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August 2012
Interviews
Mike Stern • Manuel Valera
Steven Bernstein • Cedar Walton
Charles Tolliver
Charles Tolliver’s Big Band
Benefit Concert for Sistas’ Place
Friday, August 17, 2012
Jazz @ 966 in Brooklyn
Plenty of CD Reviews
Comprehensive Directory
of NY Club Concert &
Event Listings
The Jazz Music Dashboard — Smart Listening Experiences
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Harlem Speaks
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Randy Crawford-Joe Sample
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Aug. 23: Ralph Peterson, Jr.
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3/6/12
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Tom K Barbera
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Jazz Inside Magazine
ISSN: 2150-3419 (print) • ISSN 2150-3427 (online)
August 2012 – Volume 4, Number 1
Cover Design by Shelly Rhodes
Cover photo of Lee Konitz by Ken Weiss
Photo of Lee Konitz (right) by Ken Weiss
Publisher: Eric Nemeyer
Editor: Gary Heimbauer
Advertising Sales & Marketing: Eric Nemeyer
Circulation: Susan Brodsky
Photo Editor: Joe Patitucci
Layout and Design: Gail Gentry
Contributing Artists: Shelly Rhodes
Contributing Photographers: Eric Nemeyer, Joe Patitucci, Ken
Weiss
Contributing Writers: John Alexander, Chuck Anderson, Al Bunshaft; Curtis Davenport; Bill Donaldson; Eric Harabadian; Gary
Heimbauer; Rick Helzer; Mark Keresman; Jan Klincewicz; Nora
McCarthy; Joe Patitucci; Ken Weiss.
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CONTENTS
CLUBS, CONCERTS, EVENTS
15 Calendar of Events, Concerts,
Festivals and Club Performances
29 Clubs & Venue Listings
60 Noteworthy Performances
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4
FEATURE
Lee Konitz by Ken Weiss
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32
34
35
INTERVIEWS
Mike Stern
Manuel Valera
Cedar Walton
Charles Tolliver
41
Steven Bernstein
CDS & RECORDINGS
47, 49 CD Spotlight
46
CDs Received by Jazz Inside from
Artists Labels & Publicists (July 2012)
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August 2012 Jazz Inside Magazine www.JazzInsideMagazine.com
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Brian Bromberg
Chick Corea & Gary Burton
Bruce Cox
Randy Crawford & Joe Sample
Anna Estrada
Amina Fogarova
Allan Harris
Al Jarreau
Tony Monaco
Ivo Perelman
Mike Stern
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Wednesday, August 01, 2012 19:38
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August 2nd
The Nuyorican Poet’s Cafe
E. 3rd Street bet. Ave. B & C
New York, NY • 212.780.9386
August 18th
Guest Soloist at The Polish National
Home w/ Zacai Curtis Band
60 Charter Oak Ave, Hartford CT
4pm • 860.247.1784
August 19th
Harlem Meer Performance Festival
Charles A. Dana Discovery Center
110 Street & 5th Ave (Central Park)
New York, NY
2pm-4pm • FREE!!!
August 23rd
NJPAC with Larry Harlow’s
Latin Legends Band
One Center Street, Newark, NJ
August 31st
Hilton Hotel (Salsa Congress with
Larry Harlow’s Latin Legends Band)
53nd Street & 6th Ave, NYC
Feature
Lee Konitz
Interview & Photos By Ken Weiss
Lee Konitz, born October 13, 1927 in Chicago, Illinois, is one of most celebrated alto
saxophonist in Jazz, a player/composer who’s
maintained a distinctive sound, successfully
avoiding the Charlie Parker influence that
trapped so many other altoists. Konitz played in
the Claude Thornhill band (1947-48) before
settling in New York where he studied with pianist Lennie Tristano, who had a big influence on
his conception and approach to improvising. He
recorded with Tristano’s innovative sextet
(1949), including the first two free improvisations ever documented. Konitz’ uninflected, vibratoless tone helped create the definitive cool
saxophone sound heard most prominently in
Miles Davis’ Birth of the Cool nonet during their
one gig and Capitol recordings (1948-50). After
a stint with the Stan Kenton big band (1952-53,)
Konitz has led a uniquely varied freelance career, performing with other prominent and upcoming musicians and recording frequently. Of
special note is his 1967 Milestone set of duets,
The Lee Konitz Duets, which is considered a
classic. He has ventured into different musical
conceptions with a diverse group of musicians,
explored the avant-garde, and perfected his role
as a melodic improviser specializing in familiar
standard tunes during his long and influential
career although he refutes the notion that he
“dabbled” in different fields. “I simply took,”
Konitz said, “all that was available to make a
meaningful piece of music. Over some 70 years,
I have tried to avoid having a “style.”’ Style or
no style, Konitz’ career has been recognized
over the years including the prestigious 1992
European Jazzpar Prize and a 2009 NEA Jazz
Master Fellowship award.
This interview took place at Konitz’ Upper
West Side apartment on January, 10, 2012, a few
hours prior to the 2012 NEA Jazz Master
Awards Ceremony at Jazz at Lincoln Center. He
spoke candidly about many issues and acknowledged that in the past, his candidness has caused
problems for him.
strange and he took me to the hospital where I
stayed for over a month.
Jazz Inside Magazine: You had a recent major
health scare while touring in Australia. Would
you be willing to talk about that?
JI: Does a scare like that make you want to slow
down and enjoy a simpler life or does it motivate
you to perform more and enlarge your musical
legacy?
Lee Konitz: Well, I never got to really tour
Australia, I went from New York to Melbourne
with a quartet and the intentions of playing at the
Melbourne Festival and on the plane I got a subdural hematoma where something broke in my
brain and it bled, unknown to me, on the plane. I
didn’t know it until I got to the hotel and started
feeling kind of strange. I called (pianist) Dan
Tepfer in his room and told him I was feeling
LK: I prefer to keep moving, as long as possible.
I want to play but I won’t make those kinds of
trips anymore. I had been to Australia a few
times years earlier and then when nobody asked
me I would say ‘nobody asked me to go to Australia’ but I’m kind of glad [not to go anymore].
It was six hours to L.A., and then a two hour
wait, and then sixteen hours to Sydney, and then
a wait, and then two hours to Melbourne, that’s a
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lot of traveling.
JI: Will we be seeing new compositions from
you or a themed recording centered on this recent harrowing ordeal?
LK: I was hoping that I would have some kind
of awaking, some kind of insight, things like
that, but nothing specific has happened. I’m
going through my usual [routine], trying to keep
ahead of the game, so to speak. There are a few
compositions on the new CD with the Koln,
Germany Radio Band dedicated to Tristano.
JI: Where do you find inspiration for new compositions? Do you need the ups and downs of
(Continued on page 6)
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“The whole premise of spontaneity means that if you’re really
adhering to the meaning of that phrase, than you’re letting
things happen instead of directing them or trying to make
an impression by organization.”
life to frame a new song?
LK: Well, of course, that’s part of the whole
story, particularly getting involved with the intention of writing something down and starting
with a phrase that I’ve played on the horn while
improvising or an inspiration I’ve gotten off my
piano keyboard, or from singing or whistling.
Mostly what I need is peace and quiet!
JI: On the way over here, we walked together
through Central Park, I understand that you walk
through the park every day. Would you talk
about how the park inspires you?
LK: Central Park is an inspired environment in
the middle of this busy city of New York. When
I’m home, I go to that lovely place and enjoy the
trees, especially during wintertime with no
leaves, or in summer with the full bloom and
other people also enjoying walking and observing. Oh yeah, that’s a great way to wake up on a
cold day or a sunny day or a rainy day. Each day
is a different kind of wakeup call. Sometimes
just lolling about the apartment, I don’t have the
right air and that supplies the right air.
JI: I recently interviewed an old friend of yours,
trumpeter Kenny Wheeler, and he said that it
was difficult for him to compose now because all
the good songs have been written. Are you also
finding composing more difficult these days?
LK: [Laughs] I’m sure Irving Berlin said that
too. I don’t find it more difficult to compose
these days because I’m not approaching it as a
composer, so to speak, I just do it as a little study
to make a series of phrases very specific and
kind of experiencing them and not just playing
them and they’re off in the air someplace. That’s
basically it, I’ve been asked by various composers that I know if I’d like to have my themes
orchestrated and I’ve said sure, be my guest.
Michael Abene just wrote some nice arrangements of my pieces for the Tristano record he’s
putting together.
JI: While we were walking here for the interview, you had mentioned that Jon Hendricks had
just asked you for some tunes that he could put
words to.
LK: That’s right, I was very surprised, I gave
Jon some tunes but haven’t heard back from
him. This man is ninety-years-old and still interested in putting lyrics to songs that he likes with
bebop complexity. I was looking through my
themes and I have some in that area, and some
that are a little bit more tame, that I thought
might be a good starting point and I gave him a
record for each tune. One was a redoing of the
harmonies of “All the Things You Are, “called
“Thingin’,” and the other one was based on one
of Lennie Tristano’s favorite standards, and one
of mine too, “Pennies From Heaven,” with a few
different chord structures and a nice melodic line
that I call “LT.”
JI: I photographed you earlier today in front of a
beautiful painting hanging in your apartment.
Would you talk about the history behind that
painting?
LK: That was a result of Lois and Harry Sewing
coming to a Wynton Marsalis concert at Rose
Hall. Ted Nash had written some nice arrangements dedicated to some of the great painters
such as Van Gogh and Rembrandt and Lois, (an
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Magenta
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Older jazz musicians are living
in poverty while jazz club
owners are getting rich.
NYC’s top jazz clubs refuse to contribute to
pensions that would allow jazz artists to retire
with dignity. Hardworking jazz musicians
deserve better! Help us help them.
To sign the petition and learn more, visit:
JusticeforJazzArtists.org
abstract expressionist painter), was so moved
that it inspired her painting and one year later,
she invited me to a gallery full of her new paintings and bought the largest one. I also called Ted
Nash and he spoke with her, so this was a completion of that cycle.
JI: Please talk about your relationship with your
audience.
LK: I just played a concert in Burlington, Vermont with Dan Tepfer, John Hebert and Matt
Wilson and the room was full and we played
standards with no rehearsal and some really
spontaneous compositions occurred. The audience really reacted positively. We all felt satisfied that we had done an honest concert. No
microphones helped get an acoustic contact. This
is what I think of as a small miracle. I often wonder, with an audience of 200-300 people, how is
each one going to react to what they hear and of
course, each one is going to react a little differently, if not a lot. One time I was playing in a
club in England, Queen Elizabeth Hall I believe,
and I put out some written pages and welcomed
everyone and told them that if they would feel
like making some comments about the concert
and handing them in, we’d enjoy reading them. I
picked up 30 or so papers after the concert with
various replies like “I like your shirt,” and “I like
the way Sonny Stitt plays better than you,”
things like that, but someone made an observant
remark about a counterpoint we played at one
point.
JI: In the book by Andy Hamilton, Lee Konitz:
Conversations on the Improviser’s Art, you note
that you don’t like your last name and that two
of your brothers changed their names. What’s so
bad about Konitz?
LK: Oh, I don’t like that sound of “Itz” and the
association with another culture which is not a
fact. I’m Chicago-born and I’m pretty American,
I think, of Jewish parentage, but I have never
become a practicing Jew.
JI: Well, it’s not like your last name is Goldberg.
LK: No, but it’s an “Itz” which suggests Polish.
My father was Austrian but somehow I don’t
like that syllable except at the end of donuts.
JI: We’re meeting today prior to what could be
the final NEA Jazz Masters ceremony. You received your Jazz Masters Fellowship award in
2009. What can you say about this program possibly ending now after 30 years?
LK: I heard that they are working on keeping it
going but if it ended, that would be a really disappointing move by these assholes. I can’t believe that someone among that group can’t speak
eloquently about the need for this kind of cultural representation in this “hip” country. We
have to go to Europe most of the time to work,
but we have the National Endowment, we have
Dizzy’s Club and Birdland and the Blue Note,
and this city is still the center of jazz activity.
JI: Can you mention a few names of worthy
musicians you were hoping would join you as
Jazz Masters?
LK: I expressed myself at the 2009 ceremony.
The gist of what I said was that I can’t quite
accept the title Master. I’m still working on it,
trying to master it, as it were. Sometimes I do
feel that I’ve mastered it in the act of playing but
there’s still answers to the total musicality that
don’t qualify me for mastership, I think and that
is a bit of an arrogant terminology and I explained that I liked the [title of] Italian Maestro
better, that’s more of a civil greeting.
JI: So we should call you Italian Maestro and
not Jazz Master?
JI: Speaking of great musicians, we lost Paul
Motian in 2011. Motian had a personalized way
of drumming, he didn’t serve the traditional
drummers role of time keeper. You had a long
association with him, how was it playing with
Paul Motian and what special challenges did his
style present for you?
LK: The last situation I was in with him was
with Brad Mehldau and Charlie Haden and because he’s not keeping time for us, as it were,
it’s very easy to play with him, in that sense. I
must add that there were times where I wish he
would have out and out swung instead of just
being a percussionist, which is just dinga-dingadinga-ding for a few minutes. But Brad loved it,
he played beautifully with it, and I think overall,
our last recording is a nice record, a little different from the average jam session record. Have
you ever heard that record?
JI: Yes I have.
LK: And do you have an impression off the top
of your head?
JI: I thought it was very beautiful.
LK: Okay, I’ll appreciate that.
LK: [Laughs] Yeah. I mentioned that I looked
up the word master in the dictionary and I got
eminent and I said that reminded me too much of
the rock and roll guy – Eminem. And then I said
I’d accept noteworthy and left it that way. Wynton got a big kick out of that.
JI: So we’re talking about your most current
release – Live at Birdland (ECM, 2011) which
includes Brad Mehldau, Charlie Haden and Paul
Motian. Was there a leader of the band or was it
a true collective?
JI: I’m glad we found something that you would
accept.
LK: I think it was age oriented, I think it was me
down to Brad last.
LK: Yeah, you didn’t say nothing about my
playing but you loved my sense of humor, so
that’s a start.
JI: So you were the leader of the band?
JI: Well, if the program does end, could you
come up with a few names of worthy musicians
you were hoping would join you as a Jazz Master?
LK: I think that terminology is way too loose,
these are not jazz masters, these are guys who
paid their dues and expressed their particular
understanding of what they were trying to express, and, for the most part, it’s not high art to
me, it’s what was available, so to speak. As a
number from one to ten, if you will, I would like
to think of the ten as being the master – I mean
Lester Young and Billie Holiday, Charlie Parker,
Bud Powell, Louis Armstrong, Warne Marsh and
Lennie Tristano - they were masters.
LK: There was no leader, I tried to, and I succeeded, at the risk of turning Brad against me. I
said, the first night, ‘Please accept this as a suggestion, I love the way you play with me, you’re
not just accompanying me, you’re interacting.’
But somehow, he got the impression that I was
telling him how to play and he was very offended. Then he came in the second night,
walked in the dressing room and looked at me
and said, “Okay, I got what you’re saying,” and
the music went up a notch immediately. He does
that beautifully, but there were still some scenes
at the mix regarding a couple tunes I loved and
they didn’t love. It was centered around the “no
solo routine.” I jumped in on Brad’s brilliant
playing. I took a deep breath and I said, ‘I want
to be part of this,’ just playing a background or
something, and that’s not easy because Brad
doesn’t ask for that help. I ask for it because I
“I can’t quite accept the title Master. I’m still working on it, trying to
master it, as it were. Sometimes I do feel that I’ve mastered it in the
act of playing but there’s still answers to the total musicality that don’t
qualify me for mastership, I think and that is a bit of an arrogant
terminology and I explained that…”
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Africa Brass
Charles Tolliver
Friday
August 17
Showtime 8 & 10 pm
Sistas’ Place Production
Jazz966
‘A’ & ‘C’ to Clinton & Washington
966 Fulton Street, Brooklyn
Tickets $40 per set
Reservations 718-398-1766
www.sistasplace.org
love the give and take of the playing instead of
kind of showing off. So there was some friction.
JI: I know there were no set lists for the two
nights at Birdland.
LK: I think we agreed on a dozen tunes that we
all play all the time – “Stella by Starlight,”
“Body and Soul,” things like that.
JI: Is there a benefit to having little planned
ahead of time when performing/recording?
LK: The whole premise of spontaneity means
that if you’re really adhering to the meaning of
that phrase, than you’re letting things happen
instead of directing them or trying to make an
impression by organization. I was very impressed last night to hear John and Jeff Clayton
perform, they had their thing together. I didn’t
hear a hell of a lot of original phrases or notes
but they were doing it with a lot of spunk and I
appreciated it on that basis. Have you heard the
situation I did with Bill Frisell, Gary Peacock
and Joey Baron?
JI: I was going to ask you about that since it’s
about to be released on Half Note Records.
LK: I listened to that album many, many times.
First, strangely enough, because I thought there
was something lacking in the reaction patterns
because this is the first time we did it together,
but the more times I listened to these tracks, the
more I loved these recordings. And Jeff Leven-
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page 8
son, the director of the company, sat with me up
here a couple times, comparing notes. the thing
that impressed me so much about this new recording is the way I’ve been functioning with
groups the last couple years and still playing the
same dozen tunes basically with this approach
where we are playing together rather than taking
turns playing solos and being clever and brilliant. We’re trying to be clever and brilliant by
orchestrating and it’s such a pleasure and a nonstop inspiration, you never run out of things to
play because someone else is contributing to
feed off of and to feed to. It’s great! I also have
to mention the Minsarah group and the record
we did at the Village Vanguard a couple years
ago [Lee Konitz New Quartet – Live at the Village Vanguard], the record with Brad Mehldau
and now this record. I also did a concert at the
Rose Hall with Dan Tepfer, Marc Johnson and
Joey Baron [that was very special].
JI: We spoke last week and you mentioned one
tune on the soon to be released recording in particular that you were especially excited about.
LK: “All the Things You Are,” I liked it but
there was a problem when it became Brad’s time
to play his main voice, the piece had already
developed to a point where it was of interest and
he came in and plowed into it and raised the
level some more and then at some point, I joined
in on a parallel line, not really getting in the way,
I thought, because it was a fast tempo and I
knew that that was dangerous ground. So what
happened is that I stayed with it and gradually
Brad wound down and I finished the piece in
some way. Paul, Brad and Charlie didn’t like my
intruding but I loved it. Paul kind of left me with
a bad feeling the way he reacted to that and then
the next thing I hear he died and I never got the
chance to resolve that with him. You know, I
hate to bring up negativity in these interviews
because that negativity remains spoken. I was
sitting next to Benny Carter’s wife today [at the
NEA luncheon] and I had done a blindfold test
once where they played a Benny Carter record
and I said ‘Schmaltzerooney’ and I was going to
tell her that story finally and make contact with
her but just then, Wayne Brown [the NEA Director of Music and Opera] came up on stage as I
started to tell her that story and I never finished
it.
JI: The two quartet recordings we’ve been talking about combine all-star musicians, how did
those bands form? Who decided on the personnel?
LK: Well, I don’t really know that. I was asked
to join Brad and that group and whoever put it
together knew that that group worked in some
way. Just like next week, I think, that Bill Frisell
and Ron Carter and Joey Baron are going to play
the Blue Note so whoever suggested that is
thinking that that’s going to work. I think that’s
the way quite a few of these bands are put together, the so-called All-Star bands. Going back
to the quartet I was in with Frisell, Peacock and
Baron, when I suggested we should tour some of
the festival sites, everybody was too busy.
Magenta
Yellow
Black
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JI: You frequently travel from city to city to
play with groupings of local musicians, would
you compare that experience to playing with
fellow star musicians?
LK: Playing with the more experienced musicians, you stand a better chance of getting a
higher quality of music more often than you do
with a bunch of young guys who are full of energy and everything but aren’t used to all the
subtle movements in this process. I did that to
the resentment, strangely enough, of some of the
Tristanoites. They said, “He’s out there playing
with anybody.” You know, I was playing with
people, young people, sharing my experience
with them, earning money as a result of that for
all of us and supporting a family and all those
kind of things and these guys are sitting home
practicing and criticizing me. I didn’t appreciate
that in the least bit.
JI: You’ve had some interesting things to say
about not looking to fill the role of leader for a
group or a performance. I can’t think of another
eminent musician who doesn’t tour with their
own band at least part of the time.
LK: That is a fact, at least until this recent transition to the improvising band where there’s a no
leader concept. The idea of being a leader means
[you need to do]all the organization that goes
into preparing a set of music to present and I
didn’t feel qualified to do that. I just wanted to
get in and play my solos and learn how to do
that. It’s taken me this long to feel enough confidence in that to assume that so-called leadership
in this kind of situation.
JI: Is it possible that by not working with a
steady band of hand-picked musicians that you
are missing out on achieving a higher level of
communication and creativity?
LK: Many times the music, momentarily, if you
will, hits the right place. The kids were inspired
enough and energetic enough to get my attention. That was my way of learning how to play
with confidence and real spontaneity.
JI: You’ve recorded prolifically throughout your
career. In 1996 alone you had at least seven releases, all on different labels. How do recording
dates happen for you? Do you actively pursue
them or wait to be asked?
LK: Usually, I wait to be asked. I didn’t know I
made that many records during 1996, you don’t
happen to know what they are? See recording
dates to me are like concerts – permanentized
concerts. I get my fee as I would for a concert
and hopefully it is of meaning to some listeners
later on in their lives.
JI: You’ve made numerous duo recordings with
many different musicians over the years. What’s
special about working with just one other
player?
LK: It’s easier to concentrate, it’s more transparent with two voices than it is with three or four.
12
04-13
page 10
You can’t get the intensity somehow out of two
voices that you could out of four with the right
kind of drummer, the right kind of bass player
and chordal instrument and the horn, which
equals a basic well-structured band. I’m doing a
duo concert with Joey Baron this year and I’m
looking forward very much to a very free harmonic slate to embrace.
JI: Jazz standards remain a favorite of yours to
interpret. Many of these songs are from the late
‘30s and ‘40s, do you have concerns that
younger listeners may not resonate with tunes
that are 70 years old?
LK: These tunes are great tunes in whatever
year they’re played and it depends entirely on
how they’re played. They’re great tunes, harmonically, melodically, and some of them even
have great lyrics, although I’m not that interested
in the lyrics per se, but the harmonies and a basic
familiarity of those older tunes is very important
and having the confidence to be able to just
reach out and embellish those tunes endlessly,
it’s a very concentrated process. Sometimes I
feel a little strange, oh, “Stella by Starlight”
again? Can we do it again and make it sound
fresh? Let’s try it. That’s instead of most of the
record reviews that I read. [Take for example,]
Dave Douglas [and let’s say he] comes up with
another name for a band and he writes new tunes
but I don’t ever hear those tunes played again
somehow. Maybe if we were commissioned to
write a tune for a great dancer or singer (Fred
Astaire or Billie Holiday) for a record or movie,
the songs would be more memorable.
JI: You mentioned something very surprising
earlier. You said you didn’t care about the song
lyrics when playing a song.
LK: Well, I don’t. That’s something I am getting
around to incorporating more, in terms of scat
lyrics more than romantic lyrics. To be able to
articulate that when I’m actually playing the
horn is actually kind of difficult. I could do that
if I were playing the piano or a chordal instrument where I could sing along.
JI: The jazz critics celebrate your work these
days but it hasn’t always been smooth sailing for
you. Would you care to comment on jazz critics
and the role they serve?
LK: Unfortunately, they fall short sometimes of
what is ideal for the knowledgeable listener. The
sympathetic listener if you will, instead of the
critical listener. At best, they have accepted the
job of trying to verbalize these situations which I
don’t find easy. If someone comes up with a
personal description of what they’re listening to,
I’m very pleased. I’m certainly more pleased if
it’s a positive interpretation, but if it’s a meaningful criticism, I’m pleased to get that viewpoint.
JI: Well, I think you’re being very kind in your
response compared to what other artists would
say.
Interview with Lee Konitz
Continues on page 43
Magenta
Yellow
Black
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Michael
Feinberg
The Elvin Jones Project
Celebrating The Music of Elvin Jones
Michael Feinberg, bass
Billy Hart, drums
George Garzone, tenor sax
Tim Hagans, trumpet
Leo Genovese, piano
Tracks: Earth Jones (Elvin Jones), Miles Mode
(John Coltrane), Taurus People (Steve Grossman),
It Is Written (Michael Feinberg), The Unknights
Nations (Frank Foster), Nancy With The Laughing
Face (Jimmy Van Heusen), Three Card Molly
(Elvin Jones)
“Michael Feinberg is a very talented
young bassist who plays both Acoustic
and Electric Basses. He is a bassist to keep
an eye on. He has the flexibility, energy,
love of the music and intensity necessary to
make a difference NOW!!!” - John Pattitucci
“Michael Feinberg brings hefty tone and
solid time to his own sextet. Feinberg
turns in robust walking lines, spiky
upright funk grooves, searching solos,
and a finger twisting bop-style melody.”
- Bass Player Magazine
Upcoming Performances:
9/7 LA Blue Whale 8pm and 10pm, $10
w/Walter Smith III, Dan Schnelle, Larry Koonse,
Ryan Dragonn
9/15 Atlanta Emory University Schwartz Center
7pm, $15 (official cd release party!) w/Billy Hart,
George Garzone, Leo Genovese
9/13 NYC Birdland 6pm (official cd release
party!) $20 w/Donny McCaslin, Ian Froman,
Tim Hagans, Leo Genovese
9/21 Baltimore An Die Musik 8pm and 10pm,
$15 w/Gregory Hutchinson, Leo Genovese,
Dayna Stephens
www.MichaelFeinbergMusic.com
Interview
Mike Stern
Interview & Photo By Eric Nemeyer
JI: Mike, talk about your new album, All Over
The Place, that features a number of bass players.
MS: It’s kind of the concept of the last couple
records that I’ve done. Who Let the Cats Out
had a whole bunch of different people and that
was kind of the beginning of this kind of loose
idea of getting people on these records that I’ve
played with but haven’t played with so much.
Some people I’ve played with a lot. I tour sometimes with Richard Bona, Dave Weckl, Bob
Franceschini. Some of these guys that I get a
chance to play with a lot, but some people I
don’t play with so much. So these last three
records have a whole lot of guests on them —
and the first one kind of inspired the second
two. The first one was Who Let the Cats Out
and that has Meshell Ndegeocello, a great bass
player. Getting a whole bunch of people on that
record was part of the reason I got so many
people on there—it was an excuse to get a
chance to play with some of these people. I
think it makes the music really interesting, and
it’s certainly inspiring for me to hear different
people play my tunes. To keep a cohesion
throughout the record is the tricky part. That
was kind of worked out for Who Let the Cats
Out and Big Neighborhood, when I got Steve
Vai and Eric Johnson, who are not even in the
jazz world at all. Steve Vai played with Frank
Zappa and Eric Johnson’s a blues rocker guitar
player. He was among the many names on Big
Neighborhood also. So this is kind of that same
concept - where it’s really fun for me, and really
challenging to get a whole bunch of people who
I really dig, and do some recording or pick the
tunes for each one of them, figure out who I
actually wanna use and who’s available and
then do the record and try to make it work. The
cohesion is really important to me for an album,
even if it’s loose. Even if it’s got different influences on it, I wanna make it work as one album.
I think this one really worked well that way. I
write all the tunes. I guess that’s the main unifying theme. And I’m playing on all of it - because it’s my record. So that helps unify everything and kind of gives it a cohesion - and then
sequencing it in the right way, and kind of
thinking it through as we’re going along. But
some of it is just gut instinct. I know how Al
Foster plays with Miles Davis. He’s more a
straight ahead drummer, of course, with Dave
Holland. But if the tunes that I give them have a
little funk in them, one is a blues on this record,
based on a standard tune and it’s kinda got a
little funk groove to it - so I figured it would fit
14
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page 12
with some of the more electric stuff that I’m
doing on this record and I kind of knew it
would. I just know how those guys can play. I
kind of knew how the whole thing would sound
and how it kind of ties together because I do a
lot of gigs - sometimes, with electric bass players … sometimes acoustic bass players … and
sometimes more acoustic kinds of drummers,
Hear Mike Stern’s New CD
All Over The Place
on Concord Heads Up
Www.ConcordMusic.com
Www.MikeSternMusic.com
that play with a lot of acoustic bass players …
and sometimes guys who do both, that are kind
of funkier but they swing their asses off but
they’ve got a bigger drum kit, like Dave Weckl.
The boundaries don’t have to be completely
seamless or so clear. They can be kind of seamless … and so it’s not like all of the sudden
we’re going into straight ahead worlds. My stuff
is based heavily on what I listen to a lot - which
is basically, for lack of a better term, straight
ahead jazz. Even when I’m writing an electric
tune for Richard Bona, there’s something that
glues it all together - even though that’s kind of
more world music.
Interview with Mike Stern
Continues on page 36
Magenta
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Black
Cyan
Junior Mance Trio
Calendar of Events
Hide Tanaka, bass  Michi Fuji, jazz violinist
How to Get Your Gigs and Events Listed in Jazz Inside Magazine
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NEW YORK CITY
 Wed 8/1: Jane Scheckter with Tedd Firth, Bucky Pizzarelli, Jay Leonhart & Warren Vaché at St. Peter’s
Church. Midtown Jazz at Midday at 1:00pm 619 Lexington Ave. @ 54th St. 212-242-2022. (Bet. 53rd & 54th St.)
www.saintpeters.org.
 Wed 8/1: The Bar Next Door. Mat Jodrell with Sam
Anning & James McBride at 6:30pm. Jonathan Kreisberg Trio at 8:30pm & 10:30pm. 129 MacDougal St. 212529-5945. www.lalanternacaffe.com.
 Wed 8/1: Ray Mantilla at Grant’s Tomb. 7:00pm. Free.
Riverside Dr. & W. 122nd St. www.jazzmobile.org
 Wed 8/1: Caffé Vivaldi. Equilibrium at 8:30pm. 32 Jones
St. 212-691-7538. www.caffevivaldi.com.
 Wed 8/1: Peter Eckland at Greenwich Village Bistro.
9:00pm. 13 Carmine St. 212-206-9777.
 Wed 8/1, 8/8, 8/15, 8/22, 8/29: Arthur’s Tavern. Eve
Silber at 7:00pm. Alyson Williams at 10:00pm. 57 Grove
St. 212-675-6879. www.arthurstavernnyc.com
 Wed-Sat 8/1-8/4: The Masters Quartet at Birdland.
8:30pm & 11:00pm. 315 W. 44th St. (Bet. 8th & 9th Ave.)
 Wed 8/1, 8/8, 8/15, 8/22, 8/29: Louis Armstrong Centennial Band at Birdland. 5:30pm. 315 W. 44th St. (Bet. 8th
& 9th Ave.) 212-581-3080. www.birdlandjazz.com
 Wed 8/1: Somethin’ Jazz Club. Stephanie Saxon @
7:00pm. Darrell Smith Trio @ 9:00pm. 212 E. 52nd St.,
3rd Fl. (Bet. 2nd & 3rd Ave.) 212-371-7657.
www.somethinjazz.com.
