will be three saxophones, Harry, Ralph LaLama and hopefully Grant Stewart. Singer
Marion Cowlings will be hosting a Jazz Vocal
Workshop with Audrey Silver and Roseanna
Vitro. And, then I have, you may have heard of
her, this incredibly divine singer, her name is
Nora McCarthy. Have you heard about this gal,
she’ll knock you on your ass! [Laughter] She’s
coming in with something I call, Divine Vocal
Duets, with Nicole Pasternak, who is another
very fine singer and pianist John diMartino—
two shows on the same evening. Then, I’ve got a
package that I used to book at Fat Tuesday’s
called Modern Guitar Masters with Vic Juris and
Dave Stryker. I’ve also got a great jazz bass
player, whom my father said was the greatest
jazz bass player alive, and that is George Mraz
he’ll be performing with his trio and all of this
happens beginning September 11th.
JI: Oh, that’s great, really wonderful. And
you’re encouraging people to contact you, subTo Advertise CALL: 215-887-8880
JI: It’s so refreshing because so many of these
clubs seem almost anti-artist; you can’t get past
the gatekeepers. You can’t get them to even
listen to your work or return a call or an email.
SG:
It’s funny you would use the term
“gatekeeper.” That’s what Roseanna Vitro said
to me the other day that I am a wonderful gatekeeper because I am open. I took her in, back in
the ‘80s for three nights, at Fat Tuesday’s. I
hired her because I love her.
JI: The fact that you are open and presenting
with the kind of fairness we so desperately need
in this business is very promising. With regard to
financing are there any organizations or groups
of people helping you to raise money for the
who offer entrepreneurs a way to reach out to the
global community vis a vis various campaigns to
help launch their dreams. There are many of
these kinds of sites available out there and they
actually work. Many, many, people have financed their CD projects this way. Would that
be something you might consider? I know you
said you weren’t into the technological aspect of
things, but perhaps someone could come forward
who is reading this that would be able to assist
you in that effort.
SG: I am certainly open to any and all help.
JI: In a perfect world how do you envision your
idea and concept expanding, you were talking
about the children’s concerts and opportunities
for lesser known artists and of course the eventuality of having your own club, please talk a bit
more on what the future holds for you.
SG: One day, I will have my own club and it
will be built on a firm foundation and it will be
there until I kick off of this planet and then my
son will take it over from L.A., Christopher
Getz. God’s leading me every step and I’m just
getting out of the way. The Holy Spirit has entered into me and I’m being guided, day by day
by day, what to do next. I’m just trying to do
what we call in AA, as I am a member, just trying to do the next right thing. That’s my philosophy of life, “Just try to do the next right thing,
Steve. Get out of the way and listen to God and
try to do the next right thing.”
“Get out of the way and
listen to God and try to
do the next right thing.”
Steve Getz Music Hall and what plans, if any, do
you have to insure that this effort that you’re
putting forth, gets the support required to flourish and to become a long standing institution.
SG: Well eventually I hope to have my own
club one day, right now that’s not going to be
possible. I don’t have any financial support behind it—the artists are going to be paid simply
from gate receipts, the ticket prices. I’m going to
guarantee people a minimum amount of money.
If we do well, they will get a little bit more—I
have to split the gate with the college. The college gets one half of gate receipts because they
are giving me the hall for nothing, you see. They
get one-half and I get the other half and that half
pays the artists.
JI: Maybe the music community can also help
fund this. There are so many ways to go about
raising money for these kinds of things such as
the fundraising sites Indiegogo and Kick Starter
JI: What audience are you looking to reach and
what groups are you looking to help?
SG: All groups. From seniors, young people,
anyone who is really interested into listening to
really fine music and appreciating it in a concert
hall setting.
JI: What is happiness to you Steve?
SG: Doing this.
JI: What do you look for in an artist in order for
them to get the Steve Getz seal of approval?
SG: Just to have some talent, have integrity, to
see that they’ve studied their craft, they’ve done
their homework, they have a heart, they perform
either on an instrument or vocally with heart,
something that moves me—which is what your
music does—moves me to tears; someone who
39
Steve Getz
has courage, some guts as an artist, someone
who is a risk taker in music. Yes, I’m not interested in listening to someone who is just going
to send me a CD of standards that’s been played
umpteen million times by other artists—I want
to hear their originality—I want to hear their
original tunes—I want to study it and I want to
get behind it.
JI: What do you think about the jazz education
today because you are talking originality, do you
see that there is a lack of individuality and originality today? And if so, what’s its impact on the
whole scene?
SG: Yes, there is and it’s devastating because
the funding for music programs is dwindling,
dwindling, dwindling to a standstill and meanwhile the young people are listening to crap on
their iPads; they don’t listen to good music and a
lot of them don’t even know who Stan Getz was
today.
JI: That’s very true. What, if any, advice would
you offer to a young aspiring musician so that he
may develop his own voice? What would you
tell him to do?
SG: Study. Develop great ears, great instincts,
constantly try to improve, constantly be searching for the betterment of their art, that’s it. I
don’t care if you’re an unknown and I hear
something in your music that I find personally
inspiring they are going to be booked. I’ll package them with known players and give them an
opportunity to be heard.
JI: Some musicians and singers are living off of
the association to other great and famous artists
and the careers they made for themselves by
making tribute albums, doing tribute shows,
playing verbatim licks, they’re playing what was
already played, even dressing a certain way.
What would you say to them?
SG: Show me something original of your own,
stylistically, I want to hear something that’s a
little different. If you’re a singer for example,
and your singing a Nancy Wilson rip off, or
you’re trying to emulate Nancy, I’m not interested in you, no, I pass, because that has already
been done.
JI: Do you have any favorite tenor saxophonists
on the scene or any other instrumentalists that
you especially like?
SG: Let me just start with the people who have
already passed: first, my father; number two,
Michael Brecker; three, Wayne Shorter, who is
still with us thank God. Of the younger people
coming up, or the people who are approaching
middle age, I love Harry Allen, who I used to
manage and book; I love Grant Stewart, I like
Jason Rigby who has fire in his belly when he
plays; I love Ralph Lalama, the way he leans
into a tune, he’s beautiful; I like Ravi Coltrane—
40
certain things that he does; I like, Jorge Sylvester; [Oh, yeah, I’ve heard of him, (laughter)];
there’s a saxophone player who sounds remarkably on ballads like my father and his name is
David Sills—he’s great too—he’ll be coming
from California to perform.
JI: What made Stan Getz so great Steve? What
was it about his sound, or his playing, what was
it that made this man so great that he has stood
out in the company of giants—your Dad is one
of them—what made him that?
SG: He was an ultimate story teller on ballads; a
man who knew how to find focus and concentration especially when he performed ballads; the
haunting lyrical beauty of his instrument that no
one even comes close to and probably will never
come close to.
JI: He seemed to have been larger than life,
there are just some people who are blessed with
this presence and it seems like he was one of
them; like a movie star.
SG: Yes, he had a certain aura about him and
yes you could say he was like a movie star.
However, it was an interesting juxtaposition of
who he felt he was—he had very low self esteem—because my father was an alcoholic and
drug addict for so long. Then when he got sober
at the end of his life, he started to believe in
himself and started to think, “Yeah, maybe I can
play the saxophone.” That’s how crazy that is.
He was a master; the guy was at a genius level
playing. But there was another side to him as
well, he knew he was a big star, but much to his
demise. Because when you get that kind of ego,
which was pretty big in his case, and also he had
narcissistic tendencies, because that’s the way he
was, he was a complicated cat, very complicated.
What can I say? I learned the lesson of what not
to be from him. I learned to treat people with
kindness, care and love, where he sometimes did
not particularly during his drug and alcohol
years. He could be pretty ruthless and harmful to
people, let’s get that right.
JI: There’s always a dark side, but that wasn’t
who he really was probably. That was the drugs
and alcohol talking.
SG: Right.
JI: What have you learned in your own lifetime
about the importance of values and character and
how important are having good values and character to you?
SG: Extremely important. I am the embodiment
of integrity. I am the embodiment of sincerity. I
am the embodiment of honesty. I am the embodiment of just being a compassionate human
being on this planet, in this modern chaotic
world. I am trying to go back to an earlier time,
like the ‘40s and ‘50s where people treated each
other a little more gently and a little kinder. I’m
trying to emulate that kind of behavior.
SG: I’ll be on the mountaintop looking down on
all these young artists who are now in full blossom of their art. I will never be a rich man—I
don’t care about becoming rich—I want to be
rich in artist appreciation. It makes me so happy,
when an artist such as yourself, moves me to
such tears, which you do, that is my payoff. I see
myself as being content, creative, continuing to
explore my impresario talents, trying to be continuously working on myself to have more patience, have more compassion and go to the
deeper well of love.
JI: It’s all rooted in spirituality—you’re a very
spiritual human being from all of your painful
experiences in life that have led you to this
place.
SG: Experience through pain. I came through
the tunnel of pain into the hall of bliss.
JI: What’s the best advice you ever got and
what’s the best advice you ever gave?
SG: The best advice I ever got was to care
about my fellow artists. The best advice I ever
gave is for other artists to try and care for other
artists. In other words, I want to pass on my
kindness, care and love. I want artists to begin to
treat other artists who are in need of support, to
do the same.
JI: Steve, is there anything that I haven’t covered here or prompted you for that you’d like to
say, add, or speak on?
SG: I sincerely invite people to come to this
special place where I’m trying to present some
really great music and create a place to relax and
enjoy themselves and to find some fulfillment in
their life. Because people who are living in this
modern world have a pretty stressful time of
things and so I’m thinking now about the general
public at large. I would just like to offer them the
opportunity to hear something blissful and good
and leave the music hall feeling a lot better about
themselves and the world. That’s all.
JI: Steve, thank you so much for your honest,
candid and uplifting interview. I hope that this is
only the beginning of more greatness to come. I
love the direction that you are taking your music
hall in and what’s motivating you so I’m inviting
everyone to visit your website: http://
www.stevegetzmusic.com and to get in touch
with you, mailto:[email protected], submit
their CDs, buy tickets and support the upcoming
series, bring a friend, refer a friend, forward your
website information…and help make this thing a
success for the greater good of us all.
JI: Where do you think you’ll be in the next
five years? What do you see for yourself?

“What looks like a loss
may be the very event which
is subsequently responsible for
helping to produce the major
achievement of your life”
- Srully Blotnick
“The Mind Once Expanded To The Dimensions Of A
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page 1
Tuesday, July 01, 2014 19:29
Composite
Interview
Umbria Jazz in Italy bringing to Melbourne
not only the music but a festival of food and
art. Australians loved it. They never looked
back. I also started in 2003 an Award recognition system just for Jazz. This has grown in
Australia as we held the event yearly since.
They are regarded as the Australian Grammys.
I am still the chairman of this organisation.
Albare
Guitarist, Composer
By Eric Nemeyer
JI: Could you give a thumbnail sketch about
the instruments that are apparently your favorites for performances—Gibson Custom Shop
hollow-body Les Paul, the L5?