 Wed 8/1: Pucci Amanda Jhones 4 at Kitano. 8:00pm &
10:00pm. 66 Park Ave @ 38th St. 212-885-7119.
www.kitano.com
 Thurs 8/2: Jaleel Shaw Quartet at St. Peter’s Church.
1:00pm Jazz on the Plaza . 619 Lexington Ave. @ 54th St.
212-242-2022. (Bet. 53rd & 54th St.) www.saintpeters.org.
 Thurs 8/2: Somethin’ Jazz Club. NYJA @ noon. Dario
Boente & Christos Fafalides @ 7:30pm. Jake Hertzog
Trio @ 9:00pm. 212 E. 52nd St., 3rd Fl. (Bet. 2nd & 3rd
Ave.) 212-371-7657. www.somethinjazz.com.
 Thurs 8/2, 8/9, 8/16, 8/23, 8/30: Lapis Luna with John
Merrill, Chris Pistorino & Brian Floody at The Plaza
Hotel’s Rose Club. 8:30pm. Vintage jazz & classic swing
music. Fifth Ave. @ Central Park S. No cover.
www.lapisluna.com
August 2012  Jazz Inside Magazine  www.JazzInsideMagazine.com
15
 Thurs 8/2: Bill Frisell with Greg Leisz, Tony Scherr, Jenny Scheinman
& Kenny Wollesen at (le) poisson rouge. 6:30pm, 10:00pm. $40; $45 at
door. 158 Bleecker St. 212-505-FISH. www.lepoissonrouge.com.
 Thurs 8/2: Ronny Whyte 3 at Kitano. 8:00pm & 10:00pm. 66 Park Ave @
38th St. 212-885-7119. www.kitano.com
 Thurs 8/2: Jaleel Shaw Quartet at St. Peter’s Church. 12:30pm. Free.
Jazz on the Plaza . 619 Lexington Ave. @ 54th St. 212-242-2022. (Bet.
53rd & 54th St.) www.saintpeters.org.
 Thurs 8/2: The Bar Next Door. Geoff Vidal with Sean Conly & Jochen
Rueckert at 6:30pm. Oleg Osenkov with Bruno Magueira & Duduka
DaFonsseca at 8:30pm & 10:30pm. 129 MacDougal St. 212-529-5945.
 Thurs 8/2: The Metropolitan Room. David Basse at 7:00pm. Sean
Harkness at 9:30pm. 34 W. 22nd St. 212-206-0440.
www.metropolitanroom.com.
 Thurs 8/2: Amy Cervini with Jesse Lewis & Matt Aronoff at 55 Bar.
7:00pm. 55 Christopher St. 212-929-9883. www.55bar.com.
 Thurs 8/2: Michel Reis & Aaron Kruziki at Joe’s Pub. 7:00pm. 425
Lafayette St. 212-539-8778. www.joespub.com
 Fri-Sat 8/3-8/4: Ed Laub/Paul Meyers at Kitano. 8:00pm & 10:00pm. 66
Park Ave @ 38th St. 212-885-7119. www.kitano.com
 Sat 8/3: “Hot Lips” Joey Morant at B.B. King Blues Club & Grill. Noon,
7:30pm & 10:00pm. 237 W. 42nd St. 212-997-4144.
www.bbkingblues.com
 Fri 8/3: Brian Lynch & Spheres of Influence at the Rubin Museum of
Art. 7:00pm. $18 in advance; $20 at door. “Harlem in the Himalayas”. 150
W. 17th St. 212-620-5000. www.rmanyc.org
 Fri 8/3: The Bar Next Door. Tom Dempsey with Ron Oswanski & Alvin
Atkinson at 7:30pm. 9:30pm & 11:30pm. 129 MacDougal St. 212-5295945. www.lalanternacaffe.com.
 Fri-Sat 8/3-4, 8/11-12, 8/17-8/18, 8/24-25, 8/31: Arthur’s Tavern. Eri
Yamamoto Trio at 7:00pm. Sweet Georgia Brown at 10:00pm on Fridays. Alyson Williams at 10:00pm on Saturdays. 57 Grove St. 212-6756879. www.arthurstavernnyc.com
 Fri 8/3: Nat Adderley, Jr. at Jackie Robinson Park. 7:00pm. Bradhurst
Ave. & W. 148th St. www.jazzmobile.org
 Fri 8/3, 8/10, 8/17, 8/24, 8/31: Birdland Big Band at Birdland. 5:00pm.
315 W. 44th St. (Bet. 8th & 9th Ave.)
 Fri 8/3: Somethin’ Jazz Club. Jack Furlong Quartet @ 7:00pm. 212 E.
52nd St., 3rd Fl. (Bet. 2nd & 3rd Ave.) 212-371-7657.
 Sat 8/4: The Bar Next Door. Jack Wilkins with John Burr & Mike Clark
at 7:30pm, 9:30pm & 11:30pm. 129 MacDougal St. 212-529-5945.
www.lalanternacaffe.com.
 Sat 8/4: Hot Club of Detroit at World Yacht’s Hot Jazz on the Hudson.
Board at 7:00pm; sail at 8:00pm. Pier 81, W. 41st St. & 12th Ave. 212630-8100. www.hotclubofdetroit.com
 Sat 8/4, 8/11, 8/18, 8/25: St. Peter’s Church. Big band jazz workshop @
10:00am. Vocal jazz workshop @ noon. 619 Lexington Ave. @ 54th St.
 Sat 8/4: Yumi at Greenwich Village Bistro. 9:00pm. 13 Carmine St. 212206-9777.
 Sat 8/4: Somethin’ Jazz Club. NYJA @ 2:00pm. In the Moment @
5:00pm. Hiroshi Yamazaki Quartet @ 7:00pm. US @ 9:00pm. 212 E.
 Sat 8/4: Farah Siraj & The Arabian Jazz Project at Drom. 9:00pm. $10.
85 Ave. A. 212-277-1157. http://dromnyc.com.
 Sun 8/5: The Bar Next Door. Peter Mazza with Paul Bollenback &
Rogerio Boccato at 8:00pm. & 10:00pm. 129 MacDougal St. 212-5295945. www.lalanternacaffe.com.
 Sun 8/5, 8/12, 8/19, 8/26: Tony Middleton Trio at Kitano. 11:00am &
1:00pm. $35 for buffet with Bloody Mary, Mimosa or Aperol Spritz. 66 Park
Ave @ 38th St. 212-885-7119. www.kitano.com
 Sun 8/5, 8/12, 8/19, 8/26: Junior Mance at Café Loup. 6:30pm. No cover.
105 W. 13th St. @ 6th Ave. 212-255-4746. www.juniormance.com
 Sun 8/5: Alex Soreff & Stan Nishimura Ensemble at ABC No Rio.
7:00pm. 156 Rivington St. $5 suggested donation for musicians.
 Sun 8/5: Cynthia Soriano with Saul Rubin & Jonathan Michel at North
Square Lounge. 12:30pm & 2:00pm. 103 Waverly Pl. @ MacDougal St.
No cover or min. 212-254-1200. www.northsquarejazz.com.
 Sun 8/5: Hiroko Kemna at Greenwich Village Bistro. 9:00pm. 13 Carmine St. 212-206-9777.
 Sun 8/5: Caffé Vivaldi. Tom Tallitsch at 8:30pm. 32 Jones St. 212-6917538. www.caffevivaldi.com.
 Sun 8/5, 8/12, 8/19, 8/26: Arthur’s Tavern. Creole Cooking Jazz Band
16
at 7:00pm. House Rockin’ Blues at 10:00pm. 57 Grove
St. 212-675-6879. www.arthurstavernnyc.com
 Sun 8/5, 8/12, 8/19, 8/26: Birdland. Birdland Jazz Party
at 6:00pm. Arturo O’Farrill Afro Latin Jazz Orchestra at
 Sun 8/5: Eric Comstock & Barbara Fasano at 54 Below.
1:00pm. 254 W. 54th St. www.54Below.com
 Sun 8/5: Anna Dagmar at St. Peter’s Church. Jazz
Vespers at 5:00pm 619 Lexington Ave. @ 54th St. 212242-2022. (Bet. 53rd & 54th St.) www.saintpeters.org.
 Mon 8/6: The Bar Next Door. Remy LeBoeuf with Martin
Nevin & Peter Kronreif at 6:30pm. Nancy Harms with
Shimrit Shoshan & Danton Boller at 8:30pm & 10:30pm.
129
MacDougal St. 212-529-5945.
 Mon 8/6, 8/13, 8/20, 8/27: Jam Session with Iris Ornig at
Kitano. 8:00pm & 11:30pm. $35 for buffet with Bloody
Mary, Mimosa or Aperol Spritz. 66 Park Ave @ 38th St.
212-885-7119. www.kitano.com
 Mon 8/6, 8/13: International Women in Jazz at St. Peter’s
Church. 7:00pm 619 Lexington Ave. @ 54th St. 212-2422022. (Bet. 53rd & 54th St.) www.saintpeters.org.
 Mon 8/6, 8/13, 8/20, 8/27: Arthur’s Tavern. Grove Street
Stompers at 7:00pm. House Rockin’ Blues at 10:00pm.
57 Grove St. 212-675-6879. www.arthurstavernnyc.com
 Mon 8/6, 8/13, 8/20, 8/27: The Living Room. Tony
Scherr at 9:00pm. Jim Campilongo at 10:00pm. $8. 154
Ludlow St. (Bet. Stanton & Rivington) 212-533-7234.
www.livingroomny.com
 Tues-Sat 8/7-8/11: Al Foster/George Mraz Quartet at
Birdland. 8:30pm & 11:00pm. 315 W. 44th St.
 Tues 8/7: The Bar Next Door. Aleksi Glick with Ethan
O’Reilly & Nathan Ellman-Bell at 6:30pm. Sebastian
Noelle with Sam Anning & Ross Pederson at 8:30pm &
10:30pm. 129 MacDougal St. 212-529-5945.
DAVE KOZ  BEBE WINANS
August 10, 8:00 PM
370 New York Ave, Huntington NY
www.ParamountNY.com
17
 Tues 8/7: Allen Esses at Greenwich Village Bistro.
9:00pm. 13 Carmine St. 212-206-9777.
 Tues 8/7, 8/14, 8/21, 8/28: Chris Ziemba at Kitano.
8:00pm & 11:00pm. $35 for buffet with Bloody Mary,
Mimosa or Aperol Spritz. 66 Park Ave @ 38th St. 212885-7119. www.kitano.com
 Tues 8/7: First Tuesdays: Seminar for Musicians at St.
Peter’s Church. 3:00pm 619 Lexington Ave. @ 54th St.
 Tues 8/7, 8/14, 8/21, 8/28: Arthur’s Tavern. Yuichi
Hirakawa Band at 7:00pm. House Rockin’ Blues at
10:00pm. 57 Grove St. 212-675-6879.
www.arthurstavernnyc.com
 Tues 8/7: Jazz in the Square Concert at Union Square
Park . Noon. Free . West seating area .
www.newschool.edu
 Wed 8/8: Julie Eigenberg, Yaron Gershovsky & David
Finck at Drom. 7:15pm. $12.50; $15 at door. 85 Ave. A.
212-277-1157. http://dromnyc.com.
 Wed 8/8: Somethin’ Jazz Club. Anna Elizabeth Kendrick @ 7:00pm. Michael Eckroth Group @ 9:00pm. 212
E. 52nd St., 3rd Fl. (Bet. 2nd & 3rd Ave.) 212-371-7657.
 Wed 8/8: The Bar Next Door. Syberen van Munster with
Des White & Ziv Ravitz at 6:30pm. Jonathan Kreisberg
Trio at 8:30pm & 10:30pm. 129 MacDougal St. 212-5295945. www.lalanternacaffe.com.
 Wed 8/8: New York Jazz 9 led by John Eckert at St.
Peter’s Church. Midtown Jazz at Midday at 1:00pm 619
Lexington Ave. @ 54th St. 212-242-2022. (Bet. 53rd &
54th St.) www.saintpeters.org.
 Wed 8/8: Cynthia Scott at Grant’s Tomb. 7:00pm. Free.
 Wed 8/8: Marc Eliot at Kitano. 8:00pm & 10:00pm. 66
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18
 Thurs 8/9, 8/16: John DiPinto & Mary Foster Conklin at
The Metropolitan Room. 7:00pm. 34 W. 22nd St. 212206-0440. www.metropolitanroom.com.
 Thurs 8/9: Somethin’ Jazz Club. Matt Vashlishan Trio
@ 9:00pm. Straight Street @ 11:00pm. 212 E. 52nd St.,
3rd Fl. (Bet. 2nd & 3rd Ave.) 212-371-7657.
 Thurs 8/9: Greenwich Village Bistro. Rob McCrone at
6:00pm. Lisa Gulkin at 9:00pm. 13 Carmine St. 212-2069777.
 Thurs 8/9: Kelli Scarr & Alana Amram with Jim Campilongoat (le) poisson rouge. 6:30pm. $15. 158 Bleecker
St. 212-505-FISH. www.lepoissonrouge.com.
 Thurs 8/9: Caffé Vivaldi. Joe Alterman at 8:30pm. 32
Jones St. 212-691-7538. www.caffevivaldi.com.
 Thurs 8/9: T.K. Blue Ensemble at St. Peter’s Church.
12:30pm. Free. Jazz on the Plaza . 619 Lexington Ave. @
54th St. 212-242-2022. (Bet. 53rd & 54th St.)
 Thurs 8/9: The Bar Next Door. Benny Benack with
Emmet Cohen & Mark Whitfield Jr. at 6:30pm. Kevin
McNeal with Noriko Kamo & Tom Baker at 8:30pm &
10:30pm. 129 MacDougal St. 212-529-5945.
 Thurs 8/9: Bob Mover/Emily Mover at Kitano. 8:00pm &
10:00pm. 66 Park Ave @ 38th St. 212-885-7119.
www.kitano.com
 Fri 8/10: Will Calhoun at Jackie Robinson Park. 7:00pm.
Bradhurst Ave. & W. 148th St. www.jazzmobile.org
 Fri 8/10: Kate McGarry Band with Keith Ganz, Gary
Versace & Clarence Penn at Joe’s Pub. 8:00pm. 425
Lafayette St. 212-539-8778. www.joespub.com
 Fri 8/10: The Bar Next Door. Dave Allen with Drew
Gress & Mark Ferber at 7:30pm, 9:30pm & 11:30pm. 129
MacDougal St. 212-529-5945. www.lalanternacaffe.com.
 Fri 8/10: Glendad Davenport Quartet at Kitano. 8:00pm
& 10:00pm. 66 Park Ave @ 38th St. 212-885-7119.
www.kitano.com
 Fri 8/10: Kenji at Greenwich Village Bistro. 9:00pm. 13
Carmine St. 212-206-9777.
 Sat 8/11: The Bar Next Door. JC Stylles with John
Webber & Lawrence Leathers at 7:30pm, 9:30pm &
11:30pm. 129 MacDougal St. 212-529-5945.
 Sat 8/11: Somethin’ Jazz Club. NYJA @ 2:00pm. Lotus
Position @ 5:00pm. JB Baretsky @ 7:00pm. Matt Garrison @ 9:00pm. 212 E. 52nd St., 3rd Fl. (Bet. 2nd & 3rd
Ave.) 212-371-7657. www.somethinjazz.com.
 Sat 8/11: Antoinette Montague Quintet at Kitano.
8:00pm & 10:00pm. 66 Park Ave @ 38th St. 212-8857119. www.kitano.com
 Sun 8/11, 8/18, 8/25: Sing Harlem Sing Gospel/R&B
Brunch at 54 Below. 1:00pm. $25 min; $30 cover. 254 W.
54th St. www.54Below.com
 Sun 8/12: Michael Evans, David Grollman & Andy Haas
at ABC No Rio. 7:00pm. 156 Rivington St. $5 suggested
donation for musicians.
 Sun 8/12: Caffé Vivaldi. Danielle Gasparro at 8:00pm.
Secret Architecture at 9:45pm. 32 Jones St. 212-6917538. www.caffevivaldi.com.
 Sun 8/12: Ricky Rodriguez Quartet at St. Peter’s
Church. Jazz Vespers at 5:00pm 619 Lexington Ave. @
54th St. 212-242-2022. (Bet. 53rd & 54th St.)
 Sun 8/12: Alysha Umphress at 54 Below. 1:00pm. 254
W. 54th St. www.54Below.com
 Sun 8/12: The Bar Next Door. Peter Mazza with Harvie S
& Rogerio Boccato at 8:00pm & 10:00pm. 129 MacDougal St. 212-529-5945. www.lalanternacaffe.com.
 Sun 8/12: Jim Campilongo & Adam Levy at 55 Bar.
6:00pm. 55 Christopher St. 212-929-9883.
Fri, August 10 @ 8pm
Galactic
With Special Guest Corey Glover of Living
Colour The FUNK & JAZZ band from New
Orleans with their new
Carnival Album – Carnivale Electricos!
Ticket Price $37. Box office 203.438.5795
Thurs, September 20 @ 8pm
Tommy Emmanuel
Two-time Grammy nominated guitar virtuoso,
Tommy Emmanuel is
considered a master of many genres including
jazz, rock, blues and country!
Ticket Price: $50. Box office 203.438.5795
Wed, October 10 @ 8pm
Medeski, Martin & Wood
For over two decades, the trio’s amalgam of jazz, funk,
“avant-noise” and a million other musical currents and
impulses has been nearly impossible to classify — and
that’s just how they like it. Medeski’s keyboard excursions,
Chris Wood’s hard-charging bass lines and Billy Martin’s
supple, danceable beats have come to resemble a single
organism, moving gracefully between genre-defying compositions and expansive improvisation. Ticket Price: $45.
80 East Ridge, Ridgefield, CT
203.438.5795 • www.ridgefieldplayhouse.org
www.55bar.com.
 Sun 8/12: Roz Corral with Yotam Silberstein at North
Square Lounge. 12:30pm & 2:00pm. 103 Waverly Pl. @
MacDougal St. No cover or min. 212-254-1200.
www.northsquarejazz.com.
 Mon 8/13: The Bar Next Door. Mike Bono with Jon Di
Fiore & Adrian Moring at 6:30pm. The Magic Trio at
8:30pm & 10:30pm. 129 MacDougal St. 212-529-5945.
 Mon 8/13: Towner Galaher at SGI-USA Buddhist Culture Center. 7 E. 15th St. 212-727-7712. Townergalahermusic.com
 Tues 8/14: The Bar Next Door. Tom Finn with Noah
Garabedian & Evan Hughes at 6:30pm. Mike Baggetta
with Cameron Brown & Jeff Hirschfield at 8:30pm &
10:30pm. 129 MacDougal St. 212-529-5945.
 Tues-Sat 8/14-8/18: Hilary Kole at 54 Below. 8:30pm.
$25 min; $30 cover. 254 W. 54th St. www.54Below.com
 Tues 8/14: Levon Henry at Hudson River Park. 6:30pm.
Free. Pier 45, Christopher St. at the Hudson River.
www.newschool.edu
 Tues-Sat 8/14-8/18: John Abercrombie Quartet at Birdland. 8:30pm & 11:00pm. 315 W. 44th St.
 Wed 8/15: The Bar Next Door. Issac Darche with Sean
Wayland & Mark Ferber at 6:30pm. Jonathan Kreisberg
Trio at 8:30pm & 10:30pm. 129 MacDougal St. 212-5295945. www.lalanternacaffe.com.
 Wed 8/15: Peter Magrane at Greenwich Village Bistro.
9:00pm. 13 Carmine St. 212-206-9777.
 Wed 8/15: Maurício de Soua at The Lambs Club.
7:30pm. No cover or min. 132 W. 44th St. 212-997-5262.
www.mauriciodesouzajazz.com.
 Wed 8/15: Kendra Shank Quartet at Kitano. 8:00pm &
20
10:00pm. 66 Park Ave @ 38th St. 212-885-7119.
www.kitano.com
 Wed 8/15: Lynne Jackson, Mike Palter & Jim Repa at
St. Peter’s Church. Midtown Jazz at Midday at 1:00pm
619 Lexington Ave. @ 54th St. 212-242-2022. (Bet. 53rd
& 54th St.) www.saintpeters.org.
 Wed 8/15: Frank Wess at Grant’s Tomb. 7:00pm. Free.
 Thurs 8/16: Bruce Barth Quartet at St. Peter’s Church.
1:00pm Jazz on the Plaza . 619 Lexington Ave. @ 54th St.
 Thurs 8/16: The Bar Next Door. Caleb Curtis with Adam
Cote & Shawn Baltazor at 6:30pm. Jaleel Shaw with
Dwayne Burno & Johnathan Blake at 8:30pm &
10:30pm. 129 MacDougal St. 212-529-5945.
 Thurs 8/16: Bruce Barth Quartet at St. Peter’s Church.
12:30pm. Free. Jazz on the Plaza . 619 Lexington Ave. @
54th St. 212-242-2022. (Bet. 53rd & 54th St.)
 Thurs 8/16: Johnny Vidacovich, Cyril Neville, Tab
Benoit, Big Chief Monk Boudreaux, Johnny Sansone,
& Waylon Thibodeaux at Highline Ballroom. 8:00pm.
$35-$65. Voice of the Wetlands All-Stars. W. 16th St. 212414-5994. www.highlineballroom.com.
 Thurs 8/16: Yaron Gershovsky Trio at Kitano. 8:00pm &
10:00pm. 66 Park Ave @ 38th St. 212-885-7119.
www.kitano.com
 Fri 8/17: Somethin’ Jazz Club. Alex DeZenzo Trio @
7:00pm. Jacob Deaton @ 9:00pm. 212 E. 52nd St., 3rd
Fl. (Bet. 2nd & 3rd Ave.) 212-371-7657.
 Fri 8/17: Emmet Cohen at the Rubin Museum of Art.
7:00pm. $18 in advance; $20 at door. “Harlem in the
Himalayas”. 150 W. 17th St. 212-620-5000.
 Fri 8/17: Bobby Sanabria at Marcus Garvey Park.
7:00pm. Free. Richard Rodgers Amphitheater, 5th Ave. &
124th St. www.jazzmobile.org
 Fri 8/17: Oscar Peñas at Drom. 7:15pm. $10; $15 at
door. 85 Ave. A. 212-277-1157. http://dromnyc.com.
 Fri 8/17: The Bar Next Door. Rick Stone with Marco
Panascia & Tom Pollard at 7:30pm, 9:30pm & 11:30pm.
129
 Fri 8/17: Emilio Solla & Bien Sur! at Kitano. 8:00pm &
10:00pm. 66 Park Ave @ 38th St. 212-885-7119.
www.kitano.com
 Fri 8/17: Patience Higgins, Marcus Periani & Dave
Gibson at Whole Foods Market. 5:00pm. 2012 Charlie
Parker Jazz Festival. Free. 80 Columbus Ave. @ 97th St.
www.cityparksfoundation.org
 Sat 8/18: Somethin’ Jazz Club. NYJA @ 2:00pm. Imaginary Homeland @ 7:00pm. Arun Luthra Quartet @
9:00pm. 212 E. 52nd St., 3rd Fl. (Bet. 2nd & 3rd Ave.)
212-371-7657. www.somethinjazz.com.
 Sat 8/18: Wycliffe Gordon, Alyson Williams & Steve
Kroon at Central Park. 4:00pm. Central Park & 106th St.
www.jazzmobile.org
 Sat 8/18: The Bar Next Door. Yotam Silberstein with Tal
Ronen & Ulysses Owens at 7:30pm, 9:30pm & 11:30pm.
129
 Sat 8/18: Gene Bertoncini Trio at Kitano. 8:00pm &
10:00pm. 66 Park Ave @ 38th St. 212-885-7119.
www.kitano.com
 Sat 8/18: Towner Galaher with Jeff Pittson & Marvin
Horn at Londel’s Supper Club. 8:00pm. 2620 Frederick
Douglas
Blvd.
212-234-6114.
www.townergalahermusic.com
 Sun 8/19: The Bar Next Door. Peter Mazzo with Marco
Panascia at 8:00pm & 10:00pm. 129 MacDougal St. 212529-5945. www.lalanternacaffe.com.
 Sun 8/19: Andy Milne’s Bandwidth at Ginny’s Supper
Club at Red Rooster. 9:00pm. 20th Annual Charlie
Parker Jazz Festival. Free. 310 Lenox Ave. btw. 125th &
126th St. 212-792-9001. www.cityparksfoundation.org
 Sun 8/19: Ken Simon Quartet at St. Peter’s Church.
Jazz Vespers at 5:00pm 619 Lexington Ave. @ 54th St.
 Sun 8/19: Julie Reyburn at 54 Below. 1:00pm. 254 W.
 Sun 8/19: José Valente & Daniel Levin, John Boyle and
John Ehlis & Amalia Lopez Chueca at ABC No Rio.
7:00pm. 156 Rivington St. $5 suggested donation for
musicians.
 Sun 8/19: Roz Corral with Gilad Hekselman & Orlando
le Fleming at North Square Lounge. 12:30pm & 2:00pm.
103 Waverly Pl. @ MacDougal St. No cover or min. 212254-1200. www.northsquarejazz.com.
 Mon 8/20: The Bar Next Door. PJ Rasmussen with
Daesul Kim & John Di Fiore at 6:30pm. Daniela
Schachter with Marco Panascia & Scott Latsky at
 Mon 8/20: Lakecia Benjamin at Ginny’s Supper Club at
Red Rooster. 9:00pm & 10:30pm. 20th Annual Charlie
Parker Jazz Festival. 310 Lenox Ave. btw. 125th & 126th
St. 212-792-9001. www.cityparksfoundation.org
 Tues 8/21: Somethin’ Jazz Club. Catherine Dupuis &
Russ Kassoff Duo @ 7:00pm. 212 E. 52nd St., 3rd Fl.
(Bet. 2nd & 3rd Ave.) 212-371-7657.
 Tues 8/21: The Bar Next Door. Jeremy Viner with Chris
Tordini & Cody Brown at 6:30pm. Adam Kolker with
Jeremy Stratton & Rodney Green at 8:30pm & 10:30pm.
129
 Tues 8/21: Sons of GV at Greenwich Village Bistro.
8:00pm. 13 Carmine St. 212-206-9777.
 Tues-Sat 8/21-8/25: Richie Beirach Quintet at Birdland.
 Wed 8/22: The Bar Next Door. Syberen van Munster
with Sean Conly & Ziv Ravitz at 6:30pm. Jonathan
Kreisberg Trio at 8:30pm & 10:30pm. 129 MacDougal St.
212-529-5945. www.lalanternacaffe.com.
 Wed 8/22: Taeko Fukao Quartet at Kitano. 8:00pm &
10:00pm. 66 Park Ave @ 38th St. 212-885-7119.
www.kitano.com
 Wed 8/22: Linemen at Greenwich Village Bistro.
9:00pm. 13 Carmine St. 212-206-9777.
 Wed 8/22: Allen Farnham & Tomoko Ohno at St. Peter’s Church. Midtown Jazz at Midday at 1:00pm 619
Lexington Ave. @ 54th St. 212-242-2022. (Bet. 53rd &
54th St.) www.saintpeters.org.
 Wed 8/22: Jimmy Owens at Grant’s Tomb. 7:00pm.
Free. Riverside Dr. & W. 122nd St. www.jazzmobile.org
 Wed 8/22: Miguel Atwood-Ferguson & Ashley Kahn at
The New School. 6:30pm. Free. Arnhold Hall, 55 W. 13th
St., 5th Floor. www.newschool.edu/jazz
 Wed 8/22: Somethin’ Jazz Club. NJ Territo Trio @
 Thurs 8/23: The Bar Next Door. Mark Cocheo with
Ethan O’Reilly & Tyson Stubelek at 6:30pm. Freddie
Bryant with Patrice Blanchard & Willard Dyson at
 Thurs 8/23: Jazz at Lincoln Center’s WeBop Band at
The New School. 11:00 am. Free. Arnhold Hall, 55 W.
13th St., 5th Floor. www.newschool.edu/jazz
 Thurs 8/23: Conrad Herwig Ensemble at St. Peter’s
Church. 12:30pm. Free. Jazz on the Plaza . 619 Lexington Ave. @ 54th St. 212-242-2022. (Bet. 53rd & 54th St.)
 Thurs 8/23: Daniel Carlton at The New School. 6:30pm.
Free. “When Smalls Had It All.” Arnhold Hall, 55 W. 1th
St., 5th Floor. www.newschool.edu/jazz
 Thurs 8/23: Somethin’ Jazz Club. Yvonne Simone @
7:00pm. Karen Taborn @ 9:00pm. 212 E. 52nd St., 3rd
Fl. (Bet. 2nd & 3rd Ave.) 212-371-7657.
 Thurs 8/23: Marlene VerPlanck Quartet at Kitano.
 Fri 8/24: The Bar Next Door. Nick Moran with Brad
Whiteley & Chris Benham at 7:30pm, 9:30pm &
11:30pm. 129 MacDougal St. 212-529-5945.
 Fri 8/24: Miguel Atwood-Ferguson’s “Bird with Strings”
& Daniel Carlton at Marcus Garvey Park. Free. 20th
Charlie Parker Jazz Festival. 18 Mount Morris Park West.
212-860-1394. www.cityparksfoundation.org
 Fri 8/24: Lynette Washington at Jackie Robinson Park.
7:00pm. Bradhurst Ave. & W. 148th St.
www.jazzmobile.org
 Fri 8/24: Somethin’ Jazz Club. Scott Reeves Quintet
with Rich Perry, Masayasu Tzboguchi, Mike McGuirk &
Andy Watson @ 9:00pm. 212 E. 52nd St., 3rd Fl. (Bet.
2nd & 3rd Ave.) 212-371-7657. www.somethinjazz.com.
 Fri 8/24: Somethin’ Jazz Club. Angela Davis Quartet @
7:00pm. Scott Reeves/Masayasu Tzboguchi Quintet @
 Fri-Sat 8/24-8/25: Frank Kimbrough Trio at Kitano.
 Fri 8/24: Tomoyasu at Greenwich Village Bistro.
7:00pm. 13 Carmine St. 212-206-9777.
 Sat 8/25: The Bar Next Door. Bruce Cox with Essiet
Essiet & Misha Tsiganov at 7:30pm, 9:30pm & 11:30pm.
129
 Sat 8/25: Roy Haynes & Rene Marie with Derrick Hodge
& Jamire Williams, Edwin Torres & LaTasha N. Nevada
Diggs at Marcus Garvey Park. Free. 20th Charlie Parker
Jazz Festival. 18 Mount Morris Park West. 212-860-1394.
www.cityparksfoundation.org
 Sat 8/25: Somethin’ Jazz Club. NYJA @ 2:00pm. Zach
Resnick Quintet @ 5:00pm. Donee Middleton @
7:00pm. Tomoyasu Ikuta Group @ 11:00pm. 212 E.