Albare: I play a range of guitars. On the road
my fav is a Gibson custom Les Paul. In designing this model I wanted to make it road
friendly as Les Paul’s are notoriously heavy
guitars. So we chose a Brazilian Rosewood
and made the body hollow. The scale of the
neck is that of a super 400 model. Over the
years i added some features like LED lights on
every dot on top of the neck with various intensity settings. We’ve also played with various pick ups to come up with
‘my voice’.
JI: What artists, experiences and inspirations
guided you to change your direction to focus
on jazz?
Albare: I have been playing this music for 40
odd years. At the time, what inspired me were
the kings of fusion, the likes of Weather Report. The sound was new. It was more interesting than rock and more interesting than traditional jazz. I guess that’s the imprint. Everything I do is my interpretation of this fusion.
JI: Could you share some of the dichotomy of
experiences in the array of cultural contexts in
My parent left that country when I was five. It
is in Israel that I took up the guitar, but the
classical guitar. I actually disliked the guitar as
it was something my parents chose for me and
it was not until I was in France in my early
teens that I discovered that guitar was the symbol of long hair, freedom and rock and roll....
At that point my mother wanted to take back
the guitar, but it was too late! I was 10 when
Jimmy Hendrix passed away. Guess what? I
worked on every solo that Jimmy Hendrix
recorded. I wanted to sound just like him.
Then there was the Django Reinhardt period—
where I discovered Nuages and that sound. It
was magic. A bit later the fusion era started
and that was perfect for me. Let me tell you
what being the citizen of four countries does
for you: it makes you feel at home everywhere.
JI: Could you discuss your activities as Director of the Melbourne International Jazz Festival?
Albare: Although Melbourne is very vibrant
culturally today, it was not always this way. I
remember in my early days in Australia I had
to take a plane and go back to culture to be
able to breathe. When there was the opportunity to make a difference by getting involved
with a jazz festival in Melbourne I thought
perhaps I could help. The festival was called
“Let me tell you what being
the citizen of four countries
does for you: it makes you
feel at home everywhere.”
which you lived in Morocco, Israel, France
and for the past 30 years, multicultural Melbourne, Australia—and how those drove your
musical decisions?
Albare: Morocco, that’s my country of birth.
42
the Melbourne International Jazz Festival. It
was international only by name—about 5000
attendees per year. That was in 2000. When I
handed over back the festival to my successor
the festival had 140,000 patrons, had gained
major funding etc. In 2005 I joined forces with
JI: Could you talk about the development of
your new recording, Only Human, from concept to finished artwork—perhaps touching on
the repertoire, the personnel, and any interesting, unique humorous, or dramatic experiences
that might have occurred along the way?
Albare: The project started as a collaboration
with my dear old friend Phil Turcio. We were
touring a lot in 2012 and 2013 so we wrote a
lot of material on the road. We decided to record this album in January 2014 in Cuba. We
booked the studio and were ready to go. We
had both Yunior Terry who is an American
Cuban and Pablo Bencid from Venezuela who
lives in New York, both our touring companions, to join us there. When one morning in
December 2013 I heard from my German
manager who informed me that her U.S. based
legal adviser said that if we should go record
in Cuba, we risked losing the green cards of
my musician friends and my entertainment
visa would be cancelled by the U.S authorities.
It was a dramatic moment where you realize
that more than 50 years later, the embargo was
still real. Think about it. The Soviet Union
doesn’t exist anymore. The Berlin Wall has
fallen, John F Kennedy and Nikita Khruschchev are long gone, but the embargo of Cuba
was still there. So we succumbed to the pressure and decided to record in... Melbourne!...
Yunior and Pablo flew to Melbourne. In the
middle of the recording I received the visit of
an old friend Danny Bensusan, the owner of
Blue Note. When he heard the music he said it
felt like at the Blue Note. So naturally we are
playing there to launch this recording. Some of
the sounds of my guitars are pure accidents. I
continuously search for new sounds and sometime I find a sound I like and create a song just
for it. Shortly after finishing the recording Phil
announced that he was done with touring, at
least for a while. That’s life. I don’t like
launching a project without the real band that
played on the album to tour. So I placed that
project on hold. Not for too long—as I met
Axel Tosca Laugart in New York City and we
toured in May and June last year. I played the
Only Human material to Axel and he loved it.
Actually he was jumping. He always does that
when he likes something. So off he went to
Los Angeles to Oceanways studios where my
friend Don Murray recorded him and replaced
all Phil’s parts with the exception of Hotel
Royal—just because this way Phil is still part
of the project. Phil is one of my best friends
and nothing comes in the way of our friendship. And in this instance it was a happy accident as I met Axel, a pure talent!
Albare
May 22, Friday, Trumpets Jazz Club, Montclair, NJ
May 26, Tuesday, Blue Note Jazz Club, NYC
is too easy to be focusing on the negative side
and be cynical. There’s no energy there. It is
worth the effort to be positive and look for the
bright side of things. I make my music for
people to feel happy to be alive.
Albare
JI: How has living in Australia supported and
or challenged your pursuits as a a jazz artist?
Albare: We get by. There are lots of little jazz
clubs, cafes with music—no Starbucks, they
could not survive in Melbourne coffee culture
which is now the best in the world. I had a
brake in the early 90s when some DJ decided
that the kind of jazz I was playing was acid
jazz. I didn’t understand what this meant at
first but it got me lots of radio play and some
notoriety that normally is reserved to pop artists. It didn’t last long and I quickly went back
to be just a jazz musician.
JI: A mentor once told me that compliments,
like perfume, are meant to be inhaled and not
swallowed—otherwise they can impede us
from ongoing growth. With all of the noteworthy comments and accolades you have received, how have you managed to avoid the
tyranny of the ego?
Albare: Thanks for assuming that I have managed to avoid the ego traps. I just remind myself that we are only human. Seriously, I am a
father of three. Changing nappies [diapers] is a
great reminder of who we really are.
“Thanks for assuming that I have
managed to avoid the ego traps. I
just remind myself that we are only
human. Seriously, I am a father of
three. Changing nappies [diapers] is a
great reminder of who we really are.”
JI: Could you discuss your upcoming performances in New York City in May and how
this environment and this energized jazz center
impacts your perspectives, energy, approach?
Albare: New York is the city of jazz. The
energy and the rhythm are palpable. There is a
pulse that drives you. It is also the city where
my fellow musicians live—Axel, Pablo and
Yunior—so I feel quite in security surrounded
by these cats. They are kind of my body
guards in music terms. We are ready!
JI: What guidance, advice or words of wisdom
did you receive or learn about human nature
from your mentors?
Albare: I look at the good side of humans. It
“Keep away from people
who try to belittle your ambitions.
Small people always do that, but the
really great make you feel that you,
too, can become great.”
- Mark Twain
44
JI: Could you talk about some of your inspirations as a composer and the process or processes that you go through—realizing that the
germ of a composition can start with anything
from a rhythm to a motivic melodic idea and
so on?
Albare: Everyone needs to find what works
for himself. There’s no right or wrong in this
instance. For me collaboration is something
that is important, where the result is greater
than the sum of the parts. Of course you need
to find the symbiotic collaborations. Your
subconscious also works for you, I often wake
up in the middle of the night and I rush to my
computer to make the annotation of the song I
just heard in my dreams. Other times I am
traveling and a melody comes to me which I
quickly hum on my phone recorder. A lot of
the writing comes to the paying attention of
what comes out while I’m improvising. Listening to yourself playing sounds bizarre given
that you are generating the music to begin
with, but that extra layer of listening to yourself playing enables you to identify parts that
can be developed into new themes, beside the
fact that listening to yourself also enhance
your playing.
JI: What do you see as the challenges facing
this music we know as jazz, and the prospects
in the years to come?
Albare: There are two challenges. One facing
the musicians. Jazz is now so diverse that it
can be confusing to some. We need to accept
the diversity. Let’s not forget that Jazz is synonymous with innovation. And for Jazz to be
Jazz you need to honor the roots. The challenge is to combine both innovation and the
tradition. Then there is the commerce aspect of
the music. The challenges are enormous and
common to all other form of music. The main
issue is about the free dissemination and low
return to the artist. It is hard to make money
with something that is free. The sheer amount
of availability of product makes all products to
be devalued. Yet, the cream finds its way to
the top.
JI: What have you discovered about human
nature during your career?
Albare: Human nature is inherent to humans.
Unless you want to live in a zoo of the jungle,
you’d better be ok with it.
JI: The music world, the jazz world are replete
with temptations associated with varying desires for power, fame, fortune that can have the
potential to compromise one’s focus, one’s
integrity and character. What do you do to
maintain your focus and to ensure that you
minimize those kinds of influences and people?
Albare: We are at the service of the music.
We do what the music demands. Hopefully we
have fun doing it and the public can enjoy. As
stated earlier we create music for people to
feel happy to be alive. It’s a positive message
that celebrates us as humans.
JI: What do you do to decompress from your
business and musical pursuits?
Albare: I play my guitar
JI: Tell us about your new label Alfi Records. What made you decide to start a new
label/music media company at this point in
your career?
Albare: Carl Griffin the former A&R guru of
GRP was in search of a partner for his new
label. I was impressed by the man and his
knowledge of the music and the musicians he
wanted to join his label. I am happy to be part
of the vision. I have put at his disposal the few
resources I have and I am hoping that soon we
will have a collection of artists that share a
similar vision and a sound that will contribute
to the mosaic of the Jazz world. I have been
recorded for four labels over the years, time to
record for Alfi.

Interview
dation is based in the art and discipline of improvisation?
Deborah Latz
Vocalist
Interview by Joe Patitucci
Photo by Todd Weinstein
DL: When I started listening to Ella Fitzgerald,
the first album I bought was The Complete Ella
In Berlin: Mack The Knife. She showed me an
elite level of improvisation and the genuine joy
that she had in performing it. Alberta Hunter is
simply naughty and sensual on Amtrak Blues
which continues to inspire me as a storyteller.
On Carmen McRae’s Carmen Sings Monk she
highlighted the importance of ‘big ears’ and no
fuss - just tell the story. Hearing and watching
JI: Could you discuss your new recording - sur
l’instant - and its development from its beginning to completed work?
DL: The journey to creating sur l’instant began
in 2005 when I made my debut at the Paris jazz
club, Sept Lezards with France’s luminary jazz
pianist, Alain Jean-Marie and first call bassist
Gilles Naturel. With each visit to France I continued to collaborate with Alain and Gilles and it
became a goal of mine to record an album in
trio. Unadorned, simply getting to the core of
each tune’s story. While touring France in 2013
to celebrate my third release, Fig Tree, we had
several club dates in which we explored the
tunes for our upcoming recording session. We
approached the songs with open minds ready to
follow the music wherever it would take us.
When we went in to record, over two days, at
Studio de Meudon we continued that collaboration [‘in the moment’], which was very freeing.
We’ve built a friendship and trust through the
years and it came through on the album. To
quote Alain, “We made the songs our house.”
The tracks on my album are made up of the three
elemental B’s of jazz: Blues, Bebop and Ballads.
The timing was right for me to sing these particular songs, since at this point I have more life
experience and in recent years I have been fortunate to study with some of the greats like Sheila
Jordan and Jay Clayton.
JI: Please discuss your training as an actress at
the American Conservatory Theater in San Francisco and the British American Drama Academy
in Oxford, England — and how those experiences contributed to your development as a jazz
vocalist?
DL: A huge part of being a storyteller and
weaver of tales is attributed to my studies at the
American Conservatory Theater in San Francisco and the British American Drama Academy
in Oxford, England. When I approach a song, I
always bring the “who-what-when-where-why”
credo of acting to it. I locate those elements and
then I bring them together with my own feelings
about a song. I usually react first to a melody
and a song’s formal structure and then I delve
into what the lyrics say to me. For me lyrics are
synonymous to the text of a play. The words
must touch my heart and soul or I shouldn’t be
singing them.
JI: What jazz artists and or recordings initially
inspired your interest in this music whose founTo Advertise CALL: 215-887-8880
Hear Deborah Latz
CD Release at the Blue Note in NYC
Friday, May 8 2015
Visit www.DeborahLatz.com
45
Deborah Latz
videos of Nina Simone inspired me on many
different levels including fusing classical with
jazz. My husband plays classical piano and on
my arrangement of “You’d Be So Nice To Come
Home To” [from Fig Tree] the intro/outro is
from the third movement of Beethoven’s Pathetique, which feels completely natural and
reminds me of Nina. This quote from vibraphonist Gary Burton makes so much sense to me,
“Improvising is like talking. We don’t think
about nouns and verbs we ‘picture’ what we
want to communicate.”
JI: What words of wisdom or guidance have you
received from mentors or associates or leaders in
the jazz world that his made a significant impact
on your artistic development?
DL: So many words of wisdom have come from
many people as well as their actions. The following has been said universally: “Listen to
everything!” “Play with the best musicians. They
will raise the bar for everyone on the stand.” “Be
yourself, do what you know.” “You’re only in
competition with your last level of musicianship.” “Always keep your ears open.” “Make the
music your own.” “Practice and then practice
some more.” “Be a good person.” These are my
mantras.
JI: What are your opinions about the benefits or
shortcomings of the academic route versus per-
“To quote my father, ‘The worst thing
that can happen when you ask for
what you want is ‘no.’ Then you go
back a few weeks or months later
and ask again. They might say ‘yes!’”
path. There are many examples, including the
great Kurt Elling.
JI: What do you see as the challenges facing this
music we know as jazz, and the prospects in the
years to come?
DL: Education is so empowering on all levels
from elementary, middle and high school
through college to conservatory and summer
camp. And although the arts are being cut from
many schools there are ‘after-school’ programs,
non-profit organizations, community programs,
and grants available to bring music to schools,
senior centers, and you can propose your own
ideas. As long as we stay true to ourselves in
terms of the music then I think we have learned
from the masters who laid the ground work.
Louis Armstrong, Charlie Parker, Miles Davis,
Thelonious Monk, Marian McPartland, Clark
Terry, Betty Carter, and Abbey Lincoln. They
made their personal mark. That’s what it’s
about—be true to yourself and to the music.
“For me lyrics are synonymous to
the text of a play. The words must
touch my heart and soul or
I shouldn’t be singing them.”
formance and apprenticeship in the real world
that had been the pathway to a performance career in the past?
DL: In college I focused on music and theater
and didn’t have formal training in jazz. When I
first arrived in New York City I concentrated on
musical and avant garde theater, which led me to
the world of jazz. Pianist Kenny Werner said, “A
successful player is communicating passion and
deepness. Not how ‘well’ he plays.” My regimen is to practice, listen, practice, discover,
practice and then when I’m on the stand the goal
is to listen and communicate my deep passion.
It’s similar to acting, you learn and you rehearse
and then when you walk on stage you leave your
education in the wings. I don’t think it matters if
you go to school or not - we can make our own
46
Listen. Give. And give back. It’s a great privilege for me to teach workshops and master
classes on voice, vocal jazz improvisation, and
Circlesongs in New York City and beyond. Everyone can sing. Singing/Music connects us to
each other in a deep and profound way. Jazz is
here to stay!
JI: How have you avoided the tyranny of the
ego?
DL: I think it’s important to have a healthy ego,
and I do, most of the time. However, I also know
how important it is to continually learn from my
fellow musicians and mentors.
DL: Living in New York City is a treasure trove
in terms of developing skills and ideas as a musician. We can study with literally the best of the
best! Some of the amazing musicians and mentors I have studied with are Sheila Jordan, Jay
Clayton, Bobby McFerrin, Rhiannon, Nancy
King, Barry Harris, Bob Stoloff, Jeanie LoVetri
and Joey Blake. There is nothing like going out
to hear live music. I always come away with new
insights and new connections. I listen to music
of all kinds and often to one song for days so
that I can clearly hear what each instrument is
playing and then put it back together to hear it as
a whole again. The web is full of master classes
and interviews with artists I admire. A few that
I’ve watched were run by Barry Harris, Clark
Terry, and Dave Liebman. Listening to Miles
Davis’, My Funny Valentine: In Concert album
is in itself a master class. Everyday my goal is to
vocalize, at a minimum, for two hours. I’m always working to expand my vocal range so that I
can express my emotions more fully. I sing blues
heads, play changes on tunes I’m learning and
already performing. I practice yoga and tai chi to
stay healthy and focus on my breath, and I basically make vocal ‘sounds’ all day. Sometimes it
involves a lot of sighing in response to the world
around me. Everything I’ve mentioned takes
place not only at home in my practice room, the
shower, and the kitchen, but also on the subway,
walking down the street, you name it. Concentrated practice in a private space with no interruptions is key, however, interacting with the
insects, birds, animals, elements and the world at
large is the ultimate school for me.
JI: What have you discovered about the music
business and human nature as a result of your
dealings with jazz club operators, festival decision-makers, record labels, promoters, publicists,
etc.
DL: Patience and kindness prevails under all
circumstances. To quote my father, “The worst
thing that can happen when you ask for what you
want is ‘no.’ Then you go back a few weeks or
months later and ask again. They might say
‘yes!’” I’ve found that the first step is to know
what I have to offer the venue, do my research,
be myself, be honest, be professional, always
follow up with the contact, and then play with
passion and love.
JI: What kinds of activities, studies, practice,
transcription and so forth do you do to constantly
develop your skills as an improvising musician?

CD REVIEWS
Beegie Adair
THE GOOD LIFE: A JAZZ PIANO TRIBUTE TO TONY BENNETT—Green Hill Music 5965. GreenHillMusic.com. For Once in My
Life; Because of You; The Best Is Yet to Come;
Smile; Maybe September; The Good Life; I
Wanna Be Around; Young and Foolish; Rags to
Riches; The Pawnbroker; Steppin’ Out with My
Baby; Cold, Cold Heart; I Left My Heart in San
Francisco
PERSONNEL: Beegie Adair, acoustic piano;
Roger Spencer, acoustic bass; Chris Brown,
drums; David Davidson, violin; Paul Sixfin,
violin; David Angell, violin; Mary Kathryn
VanOsdale, violin; Karen Winkelmann, violin;
Janet Darnall, violin; Jim Grosjean, viola;
Monisa Angell, viola; Elizabeth Lamb, viola;
Anthony LaMarchina, cello, Sari Reist, cello
By Alex Henderson
Veteran singer Tony Bennett is not only
admired by jazz, cabaret and traditional pop
vocalists—he is also admired by jazz instrumentalists. And on The Good Life, acoustic pianist
Beegie Adair puts an instrumental jazz spin on
Bennett’s work.
There are major differences between what
Bennett does and what Adair does. Although not
a jazz artist per se, Bennett is a traditional pop
singer with a definite jazz influence—and the
crooners he is typically compared to include
Frank Sinatra, Bing Crosby, Dean Martin, Vic
Damone, Perry Como and Jack Jones. Adair,
meanwhile, is an acoustic bop pianist and instrumentalist whose direct or indirect influences
have included George Shearing (who she has
often been compared to), Nat King Cole, Bill
Evans and Marian McPartland. However, traditional pop singers and jazz instrumentalists often
perform many of the same standards—and The
Great American Songbook is represented on this
CD with lush arrangements of familiar gems that
range from Irving Berlin’s “Steppin’ Out with
My Baby” to Charlie Chaplain’s “Smile” to Ray
Evans & Jay Livingston’s “Maybe September.”
The lyrical pianist achieves that lushness with
the help of more than ten string players, including six violinists, three viola players and two
cellos. And those strings surround her working
trio, which employs Roger Spencer on acoustic
bass and Chris Brown on drums.
Bennett has had a long career: his breakthrough hit, “Because of You,” came out in
GetYourCDToPressAndRadio.com
1951, and at 88, he is still performing and continues to command a loyal, enthusiastic following. So given how long Bennett has been performing and how large a repertoire he has built
along the way, Adair had a wealth of material to
choose from—and she turns her attention to
everything from “Because of You” and Bennett’s 1953 hit “Rags to Riches” to Cy Coleman
& Carolyn Leigh’s “The Best Is Yet to Come” to
Ron Miller’s “For Once in My Life” (which
Stevie Wonder made famous in 1967). Naturally,
Adair includes the Douglass Cross/George Cory
ballad “I Left in My Heart in San Francisco,”
which became Bennett’s signature song even
though he was over a decade into his recording
career when it became a major hit for him in
1962. A long list of artists have performed “I
Left in My Heart in San Francisco,” over the
years, from Duke Ellington to Sammy Davis, Jr.
to soul man Bobby Womack. But Bennett’s 1962
version is by far the most famous and celebrated
version of the song, which works perfectly well
in an instrumental environment.
Adair’s Bennett tribute even gets into country with a performance of “Cold, Cold Heart,”
which country icon Hank Williams, Sr. made
famous in 1951. That same year, it became a
major hit for Bennett when he recorded an
unlikely cover: while Williams’ version was
hardcore honky tonk, Bennett approached it as a
jazz-influenced traditional pop ballad (unlike all
the country singers who covered it). And Adair
has no problem making it work as a bop instrumental. It should be noted that Adair (who lives
near Nashville) has a connection to country music: in the late 1960s and early 1970s, she was a
rehearsal pianist on the television variety show
that Johnny Cash hosted at the time, and she has
also crossed paths with Dolly Parton and the late
Chet Atkins (one of country’s most influential
guitarists) along the way.
How to Submit CDs
& Products For Review in
Record labels or individual artists who are
seeking reviews of their CD or DVD recordings or books may submit CDs for review consideration by following these guidelines.
Send TWO COPIES of each CD or product
to: Editorial Dept., Jazz Inside, P.O. Box
30284, Elkins Park, PA 19027. All materials sent become the property of Jazz Inside,
and may or may not be reviewed, at any
time.
Adair has quite a few songbook albums in her
catalogue, including tributes to George
Gershwin, Duke Ellington, Irving Berlin, Cole
Porter and Jerome Kern. She often pays tribute
to songwriters, but this time, it is a singer that
inspires her—and The Good Life is an enjoyable
acknowledgement of Bennett’s contributions.
Albare
ONLY
HUMAN—Alfi
15001—
www.alfirecords.com. Nightly News; Only Human; Hotel Royal; Lonely Planet; Royal Beach;
Round Trip; FunkChue; The Tale; Gravitational
Pull; How Two Live.