 Sun 8/26: The Bar Next Door. Peter Mazza with Art
Hirahara & Marco Panascia at 8:00pm. & 10:00pm. 129
MacDougal St. 212-529-5945. www.lalanternacaffe.com.
 Sun 8/26: University of the Streets at Muhammad
Salahuddeen Memorial Jazz Theatre. Bernard Linnette’s Interactives at 7:00pm. $15. 5th Annual PostCharlie Parker Festival Open Mic/Jam. 130 E. 7th St. (just
west
of
Ave.
A).
212-254-9300.
www.universityofthestreets.org.
 Sun 8/26: Marshall Gilkes Quintet at St. Peter’s
Church. Jazz Vespers at 5:00pm 619 Lexington Ave. @
54th St. 212-242-2022. (Bet. 53rd & 54th St.)
 Sun 8/26: Camila Meza with Yotam Silberstein & Marco
Panascia at North Square Lounge. 12:30pm & 2:00pm.
103 Waverly Pl. @ MacDougal St. No cover or min. 212254-1200. www.northsquarejazz.com.
 Sun 8/26: Somethin’ Jazz Club. Devin Bing @ 7:00pm.
212 E. 52nd St., 3rd Fl. (Bet. 2nd & 3rd Ave.) 212-3717657. www.somethinjazz.com.
 Sun 8/26: Alex Bugnon at 54 Below. 1:00pm. 254 W.
 Sun 8/26: Ernestine Anderson Quartet, Gregory Porter,
Dapp Theory, Sullivan Fortner, Jon Sands, Sheila
21
Calendar of Events
AUG
August 2012
August 7: Jorge Sylvester Big Band
August 14: Corina Bartra Peruvian Jazz
Project
August 21: Cecilia Coleman Big Band
August 28: Mike Longo Funk Band
(All Shows at 8:00 PM)
22
Blue Note
131 W Third St.
(east of 6th Ave)
212-475-8592
www.bluenote.net
Cleopatra’s Needle
2485 Broadway
(betw. 92nd & 93rd St.)
212-769-6969
Cornelia St. Café
29 Cornelia St.
(bet. W 4th & Bleecker)
212-989-9319
corneliastreetcafe.com
Deer Head Inn
5 Main Street
Delaware Water Gap, PA
18327
www.deerheadinn.com
1 - Wed
Jane Monheit
Les Kurtz 3; Joonsam Lee 3 Carmen Staaf 5; Gabriel
Jam
Guerrero 3
2 - Thu
Jane Monheit
Michika Fukumori 3; Daisuke Abe 3
Jon Irabagon 3
Bill Goodwin 4
3 - Fri
Jane Monheit - Out to
Lunch
Dan Furman 3; Jesse
Simpson 3
Barry Altschul 4
Michele Bautier
4 - Sat
Jane Monheit - Melvin Van
Peebles
Masami Ishikawa 4; Jesse
Simpson 3
Jon Irabagon 4
Warren Vache 3
5 - Sun
Pedro Giraudo; Jane Monheit
Keith Ingham 3; Jazz 3 Jam Kate Amrine 5; Scott Tixier
5
6 - Mon
Maya Azucena
Roger Lent 3; Jam
Arturo O'Farrill 3
7 - Tue
Earl Klugh
Robert Rucker 3; Jam
Colony
8 - Wed
Earl Klugh
Les Kurtz 3; Joonsam Lee 3 Green Screen
Jam
9 - Thu
Earl Klugh
Dona Carter; Daisuke Abe 3 Bobby Avey 4
Bill Goodwin 4
10 - Fri
Earl Klugh; cPhour
Mamiko Watanabe 3; Jesse Mary Halvorson 3
Simpson 3
Bobby Avey 3
11 - Sat
Earl Klugh; Women of Soul Nial Djullarso 3; Jesse
Simpson 3
12 - Sun
Gilad Hekselman; Earl
Klugh
Keith Ingham 3; Jazz 3 Jam Dan Weiss & Ari Hoenig
13 - Mon
Will Calhoun 3
Roger Lent 3; Jam
Gerard Edery; Tabla 3;
Ramon Diaz Rumba Group
14 - Tue
Sansaverino & Nu Jazz
Nate Wood Band
15 - Wed
Enfants Terribles
Les Kurtz 3; Joonsam Lee 3 Rob Curto Band; Benji
Jam
Kaplan & Seth Trachy
16 - Thu
Enfants Terribles
Hank Janson 3; Daisuke
Abe 3
Billy Newman 6
Bill Goodwin 4
17 - Fri
Enfants Terribles; Lalana
Wade Barnes 3; Jesse
Simpson 3
Helio Alves 3; Guilherme
Moneiro/Jorge Continentinho Group
Go Trio & Viktorija Gecye
18 - Sat
Enfants Terribles; Candice
Anitra
Ken Simon 4; Jesse Simpson 3
Gerald Cleaver 5
Bill Goodwin All Stars with
Phil Woods
19 - Sun
Nobuki Takamen 3; Enfants Keith Ingham 3; Jazz 3 Jam
Terribles
20 - Mon
Marcus Strickland
Roger Lent 3; Jam
21 - Tue
Celebrating Michael
Brecker
22 - Wed
Celebrating Michael
Brecker
Les Kurtz 3; Joonsam Lee 3 Chive
Jam
23 - Thu
Celebrating Michael
Brecker
Rahn Burton 3; Daisuke
Abe 3
24 - Fri
Christian Scott; Malcolm
Parson
Joonsam Lee 3; Jesse
Simpson 3
25 - Sat
Christian Scott; The States- Kuni Mikami 4; Jesse
men
Simpson 3
26 - Sun
Christine Vaindirlis; Christian Scott
Keith Ingham 3; Jazz 3 Jam
Gaptime Ensemble
27 - Mon
Revive Big Band
Roger Lent 3; Jam
Deer Head Jazz Orchestra
28 - Tue
Kenny Werner 5
29 - Wed
Kenny Werner 5
Les Kurtz 3; Joonsam Lee 3 Nina Moffitt 4; Sarah ElizaJam
beth Charles 4
30 - Thu
Kenny Werner 5
Clifford Barbaro 3; Daisuke Camila Meza 4; Sefira
Abe 3
Bill Goodwin 4
31 - Fri
Kenny Werner 5; Walter
Christopher
Yaakov Mayman 3; Jesse
Simpson 3
Vicki Doney 5
Thumbscrew
Dan Wilkins
J.D. Walter 3
Jessie Green & Joanie
Samra
Mitchell Cheng
Kirpal Gordon & SpeakSpake-Spoke 6; Josh
Rutner 7
Bill Goodwin 4
Chihiro Yamanaka 3
Jean Rohe 6
Dave Liebman 5
Peter Eldridge & Jo Lawry
Maldonado & Nikhil Melnechuk at Tompkins Square
Park. 3:00pm. 20th Annual Charlie Parker Jazz Festival.
Free. Ave. B & E. 9th St. www.cityparksfoundation.org
 Mon 8/27: The Bar Next Door. Mike Bono with Jon Di
Fiore & Adrian Moring at 6:30pm. Sofia Rei Koutsovitis with Jean-Chrostophe Maillard & Jorge Roeder at
 Thurs-Fri 8/28-31: Allan Harris at The Metropolitan
Room. 7:00pm. 34 W. 22nd St. 212-206-0440.
www.metropolitanroom.com.
 Tues 8/28: The Bar Next Door. Aleksi Glick with Ethan
O’Reilly & Nathan Ellman-Bell at 6:30pm. Oscar
Penas with Moto Fukushima & Franco Pinna at
 Wed 8/29: Carol Sudhalter, Joe Vincent Tranchina,
Saadi Zain & Rudy Lawless at St. Peter’s Church.
Midtown Jazz at Midday at 1:00pm 619 Lexington Ave.
@ 54th St. 212-242-2022. (Bet. 53rd & 54th St.)
 Wed 8/29: Jerry Gonzalez & the Commandos de la
Clave at Highline Ballroom. 8:00pm. $25; $30 at door.
W. 16th St. 212-414-5994. www.highlineballroom.com.
 Wed 8/29: The Bar Next Door. Mat Jodrell with Sam
Anning & James MacBride at 6:30pm. Jonathan Kreisberg Trio at 8:30pm & 10:30pm. 129 MacDougal St.
212-529-5945. www.lalanternacaffe.com.
 Wed 8/29: Hendrik Meurkens Quartet at Kitano.
 Wed 8/29: Barry Harris at Grant’s Tomb. 7:00pm. Free.
 Wed 8/29: Donny McCaslin with Jason Lindner, Tim
LeBebvre & Mark Guiliana at 55 Bar. 10:00pm. 55
Christopher St. 212-929-9883. www.55bar.com.
 Thurs 8/30: Somethin’ Jazz Club. Grupo Los Santos
@ 7:00pm. Christian Artmann Quartet @ 9:00pm. 212
E. 52nd St., 3rd Fl. (Bet. 2nd & 3rd Ave.) 212-371-7657.
 Thurs 8/30: The Bar Next Door. Benny Benack with
Raviv Markovitz & Jimmy MacBride at 6:30pm. Jason
Ennis with Steve Whipple & Connor Meehan at 8:30pm
& 10:30pm. 129 MacDougal St. 212-529-5945.
 Thurs 8/30: Diva Trio at Kitano. 8:00pm & 10:00pm. 66
 Thurs 8/30: Jazz Knights Big Band from West Point at
St. Peter’s Church. 12:30pm. Free. Jazz on the Plaza .
619 Lexington Ave. @ 54th St. 212-242-2022. (Bet. 53rd
& 54th St.) www.saintpeters.org.
 Fri 8/31: Somethin’ Jazz Club. Marla Sampson Quintet
@ 7:00pm. 212 E. 52nd St., 3rd Fl. (Bet. 2nd & 3rd Ave.)
 Fri 8/31: The Bar Next Door. Lage Lund with Orlando
LeFleming & Johnathan Blake at 7:30pm, 9:30pm &
11:30pm. 129 MacDougal St. 212-529-5945.
 Fri 8/31: Gabriel Alegria Afro-Peruvian Sextet at
Drom. 7:30pm. $20; $30 at door. 85 Ave. A. 212-2771157. http://dromnyc.com.
 Fri 8/31: Geri Allen at Marcus Garvey Park. 7:00pm.
Free. Richard Rodgers Amphitheater, 5th Ave. & 124th
St. www.jazzmobile.org
 Fri 8/31: Alexis Cole Quartet at Kitano. 8:00pm &
10:00pm. 66 Park Ave @ 38th St. 212-885-7119.
www.kitano.com
Internet Marketing,
Comprehensive
Online & Offline
Media & Marketing
215-887-8880
BROOKLYN
 Wed 8/1, 8/8, 8/15, 8/22, 8/29: Tea and Jam at Tea
Lounge. 9:00pm. 837 Union St., Park Slope. 718-7892762. www.tealoungeny.com.
 Thurs 8/2: Tuba Skinny at Barbés. 10:00pm. 376 9th St.
@ 6th Ave. 347-422-0248. www.barbesbrooklyn.com
 Sat 8/2: IBeam Music Studio. Unique Principle at
8:30pm. 40twenty at 10:00pm. $10 suggested donation.
23
(Continued from page 23)
168 7th St. http://ibeambrooklyn.com
 Thurs 8/2: Douglass St. Music Collective. Booker
Stardrum at 8:00pm. Deric Dickens at 9:00pm. Josh
Sinton & Kirk Knuffke at 10:00pm. $10 suggested
donation. 295 Douglass St. (Bet. 3rd & 4th Ave.) 917355-5731. http://295douglass.org
 Fri 8/3: IBeam Music Studio. The Cellar and Point at
8:30pm. $10 suggested donation. 168 7th St. http://
ibeambrooklyn.com
 Fri 8/3: Douglass St. Music Collective. Chris Welcome Quartet at 8:00pm. Wright/Burns/Radding/
Nystrom at 9:00pm. Merega/Kaplan/Coleman at
10:00pm. $10 suggested donation. 295 Douglass St.
( B e t. 3 rd & 4 t h A v e . ) 9 1 7 -3 5 5 -5 7 3 1 .
http://295douglass.org
 Sat 8/4: IBeam Music Studio. Akiko Pavolka at
8:30pm. Meadownoise at 9:30pm. Freestyle Family
Orchestra at 10:30pm. $10 suggested donation. 168 7th
St.
 Sat 8/4: Takeishi/Maneri/Fribgane/Attias at Barbés.
8:00pm. 376 9th St. @ 6th Ave. 347-422-0248.
 Sat 8/4: Douglass St. Music Collective. Tom Orange
at 8:00pm. Kirk Knuffke at 9:00pm. Laila & SmittyKenny Warren, Jeremiah Lockwood, Josh Meyers &
Carlo Costa at 10:00pm. $10 suggested donation. 295
Douglass St. (Bet. 3rd & 4th Ave.) 917-355-5731.
 Sun 8/5: The Hot Club of Flatbush at Barbés. 9:00pm.
376 9th St. @ 6th Ave. 347-422-0248.
 Thurs 8/9: Amplified Quartet at Roulette. 8:00pm.
Atlantic Ave. & 3rd Ave. 917-267-0363. www.roulette.org
 Thurs 8/9: Douglass St. Music Collective. Josh Sinton, Ben Gerstein, Owen Stewart-Robertson & Mike
Pride at 8:00pm. KBD at 9:00pm. Jonathan Saraga
Quintet at 10:00pm. $10 suggested donation. 295 Douglass St. (Bet. 3rd & 4th Ave.) 917-355-5731.
 Fri 8/10: IBeam Music Studio. Playdate at 8:30pm. $10
suggested donation. 168 7th St. http://
ibeambrooklyn.com
 Sat 8/12: Le Hot Club at Barbés. 9:00pm. 376 9th St. @
6th Ave. 347-422-0248. www.barbesbrooklyn.com
 Mon 8/13: Alfredo Marin, Jodi Bender, Alaina
Stamaitis & Renee Archibald at Roulette. 8:00pm.
 Tues 8/14: David Ulmann Quintet at Barbés. 7:00pm.
376 9th St. @ 6th Ave. 347-422-0248.
 Thurs 8/16: Dayna Kurtz at Barbés. 10:00pm. 376 9th
St. @ 6th Ave. 347-422-0248. www.barbesbrooklyn.com
 Sat 8/18: IBeam Music Studio. Ben Gerstein & Tyshawn Sorey at 8:30pm. $10 suggested donation. 168
7th St. http://ibeambrooklyn.com
_______________________________________________
 Fri 8/17: Charles Tolliver Africa Brass at Jazz
966, 966 Fulton St., Brooklyn, NY, 718-638-6910,
Showtime 8 & 10 pm; tickets $40 per set, Sistas'
Place Production @ Jazz966, "A" & "C" to Clinton
& Washington. Reservations (718) 398-1766.
www.sistasplace.org
_______________________________________________
 Sun 8/19, 8/26: Stephane Wrembel at Barbés. 9:00pm.
376 9th St. @ 6th Ave. 347-422-0248.
 Mon 8/20: The Royal Roses at Barbés. 7:00pm. 376
9th St. @ 6th Ave. 347-422-0248.
 Tues 8/21: Jeremy Pelt at Brooklyn Bridge Park.
7:00pm. Free. Pier 1, Harbor View Lawn, 42 Furman
Ave. www.jazzmobile.org
 Tues 8/21: Alec Spiegleman Quartet at Barbés.
7:00pm. 376 9th St. @ 6th Ave. 347-422-0248.
 Thurs 8/23: Andy Statman at Barbés. 10:00pm. 376 9th
St. @ 6th Ave. 347-422-0248. www.barbesbrooklyn.com
 Thurs 8/24: Matana Roberts at Roulette. 7:00pm.
 Fri 8/25: IBeam Music Studio. Moppa Elliott Septet at
24
Calendar of Events
AUG
1 - Wed
2 - Thu
3 - Fri
4 - Sat
Dizzy’s Club
Coca Cola
Dizzy’s Club
After Hours
Feinstein’s
at Loews Regency
B’dwy &t 60th, 5th Fl.
212-258-9595
jazzatlincolncenter.com
B’dwy & 60th, 5th Fl
212-258-9595
jazzatlincolncenter.com
540 Park Ave.
212-339-8942
Randy Weston & African
Rhythms
Rhythms
BriannaThomas
Rhythms
Rhythms
BriannaThomas
BriannaThomas
BriannaThomas
feinsteinsattheregency.com
Rebecca Kilgore & Harry
Allen 4
Magical Nights; Rebecca
Kilgore & Harry Allen 4;
Broadway Ballyhoo
Allen 4
Allen 4
7 - Tue
Rhythms
Marshall Gilkes & Sound
Stories
Cedar Walton 4
Tony Lustig
8 - Wed
Cedar Walton 4
Tony Lustig
9 - Thu
Cedar Walton 4
Tony Lustig
10 - Fri
Cedar Walton 4
Tony Lustig
11 - Sat
Cedar Walton 4
Tony Lustig
12 - Sun
Cedar Walton 4
Club Dark
13 - Mon
Steven Maglio
14 - Tue
Christian Sands JazzHouse
Kids
Cedar Walton 5
TK Blue
15 - Wed
Cedar Walton 5
TK Blue
Deana Martin
16 - Thu
Cedar Walton 5
Paul Nedzela 4
17 - Fri
Cedar Walton 5
TK Blue
Magical Nights; Deana
Martin; Broadway Ballyhoo
Deana Martin
18 - Sat
Cedar Walton 5
TK Blue
Deana Martin
19 - Sun
Cedar Walton 5
Club Dark
20 - Mon
Club Dark
21 - Tue
Bill Goodwin 70th Birthday
Party
Trio Da Paz
Bryan Carter 3
Raissa Katona Bennett
22 - Wed
Trio Da Paz
Bryan Carter 3
23 - Thu
Trio Da Paz
Bryan Carter 3
Magical Nights; Raissa
Katona Bennett; Broadway
Ballyhoo
24 - Fri
Trio Da Paz
Bryan Carter 3
25 - Sat
Trio Da Paz
Bryan Carter 3
26 - Sun
Trio Da Paz
Love Songs
27 - Mon
Love Songs
28 - Tue
Joe Alterman/Houston
Person 4
Trio Da Paz
Bruce Harris 5
Love Songs
29 - Wed
Trio Da Paz
Bruce Harris 5
Love Songs
30 - Thu
Trio Da Paz
Bruce Harris 5
31 - Fri
Trio Da Paz
Bruce Harris 5
Love Songs; Magical
Nights; Broadway Ballyhoo
Club Dark
5 - Sun
6 - Mon
Sam Fazio
Club Dark
Allen 4
Allen 4
Magical Nights; Rebecca
Kilgore & Harry Allen 4;
Broadway Ballyhoo
Allen 4
Allen 4
Deana Martin
Garage
99 Seventh Ave. S
(at Grove St.)
212-645-0600
www.garagerest.com
Marc Devine 3; Tim McCall
3
Josh Lawrence 4; Eric
Person 3
Hide Tanaka 3; Kevin Dorn
Band
Larry Newcomb 4; Evgeny
Sivtov 3; Daylight Blues
Band
Ben Healy 3; David Coss 4;
Masami Ishikawa 3
Howard Williams Band; Ben
Cliness 3
Michael Dease Band; Chris
Carroll 3
Bobby Porcelli 4; Andrew
Atkinson 3
Rick Stone 3; Michika
Fukumori 3
Joel Perry 3; Hot House
Daniela Schaechter 3;
Brooks Hartell 3; Akiko
Tsuruga 3
Lou Caputo 4; Rob Edwardes 4; Mauricio De
Souza 3
Howard Williams Band;
Stephan Kammerer 4
Eyal Vilner Band; Mayu
Saeki 4
Dylan Meek 3; Anderson
Brothers
George Weldon 3; Randy
Johnston 3
Alex Layne 3; Kevin Dorn
Band
Jacob Deaton 3; Lee Quartet; Virginia Mayhew 4
Evan Schwam 4; David
Coss 4; Abe Ovadia 3
Howard Williams Band; JT
Project
Lou Caputo Band; Stan
Killian 4
Carl Bartlett Jr. 4; Paul
Francis 3
Rob Edwards 4; Alan
Chaubert 3
Kyoko Oyobe 3; Joey
Morant 3
Marsha Heydt 4; Champian
Fulton 3; Virginia Mayhew 4
Iris Ornig 4; David Coss 4;
Greg Lewis 3
Howard Williams Band;
Joonsam Lee 3
Cecilia Coleman Band;
Justin Lees 3
Nick Moran 3; Steve Kortyka 3
New Tricks; Brian Carter 3
Dave Kain; Dre Barnes
The Iridium
AUG
Jazz Gallery
Jazz Standard
Shrine
290 Hudson St.
(below Spring St.)
212-242-1063
www.jazzgallery.org
116 E 27th St
212-576-2232
www.jazzstandard.net
2271 Adam Clayton
Powell Blvd.
212-690-7807
www.shrinenyc.com
1 - Wed
Corky Laing
Michael Carvin 4
Wonter Kellerman; Noel Simone
Wippler; Wayfarer State; Eric
Kifs; I.M.I.; Blackwater
2 - Thu
Ronnie Laws with Frank
Mccomb
Lou Donaldson 4
Jean-Sebastien Bretts; Brad
Russell; Perle Lama; PitchBlak
Band; DJ
3 - Fri
Mccomb
Rebecca Martin & Larry
Grenadier
Lou Donaldson 4
The Move; Alma Mia; Inti & the
Moon; Diblo Dibala; DJ
4 - Sat
Mccomb
Chris Dingman 5
Lou Donaldson 4
Artisan Grand; Shining Rae;
Claudia Hayden; Ben Tap;
Kepaar; DJ
5 - Sun
Mccomb
Lou Donaldson 4
Jazz Jam Session; Shrine Big
Band; DJ
6 - Mon
Larry & Murali Coryell
Mingus Big Band
Elad Gellert; Belle; Ras Chemash; Blue as Blues
7 - Tue
Barry Levitt Band
Melissa Stylianou 5
Pojection: Zero; Aria; Zach
Mayer Band; Frankie Favasuli
8 - Wed
Pat Travers Band
Either/Orchestra
Carlos Taborda; David Manzano;
S. Saxon; Jane Lee Hooker
9 - Thu
Michael Landau Group
Freddy Cole 4
Frank Bambara; Xipenda;
Squirrels from Hell; Justina Soto
10 - Fri
Albert Lee
Jason Palmer 5
Freddy Cole 4
David Kardas; Ian Willey; Iambassa; DJ
11 - Sat
Albert Lee
Matana Roberts
Freddy Cole 4
Grace Underground; Yacouba
Diabate; Nick Myers; Kakande
12 - Sun
Albert Lee
Freddy Cole 4
Jazz Jam Session; 12 Watts;
Danny Severance; Reggae
13 - Mon
Jimmy Vivino
Mingus Big Band
Larry Corban; Wuela; Sublunar
Minda; Shoot the Messenger
14 - Tue
Jimmy Vivino, Al Kooper, Jessie
Williams, Mark Teixeira
Dafnis Prieto 3
Matt Garrison; Alberto el
Mamifero; Zamba 2 Sanba; The
Kind; Sean O'Reilly
15 - Wed
Jimmy Vivino, Al Kooper, Jessie
Williams, Mark Teixeira
Dafnis Prieto 3
Pablo Masis; Maria Davis
16 - Thu
Stanley Jordan 3
Tierney Sutton Band
Lola; Natty Dreadz
17 - Fri
Stanley Jordan 3
Tierney Sutton Band
Esprit 220; Harrison Young 5;
Earth Minor; Royal Khaoz; DJ
18 - Sat
Stanley Jordan 3
Tierney Sutton Band
Yacouba Diabate; Sam Waymon;
Makane Konyate; DJ
19 - Sun
Stanley Jordan 3
Tierney Sutton Band
Shrine Jazz Jam; Sabina Odone;
Yahawashi; Reggae
20 - Mon
Dickey Betts
Mingus Big Band
The Gathering; Dysfunktion
21 - Tue
James Taylor Tribute Concert
Alvin Queen
Showcase; Soul 4Real
22 - Wed
Tribute to the Rat Pack
Alvin Queen
Pravin Thompson 5; This Is Not
the Radio; Pet Clinic
23 - Thu
Pat Martino
Steven Bernstein's Millen- Lola; WolfHustler; The Oats;
Zozoafrobeat
nial Territory Orchestra
with Henry Butler
24 - Fri
Pat Martino
Steven Bernstein's Millen- 50 Mile Ride; North Mississippi
Hill Country Nights; DJ
with Henry Butler
25 - Sat
Pat Martino
Steven Bernstein's Millen- Yacouba Diabate; Andres
Jimenez y el Dilemastronauta
with Henry Butler
26 - Sun
Pat Martino
Steven Bernstein's Millen- Shrine Jazz Jam; Natty Dreadz
with Henry Butler
Jason Lindner
The RendezVous
27 - Mon
Mike Stern
28 - Tue
Terese Genecco Band
Ron Carter Big Band
Michael Eaton 4; Lieven Wenken
3; Marine Futin; Decoster;
PaperDoll
29 - Wed
Jason Crosby 3
Ron Carter Big Band
David Juarez; Toby Tobia;
Koleurz; Ulcha Culcha
30 - Thu
John Jorgenson
Ron Carter Big Band
Lola; Matthew James Scott; Nikia
H; Uprising Roots
31 - Fri
John Jorgenson
Ron Carter Big Band
Donee Middleton; Fintee; DJ
Jazz Lovers
Heaven
Scan the QR Code below
with your mobile device
Your Own Personal
Lifetime Access!
Jazz Listening,
Enjoyment, Discovery
Limited Availability
http://bit.ly/JvSML0
25
Calendar of Events
8:30pm. $10 suggested donation. 168 7th St.
 Fri 8/31: IBeam Music Studio. Steph Chou Project at
8:30pm. $10 suggested donation. 168 7th St.
QUEENS
 Wed 8/1: Monthly Jazz Jam at Flushing Town Hall.
7:00pm. $10. Members students & performers free. 137-35
Northern Blvd. 718-463-7700, x222.
www.flushingtownhall.org.
 Sat 8/4: York College Blue Notes at York College.
2:00pm. Free. 94-20 Guy R. Brewer Blvd. 718-262-2000.
www.york.cuny.edu
 Fri 8/10: Dandy Wellington Band at Flushing Town Hall.
8:00pm. 137-35 Northern Blvd. 718-463-7700, x222.
 Thurs 8/16: Arturo O’Farrill at Louis Armstrong House.
7:00pm. Free. 34-56 107th St., Corona. 718-478-827.
www.jazzmobile.org
 Wed 8/18: Hot Jazz/Cool Garden Concert with Lucky
Dogs at Louis Armstrong House Museum. 2:00pm. $15
admission includes historic house tour. 34-56 107th St.,
Corona. 718-478-827. www.louisarmstronghouse.org
AUG
1 - Wed
2 - Thu
3 - Fri
4 - Sat
5 - Sun
6 - Mon
7 - Tue
LONG ISLAND
8 - Wed
 Sun 8/5: Pat Metheny with Chris Potter, Antonio Sanchez & Ben Williams at Westhampton Beach Performing Arts Center. 8:30pm. $135, $120, $95. 76 Main St.
631-288-1500. www.whbpac.org
 Sun 8/19: Wynton Marsalis Quintet at Westhampton
Beach Performing Arts Center. 8:30pm. $200, $150,
$125. 76 Main St. 631-288-1500. www.whbpac.org
WESTCHESTER
 Wed 8/1: Jon Burr Trio & Lynn Stein at Waterfront
Park. 6:30pm. 60 Palisade St., Dobbs Ferry. 914-6311000. www.jazzforumarts.org
 Wed 8/1: Murali Coryell Band at Empire City Casino.
6:00pm. Free. Yonkers Raceway, 810 Yonkers Ave. 914968-4200.
 Wed 8/1: Virgil Scott Big Band at Hudson Park &
Beach. 7:30pm. 1 Hudson Park Rd., New Rochelle. 914235-6447. www.newrochelleny.com
 Thurs 8/2: Manuel Valera & the New Cuban Express at
Lyndhurst estate. 6:30pm. $10 car parking fee. 635 S.
Broadway, Tarrytown. www.jazzforumarts.org
 Fri 8/3: Souren Baronian’s Taksim Middle Eastern Jazz
Ensemble at Beczak Environmental Education Center.
6:30pm. 35 Alexander St., Yonkers. 914-337-1900.
 Sat 8/4: Béla Fleck and Marcus Roberts Trio at
Caramoor Jazz Festival, Venetian Theater. 8:00pm. $15,
$20, $37.50, $52.50. 149 Girdle Ridge Rd. Katonah. 914232-1252. www.caramoor.org
 Sun 8/5: Swing Band at Harbor Island Park Stage.
7:00pm. Mamaroneck Ave. & Boston Post Rd.,
Mamaroneck. www.artswestchester.org
 Wed 8/8: Tyra Lyndsey at Waterfront Park. 6:30pm. 60
Palisade St., Dobbs Ferry. 914-631-1000.
 Thurs 8/9: Hastings Jazz Collective at Lyndhurst estate.
6:30pm. $10 car parking fee. 635 S. Broadway, Tarrytown.
www.jazzforumarts.org
 Thurs 8/9: Australian Didgeridoo Jazz Night at Greenburgh Nature Center. 6:30pm. $8; $6 members; $4 children; free under 2. 99 Dromore Rd., Scarsdale. 914-7233470. www.greenburghnaturecenter.org
 Fri 8/10: Ralph Lalama/Harvie S Quintet featuring Nicole
Pasternak at Beczak Environmental Education Center.
6:30pm. 35 Alexander St., Yonkers. 914-337-1900.
www.beczak.org
 Fri 8/10: Joe Abba & the Identity Crisis at Waterfront
Amphitheatre. 6:30pm. Main St., Yonkers. 914-969-6660.
www.yonkersdowntown.com
 Tues 8/14: Angelo Rubino Band at South Pavilion, Rye
Town Park. 7:30pm. 95 Dearborn Ave. (eat of Forest
Ave.) 914-967-5400. www.ryeny.gov
26
9 - Thu
10 - Fri
11 - Sat
12 - Sun
13 - Mon
14 - Tue
15 - Wed
16 - Thu
17 - Fri
18 - Sat
19 - Sun
20 - Mon
21 - Tue
22 - Wed
23 - Thu
24 - Fri
25 - Sat
26 - Sun
27 - Mon
28 - Tue
29 - Wed
30 - Thu
31 - Fri
Smalls
The Stone
Village Vanguard
183 W. 10th
212-252-5091
smallsjazzclub.com
Ave. C & Second St.
thestonenyc.com
178 Seventh Ave. S
(below W 11th St.)