PERSONNEL: Albare, guitar; Axel Tosca Laugar, piano; Yunior Terry, bass; Pablo Bencid,
drums; Phil Turcio, piano on “Hotel Royal”
COMPANIES: Advertise Your Products in Jazz Inside
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CONTACT us and discover the many ways we can help!
Eric Nemeyer, 215-887-8880, [email protected]
47
count in his quietly heartfelt statement. The jazz
waltz “Gravitational Pull” and “How Two Live”
conclude the stimulating program.
Only Human is not only one arguably Albare’s finest recording so far but it serves as an
excellent way for American listeners to get familiar with the very skilled Australian jazz guitarist.
By Scott Yanow
For the past decade, Albare has been considered one of the major jazz guitarists from
Australia. While he is much better known in his
homeland, his last couple of CDs have been
getting publicity and acclaim in the United
States.
He was born in Morocco as Albert Dadon.
He gained a lot of international experience early
in life growing up in Israel and France. Under
the name of Albare, he started playing guitar
professionally while living in Paris. At 27 he
moved to Australia where he has been very successful as a businessman. Albare is the executive
chairman of Ubertas Group, a funds management and property development company.
Fortunately Albare has never neglected his
music. In addition to his performances, he is
chairman of the Australian Jazz Awards, was the
chairman of the Melbourne Jazz Festival during
2003-05, and has been its artistic director since
then.
As a guitarist, Albare has evolved through
the years. His first CD featured him playing acid
jazz, interacting with DJs. The CD that he recorded prior to the current one, The Road Ahead,
displayed the influence of Pat Metheny on his
sound although his own voice was starting to
emerge. Only Human has Albare showing versatility on an eclectic program, all of it played in
his own modern style.
Only Human is dedicated to Albare’s multicultural experiences. His band reflects that since
his pianist Axel Tosca Laugar is from Italy,
bassist Yunior Terry was born in Cuba and
drummer Pablo Bencid is from Venezuela. Obviously the music that they play, modern jazz, is
an international language. The quartet is tight
and often seems to think as one.
Albare wrote or co-composed all ten selections. The opener, “Nightly News,” does indeed
sound as if it could be the theme song for a television news program before it becomes a creative jam. Albare displays a light airy tone on this
selection and Laugar takes the first of many fine
solos, showing his expertise at building up his
improvisation. “Only Human” has a catchy and
simple melody that is universal. “Hotel Royal” is
a lyrical ballad on which Albare’s notes really
sing out. “Lonely Planet” shows the influence of
rock and fusion with Albare getting a more intense sound out of his guitar.
Albare’s acoustic playing on “Royal
Beach” sometimes has him hinting at gypsy
music, his droning sound during parts of “Round
Trip” recalls Gabor Szabo a little and his bluish
single-note lines on “FunkChue” are worthy of
George Benson. The rhythm section fits into
every groove and mood with Axel Tosca Laugar
taking solos that are both exciting and complementary to Albare’s range of styles. The lazy
ballad “The Tale” has Albare making every note
48
hand man and interprets these rare and familiar
American Songbook standards with care and
confidence. The rhythm section of bassist/
vocalist Nikki Parrott and drummer/vibist Chuck
Redd is spot on and adaptable across the spectrum. And the addition of “Little Johnny” Rivero
on percussion does give some of the tracks an
added kick. So, in summation, this album does
get a thumbs up from me, despite some meager
reservations.
Harry Allen
FOR GEORGE, COLE AND DUKE - Blue
Heron Records. BlueHeronRecords.com. Always
True to You in My Own Fashion; In a Mellow
Tone; Happy Reunion; Silk Stockings; Purple
Gazelle (Angelica); How Long Has This Been
Going On? I Love You Samantha; Shall We
Dance?; By Strauss; Love for Sale; They All
Laughed; Who Cares?( So Long As You Care
For Me); Mood Indigo.
PERSONNEL:Harry Allen, tenor saxophone;
Ehud Asherie, piano; Nicki Parrott, acoustic bass
and vocals; Chuck Redd, drums & vibraphone;
“Little Johnny” Rivero, percussion.
Joe Alterman
G E O R G I A
S U N S E T —
JoeAltermanMusic.com. Blue Moon; Other
Voices; Hard Times; Georgia Sunset; That Day,
That Summer; For Once in My Life; I’ll Let You
Know; The Theme; This Time the Dream’s on
Me; Moonlight Becomes You; Snake Eyes; How
Deep is Your Love.
PERSONNEL:Joe Alterman, piano; Houston
Person, tenor saxophone; Gregory Hutchinson,
drums; Reuben Rogers, acoustic bass.
By Eric Harabadian
By Eric Harabadian
This is one of those NYC jazz super session
kind of recordings where you’ve got cream of
the crop players, with stellar credentials that
have covered the musical landscape in terms of
tenure in the industry. But when you play with
such a broad cross-section of artists—from Paul
McCartney to Tony Bennett, you know what
type of music you want to play and what is in
your comfort zone. That is the feeling that this
reviewer gathers here. Make no mistake, all the
musicians on this album are at the top of their
game and bring their collective best to the table.
But, save for some tasty alternate arrangements
on classics, such as the 6/8 Afro-Cuban stylized
take on “Love for Sale” or rare music selections
like Duke Ellington’s “Purple Gazette
(Angelica)” or Cole Porter’s “I Love You
Samantha,” there is nothing really distinctive
about this release. Again, it is a musically sound
and well produced album that should appeal to,
both the urbane sophisticate and newly introduced hipster. But it’s nothing that hasn’t been
done before. Perhaps that’s the point. Maybe
Harry Allen’s objective was to simply present
the music they love in an unvarnished, straight
ahead manner that reverently honors the past
while preserving the tradition of the music’s
present and future. If that is the case, then mission accomplished! And there are, in fact, many
performances on this record that are exceptional.
Starting with Allen, his overall acumen and facility on tenor sax is consummate and quite diverse. He fuels each of the compositions here
with an energy and fire one would expect from a
leader. Pianist Ehud Asherie is Allen’s right
As the liner notes allude, all you have to do
is hear the first few notes leader Joe Alterman
lays down on the classic “Blue Moon” and you
know this is an artist that has done his homework. Although only in his twenties, Alterman is
truly an old soul. His, is a style rooted in storied
tradition and vintage songcraft when the emphasis was on the beauty of the melody rather than a
hurried flurry of notes. Oh, indeed, the pianist
can burn, when called upon, with the best of
them, but, even as a leader, he seems all about
engagement and being a team player than leaving everyone in his dust. Alterman plays with
beauty, poise and substance, with a delicacy that
defines the term “tickling the ivories.”
The first two tunes on this disc are triooriented ballads. Alterman kicks it up a notch on
the bluesy and hard swinging romp “Hard
Times.” This is a great showcase for Alterman’s
versatility and also features a nice solo spot by
bassist Reuben Rogers. Title track “Georgia
Sunset” is an original by Alterman and a sort of
tribute to his Atlanta-based roots. He brings a
joyful feel to the piece aided by drummer Gregory Hutchinson’s machine-like precision. “That
Day, That Summer” is an offbeat pop classic and
a solo spot for the leader’s elaborate chops. It is
a romantic tune laden with rolling fills and cascading runs. The first piece where saxophonist
Houston Person comes on board for is one popularized by Stevie Wonder called “For Once in
My Life.” Person took Alterman under his wing
a few years ago and their interplay reveals a rich
partnership. This piece swings hard without
becoming overbearing. Cedar Walton’s “I’ll Let
You Know” is another solo piano piece that
explores the dynamic and tonal range of the
keyboard. From there Alterman changes things
up again by featuring a piece by another of his
favorite compositions “The Theme” by Les
McCann. This is a vibrant and tuneful R&B-type
number where Person blows sweet and cool
unlike no other. “This Time the Dream’s on Me”
is a Mercer/Arlen classic featuring Person’s
breathy lyrical tone. It is a relaxed, heartfelt call
and response between himself and the leader.
“Moonlight Becomes You” is just a nice inclusion here for its Great American Songbook value
and vintage charm. Alterman really shines here.
They ramp it up again for the up tempo burner
“Snake Eyes.” This is one of Person’s best compositions and sets up a hard swinging trajectory
that kicks the ensemble into orbit. This is a modern blues tune where everyone gets to cut loose.
And just as Alterman began, he concludes with a
solo take on the Bee Gees’ “How Deep is Your
Love.” He is faithful to the melody and spirit of
the piece while subtly transforming it. This is the
mark of a true artist as, most certainly, Joe Alterman is. Well done!
Ray Anderson
BEING THE POINT—Intuition 71313. Web:
rayanderson.com. At Home in the Muddy Water;
Marching On (Blues for John Lewis); Child’s
Eyes; Hot Crab Pot; Being the Point; Realization; Instigations
PERSONNEL: Ray Anderson, trombone, vocals; Steve Salerno, electric guitgar; Gary Versace, organ; Tommy Campbell, drums
By Alex Henderson
Words like “humorous,” “entertaining” and
“fun” are seldom used in connection with avantgarde jazz, which typically thrives on the cerebral and the abstract and does not go out of its
way to be accessible. But Ray Anderson, since
the 1970s, has brought an unusual perspective to
avant-garde jazz—one that involves a great deal
of outside playing, yet longs for a time when
jazz was party music. When he was in his twenties, the Chicago-born trombonist (now 62) built
his résumé as a sideman for Anthony Braxton,
Davis Murray, Barry Altschul, Roscoe Mitchell
and others. But he clearly identifies with the
humorous elements of Louis Armstrong, Fats
Waller and Cab Calloway, and his sense of humor is alive and well on Being the Point.
Anderson has appeared in a variety of musical settings over the years. This time, he leads a
group billed as the Ray Anderson Organic Quartet, which has that name because it includes an
organist: his sidemen are Gary Versace on organ,
Steve Salerno on electric guitar and Tommy
Campbell on drums. And with that lineup on
board, Anderson savors both the inside and the
outside. Being the Point is about melody and
harmony as well as dissonant abstraction.
This is a diverse album, ranging from the
reflective, contemplative ambiance of
“Realizations” and “Child’s Eyes” to the Thelonious Monk-flavored angularity of “Hot Crab
Pot.” Monk has long been one of Anderson’s
favorite composers, and Monk’s influence is
very much at work on “Hot Crab Pot.” Meanwhile, a strong Caribbean flavor prevails on “At
Home in the Muddy Water,” which has a melody
that would not be out of place on a Sonny
Rollins album. Since the 1950s, tenor saxophonist Rollins has been famous for combining combine hard bop with calypso (“Don’t Stop the
Carnival,” “Hold ‘Em, Joe” and his own “St.
Thomas,” for example). And while “At Home in
the Muddy Water” is not hard bop, it has the
festive, celebratory type of mood that Rollins’
jazz/calypso performances are known for.
“Instigation” also has an appealing Caribbean
flavor, although “At Home in the Muddy Water”
is easier to absorb.
Although primarily an instrumentalist,
Anderson sings on occasion—and the title track
is a prime example of how delightfully goofy his
vocals can be. The tune blends avant-garde jazz
with funk and in its own oddball way, is quite
infectious. Most of this 52-minute CD, however,
is instrumental, including the New Orleansminded “Marching On (Blues For John Lewis).”
That selection incorporates the influence of New
Orleans marching bands.
Through it all, Versace’s organ playing is
an asset to this quartet. The organ, in the jazz
world, is closely identified with soul-jazz:
Jimmy Smith was the king of funky, gritty
Hammond B-3 playing and influenced scores of
organists (including Charles Earland, Richard
“Groove” Holmes, Shirley Scott, Jimmy
McGriff, Don Patterson and Jack McDuff). And
ones hears traces of Smith’s funkiness on Being
the Point. Yet Versace takes it way beyond the
Smith school of organ playing, and he has no
problem being funky one minute and abstract the
next.
A fine addition to Anderson’s catalogue,
Being the Point demonstrates that his decision to
work with an organist was a wise one.
Tony Cimorosi
Saundra Silliman
DUOTONES—Epoch Records. TonyCimorosi.com. Autumn in New York; Goodbye,
Pork Pie Hat; Sack Full of Dreams; Slow, Hot
Wind; People Make the World Go ‘Round; Key
Largo; Fragile; Waking
PERSONNEL: Tony Cimorosi, acoustic bass;
Saundra Silliman, vocals
By Alex Henderson
Being accompanied by nothing but acoustic
bass can be either advantageous or disadvantageous for a jazz vocalist. A singer with bass-only
accompaniment is very exposed and vulnerable,
and the imperfections really stand out. It is
something to avoid unless a singer is really on
his/her game. But if, on the other hand, the vocalist is skillful and is in good form, that minimalist approach can be advantageous—and on
Duotones, it is clearly advantageous for singer
Saundra Silliman. The only musician accompanying Silliman on Duotones (which was recorded in New York City in 2014) is acoustic
bassist Tony Cimorosi; piano and drums, let
alone horns, are nowhere to be found. But being
so exposed is great for Silliman, an expressive
and soulful vocalist whose direct or indirect
inspirations range from Abbey Lincoln to Carmen McRae to Jeanne Lee. The minimalist environment amplifies her strengths whether Silliman and Cimorosi are turning their attention to
Vernon Duke’s “Autumn in New York,” Henry
Mancini’s “Slow, Hot Wind,” Gary McFarland’s
“Sack Full of Dreams” or alto saxophonist
Benny Carter’s “Key Largo” (not to be confused
with Bertie Higgins’ adult contemporary hit
from 1981).
When it comes to popular music, some jazz
artists are quite myopic and won’t go near anything that isn’t a Tin Pan Alley warhorse from
the 1920s, 1930s, 1940s or 1950s. They reject
R&B and rock wholesale, failing to realize that
plenty of R&B and rock gems can be great vehicles for jazz improvisation. Thankfully, Silliman
and Cimorosi don’t feel that way, and they explore the jazz possibilities of Sting’s “Fragile”
and the Philadelphia soul classic “People Make
the World Go Round.” Written by the prolific
team of Thom Bell & Linda Creed, “People
Make the World Go Round” was a major hit for
the Stylistics in 1972 and was easily their most
sociopolitical hit. The Stylistics didn’t record a
long of sociopolitical songs: they were best
known for dreamy romantic gems like “You
Make Me Feel Brand New,” “I’m Stone in Love
with You,” “Stop, Look Listen,” “Betcha by
Golly, Wow” and “Break Up to Make Up.” But
“People Make the World Go Round” definitely
gets into sociopolitical concerns, and when a
pre-adult, pre-Thriller Michael Jackson recorded
a version with a different set of lyrics in 1972
(same melody, different lyrics), he was no less
sociopolitical. Silliman performs the Stylisticsassociated lyrics, thickening the plot by inserting
some spoken word and an excerpt from poet
Maya Angelou’s “On the Pulse of Morning.”
The fact that Sting is a pop-rock singer with
jazz influences certainly isn’t lost on Silliman,
who takes “Fragile” and runs with it. She makes
Sting’s hit sound perfectly natural in a jazz vocal
environment alongside “Autumn in New York,”
Carter’s “Key Largo” and Charles Mingus’
“Goodbye, Pork Pie Hat” (a song written in
memory of the seminal tenor saxophonist Lester
“The Pres” Young, who influenced Stan Getz,
Al Cohn, Zoot Sims, Bobby Jaspar, Paul
Quinichette and countless others).
49
Silliman and Cimorosi were taking a chance
when they opted to record an album with nothing
but vocals and acoustic bass. But it’s a chance
that pays off, making Duotones a consistently
memorable outing.
Chopin. Lovely arpeggios and a dense rhythmic
syncopation abound. The strong pull of bossa
nova takes hold on “Ocean Breeze” and there is
also room for solo piano spotlights on a piece
like the romantic “To brazil With Love.” Davidson and his ensemble have done it again by
proving they are a versatile group for all seasons.
Roger Davidson
LIVE AT CAFFE VIVALDI, VOL. 2 - Soundbrush Records SR 4002. Journey to Rio; Roxo;
Dream Samba; Fico Feliz; Caminhada de
Verao; Carota de Ipanema; Celia; Gentle
Ocean; Oracao Para o Amor; Brisa Morna;
Spring Samba; Ocean Breeze; To Brazil with
Love.
PERSONNEL:Roger Davidson, piano; David
Finck, bass; Pablo Aslan, bass; Adriano Santos,
drums.
By Eric Harabadian
On this, Roger Davidson’s custom label,
The pianist culls some standout performances
from a live stint at the popular NYC venue. In
2012 Davidson had turned the Greenwich Village music spot into a forum for himself and
artists on the Soundbrush label to showcase their
wares on Wednesday nights. This experience
blossomed into more specific performances for
Davidson and his ensembles who began recording their live sets in 2015. Many of them
came out so well that the leader decided to release them for public consumption. And that’s
what you’ll find here.
By many of the song titles one can probably
ascertain that the primary focus of this recording
is Latin or, more specifically, the leader’s own
original Brazilian-flavored compositions. Save
for Jobim’s “Garota de Ipanema,” the entire
album is comprised of Davidson’s material. And
this is a nice overview of the leader’s particular
oeuvre. Davidson has done film music, standards
and semi-classical type material on previous
releases. And, just as with all his diverse musical
forays, he shines in this realm as well. The main
thrust of Davidson’s approach is one of classic
lyricism and unbridled improvisation. He has an
elaborate command of the keyboard and is inventive on, both a soloing and compositional
plane. “Journey to Rio” kicks things off in an
appropriate up tempo style. The rhythm section
of bassist David Finck and Adriano Santos really
shine. “Dream Samba” has a nice serene quality
to it, with an airy breeze that lends itself to great
solo spots. The same could be said for “Celia”
and “Gentle Ocean.” Some of that classical influence comes through on a piece like “Oracao
Para o Amor.” The leader plays in a rather stoic
and somber manner that seems to revel in a minor key but still retains a rather joyful and reflective quality as well. “Brisa Morna” picks up the
tempo a bit, with a melody that recalls Bach or
50
Eliane Elias
MADE IN BRAZIL - Concord Jazz CJA36693-02. Brasil ( Aquarela do Brasil); Voce;
Aguas de Marco (Waters of March); Searching;
Some Enchanted Place; Incendiando; Vida (If
Not You); Este Seu Olhar/ Promessas; Driving
Ambition; Rio; A Sorte do Amor ( The Luck of
Love); No Tabuleiro da Baiana.
PERSONNEL:Eliane Elias, vocals, piano &
keyboards; Take 6, vocals; Mark Kibble, vocals;
Amanda Brecker, vocals; Ed Motta, vocals;
Roberto Menescal, vocals & guitar; Marcus
Teixeira, guitar; Marcelo Mariano, electric bass;
Edu Ribeiro, drums; Marc Johnson, acoustic
bass; Rafael Barata, drums; Mauro Refosco,
percussion; Marivoldo dos Santos, percussion;
Rob Mathes, orchestral arrangements and conductor.
By Eric Harabadian
Are you stressed out to the max? Are long
hours at your job burning you out? Are you at
the end of that proverbial rope and need a relaxing getaway in order to unwind and regroup?
Well look no further, my friends, because Dr.
Elias has the cure for what ails you! Actually
this is the album Brazilian-born singersongwriter Eliane Elias has wanted to make for
over three decades. Not only does the blonde
chanteuse have a delicate touch on the keys but
her mix of intoxicating and sultry vocals combined with Rob Mathes’ string arrangements is
downright out of this world. This recording is
more an experience than just a typical sequence
of songs strung together. Elias is at the top of her
game here as producer and arranger as well as
artist, composer and performer. This is truly a
labor of love for her, and it shows!
The overall feel of this recording is one of
peace and has an inherent ethereal and dreamlike quality. Elias sings with an understated passion that conveys tales of her homeland and
various conditions of the heart in eloquent fashion. Lush orchestration and supple samba beats
dictate the opening track “Brasil” as the leader’s
voice is inviting and ever so self-assured from
the outset. “Voce” follows and is a duet, of sorts,
with noted Brazilian singer-guitarist Roberto
Menescal. The feeling here is one of being carefree where Elias’ soulful piano transports the
listener to better parts unknown. There is always
room for a good Jobim classic and “Aquas de
Marco (Waters of March)” fits the bill. This is
somewhat funky, with a pop edge to it. Backing
vocals from gospel group Take 6 give this track
a truly joyful vibe. “Searching” is a beautiful
ballad written by Elias and spotlights some wonderful acoustic piano. It is a stunning trio piece,
with strings. Mark Kibble from Take 6 writes
some really inventive backing vocal arrangements and stands out as a solo performer here on
a track called “Incendiando.” It is an original
samba by Elias that features a strong groove and
a catchy chorus. “Vida (If Not You)” is another
standout for the fact that Elias sings in her native
Portuguese backed by another guest player Ed
Motta. It is very dynamic, with a poetry and flow
that is unmatched in a lot of modern music.
“Este Seu Olhar/Promessas” is another piece by
the master Antonio Carlos Jobim. Guitarist Marcus Teixeira is so understated but essential to
this tune. The leader’s vocals are a dream and
her electric piano shadings are subtle and sweet.
A truly stellar track and a single, to be sure, is
the seductive “Driving Ambition.” With the
repeated vocal hook “Baby won’t you drive my
car…..” Elias captures your heart with each
passing key modulation. The rhythms are on
point and Mark Kibble’s vocal backups are sublime. Rob Mathes’ strings and Roberto Menescal
make the track “Rio” really come alive. Elias
sings about her native homeland and pays tribute
in style. The leader’s stellar piano acumen ignite
the album’s final tracks “A Sorte do Amor (The
Luck of Love)” and “ No Tabuleiro da Baiana.”
The first being a ballad and closing with a relaxing samba.
Eliane Elias defines the Brazilian jazz genre
with a modern take on a classic musical style. It
truly does not get much better than this.