212-255-4037
villagevanguard.net
Michela Lerman; New York Jazz 9;
Sean Nowell 5
Sacha Perry 3; Ehud Asherie;
Waldron Ricks 4; Bruce Harris/Alex
Hoffman 5
Sam Raderman 4; Ned Goold 3;
John Marshall 5; Lawrence Leathers
Emily Braden; Pete Malinverni 3;
John Marshall 5; Philip Harper
Marion Cowings; Lezlie Harrison;
Johnny O'Neal; Ken Fowser & Behn
Gillece
Jerome Sabbagh 2; Ari Hoenig 4;
Spencer Murphyh
Spike Wilner; Jesse Green 3; Josh
Evans & Theo Hill
Michela Lerman; Patrick Cornelius
5; Melissa Aldana
Sacha Perry 3; Marianne Solivan 2;
Brian Charette 6; Carlos Abadie
Sam Raderman 4; Marion Cowings;
E.J. Strickland 5; Anthony Wonsey
3
Third Story; Dwayne Clemons 5;
E.J. Strickland 5; Stacy Dillard 3
Johnny O'Neal; Mike Karn
Freddie Bryant; Ari Hoenig 3;
Spencer Murphy
Spike Wilner; Rodney Green 4;
Josh Evans & Theo Hill
Michela Lerman; Jorge Sylvester 4;
Adam Larson 3
Sacha Perry 3; Michael Kanan &
Peter Bernstein; Henry Cole 4;
Bruce Harris/Alex Hoffman
Sam Raderman; Tardo Hammer 3;
Otis Brown III; Tyler Mitchell
Jordan Young 4; Ralph LaLama 3;
Otis Brown III; Philip Harper
Marion Cowings; lezlie Harrison;
Johnny O'Neal
Peter Bernstein; Greg Hutchinson;
Spencer Murphy
Spike Wilner; Owl 3; Josh Evans &
Theo Hill
Michela Lerman; Ferenc Nemeth 4;
RJ Miller 5
Sacha Perry 3; Joel Press & Spike
Wilner; Duane Eubanks; Carlos
Abadie
Sam Raderman 4; Chris Byars 4;
David Weiss 6; Lawrence Leathers
Towner Galager; Zaid Nasser 4;
David Weiss 6; Stacy Dillard 3
Johnny O'Neal; David Schnitter
Gilad Hekselman; Orrin Evans 4;
Spencer Murphy
Spike Wilner; Quincy Davis 4; Josh
Evans & Theo Hill
Michela Lerman; Quincy Davis 4;
Matt Geraghty
Sacha Perry 3; Ehud Asherie;
Tatum Greenblatt 5; Bruce Harris/
Alex Hoffman
Sam Raderman 4; Sean Smith 3;
Joe Magnarelli 4; Spike Wilner
Charles Gayle; Marty Ehrlich
Fellowship Band
Mathias Kunzli; Jon Madof
Fellowship Band
Yuval Leon; Eyal Maoz
Fellowship Band
Cyro Baptista
Fellowship Band
Kevin Zubek; Yoshie Fruchter
Fellowship Band
Jon Madof's Zion80
Vanguard Jazz Orchestra
Ned Rothenberg; Briggan Krauss
Warren Wolf 4
Warren Wolf 4
Brian Marsella
Warren Wolf 4
Aram Bajakian
Warren Wolf 4
Shanir Blumenkranz 4
Warren Wolf 4
Tim Keiper; Eyal Maoz, Cyro Baptista & Shanir Blumenkranz
Jon Madof's Zion80
Warren Wolf 4
Bob Musso; Sean Noonan
Tom Harrell 4
Louis Belogenis; Nonoko Yoshida
Tom Harrell 4
John Zorn Improv Night
Tom Harrell 4
Stephan Moore; Straylight
Tom Harrell 4
Scott Smallwood; Jonas Braasch
Tom Harrell 4
Doug Van Nort; Monique Buzzarte
Tom Harrell 4
Jon Madof's Zion80
Pauline Oliveros & Susie Ibarra
Ethan Iverson 3
Brenda Hutchinson; Norman
Lowrey
Lias Bernard; If, Bwana
Ethan Iverson 3
Jackie Heyen; Thollem McDonas
Ethan Iverson 3
Ethan Iverson 3
Andrew Beutsch & Peer Bode;
Ethan Iverson 3
Gayle Young
AnneBourne; Rosi Hertlein & David Ethan Iverson 3
Arner
Jon Madof's Zion80
Curtis Bahn & Steve Gorn; Dana
Reason
Kristin Norderval; Neil Rolnick
Jenny Scheinman 4
Jenny Scheinman 4
Nanch Beckman & Tom Bickley; Viv Jenny Scheinman 4
Corringham
Stuart & Loren Dempster; Chris
Brown
Jenny Scheinman 4
 Wed 8/15: Chris Pasin Quintet at Waterfront Park.
6:30pm. 60 Palisade St., Dobbs Ferry. 914-631-1000.
 Wed 8/15: Doug Ferony at St. George’s Winery.
8:15pm. 1715 E. Main St., Mohegan Lake. 914-455-4272.
www.dougferony.com
 Thurs 8/16: Akiko Tsuruga at Lyndhurst estate. 6:30pm.
$10 car parking fee. 635 S. Broadway, Tarrytown.
www.jazzforumarts.org
 Wed 8/22: Port Chester Swing Band at Waterfront
Marina. 7:00pm. Abendroth Ave., Port Chester. 914-9395202. www.portchesterny.com
 Wed 8/22: Jazz Forum Arts Local Jazz Winners at
Waterfront Park. 6:30pm. 60 Palisade St., Dobbs Ferry.
914-631-1000. www.jazzforumarts.org
 Thurs 8/23: Allan Harris Band at Lyndhurst estate.
6:30pm. $10 car parking fee. 635 S. Broadway, Tarrytown.
 Sun 8/26: Show Time Dance Band at John “Jack” De
Vito Gazebo. 6:00pm.. Veterans Rd., Yorktown. 914-9625722. www.yorktownny.org
7:00pm. Free. Historic Nishuane Park, 32 Cedar Ave.,
Montclair. 973-744-2273. www.montclairjazzfestival.org
 Wed 8/22: Roseanna Vitro with Mark Soskin, Dean
Johnson & Tim Horner at Hyatt. 7:30pm. No cover. With
Kristen Dziuba. 2 Albany St., New Brunswick
 Thurs 8/23: Larry Harlow & The Latin Legends Band,
Ray Rodriguez y Swing Sabroso and DJ Lobo at New
Jersey Performing Arts Center’s Theater Square.
5:00pm. Free. One Center St., Newark. 973-642-8989.
 Thurs 8/23: Shirazette Tinnin Quartet at Makeda.
7:30pm. No cover; $5 min. 338 George, New Brunswick.
 Sun 8/26: Scott Reeves Quintet with Rich Perry, Masayasu Tzboguchi, Mike McGuirk & Andy Watson at
Trumpets. 7:30pm & 9:15pm. $10 cover; $10 min. 6
Depot Sq., Montclair. 973-744-2600.
 Tues 8/28: Westfield’s Sweet Sounds Downtown Jazz
Festival. 7:00pm. Free. Central Ave., Westfield. 908-7899444. www.mauriciodesouzajazz.com
 Wed 8/29: Vanessa Perea Group at Hyatt. 7:30pm. No
cover. 2 Albany St., New Brunswick. www.nbjp.org
 Thurs 8/30: Dave Stryker Quartet at Makeda. 7:30pm.
No cover; $5 min. 338 George St., New Brunswick.
…AND BEYOND
 Thurs 8/2: Akie B. & the Falcons at The Falcon. 7:00pm.
1348 Rt. 9W, Marlboro, NY. www.liveatthefalcon.com.
 Fri 8/3: Nasheet Waits at The Falcon. 7:00pm. 1348 Rt.
9W, Marlboro, NY. www.liveatthefalcon.com.
 Thurs 8/9: Murali Coryell Band at The Falcon. 7:00pm.
 Sat 8/11: Taylor Eigsti, Eric Harland & Julian Lage at
The Falcon. 7:00pm. 1348 Rt. 9W, Marlboro, NY.
 Sun 8/12: New Trad Quartet at The Falcon. 7:00pm.
NEW JERSEY
 Thurs 8/2: Rutgers Summer Institute Jam directed by
Conrad Herwig at Hyatt. 6:00pm. No cover. 2 Albany St.,
New Brunswick. www.nbjp.org
 Thurs 8/2: Ralph Bowen with Jim Ridl, Kenny Davis &
Donald Edwards at Makeda. 7:30pm. No cover; $5 min.
338 George St., New Brunswick. www.nbjp.org
 Thurs 8/2: Marlene VerPlanck at Ridgewood Shell.
8:30pm. Behind the library in Ridgewood. 201-670-5560.
www.marleneverplanck.com
 Fri 8/3: Maurício de Souza Trio with Ben Winkelman &
Gary Mazzaroppi at Moonstruck. 6:00pm. No cover or
min. 517 Lake Ave., Asbury Park. 732-988-0123.
 Sat 8/4: Marlene VerPlanck with Barry Levitt, Boots
Maleson & Ron Vincent at Trumpets. 8:30pm. 6 Depot
Sq., Montclair. 973-744-2600. www.trumpetsjazz.com.
 Tues 8/7: Allan Vaché with Mark Shane, Mastt Hoffmann, Kevin Dorn & Frank Tate at Bickford Theatre.
8:00pm. $15 in advance; $18 at door. On Columbia Turnpike @ Normandy Heights Road, east of downtown Morristown. 973-744-2600. www.njjs.org
 Wed 8/8: Emily Asher Group at Hyatt. 7:30pm. No cover.
2 Albany St., New Brunswick. www.nbjp.org
 Wed 8/8: Vaché Brothers Band with Warren Vaché,
Allan Vaché, Vinnie Corrao & Frank Tate at Ocean
County College. 8:00pm. $18; $15 for seniors. College
Dr. off County Rd. 549 (Hooper Ave.), Toms River. 732255-0400. www.ocean.edu
 Thurs 8/9: Michael Dease Quartet at Makeda. 7:30pm.
 Sat 8/11: Arturo O’Farrill Afro Latin Sextet at Makeda.
9:00pm. No cover; $10 min. 338 George, New Brunswick.
 Sat 8/11: New Brunswick Cultural Center. 4:00pm7:00pm. Free. Winard Harper & Jeli Posse, New Brunswick High School Jazz Band and Arturo O’Farrill Afro
Latin Sextet. Boyd Park, Memorial Parkway/Route 18,
New Brunswick. www.nbjp.org
 Mon 8/13: Full Count at Bickford Theatre. 8:00pm. $15
in advance; $18 at door. On Columbia Turnpike @ Normandy Heights Road, east of downtown Morristown. 973744-2600. www.njjs.org
 Sun 8/15: Viktorija Gečytė with Gene Perla Trio at
Trumpets. 7:30pm & 9:15pm. $10 cover; $5 min. 6 Depot
Sq., Montclair. 973-744-2600. www.trumpetsjazz.com.
 Wed 8/15: Jazz Lobsters Big Band at Ocean County
College. 8:00pm. $18; $15 for seniors. College Dr. off
County Rd. 549 (Hooper Ave.), Toms River. 732-2550400. www.ocean.edu
 Thurs 8/16: Joe Magnarelli Quartet at Makeda. 7:30pm.
 Sat 8/18: Michele Rosewoman, Joe Lovano, Christian
McBride, Billy Drummond, Dave Stryker, Bronx Horns,
Steve Johns, Mike Lee, Julius Tolentino, Oscar Perez,
Ed Palermo, Radam Schwartz, Andy McKee, Freddie
Hendrix, Bruce Williams, Melissa Walker, Jazz House
Big Bands and others at Montclair Jazz Festival. NoonTo Advertise CALL: 215-887-8880
August 2012
 Jazz
Inside
 www.JazzInsideMagazine.com
August
2012
 Magazine
JazzInsideMagazine.com
 27
27
“Do the right thing.
It will gratify some people
and astonish the rest.”
- Mark Twain
 Thurs-Sun 8/16-8/19: Hudson Valley Jazz Festival. With
John Ehlis, David Crone, New York Swing Exchange,
Skye Jazz Quintet, Will Calhoun Trio, Chris Persad
Group, Julius Pastorious, String Trio of NY, Bob
Rosen, Gabriele Tranchina Quintet, Jeff Ciampa/Mark
Egan/Bill Evans/Richie Morales, Joe Carter Trio, Gustavo Calle, Michael Purcell, Rick Savage Group &
Andy Ezrin Group. Various venues, Warwick, NY. http://
warwickvalleyjazzfest.com
 Sat 8/18: Nir Felder 4 at The Falcon. 7:00pm. 1348 Rt.
 Sat 8/25: Jason Miles at The Falcon. 7:00pm. 1348 Rt.
 Sat 8/25: Susie Meissner, Chris’ Café, 1421 Sansom St,
Philadelphia, PA 19102, 215-568-3131, chrisjazzcafe.com,
with Joe Magnarelli, Lee Smith, bass; Dan Monaghan
drums; John Shaddy, piano; Greg Riley, saxes.
www.SusieMeissner.com
 Sun 8/26: Saints of Swing at The Falcon. 7:00pm. 1348
Rt. 9W, Marlboro, NY. www.liveatthefalcon.com.
 Thurs 8/30: Jim Campilongo Trio at The Falcon.
7:00pm. 1348 Rt. 9W, Marlboro, NY.
MANUEL VALERA in August
New Cuban Express
Sunset Jazz in Lyndhurst
August 2, 2012, Westchester
Dafnis Prieto Sextet
Newport Jazz Festival
August 4, 2012, Newport, RI
Oscar Stagnaro Group
Ensenada, Mexico
August 10, 2012

Jazz Lovers
Heaven
Your Own Personal
Lifetime Access!
Jazz Listening,
28
Clubs & Venues
55 Bar, 55 Christopher St. (betw 6th & 7th Ave.), 212-929-9883,
www.55bar.com
92nd Street Y, 1395 Lexington Ave, New York, NY 10128
212.415.5500, www.92ndsty.org
Aaron Davis Hall, City College of NY, Convent Ave., 212-6506900, www.aarondavishall.org
Alice Tully Hall, Lincoln Center, Broadway & 65th St., 212-8755050, www.lincolncenter.org/default.asp
Allen Room, Lincoln Center, Time Warner Center, Broadway and
60th, 5th floor, 212-258-9800, www.lincolncenter.org/default.asp
American Museum of Natural History, 81st St. &
Central Park W., 212-769-5100, www.amnh.org
Arthur’s Tavern, 57 Grove St., 212-675-6879 or 917-301-8759,
www.arthurstavernnyc.com
Arts Maplewood, P.O. Box 383, Maplewood, NJ 07040; 973-3782133, www.artsmaplewood.org
Avery Fischer Hall, Lincoln Center, Columbus Ave. & 65th St.,
212-875-5030, www.lincolncenter.org
Backroom at Freddie’s, 485 Dean St. (at 6th Ave.), Brooklyn, NY,
718-622-7035, www.freddysbackroom.com
BAM Café, 30 Lafayette Ave., Brooklyn, NY, 718-636-4100,
www.bam.org
Bar 4, 7 Ave and 15th, Brooklyn NY 11215, 718-832-9800,
www.Bar4.net
Bar on Fifth — Jazz at the Bar on Fifth, Music every night 8:00
PM - 11:00 PM, No cover charge, one drink minimum
The Bar on Fifth at the Setai Fifth Avenue Hotel, 400 Fifth Avenue,
New York, NY, 212-695-4005
www.capellahotels.com/newyork/
Barbes, 376 9th St. (corner of 6th Ave.), Park Slope, Brooklyn,
718-965-9177, www.barbesbrooklyn.com
Barge Music, Fulton Ferry Landing, Brooklyn, 718-624-2083,
www.bargemusic.org
B.B. King’s Blues Bar, 237 W. 42nd St., 212-997-4144,
www.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,
www.bluenotejazz.com/newyork
Bluestone Bar & Grill, 117 Columbia St., Brooklyn, NY, 718-4037450, www.bluestonebarngrill.com
Bourbon Street Bar and Grille, 346 W. 46th St, NY, 10036,
212-245-2030, [email protected],
[email protected]
Bowery Poetry Club, 308 Bowery (at Bleecker), 212-614-0505,
www.bowerypoetry.com
Brooklyn Public Library, Grand Army Plaza, 2nd Fl, Brooklyn,
NY, 718-230-2100, www.brooklynpubliclibrary.org
Buttonwood Tree Performing Arts & Cultural Center, 605 Main
St., Middletown, CT. 860-347-4957, www.buttonwood.org.
Café Carlyle, 35 E. 76th St., 212-570-7189, www.thecarlyle.com
Café Loup, 105 W. 13th St. (West Village) , between Sixth and
Seventh Aves., 212-255-4746
Cafe Mozart, 308 Mamaroneck Ave., Mamaroneck, NY
Café St. Bart’s, 109 E. 50th St. (at Park Ave.), 212-888-2664,
www.cafestbarts.com
Caffe Vivaldi, 32 Jones St, NYC; www.caffevivaldi.com
Carnegie Club, 156 W. 56th St., 212-957-9676,
www.hospitalityholdings.com
Carnegie Hall, 7th Av & 57th, 212-247-7800,
www.carnegiehall.org
Casa Dante, 737 Newark Avenue, Jersey City, NJ,
www.casadante.com
Cecil’s Jazz Club & Restaurant, 364 Valley Rd, West Orange, NJ,
Phone: 973-736-4800, www.cecilsjazzclub.com
Charley O’s, 713 Eighth Ave., 212-626-7300
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., 212-6080555. www.citywinery.com
Cleopatra’s Needle, 2485 Broadway (betw 92nd & 93rd),
212-769-6969, www.cleopatrasneedleny.com
Cobi’s Place, 158 W. 48th (bet 5th & 6th Av.), 516-922-2010
Copeland’s, 547 W. 145th St. (at Bdwy), 212-234-2356
Cornelia Street Café, 29 Cornelia St., 212-989-9319, www.
corneliastreetcafe.com
Creole Café, 2167 Third Ave (at 118th), 212-876-8838.
Crossroads at Garwood, 78 North Ave., Garwood, NJ 07027,
908-232-5666
Crossroads – 78 North Avenue, Garwood, NJ
Cutting Room, 19 W. 24th St, Tel: 212-691-1900,
www.thecuttingroomnyc.com
Destino, 891 First Ave. & 50th St., 212-751-0700
Detour, 349 E. 13th St. (betw 1st & 2nd Ave.), 212-533-6212,
www.jazzatdetour.com
Division Street Grill, 26 North Division Street, Peekskill, NY,
914-739-6380, www.divisionstreetgrill.com
Dizzy’s Club Coca Cola, Broadway at 60th St., 5th Floor, 212-2589595, www.jalc.com
DROM, 85 Avenue A, New York, 212-777-1157,
www.dromnyc.com/
The Ear Inn, 326 Spring St., NY, 212-226-9060, www.earinn.com
eighty-eights, 1467 Main Street, Rahway, NJ, 732-499-7100
El Museo Del Barrio, 1230 Fifth Ave (at 104th St.), Tel: 212-8317272, Fax: 212-831-7927, www.elmuseo.org
The Encore, 266 W. 47th St., 212-221-3960,
www.theencorenyc.com
The Falcon, 1348 Rt. 9W, Marlboro, NY., 845) 236-7970,
www.liveatthefalcon.com
Fat Cat, 75 Christopher St. (at &th Ave.), 212-675-7369,
www.fatcatjazz.com
FB Lounge, 172 E. 106th St., New York, 212-348-3929,
www.fondaboricua.com
Feinstein’s at Loew’s Regency, 540 Park Avenue (at 61st Street),
NY, 212-339-4095, feinsteinsattheregency.com
Five Spot, 459 Myrtle Ave, Brooklyn, NY, 718-852-0202,
www.fivespotsoulfood.com
Flushing Town Hall, 137-35 Northern Blvd., Flushing, NY,
718-463-7700 x222, www.flushingtownhall.org
For My Sweet, 1103 Fulton St., Brooklyn, NY 718-857-1427
Frank’s Cocktail Lounge, 660 Fulton St. (at Lafayette), Brooklyn,
NY, 718-625-9339, www.frankscocktaillounge.com
Freddy’s Backroom, 485 Dean St., Brooklyn, NY 11217, 718-6227035
Galapagos, 70 N. 6th St., Brooklyn, NY, 718-782-5188,
www.galapagosartspace.com
Garage Restaurant and Café, 99 Seventh Ave. (betw 4th and
Bleecker), 212-645-0600, www.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) 445-2362,
www.glenrockinn.com
Greenwich Village Bistro, 13 Carmine St., 212-206-9777,
www.greenwichvillagebistro.com
Harlem Tea Room, 1793A Madison Ave., 212-348-3471,
www.harlemtearoom.com
Havana Central West End, 2911 Broadway/114th St), NYC,
212-662-8830, www.havanacentral.com
Hibiscus Restaurant, 270 S. Street, Morristown, NJ, 973-359-0200,
www.hibiscusrestaurantnj.com
Highline Ballroom, 431 West 16th St (between 9th & 10th Ave.
www.highlineballroom.com, 212-414-4314.
Hopewell Valley Bistro, 15 East Broad St, Hopewell, NJ 08525,
609-466-9889, www.hopewellvalleybistro.com
Hyatt New Brunswick, 2 Albany St., New Brunswick, NJ
IBeam Music Studio, 168 7th St., Brooklyn, ibeambrooklyn.com
Il Porto Restorante, 37 Washington Avenue, Brooklyn, New York
11205, 718-624-0954 or 718-624-2965, Friday & Saturday 7:30PM 10:30PM
Iridium, 1650 Broadway (below 51st St.), 212-582-2121,
www.iridiumjazzclub.com
Jazz 966, 966 Fulton St., Brooklyn, NY, 718-638-6910
Jazz at Lincoln Center, 33 W. 60th St., 212-258-9800,
www.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, 290 Hudson St., Tel: 212-242-1063, Fax: 212-2420491, www.jazzgallery.org
The Jazz Spot, 375 Kosciuszko St. (enter at 179 Marcus Garvey
Blvd.), Brooklyn, NY, 718-453-7825, www.thejazz.8m.com
Jazz Standard, 116 E. 27th St., 212-576-2232,
www.jazzstandard.net
Joe’s Pub at the Public Theater, 425 Lafayette St & Astor Pl.,
212-539-8778, www.joespub.com
John Birks Gillespie Auditorium (see Baha’i Center)
Jules Bistro, 65 St. Marks Place, Tel: 212-477-5560, Fax: 212-4200998, www.julesbistro.com
Kasser Theater, 1 Normal Avenue, Montclair State College, Montclair, 973-655-4000, www.montclair.edu/arts/performancefacilities/
alexanderkasser.html
Key Club, 58 Park Place, Newark, NJ, (973) 799-0306,
www.keyclubnj.com
Kitano Hotel, 66 Park Ave., 212-885-7000 or 800-548-2666,
Knickerbocker Bar & Grill, 33 University Pl., 212-228-8490,
www.knickerbockerbarandgrill.com
The Knitting Factory, 74 Leonard St., Tel: 212-219-3132,
www.knittingfactory.com
La Famiglia Sorrento, 631 Central Ave, Westfield, NJ, 07090, 908232-2642, www.lafamigliasorrento.com
La Lanterna (Bar Next Door at La Lanterna), 129 MacDougal
Street, New York, 212-529-5945, www.lalanternarcaffe.com
Le Grand Dakar Cafe, 285 Grand Ave, Clinton Hill, Brooklyn,
http://nymag.com/listings/restaurant/le-grand-dakar/
Le Madeleine, 403 W. 43rd St. (betw 9th & 10th Ave.), New York,
New York, 212-246-2993, www.lemadeleine.com
Lenox Lounge, 288 Lenox Ave. (above 124th St.), 212-427-0253,
www.lenoxlounge.com
Les Gallery Clemente Soto Velez, 107 Suffolk St. (at Rivington
St.), 212-260-4080
Linn Restaurant & Gallery, 29-13 Broadway, Queens, Astoria,
New York, www.linnrestaurant.com
Live @ The Falcon, 1348 Route 9W, Marlboro, NY 12542,
www.liveatthefalcon.com
Living Room, 154 Ludlow St. (betw Rivington & Stanton),
212-533-7235, www.livingroomny.com
The Local 269, 269 E. Houston St. (corner of Suffolk St.), NYC
Makor, 35 W. 67th St. (at Columbus Ave.), 212-601-1000,
www.makor.org
Lounge Zen, 254 DeGraw Ave, Teaneck, NJ, (201) 692-8585,
www.lounge-zen.com
Makeda, George St., New Brunswick. NJ, www.nbjp.org
Maxwell’s, 1039 Washington Street, Hoboken, NJ, 201-653-1703,
www.maxwellsnj.com
McCarter Theater, 91 University Pl., Princeton, 609-258-2787,
www.mccarter.org
Merkin Concert Hall, Kaufman Center, 129 W. 67th St. (betw
Broadway & Amsterdam), 212-501-3330, www.ekcc.org/
merkin.htm
Metropolitan Room, 34 West 22nd Street New York City, NY
10012, 212-206-0440, www.metropolitanroom.com
MetroTech Commons, Flatbush & Myrtle Ave., Brooklyn, NY,
718-488-8200 or 718-636-4100 (BAM)
Mirelle’s, 170 Post Ave., Westbury, NY, 516-338-4933
Mixed Notes Café, 333 Elmont Rd., Elmont, NY (Queens area),
516-328-2233, www.mixednotescafe.com
Mo-Bay Uptown, 17 W. 125th St., 212-876-9300,
www.mobayrestaurant.com
Moldy Fig Jazz Club, 178 Stanton St., 646-559-2553
www.MoldyFigJazzClub.com
Montauk Club, 25 Eighth Ave., Brooklyn, NY, 718-638-0800,
www.montaukclub.com
Museum of the City of New York, 1220 Fifth Ave. (between 103rd
& 104th St.), 212-534-1672, www.mcny.org
Musicians’ Local 802, 332 W. 48th St., 718-468-7376 or
860-231-0663
Newark Museum, 49 Washington Street, Newark, New Jersey
07102-3176, 973-596-6550, www.newarkmuseum.org
New Jersey Performing Arts Center, 1 Center St., Newark, NJ,
07102, 973-642-8989, www.njpac.org
New School Performance Space, 55 W. 13th St., 5th Floor (betw
5th & 6th Ave.), 212-229-5896, www.newschool.edu.
New School University-Tishman Auditorium, 66 W. 12th St., 1st
Floor, Room 106, 212-229-5488, www.newschool.edu
New York City Baha’i Center, 53 E. 11th St. (betw Broadway &
University), 212-222-5159, www.bahainyc.org
Night of the Cookers, 767 Fulton St., Brooklyn, NY, Tel: 718-7971197, Fax: 718-797-0975
North Square Lounge, 103 Waverly Pl. (at MacDougal St.),
212-254-1200, www.northsquarejazz.com
Nublu, 62 Ave. C (betw 4th & 5th St.), 212-979-9925,
www.nublu.net
Nuyorican Poet’s Café, 236 E. 3rd St. (betw Ave. B & C), 212-5058183, www.nuyorican.org
Oak Room at The Algonquin Hotel, 59 W. 44th St. (betw 5th and
6th Ave.), 212-840-6800, www.thealgonquin.net
Oceana Restaurant, 120 West 49th Street, New York, NY 10020
212-759-5941, www.oceanarestaurant.com
Opia, 130 East 57th St, New York, NY 10022, 212-688-3939
www.opiarestaurant.com
Orchid, 765 Sixth Ave. (betw 25th & 26th St.), 212-206-9928
Parlor Entertainment, 555 Edgecomb Ave., 3rd Floor (betw 159 &
160 St.), 212-781-6595, www.parlorentertainment.com
Parlor Jazz, 119 Vanderbilt Ave. (betw Myrtle & Park), Brooklyn,
NY, 718-855-1981, www.parlorjazz.com
Perk’s, 535 Manhattan Ave, New York NY 10027,
212-666-8500
Performance Space 122, 150 First Av., 212-477-5829,
www.ps122.org
Pigalle, 790 8th Ave. 212-489-2233. www.pigallenyc.com
Priory Restaurant & Jazz Club: 223 W Market St., Newark, NJ
07103, 973-639-7885
Private Place, 29 S. Center Street, South Orange, NJ, 973-675-6620
www.privateplacelounge.com
Proper Café, 217-01 Linden Blvd., Queens, NY 11411, 718-3412233, jazz Wednesdays
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, www.16prospect.com, www.cjayrecords.com
Puppets Jazz Bar, Puppet Jazz Bar, 481 5th Avenue, NY 11215,
718- 499-2622, www.PuppetsJazz.com
Red Eye Grill, 890 Seventh Ave. (at 56th St.), 212-541-9000,
www.redeyegrill.com
Richie Cecere’s Restaurant and Supperclub, 2 Erie Street
Montclair, NJ 07042, 973.746.7811, www.richiececre.com
Ridgefield Playhouse, 80 East Ridge, parallel to Main St., Ridgefield, CT; ridgefieldplayhouse.org, 203-438-5795
Rockwood Music Hall, 196 Allen St, New York, NY 10002
212-477-4155
Rose Center (American Museum of Natural History), 81st St.
(Central Park W. & Columbus), 212-769-5100, www.amnh.org/rose
Rose Hall, 33 W. 60th St., 212-258-9800, www.jalc.org
Rosendale Café, 434 Main St., PO Box 436, Rosendale, NY 12472,
845-658-9048, www.rosendalecafe.com
Rubin Museum of Art - “Harlem in the Himalayas”, 150 W. 17th
St. 212-620-5000. www.rmanyc.org
Rustik, 471 DeKalb Ave, Brooklyn, NY, 347-406-9700, www.
rustikrestaurant.com
St. Mark’s Church, 131 10th St. (at 2nd Ave.), 212-674-6377
29
Clubs & Venues
St. Nick’s Pub, 773 St. Nicholas Av (at 149th), 212-283-9728
St. Peter’s Church, 619 Lexington (at 54th), 212-935-2200,
www.saintpeters.org
Salon at Rue 57, 60 West 57th Street, 212-307-5656,
www.rue57.com
Sasa’s Lounge, 924 Columbus Ave, Between 105th & 106th St.
NY, NY 10025, 212-865-5159,
www.sasasloungenyc.yolasite.com
Savoy Grill, 60 Park Place, Newark, NJ 07102, 973-286-1700
Schomburg Center, 515 Malcolm X Blvd., 212-491-2200,
www.nypl.org/research/sc/sc.html
Shanghai Jazz, 24 Main St., Madison, NJ, 973-822-2899,
www.shanghaijazz.com
ShapeShifter Lab, 18 Whitwell Place, Brooklyn, NY 11215
www.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, 845-265-2525,
www.silverspooncoldpspring.com
Sista’s Place, 456 Nostrand Ave. (at Jefferson Ave.), Brooklyn, NY,
718-398-1766, www.sistasplace.org
Skippers Plane Street Pub, 304 University Ave. Newark NJ, 973733-9300, skippersplanestreetpub
Smalls Jazz Club, 183 W. 10th St. (at 7th Ave.), 212-929-7565,
www.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 St., NY 10022, 212-371-7657
Sophie’s Bistro, 700 Hamilton St., Somerset. www.nbjp.org
South Gate Restaurant & Bar, 154 Central Park South, 212-4845120, www.154southgate.com
South Orange Performing Arts Center, One SOPAC
Way, South Orange, NJ 07079, sopacnow.org, 973-313-2787
South Street Seaport, 207 Front St., 212-748-8600,
www.southstseaport.org.