Kevin Hays
NEW DAY—KevinHays.com. Run To The Sun
(instrumental); New Day; Trudger’s Paradise;
Milton; The Sun Goes Down; Kurtish; All I
Have; Sugar Man; Waltz For Wollesen; Highwayman; Time Waits; Run To The Sun (vocal)
PERSONNEL:Kevin Hays, piano, keyboards,
vocals; Gregoire Maret, harmonica; Tony
Scherr, guitar; Ron Jost, bass, French horn; Greg
Joseph, drums, percussion
By Scott Yanow
Kevin Hays is perhaps best known in recent
years as pianist with his New Day Trio, a group
with bassist Ron Jost and drummer Greg Joseph
that has played regularly at the 55 Bar in New
York and has toured Italy. However, as he shows
throughout New Day, there is more to Hays than
that one side of his musical personality.
Born in New York and raised in Greenwich,
Connecticut, Hays began playing piano when he
was six. Originally into progressive rock, he
became interested in jazz as a young teenager
and studied with veteran swing pianist Lou
Stein. At 16, Hays began working regularly at
the Knickerbocker in New York. While he enrolled at the Manhattan School of Music in 1986,
he soon became so busy as a performing musician that he dropped out.
Among Kevin Hays’ many important jobs
as a sideman has been time spent with the
Harper Brothers, Benny Golson, Joe Henderson,
Joshua Redman, Al Foster, John Scofield, Roy
Haynes, and Chris Potter, not to mention two
years with Sonny Rollins. He also appeared on
recordings with those giants plus such notables
as Eddie Henderson, Scott Wendholt, Tim
Hagans, Nicholas Payton, Vincent Herring, Bob
Belden, Don Braden, Rick Margitza, Jim
Snidero, Mark Turner, Antonio Hart, and Seamus Blake. Hays has led at least 18 albums of
his own including three Blue Note albums with a
trio that also included Ron Carter and Jack DeJohnette. He led his own trio for 15 years, a unit
that also included bassist Doug Weiss and drummer Bill Stewart. He also recorded the Modern
Music CD, a set of duets with fellow pianist
Brad Mehldau.
When Hays formed the New Day Trio, he
wanted musicians who were flexible enough to
stretch beyond jazz although jazz has remained
his music’s foundation. The New Day CD expands the group with the addition of guitarist
Tony Scherr and Gregoire Maret on harmonica.
The set also includes several vocals by the leader
that are likable, catchy and open to some elements of pop music.
New Day begins with the first of two versions of “Run To The Sun.” Hays’ electric piano
gives the piece a funky feel but he digs creatively into the grooves and this performance has
some surprising twists and turns. “New Day”
introduces his singing which swings soulfully
and interacts colorfully with Maret’s harmonica.
“Trudger’s Paradise” has an appealing groove
and fine solos from keyboards, harmonica and
Scherr’s bluish guitar.
The heated jazz waltz “Milton” has particularly inventive statements from Hays and Maret.
The leader’s melodic vocal on “The Sun Goes
Down” works well. “Kurtish” explores several
moods with Maret taking a particularly heated
solo. “All I Have” is a dramatic ballad while the
rollicking “Sugar Man” with its prominent electric piano will remind some of 1970s funky soul
jazz. “Waltz for Wollesen” is a tongue-in-cheek
party song with some old-time style piano,
crowd noise and Rob Jost taking the lead on
French horn.
“Highwayman” is a change of pace, a country-flavored song that is a showcase for Hays’
singing. After the moody ballad “Time Waits,”
the eclectic New Day concludes with a spirited
vocal version of “Run To The Sun.”
New Day successfully documents Kevin
Hays’ continual growth as a musician and a
singer.
JazzNewswire.com
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51
Charles Lloyd
WILD MAN DANCE—Blue Note 43302. Flying Over the Odra Valley; Gardner; Lark; River,
Invitation; Wild Man Dance
PERSONNEL: Charles Lloyd, tenor saxophone;
Gerald Clayton, acoustic piano; Joe Sanders;
acoustic bass; Gerald Cleaver, drums; Sokratis
Sinopoulos, lyre; Miklos Lucaks, cymbalom
By Alex Henderson
Charles Lloyd, over the years, has often
been described with phrases like “a mellow interpretation of John Coltrane” and “a softer, less
intense version of Coltrane.” And, to be sure, he
has gotten a great deal of inspiration from Coltrane’s more ethereal work— ethereal as in
Trane playing “My Favorite Things” in 1960,
ethereal as in “Central Park West” or “Naima,”
ethereal as in the classic Ballads album, ethereal
as in Coltrane joining forces with singer Johnny
Hartman. Lloyd’s appreciation of that less forceful side of Coltrane’s artistry has been one of his
trademarks for many years. But like many others
Coltrane has influenced—from Wayne Shorter
to Pharoah Sanders to Branford Marsalis to Gato
Barbieri—Lloyd is ultimately his own man. He
has a sound and vision of his own, and Wild Man
Dance shows that the tenor saxophonist (who
recorded his first album as a leader, Discovery,
for Columbia Records back in 1964) is still on
top of his game after all these years.
This CD was recorded live at the Jazztopad
Festival in Wroclaw, Poland on November 24,
2013, where Lloyd leads a small group that employs Gerald Clayton on acoustic piano, Joe
Sanders on acoustic bass, Gerald Cleaver on
drums, Sokratis Sinopoulos on the lyre and Miklos Lucaks on the cymbalom. The lyre and the
cymbalom are not standard jazz instruments: the
lyre is a string instrument associated with traditional Greek music, while the cymbalom is a
type of hammered dulcimer used in the traditional acoustic music of Hungry and other countries in Eastern Europe. And hearing them in an
acoustic post-bop jazz setting is intriguing, although it makes perfect sense in light of postbop’s history—McCoy Tyner, Alice Coltrane
and others used a variety of traditional world
music instruments as post-bop instruments back
in the day.
On this CD, Lloyd performs a sixmovement suite he calls The Wild Man Dance
Suite. The entire suite, from “Invitation” (not to
be confused with the haunting Bronislau Kaper
standard) to the 13-minute “Lark,” the 16-minute
“River” and the 15-minute title track, has a spiritual quality and a probing type of sound. Coltrane’s playing was often described as “probing”
in the 1960s, and that adjective easily describes
Lloyd’s tenor playing on “Flying Over the Odra
52
Valley” or “Gardner.” But again, Lloyd is his
own man—and his improvisations sound quite
personal on this release.
The Wild Man Dance Suite works best
when enjoyed as a cohesive whole: the best way
to appreciate this live concert is to sit down and
listen to it uninterrupted from start to finish. Yet
the six movements can also work well on their
own. In other words, one could hear “River”
without listening to any of the five other movements and still find it meaningful; or,
“Lark” (the third movement) could stand alone
even if one doesn’t hear “Flying Over the Odra
Valley” or “Gardner” before it.
This appearance at the 2013 Jazztopad Festival (which celebrated its tenth anniversary that
year) marked the first time that Lloyd performed
The Wild Man Dance Suite live. Lloyd is now
77, and this CD demonstrates that the Memphis
native has not lost anything as an improviser.
Susie Meissner
TEA FOR TWO—LydianJazz 1003 –
www.skylinepro.com If I Were A Bell; Tea For
Two; Mean To Me; Moonlight Saving Time;
Laura; Love Is Here To Stay Moonglow; Just
You, Just Me; Everything I Love; Guess I’ll
Hang My Tears Out to Dry; I Didn’t Know What
Time It Was; Crazy He Calls Me; Triste; Say It
Isn’t So/Always
PERSONNEL: Susie Meissner, vocals; Freddie
Hendrix, trumpet, flugelhorn; John Swana, valve
trombone, EVI; Ken Peplowski, clarinet; Larry
McKenna, tenor; Pal Meyers, guitar; John
Shaddy, piano; Lee Smith, bass; Dan Monaghan,
drums
By Scott Yanow
Susie Meissner has a beautiful voice, can
hold long notes without wavering, and always
swings, even at the slowest tempos. A subtle
improviser, she puts plenty of quiet feeling into
her interpretations of vintage lyrics, fully understanding the words that she is singing.
The singer grew up in Buffalo. Her grandmother was a stride pianist and both her playing
and her sheet music collection inspired young
Susie to become interested in the Great American songbook. She soon became determined to
become a jazz/standards singer. Early on, Meissner worked in dinner theater which gave her the
opportunity to sing the great songs from the
1930s and ‘40s. In 2009 she made her recording
debut with I’ll Remember April. While the latter
featured trumpeter Brian Lynch, her follow-up
recording I’m Confessin’ had trombonist Wycliffe Gordon as an important participant. She
has also worked with Joe Magnarelli, Martin
Wind and Matt Wilson, becoming a fixture in
New York City jazz clubs.
For her third recording, Tea For Two, Susie
Meissner utilizes eight musicians who are very
conversant with swing and swinging jazz in
general. While the four-piece rhythm section is a
constant, the horn players appear on various
selections, all being featured along the way.
It is apparent from the start of Tea For Two
that Susie Meissner picks great songs to sing.
None of the tunes on this CD have been overdone in recent years and a few, such as
“Moonlight Saving Time” and “Just You, Just
Me” had fallen into obscurity despite their quality.
“If I Were A Bell” opens the program with
a happy performance. Susie Meissner’s highly
appealing voice is well featured and there are
fine solos from trombonist John Swana and
tenor-saxophonist Larry McKenna (a Philadelphia legend).
“Tea For Two” is one of the set’s most
memorable performances. The singer performs
the rarely-heard verse very slow and retains the
same tempo during a full chorus. Her attractive
voice and her sensitive interpretation of the lyrics are both in full display. Listen to how clarinetist Ken Peplowski sneaks in during the final
part of her vocal, taking most of a chorus on
which he sounds as cool as Tony Scott did in the
1950s. The final eight bars where he interacts
with the singer is exquisite. Not that many vocalists can sing a song at such a slow tempo without
any double-timing and hold one’s interest.
“Mean To Me,” a great swing song associated with Billie Holiday and Lester Young, has
excellent solos from Swana and McKenna along
with more fine singing. The revival of
“Moonlight Saving Time,” which was sung by
Annette Hanshaw in the 1930s, is quite welcome. After a nice vocal on “Laura,” Swana
takes a solo on the EVI (electronic valve instrument) that gives an otherworldly feel to the song.
“Our Love Is Here To Stay” is swinging with
colorful statements for trumpeter Freddie
Hendrix and McKenna. “Moonglow” has a
cheerful vocal and some tasteful clarinet by
Peplowski along with a spot for guitarist Paul
Meyers. “Just You, Just Me” is taken as an effective duet by the singer with bassist Lee Smith.
Peplowski and McKenna get to trade off and
interact during “Everything I Love” while
“Guess I’ll Hang My Tears Out To Dry” is taken
as a heart-breaking ballad, featuring some warm
tenor playing by McKenna. Tea For Two concludes with a medium-tempo “I Didn’t Know
What Time It Was,” shares the spotlight on a
happy and relaxed “Crazy He Calls Me” with
McKenna, some infectious bossa on “Triste” and
a somber medley of “Say It Isn’t So” and
“Always.”
Susie Meissner sings beautifully throughout
Tea For Two, a must for lovers of the Great
American Songbook.
Jason Miles, Ingrid Jensen
KINDOF NEW—Whaling City Sound 073.
Web: whalingcitysound.com. Interlude; The
Faction of Cool; Super City; Shirley; Film Noir
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Interlude; Ferrari; Seeing Through the Rain;
Close to the Action; Kats Eye; Street Vibe; Twilight Interlude; Sanctuary
PERSONNEL: Jason Miles, electric keyboards;
Ingrid Jensen, trumpet; Jay Rodriguez, tenor
saxophone, baritone saxophone, soprano saxophone, bass clarinet; Jeff Coffin, tenor saxophone, baritone saxophone, soprano saxophone;
James Genus, electric bass; Amanda Ruzza,
electric bass; Adam Dorn, electric bass; Nir
Felder, electric guitar; Gene Lake, drums; Mike
Clark, drums; Jon Wikan, drums; Cyro Baptista
By Alex Henderson
Miles Davis’ Kind of Blue went down in
history as one of the trumpeter’s most essential
and influential albums. Recorded in 1959, Kind
of Blue had as huge an impact on modal jazz as
Davis’ Birth of the Cool sessions of 1949 and
1950 had on cool jazz and his Bitches Brew and
In a Silent Way breakthroughs of 1969 had on
fusion. The title Kind of New is obviously a play
on Kind of Blue, and this 2014 recording by
keyboardist Jason Miles and trumpeter Ingrid
Jensen was greatly influenced by Davis’ work—
influenced in terms of the composing, influenced
in terms of Jensen’s trumpet playing. But Kind
of New doesn’t sound anything like Kind of Blue.
This is not an acoustic album of modal post-bop
but rather, celebrates Davis’ fusion output. Kind
of New is a throwback to the electric Davis of the
1970s and 1980s, not the Davis of the late 1950s
and early 1960s.
Kind of New is, in effect, a Miles Davis
tribute album, but instead of including an abundance of songs that Davis played on A Tribute to
Jack Johnson, On the Corner, Agharta or The
Man with the Horn, co-leaders Miles and Jensen
offer mostly original material. Wayne Shorter’s
“Sanctuary” is a song that Davis included on
Bitches Brew in 1969, but “Seeing Through the
Rain,” “Super City,” “The Faction of Cool,”
“Kats Eye” and “Close to the Action” are Miles/
Jensen pieces written for Kind of New—and on
all of those selections, Davis’ influence is impossible to miss. Davis is hardly Jensen’s only inspiration as a trumpeter: her other direct or indirect influences include Woody Shaw, Freddie
Hubbard, Randy Brecker and Lee Morgan, but
this time, her playing is especially mindful of
Davis. And although the sidemen vary from one
track to the next, Miles and Jensen are always at
the forefront as the co-leaders.
One could write a book about all the skillful
improvisers who Davis employed as a sidemen
during his long career: it’s an impressive list that
ranges from saxophonists John Coltrane, Jackie
McLean, Sonny Rollins and George Coleman to
pianists Herbie Hancock, Bill Evans, Horace
Silver and Red Garland. Miles himself is a former Davis sideman, having played on Davis’
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54
Tutu and Amandla albums in the 1980s. Davis
had great ears, which is why he was an early
supporter of Shirley Horn.
Miles and Jensen acknowledge the Davis/
Horn connection on “Shirley,” a dusky tune they
wrote together and dedicate to the late singer.
Horn was not the type of vocalist who would
shout to get one’s attention: her singing, much
like Davis’ trumpet playing, was subtle and understated—and “Shirley” reflects that. “Shirley”
is an instrumental, as are all of the other songs
on this CD. But melodically, its relaxed bluesiness would not have been out of place on one of
Horn’s albums.
Countless Davis tribute albums have been
recorded since his death in 1991, and they have
ranged from bop albums to post-bop albums to
fusion albums. Kind of New, with its appealing
blend of jazz, rock and funk elements, is clearly
an example of the latter—and it is a consistently
appealing reminder of how memorable Davis’
contributions to fusion were.
Christian Muthspiel
Steve Swallow
SIMPLE SONGS—In and Out Records.
inandout-records.com. Pas de Deux Tranquille;
Monsieur Satie; Viennese Marketplace; Himmelblau; Let My Children Waltz; Lullaby for Moli;
Fall Blues; Mildred, Bim & Mohamed; Mein!
Yours?; Is the Moon Still Blue? Hymn to Health
PERSONNEL: Christian Muthspiel, trombone,
acoustic piano, electric keyboards; toy piano,
flute; Steve Swallow, electric bass
By Alex Henderson
Duets come in many different forms in the
jazz world: piano/bass duets, trumpet/piano duets, guitar/saxophone duets, clarinet/vibes duets.
The possibilities are endless. Quite often, musicians performing in duos will stick to one instrument throughout an entire album; if it’s an alto
saxophonist and an acoustic pianist, for example,
all of the duets on an album (or during a concert)
will be alto sax/acoustic piano duets. But on
Christian Muthspiel and Steve Swallow’s postbop/avant-garde duet album, Simple Songs, a big
part of the fun is hearing Muthspiel jump from
instrument to instrument. Swallow (who turned
74 in 2014) plays the electric bass exclusively on
Simple Songs (he gave up the acoustic bass back
in the 1970s), but with the 52-year-old Muthspiel, one never knows from one tune to the next
what instrument he will opt to play—and during
the course of the album, the Austrian improviser
(whose younger brother is guitarist Wolfgang
Muthspiel) makes his mark on the trombone, the
acoustic piano, electric keyboards and the toy
piano as well as various flutes.
Brenda
Hopkins
Miranda
New album Aeropiano
is the well-crafted consequence
of an artist on a perpetual quest
to express music on her own terms
Selected Puerto Rico’s
top #4 album of 2014
Available at
CD Baby • Amazon • iTunes
Brenda Hopkins Miranda: piano, percussion
Héctor Matos: drums
Edgardo Sierra: bass
Enrique “El Peru” Chávez: percussion
Jorge L. Morales: tabla
Osvaldo Ortiz: cello
Guest Artists: Tambores Calientes
Harold Hopkins Miranda: bass
Gilberto Alomar: electric guitar
Marcos Peñaloza: percussion
José L Elicier: percussion
Ángel M. Dávila: percussion
www.BrendaHopkinsMusic.com
(CD Reviews—Continued from page 54)
Muthspiel makes his mark on this album
not only with his impressive multi-instrument
approach, but also, with his composing: Muthspiel wrote most of the songs on Simple Songs.
An exception is Austrian improviser Werner
Pirchner’s contemplative “Himmelblau.” And
“Mein! Yours?” is based on Franz Schubert’s
“Mein!,” a classical piece that Schubert (who
was only 31 when he died in 1828) composed in
the 19th Century. But instead of playing “Mein!”
note for note, Muthspiel and Swallow improvise
and put an instrumental jazz spin on Schubert’s
work. They interpret rather than emulate.
More often than not, however, Simple
Songs underscores Muthspiel’s talents as a composer—and his writing is solid on material ranging from “Let My Children Waltz” (which hints
at Kurt Weill) to the angular “Is the Moon Still
Blue?” to the pensive “Lullaby for Moli.” Meanwhile, “Monsieur Satie” acknowledges the contributions of French classical composer Eric
Satie (who died in 1925) but does so on its own
creative terms. “Monsieur Satie” is not European
classical music in the strict sense; instead, it is
instrumental jazz with European classical overtones. And there are also hints of the European
classical tradition on “Pas de Deux Tranquille,”
“Hymn to Health” and “Mildred, Bim & Mohamed.”
Through it all, Swallow is quite reliable:
whatever Muthspiel throws his way as an improviser or as a composer, the veteran bassist has no
problem rising to the occasion. And those who
know a lot about Swallow’s history will not find
that surprising. Swallow has taken more than his
share of chances over the years, and in the past,
his sense of adventure served him well whether
he was playing with Carla Bley, Michael
Mantler, vibist Gary Burton or guitarist John
Scofield. The bassist has not been the least bit
shy about entering a variety of musical situations.
Given all he has accomplished along the
way, Swallow could easily rest on his laurels and
become predictable or complacent. But instead,
he continues to experiment and take risks—and
that is evident on the engaging Simple Songs.
Enrico Pieranunzi
AUTOUR DE MARTINU – LIVE AT THE
BIRD’S
EYE—TCB
33702
–
www.tcbrecords.com. Polka In A/Polka Reflections; Esquisse de danse II; Improesquisse II;
Improritour IV/Ritournelle IV; Esquisse de
danse I; Improesquisse I; Sonata K 492/Vision K
492; Intermezzo No. 1/Impromezzo No.1; Sarabande in E minor HMV 438/An Angle on
Haendel; Ritournelle II/Improvitour II; Sonata K
9/Vision K 9; Mein lieber Schumann; Prelude en
56
Jazz Inside-2015-05_055-...
page 2
forme de blues; Blues For Martinu; Horizontes
Finales
PERSONNEL:Enrico Pieranunzi, piano
By Scott Yanow
Classical music and improvisation were not
strangers in the 1700s and 1800s. Virtuosic classical pianists often improvised cadenzas to otherwise wholly-composed works, and some of the
pieces were born as improvisations before the
music was written down and formalized. However the music from those centuries continues to
exist solely because of the composed scores.
Unfortunately no classical recordings were made
before the 1890s so the improvisations of pianists such as Franz Liszt (1811-1886) are lost to
history.
While George Gershwin originally improvised during part of “Rhapsody In Blue” in its
debut performance and during its 1924 recording
before it was fully orchestrated, there has been
relatively little improvisation in classical music
since the 1890s. Enrico Pieranunzi, in his exploration of pieces by Bohuslav Martinu, Domenico
Scarlatti, George Frideric Handel and Robert
Schumann, provides one of the few exceptions.
Classical music was a major part of Enrico
Pieranunzi’s background. While his father was a
jazz guitarist, Pieranunzi (who was born in
Rome) extensively studied classical music from
the age of five. He gained some experience playing jazz when he was 19, performing with trombonist Marcello Rosa’s quartet, but became a
Professor Of Music during 1973-75. In 1975
when he was 25, Pieranunzi decided to change
careers altogether, becoming a jazz pianist who
led small groups of his own. .
Since that time, Pieranunzi has worked
extensively and led over 70 CDs. Considered
one of the major Italian jazz pianists, Pieranunzi
worked with such notable Americans as Kenny
Clarke, Chet Baker, Art Farmer, Benny Bailey,
Lee Konitz, Phil Woods, Johnny Griffin, Chris
Potter, Sal Nistico, Frank Rosolino, Curtis
Fuller, Tony Scott, Jim Hall, Charlie Haden,
Paul Motian and Billy Higgins. He has also been
involved in studio work, written for films, and
been featured in classical music settings.
Even in his wide-ranging career, Enrico
Pieranunzi’s solo recital at the Bird’s Eye in
Switzerland as part of the Martinu Festtage is
something different. During most of these performances, Pieranunzi plays a classical theme
fairly straight before following with his improvised version of the piece. While there are two
selections by Scarlatti (“Sonata K 492” and
“Sonata K 9”), Handel’s “Sarabande in E minor
HMV 438” and a solo based on a Schumann
piece, “Mein lieber Schumann,” otherwise this
set is devoted Martinu’s music.