Spoken Words Café, 266 4th Av, Brooklyn, 718-596-3923
Stanley H. Kaplan Penthouse, 165 W. 65th St., 10th Floor,
212-721-6500, www.lincolncenter.org
The Stone, Ave. C & 2nd St., www.thestonenyc.com
Sugar Bar, 254 W. 72nd St., 212-579-0222, www.sugarbarnyc.com
Swing 46, 349 W. 46th St.(betw 8th & 9th Ave.),
212-262-9554, www.swing46.com
Symphony Space, 2537 Broadway, Tel: 212-864-1414, Fax: 212932-3228, www.symphonyspace.org
Tea Lounge, 837 Union St. (betw 6th & 7th Ave), Park Slope,
Broooklyn, 718-789-2762, www.tealoungeNY.com
Terra Blues, 149 Bleecker St. (betw Thompson & LaGuardia),
212-777-7776, www.terrablues.com
Theatre Row, 410 W. 42nd, 212-714-2442, www.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,
www.tomijazz.com
Tonic, 107 Norfolk St. (betw Delancey & Rivington), Tel: 212-3587501, Fax: 212-358-1237, tonicnyc.com
Town Hall, 123 W. 43rd St., 212-997-1003
Trash Bar, 256 Grand St. 718-599-1000. www.thetrashbar.com
Triad Theater, 158 W. 72nd St. (betw Broadway & Columbus
Ave.), 212-362-2590, www.triadnyc.com
Tribeca Performing Arts Center, 199 Chambers Street, 10007,
[email protected], www.tribecapac.org
Trumpets, 6 Depot Square, Montclair, NJ, 973-744-2600, www.
trumpetsjazz.com
Tumulty’s Pub, 361 George St., New Brunswick
Turning Point Cafe, 468 Piermont Ave. Piermont, N.Y. 10968
(845) 359-1089, http://www.turningpointcafe.com/
Village Vanguard, 178 7th Avenue South, 212-255-4037,
www.villagevanguard.net
Vision Festival, 212-696-6681, [email protected],
www.visionfestival.org
Watchung Arts Center, 18 Stirling Rd, Watchung, NJ 07069,
908-753-0190, www.watchungarts.org
Watercolor Café, 2094 Boston Post Road, Larchmont, NY 10538,
914-834-2213, www.watercolorcafe.net
Weill Receital Hall at Carnegie Hall, 57th & 7th Ave,
212-247-7800
Williamsburg Music Center, 367 Bedford Avenue, Brooklyn, NY
11211, (718) 384-1654 www.wmcjazz.org
Wolf & Lamb, 10 East 48th Street, New York, NY 10017
Zankel Hall, 881 7th Ave, New York, 212-247-7800
Zebulon, 258 Wythe St., Brooklyn, NY, 11211, 718-218-6934,
www.zebuloncafeconcert.com
Zinc Bar, 82 West 3rd St., 212-477-8337, www.zincbar.com
RECORD STORES
Barnes & Noble, 1960 Broadway, at 67th St, 212-595-6859
Colony Music Center, 1619 Broadway. 212-265-2050,
www.colonymusic.com
Downtown Music Gallery, 13 Monroe St, New York, NY 10002,
(212) 473-0043, www.downtownmusicgallery.com
J&R Music World, 13 Monroe Street, 212-238-9000, www,jr.com
Jazz Record Center, 236 W. 26th St., Room 804,
212-675-4480, www.jazzrecordcenter.com
Norman’s Sound & Vision, 67 Cooper Sq., 212-473-6599
Princeton Record Exchange, 20 South Tulane Street, Princeton,
NJ 08542, 609-921-0881, www.prex.com
Rainbow Music 2002 Ltd., 130 1st Ave (between 7th & St. Marks
Pl.), 212-505-1774
Scotti’s Records, 351 Springfield Ave, Summit, NJ, 07901,
908-277-3893, www.scotticd.com
MUSIC STORES
Manny’s Music, 156 W. 48th St. (betw. 6th and 7th Ave),
212-819-0576, Fax: 212-391-9250, www.mannysmusic.com
Drummers World, Inc., 151 W. 46th St., NY, NY 10036, 212-8403057, 212-391-1185, www.drummersworld.com
Roberto’s Woodwind & Brass, 149 West 46th St. NY, NY 10036,
646-366-0240, Repair Shop: 212-391-1315; 212-840-7224,
www.robertoswoodwind.com
Rod Baltimore Intl Woodwind & Brass, 168 W. 48 St. New York,
NY 10036, 212-302-5893
Sam Ash, 160 West 48th St, 212-719-2299, www.samash.com
Sadowsky Guitars Ltd, 2107 41st Avenue 4th Floor, Long Island
City, NY 11101, 718-433-1990. www.sadowsky.com
Steve Maxwell Vintage Drums, 723 7th Ave, 3rd Floor, New York,
NY 10019, 212-730-8138, www.maxwelldrums.com
SCHOOLS, COLLEGES, CONSERVATORIES
92nd Street Y, 1395 Lexington Ave, New York, NY 10128
212.415.5500; www.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, www.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, www.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, www.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
New
York
Jazz
Academy,
(718) 426-0633,
www.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
newarkwww.rutgers.edu/IJS/index1.html
SUNY Purchase, 735 Anderson Hill Rd., Purchase, NY
914-251-6300, 914-251-6314
Turtle Bay Music School, 244 E. 52nd St., New York, NY 10022,
212-753-8811, www.tbms.org
William Paterson University Jazz Studies Program, 300 Pompton
Rd, Wayne, NJ, 973-720-2320
RADIO
WBGO 88.3 FM, 54 Park Pl, Newark, NJ 07102, Tel: 973-6248880, Fax: 973-824-8888, www.wbgo.org
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, www.columbia.edu/cu/wkcr, [email protected]
One Great Song, Hosted by Jay Harris, www.wmnr.org (at 6 on
Saturdays, and at www.tribecaradio.net at 11AM Sundays and again
on Monday and Thursday nights at 11PM.)
Lenore Raphael’s JazzSpot, www.purejazzradio.com.
PERFORMING GROUPS
Westchester Jazz Orchestra, Emily Tabin, Exec. Director,
PO Box 506, Chappaqua, NY 10514, 914-861-9100,
www.westjazzorch.org
ADDITIONAL JAZZ RESOURCES
Big Apple Jazz, www.bigapplejazz.com, 718-606-8442,
[email protected]
Louis Armstrong House, 34-56 107th St, Corona, NY 11368,
718-997-3670, www.satchmo.net
Institute of Jazz Studies, John Cotton Dana Library, RutgersUniv, 185 University Av, Newark, NJ, 07102, 973-353-5595
Jazzmobile, Inc., 154 W. 126th St., 10027, 212-866-4900,
www.jazzmobile.org
Jazz Museum in Harlem, 104 E. 126th St., 212-348-8300,
www.jazzmuseuminharlem.org
Jazz Foundation of America, 322 W. 48th St. 10036,
212-245-3999, www.jazzfoundation.org
New Jersey Jazz Society, 1-800-303-NJJS, www.njjs.org
New York Blues & Jazz Society, www.NYBluesandJazz.org
Rubin Museum, 150 W. 17th St, New York, NY,
212-620-5000 ex 344, www.rmanyc.org.

30
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page 1
March 2012 Jazz Inside Magazine www.JazzInsideMagazine.com
31
Composite
Interview
Manuel Valera
Interview By Joe Patitucci
JI: Could you discuss your new recording
New Cuban Express and how your idea developed from initial sketches to completed work
of art?
MV: Well, I’ve had the idea for this band for
a while. I’ve worked extensively with everyone in the New Cuban Express, and these are
some of my favorites musicians in New York
City. I also knew that I wanted to take a little
different direction from my previous records
and focus on Cuban predominantly. Most of
the music on the album was composed especially for this group. I also dug out an older
unrecorded composition of mine that I knew
would work great for this project. “Regards”
was written while I was in college at the New
School. It was in August of 2011 that I got a
call to do a concert at the Jazz Standard, and I
took this opportunity to get the band together.
After that we started working a lot, and last
fall we recorded our first record. The musicians that I chose for this band all have a similar approach to music. They all have reverence for the past, while always moving forward. Yosvany Terry on saxophone, John
Benitez on bass, Tom Guarna on guitar, Eric
Doob on drums and Mauricio Herrera on percussion. This project is really exciting for me
because, for once, I was able to perform the
music live quite a bit before I recorded. Generally, nowadays, it is the other way around which I find to be a little cold, and the band
also doesn’t get to “gel” as it should. I think
the New Cuban Express, aside from the great
Hancock’s Headhunters. Only in New
York could a project
like this happen. All
the musicians in the
band are well versed
in Latin rhythms, as
well as jazz and fusion, making the
group funky and
groovy but with a jazz
sensibility.
JI: Could you provide
a glimpse into how
you discovered your
passion for jazz, and
the people and or
opportunities that
opened the door for
your immersion and
development in the
music?
MV: When I was growing up in Cuba, like
most of my contemporaries, my musical energy was split into two worlds. On one hand, I
had classical music at the conservatory and
there was popular Cuban music which was
only learned outside of the school “in the
streets” if you will. I also had a third world,
which was at home where my father only
played jazz records or a U.S. jazz station that
we could only get on a clear night. Even then,
it would go in an out. My father - also named
“...as a leader you have to make sure
you leave room for your band mates to
shine - even orchestrate the music in a
way that makes it easier for them
to come out and be themselves.”
musicianship from everybody is also a “Band”
with a band sound – and that is not super common today. The band is influenced by Cuban
bands from the 70’s and 80’s - such as Afrocuba, Los Van Van and the great late pianist
Emiliano Salvador. The band is also greatly
influenced by jazz musicians and groups such
as Chick Corea, Weather Report and Herbie
32
Manuel Valera - is one of the top alto saxophonist from Cuba. He performed with many
amazing musicians while in cuba such as
Gonzalo Rubalcaba, Chucho Valdes, Emiliano
Salvador and Group the Experimentacion
Sonora del icaic - which include singers such
as Silvio Rodriguez and Pablo Milanes. He
had an extensive collection of jazz records and
tapes which is where I found my initial interest in jazz - records by Chick Corea, Bill Evans, Jim Hall, Miles Davis. etc. After listening
to Chick Corea’s Three Quartets” I was
hooked.
JI: Talk about your transition from classical
saxophone to piano during your conservatory
studies in Cuba.
MV: Even though I was attending the conservatory for classical saxophone I always felt
that the piano was my instrument. In Cuba’s
system, every music student must take complimentary piano lesson. After I tried the piano I started to lose interest on the saxophone.
Upon my move to the United States, I stopped
playing sax altogether.
JI: Talk about your departure from Cuba and
your move to the Unted States.
MV: My move to the U.S. was sort of a tough
one. I was in ninth grade and had to jump
right in to High School in English!!! It was
good for me because it really pushed me to
learn the language - but it was brutal at the
beginning. Also adapting to a completely different type of society was tough. In Cuba everybody knows each other in the neighborhood,
and everyone is very friendly. Getting accustomed to the way people can be - not neces-
Interview
Cedar Walton
Interview By Eric Nemeyer
JI: Since you worked as an accompanist for
notable trumpet players such as Art Farmer,
Kenny Dorham and Lee Morgan, can you discuss what impact trumpet players may have had
on your composing or improvisational approach?
CW: I have to say that’s a good question be-
watching him, and Kenny being sharp as he was
picked up an enormous amount of the Bud Powell piano concept, and I was just amazed to see
him sit down and not only play just chords, but
runs and voicings and he along with other
sources put together a concept which for me was
totally immaculate like an inspiration. I get
“Landmarks happen as landmarks in
hindsight. You don’t realize that
while you’re in the middle of them.”
cause, I never thought of it quite that way. Well,
Kenny Dorham in particular I have to say stands
out in my memory and of course second would
be Freddie Hubbard, but we were more contemporary. Kenny Dorham was a mentor. I was so
excited to be exposed to his knowledge, vast
knowledge. He had been with Bud Powell and
he had gotten a lot from Bud, I guess, by just
goose pimples thinking about when we were
together. When I first met him was in Brooklyn
at a club called the Chess Club where they actually played chess at, but there were a lot of musicians involved including Brooklyn-ites such as
Max Roach and adopted Brooklyn-ite Kenny
Dorham, who’s originally from Fairfield, Texas,
maybe Cecil Taylor. Max and Kenny stand out
in my memory most of all. Gil Coggins, I think,
was the one who took me by there. Ronnie Matthews, I think, was too young to be around then.
There was a big community in Brooklyn that sort
of evaporated in the sixties I think or seventies.
When I got to New York in the mid-fifties, it
was flourishing. Brooklyn was the place to go as
well as the Bronx. I first got there in my early
twenties and I was fearless. There wasn’t anything to be fearful of in these days when you
went to these different boroughs. I got there in
1955 and I didn’t live there at first. I used to just
go out there on one of my trips. I made friends
and tried to soak up some of that culture. Actually, I came directly from Denver; I had been a
student at the University of Denver for at least
three years until I dropped out. A friend of mine
and I, made the drive from Denver to New York
which took a considerable amount of time and
we had about seventy dollars a piece. Now, you
probably can’t even get out of state with that
amount of money. In 1955 we pulled it off, and
we got to New York without much of a hitch.
The traffic, first of all, made me so nervous. I
wasn’t used to alternate side of the street parking
for instance. To give you an idea, I had never
seen that before. We were staying at the Y,
Sloan House Y on 34th Street, and I had to park
in the Bronx. Anyway, to make a long story
short, I was just flabbergasted by this routine. I
had to go so far to get my car and it didn’t take
too long before it got stripped, but anyway, before it got stripped, I was at a rehearsal at the old
Hear Cedar Walton
with his
Quartet: August 7-12
Quintet: August 14-19
at Dizzy’s Club Coca Cola
at Jazz At Lincoln Center
34
Interview
Charles Tolliver
Interview By Eric Nemeyer
CT: When I was a teenager in high school
there was a little neighborhood pharmacy, I
delivered medicine from there and I used to
watch the two doctors who owned it mixing
the medicine, and I thought that was cool.
And that stayed with me after I graduated high
school. And I decided—you know, with
chemistry, musicians, they’re into numbers
anyway, so mathematics, chemistry and all
that was fun to work with. I got accepted into
the School of Pharmacy at Howard, I trudged
through for about three years. It was hard
because I was paying tuition. But, I mean, I
was mostly in the fine arts building in my
spare time, anyway. [laughs] And just one day
something really clicked. And I said, “I’m
history.” I just packed up, came back home.
Finding every jam session I could find. That
was ‘63.
JI: How did your association with Jackie
McLean develop?
CT: The summer of ‘63 I got back here and
there were little places to go and jam, and
there was a fellow named Jim Harrison who
was getting little gigs with Jackie because this
was really a tough time, even though he was
recording at Blue Note. You know at that
time, gigs for journeymen—at that time,
Jackie, basically that’s what he was, I mean,
even though he had made some great Blue
Note recordings, there was no work. Besides,
he was drying out. And this fella told Jackie
about me, and he called me to make a recording without even hearing me. Just went
on the word of this fella, Jim Harrison. And
that’s how it all started out. It’s actually amazing. Cause generally the guys they usually go
around, even Miles in those days would go
out to different clubs and check things out.
See if there’s anybody that he could use. So
I’m forever in the debt of Jackie McLean.
with him that made a significant impact on
your artistry and your development that you
might share with us?
CT: Well, really, to tell you the truth, we didn’t talk so much about the music, except that
he asked me did I have any tunes. Maybe he
was already inside my head, or something,
you know? And I’d go by his house and bring
him a couple of my tunes, and he said, “Oh
yeah, great, we’ll use that. Here’s one of
mine.” It was that sort of thing. It was as if I
had known him my whole life. It was quite a
start for me.
JI: Going to record with him for Blue Note,
what kinds of direction, or what kinds of
things did you experience from producers? Or
did everything go in the studio as he wanted?
JI: What kinds of discussions did you have
Hear Charles Tolliver’s
Africa Brass Big Band
in a Benefit Concert for
Sista's Place,
Friday, August 17, 2012,
Jazz @966,
966 Fulton Street, Brooklyn
35
Mike Stern
(Continued from Page 14)
JI: How long did it take to record the album?
MS: It was like four days – and two were like
three hour sessions. On the stuff with Dave
Holland and Al Foster - I’ve played with both
those cats with Joe Henderson and individually. Kenny Garrett has done some gigs with
me, so I figured that’s gonna be pretty easy.
We didn’t even rehearse. All the takes came
out. The hard thing was picking the takes.
The rest of the stuff I rehearsed, except for
the stuff with Richard Bona. I was touring
with him on the West Coast. Jim Beard plays
on everything, and he produced the record.
He really helped unbelievably. He’s a great
musician. I got him to come out to LA. We
did that in about three hours out in LA. Then
later you kind of fix little things. The vocals
have to be overdubbed because you can’t
really do those live. Richard puts a lot of time
and effort in, and does a cool thing with harmonies, amazing things with harmonies that
we kind of talk about - and then he takes it
from there. It’s amazing what he comes up
with. You can take the harmonies that Richard does and just get rid of the whole band
and it would sound just that way. An album
like this can be complicated to do because it’s
gotta be one band for one tune, or this batch
of tunes, and it’s gotta be another band for
two other tunes. With Esperanza Spalding I’d already played that tune called As Far As
We Know for her. I play acoustic guitar and
she sings. I couldn’t think of anybody else
that could sing that high F. I was doing some
gigs with her and she was playing in my band
for a week last year. We were hanging out
one time. She’s really good friends with my
wife, with Leni, who’s also on this record. I
played this ballad that I was writing for her
and asked, “Can you hit this note?” She hit it
no problem. She’s a real, true soprano.
JI: Could you talk about how your association with Esperanza Spalding developed?
MS: I’ve known her just kind of off and on
since she’s been in New York. Leni has gotten really tight with her. They’re really good
friends. I’ve always really dug her playing
and got her on my last record, Big Neighbor-
hood. She sings a couple of tunes and plays
on one tune with Terri Lyne Carrington.
Esperanza plays her ass off and sings unbelievably great, and she’s a real sweetheart,
real down to earth … really completely cool,
even though she’s won all these things recently. She’s really a musician first. She
keeps her feet on the ground. I had this tune
and then I sent it to her and we didn’t really
have to rehearse it. She just came and that
was it. I’d already sussed out how high she
could sing and she’s got this high F sharp or F
or whatever it was - and she just nailed it.
With a lot of the album, to get the live vibe,
we were all in the studio together. The album
wasn’t put together from a bunch of
[computer] files and all that stuff.
JI: Since Dave Holland and you both have
mutual associations with Miles Davis, albeit
at different times, could you talk about the
discussions you might have had about the
music and the long-time association you two
have had?
MS: Well we didn’t really talk much about
that. We said how you doing, what you been
up to and what’s going on? Then we rehearsed. Kenny [Garrett] was doing some
Miles imitations at the session. I never played
with Dave with Miles, you know, but we all
had played with Miles at different times. I
played there when Al was in the band and
Dave was in a different band and Kenny was
after all of us. We just kind of played the music down and didn’t talk too much about it.
You don’t really need to say that much. I just
said, “Let’s keep doing takes,” - and they
were all good. I didn’t have titles for anything. I name the stuff afterwards. I’m writing
all the time and have some tunes ready for a
record or ready for recording whenever that
pops up. I don’t do that many CDs. I try to do
one every couple of years - which is plenty.
JI: Are you still writing music using manuscript, or score paper, and IBM Electrographic pencils and then transferring to a
computer program such as Finale or Sibelius?
MS: I don’t even transfer it. I’m so far in the
back, I have a pigeon. I don’t even have a cell
phone. I’m way, way in the back of ya’ll.
Leni’s got all that stuff. I just write it in pencil and then Jim [Beard] helps me. He’s got
all that. I’m just used to the old fashioned.
When I write actually, it’s pretty simple.
Sometimes I’m writing on the guitar. I started
out playing piano when I was little, because
my mom played classical piano around the
house just for fun. So I heard a lot of that
growing up and some jazz. That’s what got
me into jazz. But ever since I picked up the
guitar, I’ve been doing everything on the guitar. I’ve been writing on the guitar. So it’s
limited but it’s kind of cool in some ways
because of the limitations. It makes you kind
of think two part harmony, like a strong melody and a bass, especially if I’m thinking
well, I wanna do some of these tunes trio or
whatever I write. I wanna try and play trio. It
has to be defined just in two parts and then
you kind of fill in the chords later, you know?
… like that first tune on “AJ” for Anthony
Jackson. I just wrote it because he’s on it and
it kind of reminds me of Anthony Jackson. I
wanted the groove to stay during the tune
itself and for the solos. But even on the solos,
I wanted it to really stay there. He’s got such
a fat groove. It’s amazing. He played it and it
kind of freed up everybody else to do stuff myself and Chris Potter.
JI: You were talking about gratitude earlier
in our conversation.
MS: I think the older I get, the two things I’m
grateful for that have lasted through my life is
my wife of 30 years, Leni, who is also on this
record. The way I look at it, it’s really hard
for two people to stay together. You’re lucky
if you can find a person that you love and
continue to love even more, and that you can
still live with and all the things that come
with it. I think it’s hard and it’s not the easiest
thing to happen. I think they should rewrite
the marriage vows, personally, to: “I now
pronounce you man and wife. Now do the
best you can and hopefully it’ll be ‘til death
do you part’. But if it lasts a week, don’t kill
each other.” You know?
JI: Well, the expectations are so high. Then
when you factor in the unrealistic-to-emulateand-maintain images created by the media,
the varying quality of people’s upbringing,
responsibility or lack thereof, add in a sprinkle of entitlement attitudes, along with people
too busy counting other people’s blessings
rather than their own, in some warped
“keeping up with the Joneses” driver or perspective, in business and personal life and
then throw in temptation – and the pressure
working against integrity, trust and maintain-
“The main thing about music is that it’s a language — and
it’s definitely a language of the heart — and that’s the most
important part about it, no matter what kind of music it is.”
36
“Most of the time, if [Miles] got the vibe, that’s when it was
time to split, you know? It’s really hard to hear because
you’re so involved in it — you hear every little thing that
might be wrong at the time and later on, you hear the big
picture. You hear it in a whole different way.”
by the time he was six.
ing a relationship can be insurmountable.
JI: And he was driving too, right?
MS: Exactly, exactly. So it needs to be kind
of redefined in everybody’s mind. You’re
lucky if you get it right. And if it lasts forever
… or if it doesn’t last forever, you should try
to enjoy the time.
JI: You’re talking about the music, letting it
go…. Sometimes you can be practicing something for days or weeks and it feels like it’s
not getting any easier or more natural. Then
you take a break from it, for a short or long
period of time. Then the next time you try to
play the idea or the song, it flows out naturally. There’s something to be said for both
massed and spaced practice, or study.
MS: Right, exactly. It’s a tricky thing because when you’re learning new things, when
do you try it out? When you’re on a gig, it’s
kind of tricky sometimes because you don’t
know when to start with something. Sometimes you have to kind of start something,
and kind of get into this new thing that
you’ve been practicing, and kind of use it on
the gig.
MS: Yeah. So that’s where he comes from
and he’s such a natural on the instruments.
He’s got a real amazing thing that he does
with his slapping stuff, which is very percussive. They’re very much like drum licks when
he does that — and he’s just soulful himself.
He’s also on my previous CD, Who Let The
Cats Out also and he was on another record
of mine called These Times. I’ve done some
gigs with him where I always like to do some
swinging, you know? And he’s smoking.
Right away, I kind of thought this isn’t his
strong suit. But, he was tearing it up. We just
played duo. This is before we actually did any
gigs together, which we’ve been playing kind
of whenever I can get a chance to get him —
like every couple of years or so. It’s always
fun because he can play anything. He’s such a
sweetheart.
MS: And his brother, Roy I think his name is.
He invented a half drum kit, half motorcycle
or something, literally. I mean this guy is
doing all kinds of weird things with that.
JI: Talk about the cover of your new CD.
JI: Talk about bassist Will Lee a little bit.
MS: I’m sitting in a bunch of scroll — what I
call the scrolls of knowledge … and they’re
transcriptions of a bunch of solos … If you
could zoom in on them, you’d probably see
Coltrane, Joe Henderson. I’ll transcribe different instruments. It’s not to run licks, of
course, but it’s to get into some of the phrasing … to immerse yourself in other instruments and try to come as close as you can to
try and play some of that stuff on the guitar.
MS: Will’s bad man. He was on a record I
did, Is What It Is, with Mike Brecker. Will
was in that Horace Silver band for a while
with Mike Brecker. Will tears it up. He’s got
the right vibe. He always checks out the music. He really learns things. He’s got suggestions during the session, which I like. That’s
why I like everybody in the same place. You
can write the music, you can map it all out
and rehearse it, and then when you listen
back, you might say, “Well maybe there
should be a little break here, or maybe this
break shouldn't be here, or change this here.
That kind of thing happens sometimes at the
sessions. I dig that kind of spontaneity —
even in the writing or in the arrangement.
Will’s always got suggestions like that. Years
ago we did a session at Skyline Studio. I wish
I had taped it. Mike Brecker was playing
drums with Will, and they were swinging like
crazy man. I hadn’t heard Will really play
like that - which he definitely can. Anyway,
JI: Talk about a couple of other of the celebrity bassists who appear on your new CD, All
Over The Place.
MS: Well, Victor Wooten ... we played together before and he’s amazing. He’s an
amazing musician. He’s coming more from
funk. The Wooten Brothers opened up for
Curtis Mayfield. There are three brothers that
play — one’s a guitar player, Reggie, one’s a
drummer. Victor told me he was on the road
the track Will played on the new album is All
Over the Place. He is very much like Victor
Wooten in that regard. He’s willing. “Oh, you
want me to try it this way? Can you hear it
this way?” And meanwhile he’s got his own
way of hearing things. That’s the way most of
these guys are. They’re all willing to be “Oh,
okay, that’s what you want. All right. Yeah, I
hear that.” And then they kind of get into it
… and they’ll try it two or three different
ways. We did a whole bunch of different
takes with Dave Holland and Al Foster. I just
let them go - because it was a blues and a
standard basically. “OCD” is one of the other
ones, and it’s based on “I Love You” - but
you won’t recognize it right away. It fits on
this record because it kind of starts out funky,
then we get into just swinging and it could
have gone a bunch of different ways. It actually goes a bunch of different ways because
when Kenny Garrett comes in, it goes left,
and it’s beautiful. It’s really strong the way
they played together. Al’s loose as hell and
then it kind of comes back together and we
end the tune. It’s really a fun thing to play
with those guys. So in most cases, I just let
these cats do what they do.
JI: When players have it together, it’s often
smart not to pre-direct people and not get in
the way — which might somehow narrow
their creativity and get in the way of their
producing something great that you might not
have thought about.
MS: When you get guys like this, you want
them to play their asses off.
“It is the highest form of
self-respect to admit our
errors and mistakes and
make amends for them. To
make a mistake is only an error
in judgment, but to adhere to
it when it is discovered
shows infirmity of character.”
- Dale E. Turner
37
Mike Stern
38Copyright © Eric Nemeyer
“You’re lucky if you can find a person that you love and continue to
love even more, and that you can still live with and all the things
that come with it … I think they should rewrite the marriage vows,
personally, to: ‘I now pronounce you man and wife. Now do the
best you can and hopefully it’ll be “til death do you part”. But if it
lasts a week, don’t kill each other.’ You know?”
Mike Stern
JI: What kind of input did you get from the
record label when you were putting the album
together?
MS: They’re cool with everything. They usually want to sequence it differently and I always say no. They’ll say, “Well can’t we put
this up front? This will be more immediate if
somebody buys it.” I say, “Well, no because
it won’t work.” I understand what they’re
saying, but it won’t work in the whole
scheme of things. There’s not too many ways
you can sequence a record like this — to
make sure that they are cohesive enough, and
don’t have too many ballads together, or too
many of this kind of groove together. They
need to be sequenced in a certain way - for
me anyway - to really make them work as an
album. I’m really thinking about the whole
thing, as well as each individual tune and
each individual performance. I don’t want to
second guess it too much - especially a record
like this where it kind of surprises you. You
think, “Wow, that kind of came out a little bit
differently. We traded longer on this part …”
So some of the tunes go on for “a minute.” I
like that. If the playing is still happening, if
everybody’s kind of getting excited - just
leave it. Keep it going as long as you can.
Fade, if there’s a need to fade on a certain
tune. On the first tune, Chris Potter and I are
playing together. He’s playing some amazing
stuff, as usual. I want it to go on as long as
possible. Sometimes the record company will
say, “Well that may be too long for a first
tune because we have to get it in this timing for sales or something. I understand that. It
can take longer to kind of evolve and get into
the energy of the tune - but that’s the way it
goes. So they’re cool with it. Basically, I
really like the way everybody played on this
record — and they played their hearts out. I
know all these guys, and they always play
their hearts out and come up with great ideas.
We rehearsed some of the stuff, but it was
pretty clear what the music called for. So we
just sent demos. Jim Beard helped me make
the demos. Because everybody just played
their asses off, each recording session was
really inspiring … to hear them, what they
come up with and how they play certain
things, even the stuff that’s written out.
That’s a real treat for me. The hardest part I
have is listening back to myself. That’s the
hardest part. But I take other people’s word
for it. Sometimes I have to ask them, “Is this
cool?” Then somebody that I trust helps. Jim
really helps me. He’ll say, “Get outta here.
It’s cool. You’re done. You’re done, go
home.” Otherwise I probably wouldn’t get
through the first tune. For the next record, I
think I’m gonna do a duo record with me and
one of my cats meowing …. something really
simple … maybe just a trio record. I would
like to do some more stuff with John Patitucci. We did this record Give and Take a
while ago with Jack DeJohnette, Don Alias,
and Mike Brecker. The main thing about music is that it’s a language—and it’s definitely
a language of the heart — and that’s the most
important part about it, no matter what kind
of music it is. If you play your heart out —
that’s the kind of people that I like. That’s
why sometimes it doesn’t matter what kind of
music it is. My favorite music — the I kind of
gravitate towards is bebop or “jazz” and it’s
usually kind of more traditional jazz. It’s just
what I seem to gravitate towards but I like
everything. I listen to Hendrix. I listen to the
Beatles. I listen to the Stones sometimes.
Some country music knocks me out, you
know? It’s amazing about how if you get too
much involved intellectually, it doesn't work.
You gotta let your heart and your soul just
kind of guide you. It’s amazing. When you
listen back to tapes, and you think, “Oh, that
gig was smoking.” Then you listen back later
and that wasn’t as good as you thought. Or
you listen back and think, “That gig sucked.
You listen back, and say “Wow.”
sions and notes and choices that were part of
the process in your improvised solo … and it
sounds good …. even really good.
MS: Miles told me one time … we were doing this tune “Fat Time” on Man With a
Horn. There was a long guitar solo on it and
it just kind of came out that way, and he
wanted some guitar. He said play, just play.
He’s telling me certain things to do, and then
he said. “All right, just play it your own
way.” So we just played. The track had plenty
of energy and came out really good, but I
didn’t like it. I was hearing, like you said,
every little scratch, every little string noise,
all that stuff and so I said, “Miles, I gotta do
that again. I wanna do it again.” He said,
“Nah, nah.” He said, “Fat Time” - that’s what
he used to call me because he liked the guitar
solo on it so much, he named it after my nickname. He said, “We ain’t doing that again Fat
Time.” He said, “When you’re at a party, you
gotta know when to leave.” I’m glad he told
me that because it does have a vibe. You
know, there’s certain things that are a little
weird on it but he didn’t want to clean it up.
The attitude was there. He was a genius at
that. It didn’t matter. Most of the time, if he
got the vibe, that’s when it was time to split,
you know? And that’s all that counts. It’s
really hard to hear because you’re so involved
in it — and when you’re involved in it, like
you said, you hear everything little thing that
might be wrong at the time and later on, you
hear the big picture. You hear it in a whole
different way.

JI: Definitely. It’s happened for me plenty of
times. You’re aware of every little nuance in
your playing … whether you played some
note or phrase behind the beat, ahead of the
beat, or with some uncertainty, or even a supposed “wrong note.” Then you listen back a
day or a week or months later—after you’ve
forgotten about the myriad momentary deci-
“Nearly all men
can stand adversity,
but if you want
to test a man’s
character, give
him power.”
- Abraham Lincoln
39
ing.
Manuel Valera
JI: What kinds of understandings have
you discovered about people and or cultures in
your travels and performances recently?
sarily open or friendly in this country - takes a
second to adjust.
JI: How has life in the United States benefited
your creative pursuits and the business side of
the music for you?
MV: This country has given me many opportunities. First of all, I’ve been able to play
music regularly with some of my favorite jazz
musicians growing up - people like Jeff
“Tain” Watts, Paquito D’Rivera, Arturo
Sandoval, Brian Lynch etc. There was probably no chance of this happening had I stayed
in Cuba. I have also been able to produce six
records as a leader, and have my own recording studio where I produce records for
other people. Also, since I came to this country at the age of fourteen, I have adapted well
to this society. This may seem insignificant.
But older musicians - and immigrants in general that come to this country at an older age often have a difficult time adopting to being a
musician in the U.S. Being a musician in
Cuba is a completely different experience. In
a sense since there is no rent to pay, you have
no overhead and you don’t need to get a day
job if you are not getting a lot of work play-
MV: I have realized that music - especially
good music regardless of genre - transcends
all cultures and can reach people, even though
they may not exactly understand what your
are doing. If you go to India or Nepal and
JI: Talk about what you’ve learned about
leadership from one or more of the jazz artists
with/for whom you have worked.
MV: I think some people are natural leaders
and some are natural sideman. I don’t think
“I have realized that music - especially
good music regardless of genre transcends all cultures and can reach
people, even though they may not
exactly understand what your are doing.”
listen to their music there is a lot of feeling because it has a lot of meaning to them. In the
same way I feel that when you go play for
them and you are sincere about what you are
saying musically, they respond to it. I guess
there is an energy – that flows thru humans. I
was watching a program about some researchers that went to a very remote area in the
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40
Amazon and played one of Mozart’s symphonies on a tape deck - and the natives started
really reacting to the music, even some of
them where crying.
you can learn to be a leader. It’s something
you either feel you have to do, or you don’t. It
is probably better financially if you are just a
sideman too! But, since I’m a composer I’ve
always had my own bands since I moved to
New York. Since I was young I’ve always
wanted to have my own groups. This is something that feels right for me. I’ve learned a lot
from being a sideman on so many tours. Some
things I want to emulate, some things I don’t.
I’ve learned the importance of making your
charts as legible and clean as possible, especially the harder compositions. I’ve also
learned the importance of being organized on
tours with traveling information. Also, musically as a leader you have to make sure you
leave room for your band mates to shine even orchestrate the music in a way that
makes it easier for them to come out and be
themselves. In my opinion that’s the best way
to get the best the instrumentalist has to offer.
With the New Cuban Express I always compose and arrange with the members in mind.
JI: Is there anything you’d like to talk about
that I haven’t prompted you about?
MV: I have a couple of really cool things
coming up with the band and as a sideman.
On August 8 I’ll be at the Zinc Bar with one
of my favorite Drummers Jeff “Tain” Watts.
Then I’m going to Mexico with the great Boston-based bass player Oscar Stagnaro’s group
from August 10. We will be performing at
WDNA in Miami and at Van Dyke on September 22 and 23, then at the Rubin Museum
on Oct. 5. I’ll be playing solo at the Yearly
Monk Birthday Celebration on Oct. 10 and
then Oct. 12 at the Philadelphia Museum of
Art with the group.

Interview
Steven Bernstein
Interview by Eric Nemeyer
JI: Talk about your relationship with Tzadik
Records and John Zorn and how that has contributed to your business understanding.
SB: Well you know I work with a lot of people
so it comes from everything. One thing about
John Zorn, he kept all the expenses low. If you
want your own PR, you paid it out of your
pocket. And because expenses were so low that
once you start selling CDs and everything was
50:50, you would actually get paid. Unlike every
other CD I ever made, from which we never see
any money after the first advance, every January
I get a check. If you have four CDs, you get a
bigger check because as long as those CDs break
even, all profit is split 50:50. John has always
been fair with his musicians. Even though I had
a large band, everyone got paid as an artist, not
as a guy sitting in the sections. I try to do what
John does, which is to get the musicians paid
which I think it’s an important thing. When musicians stand up for themselves … it’s simple.
Just say if you don’t want it. If a business situation isn’t good you just say well I’m not interested.
JI: Were there specific suggestions about what
direction you might take with the music?
Steven Bernstein: Well you know, he made
these recordings, what he called, radical Jewish
culture. The first three or four ideas I came up to
him with he didn’t want to do. First I said I wasn’t interested in doing a radical Jewish culture
album. I said, “I’ve never made a record under
my own name, I don’t really feel like defining
myself as a Jewish musician, I would rather just
make a record.” Then I began to think about it
and realized this an opportunity to make a record. I came up with one idea and I called him
up and he didn’t like the idea, and I came up
with another and up to about three or four times
he said he didn’t like the idea. Then I came up
with the idea of what was Diaspora Soul and I
called him up and told him the idea and he said,
“It’s a great idea and I’m sending you a check
right now.” He sent me a check and that was it.
He hears very specific ideas about sequencing
records. But, as far as actual recording, he never
told me what to play. The only thing was on the
first record, he said he wanted me to make a CD
of all original music, and it was before I combined original compositions with traditional
Jewish songs.
JI: Talk a little bit about your work with the
Lounge Lizards and Sex Mob
SB: I’d been working for ten years in New York.
Lounge Lizards was a band that toured. We actually got a real salary and when we went on the
road, a lot of people came to see that band, here
and in Europe. It was almost like a show in a
sense — because it wasn’t a jazz set, even
though the music had some form of jazz music.
It was more like a concert. I learned a lot about
how to make a performance work — because the
concert worked when you went from the beginning of the concert to the end of the concert and
you transformed the audience. It wasn’t set up
where you play a blues, then you play a ballad
and so on, like a jazz set. There was a different
kind of a flow. John was a really amazing front
man. He really knew how to get an audience
involved and give the set a dynamic arc—which
I think is really important. I think that when you
play, you want the audience to feel something
and there is a science, there’s magic — but there
is also a certain science to how things happen
that can affect people. You need magic for people to feel something, but you can set it up in a
way that it might have a better chance. That was
also my first chance to go to Europe. I tour as a
band leader now but any person that has ever
become a band leader must first work for somebody. That’s how the promoters get to know
you. You know, in the extreme cases are guys
who work with Miles Davis. It used to be if you
were on Miles’ band, then you got out of Miles’
band, you could go to Europe as a band leader.
When you think of the Lounge Lizards, you
think about Mark Ribot, The Jazz Passengers,
Michael Blake — just so many great musicians
that went through that band and then became
band leaders. The Sex Mob was really interesting because I had never defined myself as a jazz
musician, even though for 25 years I listened and
my teachers were Jimmy Maxwell, Jimmy
Hear Steven Bernstein and M.T.O.
August 23-26 at the Jazz Standard,
116 East 27th Street, New York, NY
212-576-2232
www.JazzStandard.net
www.StevenBernstein.net
Owens, Johnny Coles — legendary trumpet
players. When I’m at home, I’m listening to Vic
Dickinson, Dickey Wells, Frank Rosolino, Bill
Harris. I mean I’m a jazz guy, I love jazz music.
But when I just looked around New York and
saw what the scene was, I said, “Well, I’m not
going to be in the Vanguard Jazz Orchestra.
That’s not who I am.” I’m just going to play
music. Don’t even call me a jazz musician, just
call me a musician. I started playing the slide
trumpet. I started playing with the Sex Mob, and
this thing got better and better, and then we
started winning jazz awards, and they started
writing about us in jazz magazines. Somehow, it
became, “Oh, you are a jazz musician.” It felt
kind of funny. The Sex Mob had made me a jazz
musician in the eyes of the world. The great
thing about my playing the slide trumpet is that
I created something that basically nobody has
ever done, and I created a sound that is so unique
that, in a way, it goes back to the real original
idea of jazz when people just put together their
own bands and didn’t try to sound like anybody.
Nothing sounded like the modern jazz quartet, or
the Sex Mob. I always tell people that you can
say you don’t like it — that that’s not the kind of
music you like — but you can’t deny it. You can
just go like, “Wow, this is its own thing.” I think
that is what this music is really about — you
create your own thing. Because I can write and I
can play music, I can always make a living with
music. That was the interesting thing about
growing up around professional musicians.
When you are around a lot professional musicians when you are young, you go, “Oh yeah,
you can do this, it’s a job.”
JI: Is your wife a musician?
SB: No, my wife is a human being. My wife
says I love musicians, I just don’t necessarily
like what they play. She does come to some of
my gigs, but she is not really a jazz chick.
41
Steven Bernstein
JI: What have you discovered about human
nature in your humble travels over the years a
musician?
SB: People relate to rhythm, melody and magic
and sound, and that’s everything. I just had a
long talk with Marvin Stamm this morning. We
were talking about trombone players. We’ve run
into each other on the road. I don’t think he even
knows what I play like, but he knows that I’m a
guy who travels around and play the trumpet for
a living. And I had a nice talk with him, a really
nice talk with him. We talked about sounds. The
real thing about music — it’s about getting to
people. I go around the world. I play music with
all kinds of people and it seems to get to them all
the time. I have always been a believer in melody and in sound, and in rhythm and it’s about
creating your own thing. It’s not about looking
for validation. I don’t look for validation. I just
play and I write and I work — and I just keep
working. I’ve made records with Jerome
Cedar Walton
club downtown where Miles and them used to
play and [Art] Blakey recorded. Club Bohemia!
It was an Art Farmer rehearsal. Art Farmer’s
twin brother, Addison, was on bass and I think
Freddy Redd on piano. You know, it was exciting for me. I would go to rehearsals. I would just
do anything I could do to soak up and get acquainted firsthand with the music that I had
heard on record, before on an occasional meeting
with somebody who was passing through Denver. So, I was giving Addison Farmer a lift from
downtown which was quite far, 7th Avenue and
south somewhere — the street that Café Bohemia was on was like a one or two block street,
Barrow I think it was. In those days, the café
societies still existed which was in the little triangle there, Waverly Place and Washington and
Barrow and in the middle of Barrow Street, before you got to Seventh Avenue, was the little
Café Bohemia. That’s where the rehearsal was.
So, I offered Addison Farmer a ride to let’s say
110th Street. So we went through Central Park
and I ran into a poll, to make a long story short.
No fatalities, except for my car. You know, I
hadn’t had that experience before. In my early
twenties I thought I could get out and pull the
fender away from the tire, you know, but it just
was not to be. I must have pulled it enough to
continue the drive and those kind of things happened to me. Because of lack of parking, the car
was picked by the gentlemen who do those kinds
of things. First your tires, then your hubcaps,
then your wheels, then the steering wheel, then
you know, the whole thing just evaporated in my
parking spot in the Bronx. Luckily, my roommate had friends up there which was the only
reason we choose to park up that far. Back to my
adventures. I would meet all kinds of people.
42
Richardson, Sam Rivers, Bernie Worrell, Henry
Butler, Lou Reed, Courtney Love, Radiohead,
U2, Elton John… enough money to raise a family. No one’s going to get rich playing music,
maybe except Chris Botti. That’s an amazing
story. Everyone knows it’s hard to be a success
because people are going to put you down when
you are successful. Whether Chris Botti is your
cup of tea or not, you can’t deny the fact that he
is a great trumpet player, he has a great band,
and people come, pay money to hear him play
music. I’m a believer that it’s good for everybody — they say a high tide raises all ships.
JI: We have a choice — to appreciate and champion and learn from the success of others, or feel
threatened by and jealous of those successes.
SB: Right, exactly. I think what causes the
problems for musicians is that because so many
of them are close to starving, it makes it hard. I
feel really blessed. I make a living playing music. I write and I play any style that I like — and
I like most styles. So it gives me plenty of opportunities. I always tell people the more music
you like, the more you can play. If you don’t like
Sessions were quite popular in those days, which
they may be these days too, but in different venues then in those days. Harlem like was very
active, full of sessions. There was a place up
there, the name escapes me now, I knew it for
years too but I can’t think of it now. Right on
Seventh Avenue, not too far from Small’s Paradise was a session place with a woman who’s
nickname was Boo Pleasant. I don’t know her
real name. She was a pianist who lived there. I
had a chance to sit in there and re-meet some of
the people who had passed through Denver, such
as the late brother of Bud Powell, Richie Powell.
I remember him saying “Yeah, I remember you.”
I would meet, re-meet the people and here I was
in New York trying to get started, but of course,
I had to take a day job because nobody knew me.
That lasted about a year. At that time, they had a
draft, you know, military draft. And I got
drafted.
JI: An inopportune thing to happen at that time?
CW: No, I was happy because of that. I wasn’t
enjoying New York like I thought I would. It
was no vacation. I was working in places like
Horn and Hardart [Restaurant] and Macy’s. Trying to practice over at the Y, but it was no picnic. I was almost relieved. Being in New York
prepared me – facing the reality, something I
don’t think I’d have the nerve to do today. At
twenty-one, I was fearless, and so I think I got a
lot out of that one year. It was all compacted into
that one year.
JI: What specific things were you practicing?
Transcribing solos?
CW: I’m not a transcriber. I certainly probably
should have been, but what I did was listen to
records, practice my skills and of course, just
practice improvising on songs – doodling if you
will. But, it was scientific doodling you might
certain music, it would be really hard to play it.
If you don’t like reggae music, it would be hard
to play reggae music. I like reggae music and
I’ve played a few reggae gigs and I enjoyed
them.
JI: How does the composing work for you?
SB: I write any time I hear something. I basically arrange everything, I only compose by
commission. Every once in a while I get inspired, but basically if someone commissions
me, I will sit down and write otherwise, I love to
arrange. I have a great band to play my arrangements, and a lot of time I do it because it’s my
job. For me an arrangement doesn’t always mean
a huge orchestration. It might just mean a lead
sheet with a drum part and a bass line. That
might be an arrangement. Or it could be an epic,
but it’s all an arrangement. I write pretty much
every day, I love writing. Dave Douglas gave me
a great piece of advice — which is always, practice first. I wake up, practice for an hour and
then arrange.

say, organized doodling.
JI: You were approaching the music intuitively.
CW: You could say that. I had routines, but I
don’t remember what they were. I practiced
scales. I used to make sure I was playing them in
all keys, four octaves, arpeggios, just everything
I could think of to keep the fingers limber because you know, people weren’t exactly free at
the piano, other people had to practice too. So, I
would keep at it as long as I could, a couple
hours a day. And I found friends. I would use
their pianos too. In fact, I met Tommy Flanagan.
He came to New York during that year, along
with an influx of people from Detroit now that I
think about it. Donald Byrd was still in the Air
Force. I saw him sit in at the Café Bohemia and I
said “Who’s this guy?” He walked up on stage
and sat in with people like Oscar Patterson,
Kenny Clark and the like. Cannonball arrived
during that time right before I left. When I got
drafted, I didn’t go any farther then Fort Dix.
JI: You were able to visit New York during your
time in the military?
CW: It was a very short distance from Ft. Dix to
New York. I would come back very, very often
on weekends. I was still in New York for at least
another six months before I got shipped out to
Germany, and spent the balance of my military
service over there. So, I was lucky. I look back
at that time as a real fortunate period. I was able
to soak up and see first hand, real genius and real
professionalism that I hadn’t seen the likes of,
not at that range, like three of four feet away. At
Birdland there was a section were you could sit,
cheap seats, but you could still get close to the
bandstand and see Miles Davis put the microphone down for the next soloist, stuff like that –
which is priceless. You just didn’t see that at
Lee Konitz
(Continued from Page 12)
LK: I know, but I still feel it’s a privilege for me
to step out and play this way. The accepted way
still is to be highly prepared, to do all your practicing at home, your improvising at jam sessions,
and when you come out to work, where people
are paying, you present a finished product. So I
have no complaints about someone weighing
that and criticizing. As long as I still have an
opportunity to do it on some modest basis, I’m
pleased.
JI: How much are you performing these days?
LK: Modestly, enough to keep in shape.
JI: Ideally how often would you like to perform
and travel?
LK: I would like to play two to three days a
week, especially with the same guys or girls.
JI: I’d like to switch gears a bit here and step
into your past. Your time with Miles Davis and
the Birth of the Cool sessions is well documented but your time with pianist/educator Lennie Tristano deserves a closer look. I think it’s
safe to say that no one of prominence in jazz is
more misunderstood and maligned than Lennie
Tristano. He remains a lightning rod of controversy.
LK: Well, he was a severe critic of the things he
didn’t like and that didn’t help. The people that
he criticized, in turn, criticized him, so what are
you going to do about that? The point is to me,
he showed me a way that I am forever grateful
for and I was involved with the development of
that music to the extent that I know it was very
special and short-lived basically, although it’s
still carried on by Connie Crothers and the people that studied with Lennie. This is a case of
years having to pass by before someone will
come around to rehear that music in a new light
and having the dust come off somehow.
were different reactions with each different contact and that there tended to be negative reactions from misunderstandings but I just think
that’s unfortunate but somehow inevitable dealing with that kind of subject matter and opinions
and things that are so different.
JI: You knew Tristano so well, would you comment on what he was really like as a man?
LK: I didn’t really know Lennie that well. I
didn’t know anybody that well. In some way, I
was wrapped up in my own ego, not able to
reach out too easily. I knew that he was a good
man, a sporting man in terms of taking chances.
He liked to play the game of music and he was
very generous to me in the time he spent with me
to give me confidence. I ended up with a partly
negative relationship with him through misunderstandings that we had and resentments at the
reaction of the Tristano cult criticizing me for
working with other people and things like that
and then they copied my records afterwards.
JI: One of the longstanding criticisms of Tristano and his collaborators has been that their
brand of music is over-intellectualized, cold and
unemotional. Would you address that?
LK: That’s very fair in many ways. Certainly,
Dizzy said Tristano’s music was gutless and I
visualize him overdramatizing his music to the
point of wearing his heart on his sleeve and all
that kind of stuff. That’s all show business performance to me but mixed in with some original
notes and some original ideas. So I just let that
criticism go as basically a black man’s criticism
of a white man’s music. I still think that had
something to do with it. I got to hang out with
Dizzy a little bit traveling and he was fun, we
didn’t have any problem.
JI: Did Tristano talk to you regarding how he
felt about the animosity aimed towards him?
LK: Just expressing his resentments without
specific names of people, yeah.
JI: Did he give you advice on how to handle
criticism?
player before so that was that.
JI: Why did you pick a piano player to learn
from and not a horn player?
LK: I wanted to learn more harmony and things
musical.
JI: When were you first aware of the controversy attached to him?
LK: I suppose shortly after I got involved with
him.
JI: Pianist Connie Crothers was recently interviewed in Jazz Inside Magazine and she spoke of
her time as a Tristano student. She recalled going out to clubs early on to hear music, and
strangers, when they heard she was studying
with Tristano, many of whom had never met
Tristano, would come over to her and tell her not
to study with him. They told her terrible things
about him, things that she knew not to be true. I
realize that Crothers studied with Tristano much
later than you did but did you have similar
strange experiences?
LK: I’m sure once in a while, there were people
who were critical of him but I was too involved
with him to take it too seriously.
JI: Jazz critic Frances Davis has written a good
deal on the topic of Lennie Tristano and likened
his influence on others to that of a highly contagious and dread disease that once contracted,
was never gotten over. There was one exception
– you were the only one to ever get “well”. What
do you think about that statement?
LK: Wow! I think that’s a bit contemptible, that
makes me think I did something wrong if he
praised it! I don’t know this man or his qualities.
I’ve read some of his pieces over the years and
enjoyed them but I haven’t made any special
research on him but that’s contemptible!
JI: It’s generally considered and written that you
are the only one of the Tristano collaborators to
really achieve broad recognition and actually
play for a living.
JI: Do you think that will happen?
LK: It’s happening now, to some extent. After
Bird and Trane and etc., people have to check
out any interesting music to learn and Lennie has
to come up. It even happened to Bach, it was a
100 years before Mendelssohn brought his music
out.
JI: The history of jazz is filled with artists with
wild personalities yet it’s Lennie Tristano who’s
attacked on the grounds that he was a Svengali, a
controller, and worse. Would you talk about
your experience with Tristano the man?
LK: Lennie was a strong influence. I respected
him as, say, a big brother. I had 2 older brothers
but I didn’t have any of this kind of communication with them so I was very humbly respectful
of his opinions and very proud to be a part of the
development of that music. I know that there
LK: Not that I can think of, no. I’ve had to work
on my reaction to my own work and accepting
the criticism in that process. To be able to play,
walk out into the audience, and take congratulations, thinking that I had played shitty, and go
off to the corner and sulk or whatever. Sometimes we talked about very important emotional
reactions amongst the players
JI: How did you come to study with Tristano at
the age of 15?
LK: As I have said many times, I was working
with a dance band and afterwards I went across
the street to a bar where a friend of mine was
playing piano and Lennie was in the second band
which was a Latin band of some kind. I sat in
with them and was impressed with Lennie and
talked with him about getting together. I had
never had the opportunity to talk with a real jazz
LK: I’m very proud that I can do it!
JI: How did you do it?
LK: I didn’t like a lot of the things within the
student judgmentals, or whatever, and I was
basically a loner, so I was happy to have the
opportunity to play with whomever asked me
and if I could play with them and they asked me
again, I’d play with them again. If I couldn’t, I
wouldn’t play with them, etc., etc. As soon as I
heard that that was judgmental, I said ‘OK, I
can’t stay within this situation, I need to be free
to learn how to play.’ I had to be free from that
process, I couldn’t be under someone else’s direction. I think Lennie basically told me to learn
basic theory of the music and practice it as much
as possible and enjoy it as much as possible. I
think that was the basic message he gave.
43
Lee Konitz
JI: What was your relationship with Lennie
Tristano towards the end of his life?
LK: Unfortunately, it wasn’t good. Due to my
traveling outside [Tristano’s realm of influence],
I was being criticized roundly to the point where
someone called for me at Lennie’s house and he
said, “We don’t mention that name here.” When
I heard that I said, ‘My God, what has happened?’ So that was kind of my outing from the
Tristano cult.
JI: Memorizing a tune and then singing it was
one of Tristano’s early learning tools. It was
interesting to read in your recent interview with
Ethan Iverson that before Iverson played a gig
with you in Finland, you invited the band to your
room to sing and tap together.
LK: That was just a friendly gathering and I
started to sing and everyone was eager to join in.
But it’s a great idea.
JI: Tristano is credited with recording the first
free improvisation every documented and you
were part of his historic sextet in 1949 that did it.
What was it like recording free for the first time
in history?
LK: That’s a fact that he was the first. It’s been
talked about so much, it’s kind of nonchangeable from my point of view. We went into
the studio to record things that we had practiced
and at some point, Tristano suggested, after we
had recorded those pieces and we had some time
left, to try a few of these free pieces and that’s
how it happened.
JI: Of course, with this being Lennie Tristano,
there’s a great deal of controversy attached to the
1949 free jazz recording session. Critics have
said that this playing bore little resemblance to
the free jazz movement, the free jazz of Ornette
Coleman and Cecil Taylor.
LK: It’s a different thing but it had to be the
inspiration for that. Where else would they get
that? From Iranian music or Indian ragas? They
heard our efforts, you can be sure.
JI: Warne Marsh was another Tristano collaborator and someone you played with often. He
never got the recognition he deserved. The only
one I’ve heard talk about him outside of the
Tristano school has been Anthony Braxton.
Would you talk about Warne Marsh and his
playing?
LK: Warne Marsh was a great player. He was a
very smart musician in terms of how to understand, interpret and utilize the materials in a
flexible way in order to allow him to use that
material in a spontaneous way. I think he said,
“Learn these things very well and then forget
them.”
44
JI: The last questions come from other musicians. The first question is the heaviest and it
comes from Rudresh Mahanthappa who asks –
“Lee, I know that your own work and your work
with Lennie Tristano has involved some very
advanced rhythmic and even intervallic approaches. Can you tell me what influenced those
concepts (such as the head to “SubconsciousLee”) and maybe elaborate on how those ideas
have developed since as both an improviser and
composer.”
LK: Oh, wow. Well, most of the time, it was
very difficult because I had a short opportunity
to play and I had 10 brass, at least, punctuating
so I had to take deep breaths and blow hard but
usually it gave me a certain kind of confidence I
wouldn’t have gotten anywhere else. I said earlier that the Tristanoites were all criticizing me
for going with Stan Kenton and now they’re all
validating what I was able to do with that band. I
appreciate that now but I didn’t appreciate the
criticism [at the time].
LK: I wondered what he would ask, thank you
for telling me that. That’s a good question. We
are always listening for new materials.
“Subconscious-Lee” is based on diminished
scales. Of course, the development of any of the
lines that have been written by me, and I can
only speak for me right now, but I would assume
that it is the same for Warne, who wrote relatively little. I write every day as an improviser
working on theory, in order to do the things as
spontaneously as possible in the writing as I
would in just playing or noodling or whatever
way you would speak about winding the motor.
JI: Well why weren’t you able to go with Stan
Kenton or somebody else? Why did the Tristano
students have to all stay together?
JI: Roy Nathanson asks – “I teach a lot and it
never ceases to amaze me how kids’ sounds
vary, more on alto than on any other instrument,
and how impossible it is to make uniformly good
mouthpieces – it’s just built as a particularly
personal music machine. Do you think, after all
these years, that there is something inherently
magical about the alto saxophone itself and if so,
what?”
LK: Good question! For me, the sound of the
alto is my musical voice – it is magical! I don’t
know if it’s more than the tenor saxophone with
Lester Young and all the great tenor saxophone
players.
JI: Miguel Zenon asks – “You have pretty much
lived through the history of modern jazz and
improvised music, so speaking from your perspective and experience and as a living legend
and one of the most important saxophone players
and improvisers ever, how do you feel about the
state of jazz today and about where it’s going?”
LK: Thanks Miguel. I am pleased that there is a
broad interest in the students, a willingness to
learn very complicated solos and arrangements,
and that there are still some hundreds of listeners
for us to travel around and play for. I think the
music will become very written, hopefully in a
way for spontaneity to be encouraged. I tried that
recently with the fine big band from Koln, Germany and managed to make changes in the approach to soloing so that it was more dueting
which suggests more listening and less mechanical solos.
JI: Connie Crothers asks – “Lennie Tristano said
to me that the solos that Lee performed with the
Stan Kenton band were as great and important as
the solos that Lester Young played with the
Count Basie band. How did it feel to perform
with the Kenton band?”
LK: It’s the power of a group philosophy; it can
be an inspiration or a danger. Tristano wanted to
have that influence. That’s the part that’s dangerous, maybe.
JI: Did it hurt you when they tried to keep you
from Stan Kenton?
LK: To an extent, but I was very busy being in a
working band.
JI: Connie Crothers also asks – “Is there any
possibility that the unissued air-checks (radio
shows from the live performances) will be released? These air-checks are only available
through the collectors underground. I have them
because I knew a collector. Lee is amazing.”
LK: Thanks Connie, I’d like to have some copies also. I’ll check.
JI: Don Braden asks – “My question is fundamental in nature and comes from my ongoing
efforts as an educator. What are the most important actions you would recommend to a serious
jazz student to 1) reach their highest level of
musicianship and 2) to flourish in life?”
LK: I think that to respectfully accept the
amount of work and time spent on the work and
somehow maintain a connection with family or
friends, or whatever else is of interest outside of
the music is very important. Certainly, check the
great players and duplicate, but in a personal
way.
JI: Do you have anything that you would like to
say?
LK: I’ve had pretty much the chance to say what
I’ve wanted to say even to the point of saying
that Anthony Braxton didn’t swing and things
like that, regretfully, and I still feel bad about
that. I just want to say, again, that it’s great that
there are these opportunities now for young people because they are thriving to whatever extent
all over the planet, little geniuses here and little
geniuses there and that means that there’s something valid in this subject matter and people are
going to be studying it, arranging it, rearranging
it and developing it in different ways and hopefully, out of all of this some genuine contribution
to development of the music will happen. This is
Charles Tolliver's Big Band In Brooklyn!
Benefit Concert for Sista’s Place
Charles Tolliver
CT: Well, one thing I remember was that
Jackie was in that phase, he had already done
One Step Beyond…
JI: Exploratory freedom.
CT: Yeah. And so he was in that mode, and
so even though bebop was sitting, I believe he
really had already started to expand it. The
first record I did with him, I mean, I had been
practicing 2-5-1 chord progressions. And fortunately, I don’t know whether it was his decision—probably it was Alfred’s [Lion] decision—to have that rhythm section. I mean,
that record was quite something because (?) it
had bebop and free stuff.
JI: But you were working on more traditional,
sophisticated, harmonic kinds of vocabulary,
and then going in and working with him while
he’s suggesting to you that he wants something freer, how did that hit you?