It is a credit to both Enrico Pieranunzi and
the forward-looking writing of the Czech composer Bohuslav Martinu (1890-1959) that it is
not always obvious where the compositions end
and the improvisations begin. Martinu used Central and Eastern European folk melodies in some
of his pieces and one can hear the abstract influence of ragtime in spots during the concert. Pieranunzi blends Martinu’s ideas into his own improvisations so they are a logical extension of
the written-out music. He never sounds as if he
is merely “jazzing the classics.” Instead he puts
some of his own musical personality into his
melodic treatments of the music without losing
sight of Martinu’s themes and the moods that
were originally conveyed.
The result is thought-provoking piano music that is highly enjoyable.
Ben Sidran
BLUE CAMUS - Nardis/Bonsai Music. BenSidran.com. Soso’s Dream; Blue Camus; “A” is for
Alligator; The King of Harlem; Rocky’s Romance; Wake Me When it’s Over; There Used
To Be Bees; Dee’s Dilemma.
PERSONNEL:Ben SIdran, piano, Wurlitzer
piano and vocals; Leo Sidran, drums; Ricky
Peterson, Hammond organ; Billy Peterson, bass;
Bob Rockwell, saxophone; Trixie Waterbed,
background vocals.
By Eric Harabadian
This is the follow up to Sidran’s 2013 release Don’t Cry for No Hipster. And it doesn’t
get much more hip than legendary jazz/rock
singer-songwriter/keyboardist/poet/producer Ben
Sidran. However on this particular recording the
producer’s duties are handled by his son and
drummer Leo. The atmosphere of the record is
kind of streamlined; a stripped down kind of
cool that recalls classic organ combos of the ‘50s
and ‘60s. And that is indeed the kind of down
home vibe Sidran and company are trying to
create. The title of the album is in reference to
late French-Algerian absurdist and existentialist
writer Albert Camus. In fact there is an overt and
underlying literary tone to this, mostly, originally penned recording.
“Soso’s Dream” sets the pace for the album,
with a funky kind of understated fusion. Subtle
little keyboard flourishes ruminate in the background along with Ben Sidran’s seemingly random vocalizing. It’s very laid back and dreamy.
Title track “Blue Camus” continues in a midtempo jazz-funk vein propelled by drum machine-like precision. Atop is a smooth blend of
organ and piano give-and-take. Ben provides
more street poetry here; more spoken than sung.
““A” is for Alligator” is an amusing little ditty
based on George Orwell’s book “Animal Farm.”
Ben’s clever wordplay about urban struggle and
a “dog-eat-dog” mentality brilliantly uses NYC
as a backdrop. The “King of Harlem” was inspired by one of Ben’s favorite writers Federico
Garcia Lorca. It is a rhythmically Latin-tinged
piece that features nice sax work from Bob
Rockwell and seamless backing vocals from
Trixie Waterbed. “Rocky’s Romance” is another
funk-influenced number, with an alternating
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blues kind of structure that recalls Miles Davis’
“So What.” The rhythm section here is air-tight
as are the performances on the front line by Ben
and Ricky Peterson. That hipster wit and charm
really come to the fore on “Wake Me When it’s
Over.” This is some of the most indelible and
lush electric piano and organ comping one could
ever hear. Ben’s signature vocalizing takes center stage by waxing political without being overbearing; extremely wise and thoughtful. “There
Used to be Bees” features exceptional drumming
by Leo. The syncopation of the piece shifts
seemingly in random fashion but remains regimented and in the groove. The album concludes
with a sole cover composed by Mal Waldron.
“Dee’s Dilemma” is dedicated to Jackie Mclean
and is a straight up bop piece that proffers great
solos by organ and piano. Smooth changes and a
sort of uptown Jack McDuff kind of sophistication round this very slick album out nicely.
Gino Sitson
VOILSTRINGS—Universal 4707155 –
www.budamusique.com. Let’s Do It; Nda
Yahwe; Bulawayo Xmas; Salam Salem; Beunen’; Up Eye Suite For John; Youp Kwi; VoiStrings; Timeless Mood; Elegie Opus 24; Genau;
Maiden Voyage; Katcha; VoCellop The Gathering.
PERSONNEL: Gino Sitson, vocals; percussion;
body percussion; Helio Alves, piano; Lonnie
Plaxico, bass; Willard Dyson, drums; Jody
Redhage, cello; Lev “Ljova” Zhurbin, viola;
Charanee Wade, voice on “Maiden Voyage”
mercials. He also composed music for Nickelodeon’s Dora The Explorer and performed with
McFerrin at Carnegie Hall in “Instant Opera.”
On VoiStrings, his eight CD, Gino Sitson is
in superb form. Vocalizing either in French or
wordlessly, Sitson makes singing the most complex lines sound effortless and natural. He hits
every note that he aims for, including some wide
interval jumps, and sounds happy doing it. He
sometimes overdubs his voice to form a chorus
or a choir, utilizes body percussion and some
vocal effects, and often interacts with his intriguing band.
Never just indulging in sound explorations,
throughout this CD Gino Sitson creates melodies
and melodic improvising. He wrote 13 of the 16
pieces, co-wrote one original with bassist Lonnie
Plaxico, and also performs Gabriel Fauve’s
“Elegie Opus 24” and Herbie Hancock’s
“Maiden Voyage.”
Helio Alves is a major asset, playing
piano solos that uplift the music and give it a
Latin swing. Plaxico and drummer Willard
Dyson form a versatile and intuitive rhythm
section. The viola of Lev Zhurbin is on ten
pieces, eight of them in conjunction with cellist
Jody Redhage. Classical music is part of Gino
Sitson’s language and the strings (along with
some of his melodies) often add a classical feel
to the mix.
With a mixture of jazz, African music, classical and gospel as the backdrop, Gino Sitson is
free to soar during these 16 concise performances. The variety of sounds that he creates
along with the many styles is impressive. From
his credible pop vocal on “Nda Yahwe” and his
singing over the catchy string riff of “Bulawayo
Xmas” to the emotional ballad “ Beunen” and
his skill at perfectly hitting all of the rapid lines
of “ Salam Salem,” VoiStrings is a memorable
effort
By Scott Yanow
It is obvious from the first notes of his VoilStrings CD that Gino Sitson is a remarkable
singer. He has a four-octave range that includes
a falsetto that is at times reminiscent of Bobby
McFerrin. Constantly creative, he displays the
spirit of jazz filtered through his native Africa.
Born in Cameroon, Central Africa, Sitson
grew up as part of a very musical family; his
mother is a singer and choir director. Sitson
listened to traditional African music, jazz and
blues as a youth. Early on, his vocal abilities
were obvious. After working as a backup singer,
his 1996 recording debut (Vocal Deliria) made
him well known in Europe, particularly in
France. He has worked and recorded steadily
ever since including in a musical that he cowrote. Sitson moved to New York in 2000 and
has played with many of the greats from a variety of fields. In jazz he has worked with Bobby
McFerrin, John Scofield, Frank Wess, Antoine
Roney, Craig Harris, Wallace Roney, Geri Allen,
and Ron Carter among many others, His voice
has appeared regularly in movie scores and com58
Jazz Inside-2015-05_055-...
page 4
Ramon Valle
TAKE OFF—In and Out 77121 –
www.inandout-records.com All The Things You
Are; Steps In The Night; Es Usa Historia; Trance
Dance In Blue; Hallelujah; Principe Enano; Y Si
Volviera; Levitando; Cinco Hermanas; What
Are You Doing The Rest of Your Life; Kimbara
Pa’ Nico
PERSONNEL:Ramon Valle, piano; Omar Rodriguez Calvo, bass; Ernesto Simpson, drums
By Scott Yanow
Although it is tempting to group Ramon
Valle with other great Cuban pianists such as
Chucho Valdes and Gonzalo Rubalcaba, Valle
has his own style within modern jazz and thinks
of himself as a jazz pianist from Cuba rather
than a Cuban jazz pianist. He is a master of poly-
rhythms but also can play quite bluesy with nods
towards McCoy Tyner, Chick Corea and Horace
Silver. While his technique is brilliant, he can be
very subtle and sometimes plays with a gentle
touch, expressing his romantic side.
Born in Cuba in 1964, Ramon Valle began
studying piano at a conservatory when he was
seven. His father was a professional trumpeter.
While classically trained, Valle always loved
modern jazz and Afro-Cuban music. After working as a music teacher for a period, in 1985 he
gained a lot of attention while performing at a
concert that he shared with fellow pianist Emiliano Salvador. Valle led his own quartet (Brujula)
for a few years, appearing at festivals in Cuba,
Mexico and Latin America, both with his group
and as a soloist. Valle made his first CD in 1993
and at that point was already long on his way to
establishing his own individual voice.
Ramon Valle first performed in Europe in
the mid-1990s. In 1998 Valle left Cuba to move
to Europe, eventually settling in Amsterdam. He
has since appeared at many European jazz festivals. His sidemen at special concerts included
soprano-saxophonist Jane Bunnett and trumpeter
Roy Hargrove. Among Valle’s his recording
projects since moving to Europe was 2002’s
Danza Negra, an exploration of the compositions
of Ernesto Lecuona.
Take Off is Ramon Valle’s eight recording
as a leader. With stimulating support and occasional short solos from bassist Omar Rodriguez
Calvo and drummer Ernesto Simpson, Valle
performs seven of his originals plus a song
apiece by Jerome Kern, Stevie Wonder, Leonard
Cohen and Michel Legrand. There are many
highpoints to this set that are worth pointing out.
On the opening “All The Things You Are,” the
pianist disguises the melody well while sticking
to the chord changes. “Steps In The Night” is his
alteration of “Giant Steps” which is given a different theme altogether. The rich melody of Stevie Wonder’s “Es Una Historia” builds and
builds during this version while Valle caresses
the theme of Leonard Cohen’s “Hallelujah” quite
tenderly. “Prinipce Enano” sometimes resembles
“How Deep Is The Ocean” but goes in surprising
directions. “Levitando” shows a bit what Valle
learned from listening to Keith Jarrett and his
own classical training. The rhythmically eccentric “Kimbara Pa’ Nico” concludes the set with
joyful virtuosity.
Included in the deluxe limited edition version of Take Off is a DVD that features the trio
performing 10 of the 11 songs (all but “Steps In
The Night”) before an audience in the studios.
Valle verbally introduces each piece in English
and the group stretches out in extended versions
of the tunes that, while following similar musical
paths, are generally lengthier than the CD renditions. This allows purchasers to not only hear the
group but to have the excitement of seeing them
perform.
Take Off is highly recommended.
“Do the right thing. It will gratify
some people and astonish the rest.”
— Mark Twain
Composite
Wayne Escoffery
“One of modern jazz’s
foremost saxophonists.”
—Ross Boissoneau,
Jazziz Magazine
New CD Release
Now Available On
The Smalls Live Label
Wayne Escoffery. Tenor saxophone
David Kikoski. Piano
Ugonna Okegwo. Bass
Ralph Peterson. Drums
“Escoffery has a large,
vibrant sound; a technical
facility evident to even the
untutored; and a lyrical
streak that can get
a complicated solo
to sing and dance.”
—Niel Tesser
Contact Steve: 630-865-6849 | email: [email protected]
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