CT: Well, it was quite something. One would
be shaking in their boots, so to speak on their
first record. But I think what helped me was
that I’m very rhymically inclined. You know,
having someone like Roy Haynes and Herbie
Charles Tolliver's Big Band will perform a
Benefit Concert for Sistas' Place on Friday,
August 17, 2012. Benefit to be held at the Jazz
@966, 966 Fulton Street in Brooklyn.
Opened in 1995, Sistas' Place coffee
house has become a cultural institution in Bedford Stuyvesant. A collective of women decided
to bring classic modern jazz back to our community. Phenomenal jazz musicians have performed there over the years. “Charles Tolliver
is a truly great innovative artist, one of Diz’s
(Gillespie) freshest and most skilled progeny in
all aspects, compositionally, orchestration, and
conducting,” to quote poet and author Amiri
Hancock there, it made all the difference. I
think if it had been another drummer or a pianist, it might not have come off the way it
did. That was a great start for me.
JI: What kinds of discussions did you have
with Art Blakey?
CT: It was never about the music, because
those men, they expected to get it already. If
they tapped you to blow, then they expected
that you were ready and were there with what
positive about this music and I’m looking forward to being part of it.
Lee Konitz
JI: How satisfying has a career in music been
for you?
always done by a small group of people who are
in need of that kind of expression so I feel very
LK: It was a gift given to me and I’ve tried not
to abuse it, too much. We all strive to work and
Cedar Walton
JI: You mean you were originally scheduled to
do it the record date?
schools, not at that time.
JI: Years after the Giant Steps album was released by John Coltrane, alternate takes of the
session were put out on another LP and you
performed on several alternate takes of Giant
Steps.
CW: Those takes were with me along with a
drummer Lex Humphries, from Philadelphia.
We had been in the military at the same time in
Germany. He was in the Air Force and I was in
the Army and we would meet on the weeks and
play, I mean incessantly. Every weekend we
would meet, along with people like Houston
Person, the late Don Ellis and a couple of other
people who’s names escape me. Anyway, so we
were scheduled to do that [Giant Steps] session.
CW: We originally did it. Lex Humphries went
on tour with Dizzy, and I went on tour with J.J.
Johnson. We had to leave town, and John had to
finish the album. We thought we could come
back and resume [completion of the album]. I
didn’t have any kind of foresight, let alone hindsight at that age. So, when we came back he had
finished it. That had just broken my heart – not
realizing that record companies have schedules.
In other words, we were the originals and then
he [Coltrane] got Tommy Flanagan and Arthur
Taylor.
JI: How did you meet John Coltrane and what
was your impression of his music? Did you perceive that that particular tune was of a landmark
nature – that there was something really unique
about it?
CW: Not landmark, just difficult. I really wasn’t
thinking landmark. Landmarks happen as land-
Baraka.
Tolliver and his sixteen piece Big Band will
be performing for the first time in Brooklyn at
this extraordinary benefit for Sistas’ Place. The
concert will feature the music of John Coltrane's Africa Brass.
Tickets are $40. For more information call
Sistas’ Place at (718) 398-1766.
Sistas' Place
456 Nostrand Avenue
Brooklyn, NY 11216
Phone (718) 398-1766org
www.SistasPlace.org
they want. So, it was never a discussion about
the music. And there were no rehearsals either, with Art Blakey there were no rehearsals.
It was just expected that I would know the
repertoire. It seems like every time I got a gig
in those days with one of those great innovators, there were always asking me, “who
would you like to play with,” or, “who should
we get for this particular movement?”

work under the best legitimate conditions as
possible, traveling and earning enough money
and working in great places with great people,
etc, but that is not easy to obtain sometimes. I’m
glad I got it sometimes. Thank you for your interest and encouragement.

marks in hindsight. You don’t realize that while
you’re in the middle of them. In hindsight, of
course I can see why, because I even declined
the solo on it [“Giant Steps“]. I couldn’t do anything with it, not at that speed. But ’Trane was
an incessant practicer. He practiced until he just
fell over on the bed, with the saxophone across
his chest, according to his wife. Lex and I went
over to his house unannounced a number of
times. Lex had his whole drum set with him.
Before we approached the door, you could hear
Coltrane in there playing. He had a compulsion
to finish this thing he had gotten, stumbled onto
or come upon in his practice because he was an
incessant student.
JI: What was it like working with him? What
was the nature of the recording session?
CW: He [Coltrane] was just a totally gentle
man, the likes of which I don’t think I’ve met
since. No jokes, just quiet confidence. Not a lot
to say. Quiet. Complimentary.

45
New CDs Received
This is a partial list of CDs Submitted To Jazz Inside Magazine
by Artists, Labels & Publicists — During July 2012
 Terry Bartolotta, Above The Clouds
 Corina Bartra, Quartet
 Roni Ben-Hur & Santi Debriano, Our Thing
 Jerry Bergonzi, Shifting Gears
 David Bixler, The Nearest Exit May Be Inside
Your
 Darryl Brenzel, The Re-(W)rite Of Spring
 Brighton Beat, Brighton Beat
 Brubeck Brothers, Lifetimes
 Peter Buck, Buck's Vibe 2
 Jonathan Butler, Grace and Mercy
 Ed Byrne, Conquistador
 Joe Carter, Both Side Of The Equator
 Kevin Coelho, Funkengruvem-The Joy of
Driving a B3
 Jeff Coffin, Into The Air
 Chick Corea & Gary Burton, Hot House
 Duduka DaFonseca, Jazz Exploration
 Eric DiVito, Breaking The Ice
 Dave Douglas, Be Still
 Jimmy Duran
 Anna Estrada, Volando
 Connie Evingson, Sweet Happy Life
 Satoko Fujii, Muku
 Grant Geissman, Bop! Bang! Boom!
 Michael Gibbs & NDR Big Band, Back In The
Days
 Tim Hain & Alan Glen, Gold Reserve
 Joel Harrison, Holy Abyss
 Ted Hefko, If I Walked On Water
 Fred Hersch, Alive At The Vanguard
 Hot Club Of Detroit, Junction
 Jazz & Fly Fishing, Season One - One Second
of Magic
 Max Johnson, Quartet
 Jumpin Jazz Kids, Jumpin Jazz Kids
 Sunny Kim, Painter's Eye
 Jay Lawrence, Sweet Lime
 Dwayne Litz, Count Your Blessings
 Max Marshall, Instant Camaraderie
 Pat Martino, Alone Together
 Mark Masters American Jazz Institute Ensem-
ble, Ellington Saxophone Encounters
 Monday Michiru, Soulception
 Marcus Miller, Renaissance
 Mobtown Modern Big Band, ReWrite Of
Spring
 Jimmy Mulidore, Jazz For The Ages
 Russ Nolan, Tell Me
 Sean O'Bryan Smith, Reflection
 Drew Paralic, Wintertime Tunes
 Stefano Pastor, Songs
 Positive Catastrophe, Garabatos, Volume 1
 Celia Ramsay, I'll Just Lie About It
 Ribouem, Jazz Griot
 Rippingtons, Built To Last
 Josh Rosen & Stan Strickland, Instinct
 Joe Sardaro, A Tribute To The Influence of
Anita O' Day
 Theo Saunders, When The Saints Go Out
 Yonrico Scott, Be In My World
 The Skinny, Dig On it
 Tommaso Starace, Celebrating The Music of
Michel Petrucciani
 Mike Stern, All Over The Place (Heads Up)
 Richard Sussman, Continuum
 Carol Turcotte, Here's To Life
 Oscar Utterstrom, Departure
 Florian Weber, Biosphere
 Alex Wyatt, There's Always Something
 Tarek Yamani, Ashur
 Jason Yeager, Ruminations
 Gato Libre, Forever

Straight-Up Professionals Delivering
Breakthrough Internet Marketing,
Comprehensive Online & Offline Media
& Marketing Campaigns & Reporting
46
215-887-8880
AUGUST – Local, Regional
Charlie Parker Festival: August 24-26, 2012
New York, NY
Marcus Garvey Park in Harlem.
August 3-5, 2012
Newport, RI
AUGUST – National / Canadian
Long Beach Jazz Festival
August 10th-12th, 2012
Long Beach, CA
www.longbeachjazzfestival.com
Markham Jazz Festival
August 16-19, 2012
Markham, Ontario, Canada
www.markhamjazzfestival.com
Satchmo Summer Fest
August 3-5, 2012
New Orleans, LA
www.fqfi.org/satchmosummerfest
Telluride Jazz Celebration
August 3-5, 2011
Telluride, CO
www.telluridejazz.com
AUGUST - International
Oslo Jazz Festival: August 15-20, 2011
Oslo, Norway
www.oslosjazz.no
Red Sea Jazz Festival: August 22-25, 2011
Eilat, Israel
www.redseajazzeilat.com
SEPTEMBER - Local and Regional
COTA Jazz Festival: September 7-9, 2012
Delaware Water Gap, PA
www.cotajazz.org
Lake George Jazz Festival: September 15-16, 2012
Lake George, NY
Artists: Emilio Solla Quintet; Sachal Vasandani; Warren
Wolf; Donald Harrison and Congo Square Nation; John
Tank & the Tin Palace Reunion Band; Steven Bernstein’s
Millennial Territory Orchestra; John Benitez with Donald
Harrison
SEPTEMBER & OCTOBER – National
Catalina Island Jazztrax Festival
October 4-7, 11-14, 18-21, 2012
Avalon, CA
www.jazztrax.com
Detroit International Jazz Festival
August 31,-September 3, 2012
Detroit, MI
Partial List of Artists: Sonny Rollins; Wynton Marsalis
Quintet; Pat Metheny; Chick Corea and Gary Burton;
Wayne Shorter Quartet; Terence Blanchard;
www.detroitjazzfest.com
Monterey Jazz Festival: Sept 21-23, 2012
Monterey, CA
Notable Performers: Eddie Palmieri Salsa Orchestra;
Melody Gardot; Gordon Goodwin’s Big Phat Band; Tony
Bennett; Jack DeJohnette; Bill Frisell; Esperanza Spalding; Ambrose Akinmusire; Pat Metheny Unity Band

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Corey Allen, piano; Oscar Castro-Neves, Ramon
Stagnaro, nylon-string guitar; Alex Acuña, Mike
Shapiro, Joel Taylor, drums; Rising Sun Orchestra (strings).
By Mark Keresman
Brian Bromberg
BROMBERG PLAYS HENDRIX – Mack
Avenue, www.mackavenue.com. Fire; Manic
Depression; Freedom; The Wind Cries Mary;
All Along the Watchtower; Foxy Lady; Hey Joe;
Crosstown Traffic; Spanish Castic Magic; Purple Haze.
PERSONNEL: Brian Bromberg, assorted
acoustic & electric basses; Vinnie Colaiuta,
drums.
IN THE SPIRIT OF JOBIM - Mack Avenue.
www.mackavenue.com One Note Samba; Wave;
Coastline Drive; Little Tune; Tristefinado; Corcovado; Cha Chika Chika Boom; Isn’t It Beautiful; Ray of Sunshine; Talia; Ellen; The Girl
From Ipanema.
PERSONNEL: Bromberg, basses; Airto
Moreira, vocals, percussion; Gary Meek, flute,
tenor saxophone; Olmaro Ruiz, Mitch Forman,
Jazz fans, it’s time to reorganize and recalibrate expectations and prejudices. While bass
ace Brian Bromberg is an established figure in
the smooth jazz sphere, it’s worth noting he
made his bones with Stan Getz (at age 19!) and
played smooth (Kazu Matsui, Dave Grusin, Nino
Tempo) as well as bop (Richie Cole, Horace
Silver) and fusion (Lee Ritenour) styles. With
these two simultaneous releases, Bromberg is
serving notice (as if he needed to) that he’s not
to be limited or stereotyped one bit—he’s paying
homage with two very different tribute set to two
titanic towers of music: rock guitar icon Jimi
Hendrix and seminal bossa nova songster Antonio Carlos Jobim.
Bromberg Plays Hendrix sticks to
Hendrix’s best-known hits and Bromberg plays
them pretty close to the originals. While Bromberg does engage in improvisation, stylistically
this is pretty much a rock album. Drummer Vinnie Colaiuta has a solid rock-like whomp but he
plays much busier and with lots more fills and
accents than most rock drummers. (Trivia: Origi-
MANUEL VALERA in August
New Cuban Express
Sunset Jazz in Lyndhurst
August 2, 2012, Westchester
Dafnis Prieto Sextet
August 4, 2012, Newport, RI
Oscar Stagnaro Group
Ensenada, Mexico
August 10, 2012
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nal Jimi Hendrix Experience drummer Mitch
Mitchell came from a jazz background…as did
Cream’s Ginger Baker and Yes/King Crimson
drummer Bill Bruford.) He features prominently
the piccolo bass, with which (thanks to some
electronic augmentation) he gets a VERY guitarlike tone. Bromberg is among those fourstringers (bassists) that can “transform” his axe
into a six-string-like lead instrument. On “Purple
Haze” Bromberg layers the bass lines giving
himself a “bottom” over which to dance upon—
some lines ripple like a bass, while a fuzzed-out
piccolo bass plays the melody and then segues
into some Nero-like blazing runs, following by
some thumping, sinuous joyous jiving bass delight. “Manic Depression” has an oh-so-fluid
searing solo, nimble and emotive.
Where Plays Hendrix stumbles somewhat
is, while the program is essentially instrumental,
some of the songs include vocal choruses (the
song’s chorus, sort-of-sung) that, frankly, are
kind of corny in that Joe Blow Big Band Plays
the Hep-est Hits manner. (In decades past, there
have been some truly embarrassing jazz and
middle-of-the-road musicians recording painfully earnest attempts to be “hip.”) While this set
is exceedingly enjoyable (especially if you’re a
Hendrix fan) Bromberg could’ve picked a few
less common chestnuts from the JH songbook
and taken more chances with the material. But at
the same time, he does (re-) capture the bracing
audacity of the source. Jazz snobs, be advised:
This isn’t a bunch of re-harmonized jazz versions of rock tunes—this set rocks.
Spirit of Jobim is almost the polar opposite
of the above but just as much fun. It’s a cool,
chilled-out, urbane, sultry kind of fun to be sure.
Bromberg’s bass is again a “lead” voice, but this
time out shares the spotlight with flute, acoustic
guitar, and piano (often in unison), and the
whole affair is buttressed by a tasteful string
section. The acoustic guitar is crisp and driving
(especially on “Coastline Drive,” also notable
for Bromberg’s Buster Williams-like solo), the
piano tuneful and spry, and rhythms are sunny,
undulating bossa nova.
Here, a bass is a bass—Bromberg astonishes with his virtuosity on “Tristefinado” but it
never (d)evolves into shallow haminess. As with
the Hendrix set, Bromberg encapsulates the
qualities that make the subject special—in this
case, appealing melodies, sophistication, and
immaculate (though not sterile) musicianship.
But Jobim finds Bromberg putting his own
stamp on the material (with nary a vocal in
range) while maintaining the essential bossa
nova groove-iness of the composer. While the
approach is somewhat orchestral in nature, there
are plenty of solos, but short to-the-point ones,
all the while keeping with the intimate nature of
Jobim’s manner.
It’s not really fair to compare these two
albums as they are truly different, with the unifying factors being Bromberg’s genuine affection
for the sources of his inspiration and the inspired
musicality he brings to each. Want a rush that’ll
rattle the walls at the “proper” volume? Get
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CD Reviews
Plays Hendrix. Want to savor a martini (shaken
not stirred) in a sun-drenched coastal scenario?
Get Spirit of Jobim.
Chick Corea
& Gary Burton
HOT HOUSE—Concord Jazz 33363. concordmusicgroup.com. Can’t We Be Friends; Eleanor
Rigby; Chega de Saudade; Time Remembered;
Hot House; Strange Meadow Lark; Light Blue;
Once I Loved; My Ship; Mozart Goes Dancing
PERSONNEL: Chick Corea, acoustic piano;
Gary Burton, vibes, liner notes; Bernie Kirsh,
engineer, producer; Greg Calbi, mastering; Bob
Cetti, studio assistant; Ilmar Gavilan, violin;
Melissa White, violin; Juan Miguel Hernandez,
viola; Paul Wiancko, cello
By Alex Henderson
No less than 40 years have passed since
Chick Corea and Gary Burton joined forces for
1972’s Crystal Silence, which was their first
musical encounter but not their last. Crystal
Silence went down in history as an artistic triumph, and the two of them have reunited from
time to time over the years. Hot House is a celebration of Crystal Silence’s 40th anniversary,
which is not to say that it is a carbon copy of
Crystal Silence.
There are parallels between Crystal Silence
and Hot House, certainly. Both are albums of
intimate post-bop acoustic piano/vibes duets, and
both are examples of how strong a rapport Corea
and Burton can enjoy when they join forces. But
while Crystal Silence focused on songs by
Corea, bassist Steve Swallow or pianist/organist
Carla Bley, Hot House favors material by a
wider variety of composers. The only Corea
original on Hot House, in fact, is the classicalinfluenced “Mozart Goes Dancing,” which is
also the only track on the album that isn’t strictly
an acoustic piano/vibes duet. “Mozart Goes
Dancing” unites Corea and Burton with the Harlem String Quartet, and that group enhances the
performance’s classical appeal.
But everything else on Hot House is a piano/vibes duet, and Corea and Burton’s rapport
is as strong as ever on introspective performances of material ranging from the Beatles’
“Eleanor Rigby” to Bill Evans’ “Time Remembered” to two Antonio Carlos Jobim standards
(“Once I Loved” and “Chega de Saudade,” a.k.a.
“No More Blues”). Given that both Corea and
Burton were sidemen for the late tenor saxophonist Stan Getz in the 1960s (although not at
50
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the same time), it is highly appropriate for them
to include two songs by Jobim (who, like Getz,
was a crucial figure in Brazilian jazz and the
bossa nova boom).
This CD has its share of standards; Ira
Gershwin and Kurt Weill’s “My Ship,” Tadd
Dameron’s “Hot House” and Kay Swift & Paul
James’ “Can’t We Be Friends” all fit that description. But Corea and Burton also embrace
some lesser- known material by well-known
improvisers, including Thelonious Monk’s
“Light Blue” and Dave Brubeck’s “Strange
Meadow Lark.” Neither of those tunes is a standard by any means; “Light Blue” is hardly as
famous as “Well, You Needn’t,” “Pannonica,”
“Epistrophy” or “In Walked Bud,” and “Strange
Meadow Lark” is hardly as famous as “In Your
Own Sweet Way” or “Blue Rondo à la Turk.”
Nonetheless, both are worthy of Corea and Burton’s attention, and both underscore the fact that
a jazz composition doesn’t have to be a standard
to be worthwhile.
It should be noted that many of the songs
chosen for Hot House were written by pianists
(who include Monk, Dameron, Brubeck and
Jobim). But according to Burton’s liner notes,
that is merely an interesting coincidence; when
Corea and Burton were picking material, they
didn’t think about the fact that pianists were
receiving so much attention from them.
These days, Corea and Burton both enjoy
elder statesman status in jazz; Corea is 71, while
Burton is 69. Neither of them has lost anything
in the chops department along the way, and both
are in fine form on this engaging celebration of
Crystal Silence’s 40th anniversary.
Bruce Cox
STATUS CYMBALS—brucecoxdrummer.com
Burno; Good Air; Whisper Not; Dark Matter;
Darn That Dream; Funky State of Mind;
Rafaelle; Evidence; Robbie-Jean; Les Rayons;
Demi; Night Dreamer.
PERSONNEL: Bruce Cox, drums; Abraham
Burton, saxophone; Aruan Ortiz, piano;
Gianluca Renzi; bass.
former and composing a number of the tunes
here too.
“Burno” is one of those Cox tunes that divulge his love for straight-ahead bop from the
outset. It’s kind of a modal track built on an offkilter asymmetric theme that soon blossoms into
a joyful and light free style piece. “Good Air” is
another original that begins with Burton’s understated tenor sax. He has a languid and lyrical
blowing technique that grabs you right away.
Cox constructs subtly in the background with
gentle cymbal washes and accents. Benny Golson’s “Whisper Not” follows, with the cool souljazz classic swinging effortlessly. In particular,
pianist Oritz really shines. “Dark Matter” is a
Core-tet composition and it is a loose and somewhat avant garde piece that utilizes the entire
group. It seems to be centered on exploratory
piano and snippets of bass, drums and sax that
weave in and out. The Jimmy Van Heusen
chestnut “Darn That Dream” returns to more
traditional fare. It’s a romantic ballad spotlighting Burton. His solos are exquisite and really
heartfelt. Cox supplies excellent support on
brushes as Renzi matches lyrical finesse on solos
as well. “Funky State of Mind” is yet another
journey into open modal playing. As one would
expect this cut is funky that recalls an acoustic
version of The Headhunters. Cox is the star here
with a steady and sure Mike Clark sort of
groove. This is a nice vamp and vehicle for the
group to simply throw down. “Rafaelle” is another Cox composition that continues that funkoriented feel. It contains a succinct and compact
melody that serves as an almost contemporary
jazz tune. Monk’s “Evidence” puts the emphasis
on odd meters and a slight salsa ambience. Cox
steps out here with vibrant accents and intricate
rhythms. He pushes the group to exceptional
solo heights. Burton plays playful, yet far reaching and dark. Ortiz responds in kind, concluding
with a brilliant and rubato solo by the leader. A
little down the list “Demi” is another Cox original that is naturally derived from the ground up.
The leader plays intrepid and relentless rhythms
patterns while holding down an infectious and
funky pocket. Burton has a translucent and shimmering flow to his playing ala Joe Henderson.
Wayne Shorter’s “Night Dreamer” wraps up this
fine album, with a track that seems to fit perfectly with the rest of the program. The push and
pull of their unorthodox time signatures dovetail
effortlessly. And Burton emotes with a tone that
is rich with depth and an underlying passion.
Highly recommended!
Randy Crawford
Joe Sample
By Eric Harabadian
Cox refers to his ensemble as the “BC
Core-tet” and, while the talented drummer is
certainly the leader, this is a group piece in every
sense of the word. Cox is a versatile percussionist steeped in tradition but also possessing fresh
musical perspective and vision as well. He seems
to draw from such creative touchstones as Paul
Motian, Elvin Jones and Art Blakey as a per-
LIVE—PRA Records 60312. 1255 Fifth Avenue, #7-K, New York, NY 10029. Web: PRARecords.com. Every Day I Have the Blues; Feeling
Good; Tell Me More and More and Then Some;
Rainy Night in Georgia; This Bitter Earth; Me,
Myself and I; No Regrets; One Day, I’ll Fly
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Away; Almaz; Street Life; Last Night at Danceland
PERSONNEL: Randy Crawford, vocals; Joe
Sample, acoustic piano; Niklas Sample, acoustic
bass; Steve Gadd, drums; Patrick Rains, producer; Paul Mitchell, producer; Bernie Grundman, mastering
By Alex Henderson
Singer Randy Crawford and pianist/
keyboardist Joe Sample have been working together on and off since the late 1970s, when she
was featured on the Crusaders’ R&B hit “Street
Life.” The two of them were reunited on some
studio albums in the 2000s (2006’s Feeling
Good and 2008’s No Regrets), and this 49minute live CD documents some of their musical
encounters during a late 2008 tour of Europe.
Neither Crawford nor Sample have ever been
jazz purists by any stretch of the imagination;
Sample is a jazz instrumentalist with soul, rock
and pop influences, while Crawford is primarily
an R&B singer but is quite capable of performing jazz when she wants to. And on Live, their
approach is jazz meets soul meets the blues.
Anyone who expects to hear Crawford
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scat-singing her way through Charlie Parker’s
“Ornithology,” John Coltrane’s “Giant Steps”
and other bop standards is going to be disappointed; nothing that straight-ahead occurs on
this album. But for those who hold jazz, soul and
the blues in equally high regard, these acoustic
Crawford/Sample performances are quite enjoyable. Crawford was 56 when Live was recorded
(Sample was 69), and it’s obvious that she hasn’t
lost anything as a singer. Crawford’s vocal chops
are still in fine shape whether she is turning her
attention to Clyde Otis’ “This Bitter Earth,”
Billie Holiday’s “Tell Me More and Then
Some,” Tony Joe White’s “Rainy Night in Georgia” or Memphis Slim’s “Every Day I Have the
Blues” (which is one of those standards that
frequently pops up in soul-jazz settings).
Crawford and Sample also tackle
“Street Life,” offering a performance than it is
more jazz-minded than the Crusaders’ famous
1979 version. “Street Life” continues to be the
song that Crawford is best known for, and it was
a natural choice for their European tour of 2008.
Another highlight of Live is “No Regrets,” which is an English-language version of
Charles Dumont’s Edith Piaf-associated “Non,
Je Ne Regrette Rien.” Piaf (easily the most famous French pop/cabaret singer of the 20th Century) didn’t write “Non, Je Ne Regrette Rien”
any more than Frank Sinatra wrote “My Way,”
but her performance of the song was so personal
and so autobiographical that it came to be recognized as her anthem (much like “My Way” was
for Sinatra). “Non, Je Ne Regrette Rien” has
even been adopted as an anthem by the French
Foreign Legion. Crawford and Sample, however,
don’t approach the standard as chanson or as
French cabaret; their interpretation is decidedly
soul-jazz. And instead of having the traditional
French accordion behind her, Crawford is quite
comfortable with an acoustic piano trio (which
consistents of Sample on piano, his son Nicklas
Sample on upright bass and Steve Gadd on
drums).
That all-acoustic approach is quite a
contrast to the heavily electronic, hip-hopinfluenced productions of modern R&B. Crawford and Sample wanted something more organic, and that old-school outlook serves them
well.
Again, Live doesn’t pretend to be an
album of hardcore vocal jazz; R&B and the
blues are equally important parts of the equation.
Most of Crawford’s solo albums have more in
common with Gladys Knight, Phyllis Hyman or
Roberta Flack than they do with Carmen McRae
or Abbey Lincoln. But when she teams up with
Sample these days, the two of them have fun
finding that place where jazz, soul and the blues
intersect. And their broad-mindedness yields
consistently pleasing results on this live album.
Anna Estrada
VOLANDO –www.AnnaEstrada.net. Wild is the
Wind; Cuando Vuelva a Tu Lado; Happiness is a
Warm Gun/Want You; Mais Que Nada; Paciencia; Dueno De Mi Corazon; Al Empazar El Beguin (Begin the Beguine); Everybody’s Talking;
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Pure Imagination; E Preciso Perdoar.
PERSONNEL: Anna Estrada, vocals, coproducer; Jonathan Alford, Rich Kuhns, keyboards; Charlie McCarthy, tenor sax, flute; Ray
Loeckle, tenor sax; Al Bent, trombone; Ray
Scott, guitar, co-producer; Tommy Kesecher,
vibes (7,9), marimba (3); Alex Baum, Peter Barshay, bass; Phil Thompson, Beri Puhlovski (7,9),
drums; Michaelle Goerlitz, percussion; Edgardo
Cambon, Sandy Cressman, background vocals
(4,6).
By Mark Keresman
San Francisco Bay Area-based tri-lingual
jazz vocalist Anna Estrada has fashioned a songcycle of sorts wherein she finds commonality
(and more) in songs from rock, the Great
(Anglo-) American Songbook, and Brazilian
sources. Her third album, Volando is an eclectic
but strongly unified collection that ought to cement her reputation as an ace interpretive singer.
Estrada, singing in English, Spanish, and Portuguese, has a melodious warble not unlike a huskier-sounding Astrid Gilberto.
“Cuando Vuelva…” features some wailing,
searing sax, a driving, bubbling rhythm, and Ms.
Estrada singing with plenty of sass and confidence, riding the cadences of the song like she
was born to sing it. With the Beatles medley she
applies a bit a extra gravitas to the words—not
that to denigrate the Lennon/McCartney songs
but Estrada sings “Happiness Is a Warm Gun”
with less sarcasm but more of a hard-won wisdom that’s more Edith Piaf than Astrid Gilberto.
But “I Want You” she essays in an unaffectedly
lusty manner, the accordion solo therein reflecting influence of the temperate tangos of Astor
Piazzolla. “Dueño de mi Corazon” is an original
that puts the “romance” beck into romantic balladry, combining the atmospherics of a Mexican
cantina (acoustic guitar picking) with a Madrid
jazz club (shimmering vibes). Estrada sings with
gentle but mature poise and lifting swing but
nary a trace of haughtiness.
The big band-era standard “Begin the Beguine” (writ by Cole Porter) gets a sultry, languid run-through that’s the next-best-thing to a
south-of-the-equator vacation. The restless nature of Fred Neil’s “Everybody’s Talking” (best
known as a hit by Harry Nilsson, from the film
Midnight Cowboy) gets an appropriately cosmopolitan reading that’s somewhere betwixt samba
and salsa, Estrada’s vocals maintaining the
song’s wistful, folk-y, king/queen of the road
essence while taking it on a trip through the
Western hemisphere. “Mais Que Nada” was a
sleek pop hit for Sergio Mendes & Brasil 66 in
the mid-1960s—here Estrada transforms it into a
scintillating percussion-rich rainforest panorama.
There are not a lot of freewheeling solos
here—the focus is on songs, with Estrada and
company imbuing each with its own distinctive
personality. The production style is rich in detail,
on the verge of being cluttered but not quite—
each track goes on as long as it needs to with no
excess whatsoever. As Mendes did in the ‘60s
and ‘70s, Estrada presents a rich mélange of
styles integrated into a nigh-upon-seamless
whole, wherein jazz and assorted pop styles
(sidestepping the sterile slickness of the current
pop mainstream) that serve the singer and the
song.
Amina Figarova
TWELVE
–
In
+
Out
www.inandoutrecords.com. NYCST; Another
Side of the Ocean; Sneaky Seagulls; Shut Eyes,
Sea Waves; On the Go; Isabelle; Make It Happen; Twelve; New Birth; Morning Pace; Leila;
Maria’s Request.
PERSONNEL: Amina Figarova, piano; Bart
Platteau, flutes, ocarina; Marc Mommaas, soprano & tenor saxophones; Ernie Hammes,
trumpet, flugelhorn; Jerden Vierdag, bass; Chris
“Buckshot” Strik, drums.
By Mark Keresman
Pianist and composer Amina Figarova was
born in Azerbaijan in 1966. She studied at Berklee, resides in the Netherlands, and recorded
Twelve this year in NYC, appropriately her
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twelfth album with 12 tasty compositions
therein. Twelve is squarely in the vein/tradition
of compactly arranged, straight-to-the-heart
post-bop mode of Tadd Dameron, Gil Evans,
and Randy Weston. There are freewheeling and
compelling solos, but they’re reigned-in, in
“service” to the composition (as opposed to the
soloists’ egos).
“Shut Eyes, Sea Waves” is perhaps the
exemplar of this fine album—while “only” a
sextet, Figarova’s arrangements give this lovely,
pensive ballad an orchestral hue. The exquisite
voicings of the flute and horns together truly
make it seem as sumptuous (albeit in a scaleddown way) as soundtrack music by Duke Ellington or Dmitri Tiomkin. “On the Go” captures a
vivid ebb-and-flow vibe, alternating brassy cries
and softly funky swagger with introspective yet
surging piano work and pulsing languor,
strongly reminiscent of Speak Like A Child-era
Herbie Hancock, perfectly capturing the way
urban life can be both deliberate and energetic.
“Isabelle” is a heartrending ballad, brilliant in its
restraint and simplicity—Ernie Hammes has the
genial, tender cry of Tom Harrell and Randy
Brecker and Marc Mommaas soprano trills and
wails like a bird of prey climbing toward the
heavens.
“Make It Happen” is a stirring slice of hard
bop with some overtones of the crackling late
‘50s soul-jazz style(s) of Horace Silver and Art
Blakey’s Messengers—the horns literally sound
“blue” (as in Blue Note, but not in any sort of
overly imitative way). “New Birth” features
some husky, bear-hugging tenor from Mommas
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and Figarova going to town with a swinging solo
that nods to such bop swells as Duke Jordan and
Sonny Clark (sans any retro-ism).
What is most inspirational about Figarova’s
Twelve is the arrangements. Hers is a sextet that
can seem, oddly enough, both larger and smaller
in size, with the richness of a big band and the
intimacy of a trio or quartet. While Twelve is
indeed very fine, it feels a little too reticent—this
writer wishes there was a little more vim and
vroom, that Figarova’s combo would cut loose
and wail a bit. But as an example of the midsized group arranger’s artistry, this set shows her
as a peer of Gil, Tadd, and Benny Golson.
Allan Harris
& Takana Miyamoto
CONVERGENCE—Love Productions Records
6426. My Foolish Heart; Days of Wine and
Roses; But Beautiful; Waltz for Debby; You
Don’t Know What Love Is; Young and Foolish;
The Touch of Your Lips; You Must Believe in
Spring; Some Other Time; We’ll Be Together
Again.
PERSONNEL: Allan Harris, vocals; Takana
Miyamoto, piano.
By Eric Harabadian
This pairing was inspired by the albums
recorded with Tony Bennett and Bill Evans in
the ‘70s. The Tony Bennett/Bill Evans Album and
Together Again were iconic in the way those two
masters distilled classic jazz-inspired songs
down to their innate essence and beauty. With a
similar approach we have Harris and Miyamoto
who do a more than admirable job with this
timeless program of Great American Songbook
gems.
Harris is a singer that embodies a lyric and
can effortlessly interpret the emotion and intent
of the composer. Miyamoto not only reacts to
Harris’ phrasing and nuance but interjects inventive clusters of ideas which take a tune into uncharted territory. Opening their program with
“My Foolish Heart,” Harris has a resonance to
his voice that sets a romantic mood and captivates from the outset. Miyamoto comps supportively and alternates slight rhythm patterns, giving the piece an extra lift. “Days of Wine and
Roses” is another oft-recorded classic that
sounds fresh and transformed here. This piece
has been done by many with a melancholic lilt.
But this inventive duo gives it much-needed
bounce and spirit. “But Beautiful” follows as
Harris holds dearly onto every word. He gives
the listener time to contemplate the message.
Miyamoto underscores the lyrics with cascading
runs and deep arpeggios that arc and crescendo
into an invigorating finale. The Bill Evans stan-
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dard “Waltz for Debby” is given a reverent and
revelatory reading here. The bittersweet tale of a
girl growing into maturity and leaving the nest
was never more poignant and heartfelt. The feel
is buoyant and free, with a wistful and dreamy
quality sure to move one to shed a tear or two.
There is a certain level of maturity in the way
Harris imparts the worldy wisdom of “You
Don’t Know What Love Is.” The mood is somewhat bluesy and he invests a lot of emotional
weight behind the song’s sage advice. ““Young
and Foolish” is taken at a slow and intimate
pace. It is a ponderous and reflective account of
days gone by for a couple. Harris is believable as
if he is speaking one on one to his significant
other. Miyamoto lightly flows with a translucent
and clearly empathic style. Harris begins “The
Touch of Your Lips” with a somewhat reserved
and semi-accapella intro. Miyamoto comes in
atempo and kicks it up a notch with some strong
swing. When she returns from her solo they
modulate up, increasing the drama and excitement of the piece. “You Must Believe in Spring”
is a beautiful and poetic seasonal number that
celebrates hope, joy and rebirth. Harris sings in
well measured phrases, taking his time and giving the words room to breathe. Miyamoto adopts
a similar approach to her melodic and solo ideas.
This is truly a wonderful meeting of musical
hearts and minds. “Some Other Time” is somewhat related to the previous tune in its uplifting
message of hope and renewal, but it’s mixed
with the bittersweet as well. The disc concludes
with “We’ll Be Together Again.” It is a blend of
major and minor flavors as well as the blues and
a sophisticated harmonic structure. Miyamoto
truly dominates here, with gradual modulations
that are tasteful and thoroughly engaging.
The team of Allan Harris and Takana Miyamoto is an exciting and essential entity in modern jazz that will, hopefully, make more beautiful music together for years to come.
Al Jarreau
and the Metropole Orkestra
LIVE—Concord Jazz 33858. 100 N. Crescent
Drive, Beverly Hills, CA 90210. Web: concordmusicgroup.com. Cold Duck Time; Jacaranda
Bougainvillea; Flame; Agua de Beber; Something That You Said (A Remark You Made);
We’re in This Love Together; I’m Beginning to
See the Light; Midnight Sun; Scootcha-Booty;
After All; Spain (I Can Recall)
PERSONNEL: Al Jarreau, vocals; Vince Mendoza, producer, conductor, arranger; Joe Turano;
producer; Ronald Kook, acoustic piano; Peter
Tiehuis, guitar; Aram Kersbergen, bass; Martijn
Vink, drums; Roy Bruinsma, trumpet; Martjin de
Laat, trumpet; Ruud Breuls, trumpet; Marc
Scholten, saxophone; Paul van der Feen, saxophone; Leo Janssen, saxophone; Nils van Haften,
saxophone; Max Boeree, saxophone; Martin van
Leer, trombone; Vincent Veneman, trombone;
Jan Bastiani, trombone; and orchestra.
By Alex Henderson
Like George Duke, Patrice Rushen, Roy
Ayers and George Benson, Al Jurreau started out
performing straight-ahead acoustic jazz but
ended up enjoying his greatest commercial success in R&B. Jurreau had some major R&B/
adult contemporary hits in the 1980s, including
“We’re in This Love Together,” “Mornin’,”
“After All” and the theme from the ABC television series “Moonlighting.” But Jurreau never
abandoned vocal jazz; in fact, some of the albums he has recorded in the 21st century have
been jazz-oriented, and this one is a good example. Recorded live at the Theater aan de Parade
in the Netherlands in April 2011, this CD finds a
71-year-old Jurreau joining forces with the
Metropole Orchestra (a Dutch jazz institution
that has been around since 1945, albeit with
different lineups over the years). Vince Mendoza, who co-produced this album, serves as the
orchestra’s conductor. And those who prefer to
hear Jurreau as a jazz singer rather than as a
commercial R&B/adult contemporary singer will
be happy to know that jazz is Live’s dominant
ingredient. R&B, adult contemporary and rock
are all part of the equation, but Live is a jazz
vocal album more than anything.
Jurreau does perform a few of his commercial hits of the 1980s with the Metropole, including “We’re in This Love Together” and the bal-
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lad “After All” (he doesn’t perform “Mornin’”).
Those R&B/adult contemporary performances
are pleasant enough, but it is on the straightahead jazz selections that Jurreau really shines
and lets loose. The veteran singer is in very good
form on inspired performances of Duke Ellington’s “I’m Beginning to See the Light,” Lionel
Hampton’s “Midnight Sun” and Antonio Carlos
Jobim’s “Agua de Beber,” which is an appropriate choice in light of his long-time fondness for
Brazilian music (Jurreau included Jobim’s “One
Note Samba” on his first album back in 1965).
The 1980s often found Jurreau being compared to Peabo Bryson and Lionel Richie (two of
the more middle-of-the-road R&B/pop artists of
that decade), but his roots were Eddie Jefferson,
King Pleasure, Babs Gonzales and Jon
Hendricks. His roots were vocalese, scat singing
and bop. And he shows his Jefferson/Pleasure/
Gonzales/Hendricks heritage on Chick Corea’s
“Spain,” Eddie Harris’ “Cold Duck Time” and
Joe Zawinul’s “A Remark You Made,” all of
which were written as jazz instrumentals but
received lyrics from Jurreau along the way. Zawinul wrote “A Remark You Made” when he was
co-leading 1970s fusion band Weather Report
with saxophonist Wayne Shorter; that fusion
gem isn’t as straight-ahead as some of the other
jazz performances on this CD, but even so, it is
quite faithful to jazz’ spirit of improvisation. The
fact that “A Remark You Made” has some rock
energy doesn’t mean that it doesn’t have jazz
appeal as well, and Jurreau is no less spontaneous-sounding on “A Remark You Made” than he
is on “I’m Beginning to See the Light,”
“Midnight Sun” or “Agua de Beber.”
Some jazz enthusiasts will lament the fact
that Jurreau’s encounter with the Metropole
Orchestra is only about 70-80% jazz instead of
100% jazz. But then, Jurreau never claimed to be
a purist or a jazz snob. And more often than not,
he makes ample use of his jazz chops on this
enjoyable CD.
Tony Monaco
CELEBRATION – Chicken Coup Records
www.B3Monaco.com. Daddy Oh; Aglio e Olio;
Indonesian Nights; Happt Sergio; Unresolved;
You Rock My World; Just Give Thanks and
Praise; Bull Years; Ninety Five;; Been So Nice
To Be With You; I’ll Remember Jimmy; Called
Love; To BBe Continued; Acid Wash; Backward
Shack; Ya Bay Bee; Ashleen; Katarina’s Prayer;
Pasta Faggioli; Takin’ My Time; Blues For T;
Rudy and the Fox; Slow Down Sagg; Just Give
Thanks and Priase (instrumental).
PERSONNEL: Tony Monaco, Hammond B3
organ, vocals; Mary McClendon, vocals; Joey
DeFrancesco, organ; Robert Kraut, Ted Quinlan,
Bruce Forman, Derek DiCenzo, guitar; Asako
Itoh, piano; Ken Fowser, Donnie McCaslin,
saxophone; Kenny Rampton, trumpet; Sarah
Morrow, trombone; Vito Rezza, Louis Tsamous,
Adam Nussbaum, Brian Landham, drums; various choirs.
By Mark Keresman
To paraphrase somebody or other, organ
combo albums are like pizza: Even when they’re
merely okay, they’re good, as they have a certain
amount of almost-guaranteed satisfaction aspect
about them. Fortunately, Tony Monaco’s latest
opus Celebration is more that merely okay—it
may be (hyperbole alert) a career pinnacle. Part
of the album features his Columbus-based
“power trio” of Jackson and DiCenzo, while the
rest has some very special guests.
Monaco was, like so many other jazz organists, attracted to jazz organ via Jimmy Smith, and
was to some extent mentored by him, along with
Joey DeFrancesco (who makes an appearance
here). By age 16, Monaco got to sub for legendary player Hank Marr in and around Columbus,
Ohio. As it so often does, one thing leads to
another, and Monaco got to tour with guitar icon
Pat Martino, record with Eric Neymayer and
Mark Elf, and a series of albums as a leader on
Summit. Celebration is just that—a double-disc
celebration and encapsulation of his career and
love for jazz organ. Disc one has its share of
burners, such as the genially seething “Daddy
Oh” and “Aglio e Ollio.” Monaco has got the
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54-59
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hearty density and swing of Smith and the
chunky, new-clunky blues-rich approach of
Jimmy McGriff. “Aglio…” has some surging,
slightly Hank Mobley-esque saxophone from
Ken Fowser and positively incendiary soloing
from Monaco. Without any overt pandering,
“Indonesian Nights” and “You Rock My
World” (the latter with some sparkling piano
from Asako Itoh) have just a wee touch of hooky pop melodiousness—the latter evokes the Ashford & Simpson hit “Solid (As a Rock).” (Act
now, jazz radio programmers!) “Unresolved”
finds Monaco laying down soothing, billowing
cushions of organ—exquisite! One of the things
Monaco celebrates is the roots of the soul-jazz
style—“Just Give Thanks and Praise” is a
straight-up gospel shout number with a rousing
vocal by Mary McClendon, but with some sharp,
swinging jazz passages and crisp, irresistible
swing from drummer Reggie Jackson. “Been So
Nice…” features key sounds so dense you could
maybe dance atop them.
Disc 2 kicks off with “Acid Wash” a tip-ofthe-hipster’s hat to the Blue Note sound of the
early 1960s that doesn’t go overboard trying to
recreate that iconic sound—it’s got old-schoolfunky swagger and groovy crackling bebop solos, capturing the essence of that label’s glory
days without imitation. “Ashleen” has sumptuously rich slow blues playing evoking the rawer
side of soul-jazz’s roots—Monaco’s solo here
gets an eerie, high, almost human wail here.
“Katarina’s Wail” has a confluence of blues,
gospel, and lounge cool—Mr. Monaco wails as
if this was going to be his last-ever recording
while never going to excess. “Slow Down Sagg”
has a more modern funk sound…that’s to say,
more late 1960s/early ‘70s, with some sharp
guitar riffing that’d be at home on a James
Brown side from that period, plus more fromBeyond organ-ic wails. Elsewhere, TM dips into
and pays tribute to his Italian roots (as you might
glean from certain song titles.
Chitlin’ circuit R&B, cool lounge vibes,
foot-tapping, heart-pump soul-jazz cooking,
excursion into gospel, Italian melodies, pop flair,
and wailing hard bop—it all comes together here
in this gorgeously sprawling, good-time-rool set.
First-class show, Mr. M.
Ivo Perelman,
Matthew Shipp
and Gerald Cleaver
THE FOREIGN LEGION—Leo Records 643.
16 Woodland Avenue
Kingskerswell, Newton Abbot TQ12 5BB,
United Kingdom. Web: leorecords.com. Mute
Singing, Mute Dancing; An Angel’s Disguiet;
Paul Klee; Sketch of an Wardrobe; An Abstract
Door
PERSONNEL: Ivo Perelman, tenor saxophone,
producer; Matthew Shipp; acoustic piano; Gerald Cleaver, drums; Leo Feigin, producer; Neil
Tesser, liner notes; Jim Clouse, engineer; Enid
Farber, photography; Lora Denis, art work
By Alex Henderson
56
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Friday, August 03, 2012 02:24
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Larger Idea Never Returns To Its Original Form”
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page 1
Thursday, March 29, 2012 10:04
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In June, the British avant-garde jazz
label Leo Records simultaneously released two
very different albums by Brazilian tenor saxophonist Ivo Perelman: The Passion According to
G.H. and The Foreign Legion. While The Passion According to G.H. unites Perelman with the
Sirius Quartet (a string quartet) and has a strong
Euro-classical influence, The Foreign Legion is
an acoustic trio effort with pianist Matthew
Shipp and drummer Gerald Cleaver (no bass is
used). Perelman has recorded plenty of pianoless
albums along the way; pianoless recordings are
not uncommon in avant-garde jazz. But pianism
is a crucial part of the equation on The Foreign
Legion, which finds Perelman and Shipp interacting in a way that recalls John Coltrane’s interactions with Alice Coltrane during the last few
years of his life.
Although Perelman is quite distinctive and
individualistic, he has his influences—and Albert Ayler and post-1964 Coltrane are at the top
of the list. It was during the mid-1960s that Coltrane switched from modal post-bop to atonal
free jazz; pianist McCoy Tyner didn’t care for
that change of direction and left Trane’s employ,
which is how Alice ended up becoming his new
pianist. Trane needed a pianist who could keep
up with his scorching, brutal atonality and wild
Jazz Lovers
Heaven
free-form improvisations; she worked out perfectly. Similarly, it takes a special pianist to keep
up with Perelman when he is turning up the heat
and letting the dissonance flow, and Shipp has
no problem keeping up with Perelman when he
screams and roars passionately on “Sketch of an
Wardrobe,” “Mute Singing, Mute Dancing,” “An
Abstract Door” and “An Angel’s Disquiet.” Not
only is Shipp not intimidated by Perelman’s
dissonance—he welcomes it, and the two of
them enjoy the type of strong chemistry that
characterized John & Alice Coltrane’s interactions from 1965-1967. Gerald Cleaver is a vital
part of the equation as well; his drumming is
very much in sync with Perelman’s explosive
tenor and Shipp’s sympathetic pianism.
But as heated as things often become on
The Foreign Legion, this December 2011 recording is not as extreme or unforgiving as some
of the albums that Perelman has recorded in the
past. Perelman, like Ayler, Charles Gayle and
post-1964 Coltrane, can be a real firebrand on
his instrument—and some of his albums have
been absolutely ferocious. Yet The Foreign Legion, for all its intensity, offers a great deal of
nuance and doesn’t quite have the take-noprisoners aesthetic that Perelman has sometimes
favored in the past. In fact, the moody, reflective
“Paul Klee” uses so much space that it could
almost be mistaken for something the Chicagobased Association for the Advancement of Creative Musicians (AACM) would do.
Back in the 1960s, AACM members like
Roscoe Mitchell, Muhal Richard Abrams and
Anthony Braxton championed a kinder and gentler type of avant-garde jazz that made extensive
use of space and was a departure from the
scorching density of Ayler, pianist Cecil Taylor
and post-1964 Coltrane. The AACM school of
outside improvisation tended to be contemplative rather than confrontational, and the way that
Perelman, Shipp and Cleaver use space on “Paul
Klee” does have a somewhat AACM-ish appeal
(which, as a rule, is not the type of thing one has
expected from Perelman).
This 46-minute CD isn’t Perelman’s first
encounter with Shipp. They have worked well
together in the past, and their reunion yields
consistently appealing results on The Foreign
Legion.
Mike Stern
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Jazz Listening,
58
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Carlock, drums; Lionel Cordew, drums; Al Foster, drums; Bob Franceschini, saxophone; Kenny
Garrett, saxophone; Dave Holland, bass; Anthony Jackson, bass; Tim Keiper,percussion;
Tom Kennedy, bass; Will Lee, bass; Bob Malach, saxophone; Chris Potter, saxophone;
Esperanza Spalding, bass and vocals; Leni Stern,
rhythm guitar and N’goni Ba; Kim Thompson,
drums; Dave Weckl, drums; Victor L. Wooten,
bass.
By Eric Harabadian
All Over the Place is a most appropriate
title for this masterwork of an album. Since his
days in the early ’80s as a member of Miles
Davis’ ensemble, Mike Stern has established
himself as, not only a guitarist with an original
composing style and an individual sound, but a
great leader in his own right. On his latest he’s
assembled an all-star cast of jazz heavyweights
and has written a fresh batch of tunes that bring
out the best in everyone.
“AJ” takes off in a relaxed in-the-pocket
fashion. It’s a kind of fusion piece where Stern
plays a bright and serpentine melody in unison
with Potter’s stellar sax work. It’s mysterious,
angular head and inventive solos prepare the
listener for one adventurous ride! Africanflavored “Camaroon” features Bona on bass and
elastic vocals. It’s a very dynamic and upbeat
track fostered by Weckl’s vibrant drumming.
Stern has a smooth yet sharp tone that really cuts
through in a ebullient and majestic way. “Out of
the Blue” is a nice gliding swing kind of tune.
Breacker and Stern trade off as both play solos
with an arc that build to great heights in service
of superb melody. “As Far as We Know” downshifts as a departure into ballad territory. Here
Stern picks up a nylon string acoustic guitar for
something that is tranquil and hypnotic.
Esperanza Spalding provides wordless angelic
vocals and steady acoustic bass. “Blues for Al”
is dedicated to drummer Al Foster, who also
plays on this track. Legendary bassist Dave Holland joins them for a slightly unorthodox blueslike arrangement. Jim Beard, who produced the
album as well as plays keyboards on all eleven
tracks, adopted a Monk-ish comping style that
truly defines the piece. “OCD” follows and is
essentially a free form burner. Stern pulls out all
the stops here. “You Never Told Me” is another
sweet ballad that offsets the disc in an engaging
way. “Half-Way Home” is a reworked jazz/funk/
blues amalgam. Stern screams on his Pacifica
electric axe while Victor Wooten makes one of
his best guest appearances in years. “Light” has
a bright and pleasant Bahamian feel. Weckl
really locks it down here. Franceschini wails,
ALL OVER THE PLACE—Heads Up International HUI-33186-02. AJ ; Cameroon ; Out of
the Blue ; As Far as We Know; Blues for Al;
OCD; You Never Told Me; Half Way Home;
Light; Flipside; All Over the Place.
PERSONNEL: Mike Stern, guitars; Victor Bailey, bass; Jim Beard, keyboards; Richard Bona,
vocals and bass; Randy Brecker, trumpet; Keith
“The welfare of
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“Effective leadership
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with a deep and robust sax presence. “Flipside”
is a laid-back funky loose bop tune. An intricate
and well-developed theme inspires equally intrepid and challenging solos from Stern and
saxophonist Malach. On title track “All Over the
Place” the melody dances all over the place like
a ping pong ball. Stern’s heavily distorted electric leads set this one ablaze. In the middle of the
track the dynamics dip down for a cutting contest between Beard on acoustic piano and Malach’s mighty tenor work.
Mike Stern is, indeed, a gifted and inventive musician that continues to bring his “A”
game to every project he is involved with.
59
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Noteworthy Performances
CEDAR WALTON
Dizzy’s Club: August 7-12, 14-19
For over 40 years, pianist Cedar Walton has enjoyed an active
career, which never seems to slow down. Maintaining a nonstop itinerary, Walton recorded and performed with Art Blakey,
Joe Henderson, Dexter Gordon, George Coleman, Freddie
Hubbard, and innumerable other leading stylists for more than
four decades. He led and recorded with his group Eastern
Rebelllion during the 1970s and 80s along with his long time
collaborators, band bassist Sam Jones and drummer Billy
Higgins. Walton is also a noted composer whose songs,
“Bolivia”, “Clockwork” and others are staples in the jazz repertoire.
Dizzy’s Club: 5/24-5/29
ALVIN QUEEN
Jazz Standard, August 21-22
CHARLES TOLLIVER
www.jazz966.com
Africa Brass Big Band
Jazz 966 (966 Fulton St., Brooklyn): August 17
www.JALC.org/dccc
A native of Mt. Vernon, now living in Switzerland, this
consummate drummer leads a stellar group of musicians including Melvin Sparks, Leon Spencer, Javon
Jackson, Joe Magnarelli - for four days at the Jazz
Standard. Queen has played and recorded with a
Who’s Who of jazz stars in his 40+ year career including noteworthy stints performing and recording
with Horace Silver, George Benson, Oscar Peterson and numerous others. Three of
his recordings are available on Justin-Time Records. When not performing he studies
karate and photographs the Swiss Alps.
After attending Howard University as a pharmacy
student in the early 1960s, the Florida native elected
to pursue a career in music and moved to New York.
In 1964, he recorded with Jackie McLean for Blue
Note and quickly became one of the most highly
respected young trumpeters. In 1971, he founded
Strata East Records with pianist Stanley Cowell,
producing a prolific output of music. In the last several years, he has re-emerged onto the
jazz scene, recording two albums with his big band and garnering a Grammy nomination
for Best Large Jazz Ensemble.
RON CARTER BIG BAND
Jazz Standard: Aug 28-Sep 2
He is frequently noted for the integral role he played in the
rhythm section of Miles Davis’ second great quintet in the
mid 1960s, along with Herbie Hancock and Tony Williams.
Carter has appeared on over 2,500 albums since his debut
on the jazz scene in the early 1960s, after graduating from
the Eastman School of Music. An accomplished bassist and
cellist, he has released albums as a leader for the Blue
Note and CTI labels. His performance and recordings credits are a veritable who’s who of jazz including Sam Rivers,
Freddie Hubbard, Lee Morgan, Wayne Shorter, Kenny Barron, Stanley Turrentine, Joe
Henderson, McCoy Tyner and many more.
LEE KONITZ | Enfants Terribles
www.BlueNote.net
with Bill Frisell, Gary Peacock & Joey Baron
Blue Note: August 15-19
Hailing from Chicago, the alto saxophonist is most often cited for
his influence and contributions to the style referred to as Cool
Jazz in the late 1940s and early 1950s. While everyone else was
overwhelmingly influenced by Charlie Parker at the time, Konitz
developed his own sound. He appears on the landmark album by
Miles Davis entitled The Birth Of The Cool. He also had developed a long-time association performing with pianist and educator Lennie Tristano. Konitz has continuously evolved throughout his career having traversed musical territory as diverse as bebop and open form or avant-garde.
MARKSHALL GILKES
www.JALC.org/dccc
Dizzy's Club Coca-Cola: August 6, 7:30 and 9:30 PM
Sound Stories CD Release Party. Trombonist-composer
Marshall Gilkes is one of the most sophisticated new musicians on the scene. After living and working in New York for
twelve years, Gilkes moved to Cologne, Germany where he
performs with the award-winning WDR Big Band. He comes
to Dizzy's Club Coca-Cola to celebrate the release of Sound
Stories, an auspicious quintet album that sees Gilkes taking his innovative composing and
lyrical, hard-swinging soloing to new levels of excitement and refinement. He's joined on the CD
and in concert by tenor saxophonist Donny McCaslin, pianist Adam Birnbaum, bassist Yasushi
Nakamura, and drummer Eric Doob. Gilkes is a distinctive composer of persuasive narrative
power and a soloist with boundless melodic appeal.
JOE ALTERMAN
www.jalc.org/dccc
Give Me The Simple Life CD Release Party
Dizzy's Club Coca-Cola: 8/27, 7:30 and 9:30 PM
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With a healthy admiration for the lyrical masters of the past, prodigious piano chops, and a strong compositional voice, Joe Alterman
has announced his arrival as a player to be reckoned with on Give
Me The Simple Life. Comfortable in the 1950s jazz idiom popularized by legends such as Errol Garner, Alterman never sacrifices his
own ideas for the sake of tradition. His playing serves to revitalize
the familiar, rekindling memories of why you started listening to jazz
in the first place. Here he's joined by bassist James Cammack,
drummer Gregory Hutchinson and saxophonist Houston Person. Says Person, one of Alterman's
mentors and a contributor to the album: "Joe has a great sense of what is most meaningful in the
history and tradition of our music and a real solid musical vision of where he wants to take it." We so
agree!
CURTIS LUNDY
www.setaififthavenue.com
Bar On Fifth: August 13-18
Internet Marketing For The Link-Building, Traffic-Driving,
Lists & Leads to Power Your Business & Your Future
MusicMarketingDotCom.com P.O. Box 30284 Elkins Park, PA 19027
CALL: 215-887-8880
Visit
www.JazzNewsWire.com
60
Jazz Inside-2012-08_060 ...
page 2
The bassist emerged onto the scene as an integral
member of vocalaist Betty Carter’s group in the
1970s. He is a composer, producer, choir director
and arranger. Over the years he has performed and
recorded with such noteworthy jazz artists as John
Hicks, Bobby Watson, Steve Nelson and Johnny
Griffin. As a leader Lundy has release JIust Be Yourself (1988), Against All Odds (1999) and Purpose
(2002) - which feature pianists John Hicks and Anthony
Wonsey. His sister is vocalist Carmen Lundy.
Magenta
Yellow
Black
Cyan
He’s available now! Call Steve’s cell at 630-865-6849.
THE Worldwide Resource for
Drumming Professionals | Hobbyists
Studios | Collectors | Schools
Personal service, seasoned expertise, and an extensive and exciting
inventory of high-end custom drums,
vintage drums, cymbals and accessories
make Maxwell’s THE place for professional
drummers and drum lovers around the
world. Come visit our anchor store in
Manhattan, our new site near Chicago, or
just explore the many sound, photo files,
and videos on our website. You’ll discover
why Maxwell’s is the go-to resource
for a growing community of working
musicians, collectors, studios, producers,
engineers, schools, and universities.
www.maxwelldrums.com
Serving the
Community of
Professional
Drummers and
Drum Lovers
Midtown Manhattan 723 Seventh Avenue, 3rd Floor
New York, NY 10019 Ph: 212-730-8138 Hours: 11–7 M–F; 11–6 Sat
Iroquois Center 1163 E. Ogden Avenue, #709
Naperville, IL 60563 Ph: 630-778-8060 Hours: 11–6 Fri; 10–5 Sat
Additional hours by appointment.
•N
ew and Custom Drums—The
finest 21st century, American-made
drums including Craviotto (world’s
largest dealer), Gretsch USA, Ludwig
Legacy Series, Maxwell Drums, and
select boutique manufacturers
•V
intage Drums—From the 20s to the
70s, the finest vintage selection you’ll find
anywhere for rare finishes, collector sets,
and celebrity/players’ sets
•C
ymbals—Fantastic inventory of
vintage A and K Zildjian cymbals, along
with selection of new instruments from
Bosphorus, Istanbul Agop, Zildjian,
Sabian, Amedia, Paiste, Dream,
Ottaviano, and more
•A
ccessories—Comprehensive stock of
sticks, heads, and hardware
•M
useum—Showcase of rare and historic
drum sets and snare drums
•P
ractice Space & Teaching Studio—
Drum set practice space rented on an
hourly basis in our New York store
and expert instruction at Ron Tierno’s
long-standing teaching studio, now
located in our shop (646-831-2083/
www.nydrumlessons.com)
•K
nowledge and Community—
Expert advice and
interaction with
other practitioners/
colleagues offer
you a place to grow
your unique sound
•F
ull Service
Repair—Including expert restoration
of vintage instruments
WORLD’S FINEST JAZZ CLUB & RESTAURANT 212.475.8592 WWW.BLUENOTEJAZZ.COM
MAYA AZUCENA
EARL KLUGH
AUGUST 6
AUGUST 7 - 12
WILL CALHOUN
LEE KONITZ, BILL FRISELL,
GARY PEACOCK
& JOEY BARON
AUGUST 13
AUGUST 15 - 19
MARCUS STRICKLAND
CHRISTIAN SCOTT
AUGUST 20
AUGUST 24 - 26
REVIVE DA LIVE BIG BAND
Presented w/Revive Music
AUGUST 27
KENNY WERNER QUINTET
AUGUST 28 - SEPTEMBER 2
1 3 1 W. 3 R D S T N E W Y O R K C I T Y 2 1 2 . 4 7 5 . 8 5 9 2 W W W . B L U E N O T E J A Z Z . C O M
TWO SHOWS NIGHTLY:
8PM & 10:30PM
MAY 21
FRIDAY & SATURDAY
LATE NIGHTS: 12:30 A M
SUNDAY BRUNCH:
12:30PM & 2:30PM

PDF - Jazz Inside Magazine

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