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www.jazzINSIDEMAGAZINE.com
july 2012
Interviews
Joe Fonda
Oceana Restaurant
Ryan Hayden
Paul McLaughlin
Conrad Herwig
Stan Warnow
On His Father Raymond Scott
Composer, Bandleader,
Synth Pioneer
Plenty of
CD Reviews
Comprehensive Directory
of NY Club Concert &
Event Listings
Bass Life &
Family Legacy
ShapeShifter Lab - A Creative Space Grows In Brooklyn
The Jazz Music Dashboard — Smart Listening Experiences
www.CorinaBartra.com
www.ManuelValera.com
THE NEW CUBAN EXPRESS
www.RoniBenHur.com
www.ScottDoc.com
Deconstructing
Dad: The Music,
Machines and
Mystery of
Raymond Scott
Roni Ben-Hur
50th Birthday
Celebration at
Kitano, NY
Opens 7/13
July 13-14
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3/6/12
4:34 PM
12TH ANNUAL SAILING OF THE JAZZ CRUISE
WHERE THE LEGENDS HAVE PLAYED & THE TRADITION CONTINUES!
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THE JAZZ CRUISE 2012 SOLD OUT SEVEN MONTHS
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Jazz Inside Magazine
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July 2012 – Volume 3, Number 12
Cover Design by Shelly Rhodes
Cover photo of Matthew Garrison
by Eric Nemeyer
Publisher: Eric Nemeyer
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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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SUMMER FESTIVAL GUIDE
FEATURE
Matthew Garrison & ShapeShifter
Lab
INTERVIEWS
Conrad Herwig
Joe Fonda by Eric Harabadian
35
43
Stan Warnow - Film Maker discusses his film Deconstructing Dad 48
about his father Raymond Scott,
his music, bands and machines.
VENUE PROFILE - Oceana Restaurant Paul McLughlin and Ryan
Hayden Discuss the Jazz Series
46
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July 2012 Jazz Inside Magazine www.JazzInsideMagazine.com
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CD REVIEWS
Bela Fleck & Marcus Roberts; Tom
Harrell; John A. Lewis, Joe Locke &
Geoffrey Keezer; Carmen Lundy;
Aruam Ortiz; Sunnie Paxson; Ben
Powell; Marianne Solivan; Akiko Tsuruga; Gabriel Vicens
CDs Received by Jazz Inside from
Artists Labels & Publicists (June 2012)
PERFORMANCES
Performance Review
Performance Spotlight
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Sunday, July 01, 2012 16:33
Magenta
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sumi
tonooka
Pianist & Composer
“...swings with clear delight
and easy grace” – USA Today
Long recognized by her peers
as a scintillating improviser,
Tonooka offers an authoritative
statement with her first solo
session, confirming her status
as a capaciously creative
composer and a keyboard
stylist of the highest order.
New CD: NOW
Two-Disc Set
Available at
cdbaby.com/cd/sumitonooka
facebook.com/sumitonooka.NOW.1
www.SumiTonooka.com
Photo © Karen Sterling
Feature
Bass Life & Family Legacy
Matthew Garrison
A Creative Space Grows In Brooklyn
Interview & Photos By Eric Nemeyer
Bassist Matthew Garrison has performed, toured
and recorded with an array of influential artists
including Herbie Hancock, Joe Zawinul, Chaka
Khan, Meshell Ndegeocello, Joni Mitchell, Whitney
Houston, Wayne Shorter, Jack DeJohnette, Steve
Coleman, The Saturday Night Live Band, Michael
Brecker, Randy Brecker, Mike Stern, Pat Metheny
and many more. Garrison is the son of bassist
Jimmy Garrison, who was a member of the classic
John Coltrane Quartet from 1962-67. After the
elder Garrison died in 1976, while Matthew was
only six, the family moved to Rome. He began
studying piano and bass while in high school. Matthew returned to the United States in 1988, living
with his godfather Jack DeJohnette, and studying
with both DeJohnette and bassist Dave Holland. He
attended Berklee College of Music. In 2012, Garrison with his business partner Fortuna Sung, created and opened ShapeShifter Lab, a performance
and recording venue in Brooklyn.
JI: Your family moved to Rome, and you spent
a number of years there including your high
school years. Then you returned to the United
States, and you lived with Jack DeJohnette’s
family. As I understand, you were able to observe rehearsals that Jack had at his home, and
develop associations with the artists who visited,
such as Herbie Hancock. You mentioned that
your experience during those years helped you
gain direction.
MG: It was one of those moments. I would hear
them playing. I was like, “Oh my God. I don’t
know what the hell’s going on but I gotta see
what this means.” You’re always searching. It’s
almost like this drug or this habit that you have
to fulfill. I don’t know if I’ll ever achieve it but
I’ve been trying pretty hard. The one thing that I
took away from hanging out with Jack and just
being around him and just understanding how he
was doing his thing is that it’s very simple. It’s
very childish in a way - his approach to music.
He just loves it and it just happens. But at the
same moment, he was imparting to me that it’s
something as serious as your existence, as your
life. If I wouldn’t practice, he would really come
down on me hard. There’s a simplicity to it but
there’s also that dedication that this is what you
breathe, you live, you drink. This is it. So do it.
And man, he’s one of the greatest cats I’ve ever
met in my life. One thing I definitely learned
about all these folks is the seriousness with
which they approach their thing. It’s like it’s no
joke but it’s still playful — so that you don’t
have to be so serious about it but you do. That’s
pretty much it. I think the work ethic is critical.
When I watched Jack and the musicians that
rehearsed at his place, when they start, it’s relentless. They’ll go and go and go and go, and
you’re like, “Oh my God. What the heck? When
does it stop?” And it doesn’t. It never does. You
know, it’s beautiful.
JI: So how long were you at Jack’s place then?
MG: I think about a year. After maybe three or
four months at Jack’s, I decided I should play
music. He helped me to apply to Berklee. The
first year I had a really hard time. There were so
many bad cats. I was like, “Oh my God.” Kurt
Rosenwinkel, Seamus Blake, Chris Cheek, Josh
Redman, Geoff Keezer… I was like, “What the
Shapeshifter Lab
18 Whitwell Place
Brooklyn, NY11215
www.ShapeShifterLab.com
646-820-9452
(Continued on page 6)
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Sunday, July 01, 2012 00:38
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“The Sound”
as requested by you.
You asked for the playability and
sound of the early Otto Links.
We listened.
With structural changes both
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Otto Link Vintage
for tenor sax.
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“The most beautiful thing about music is the ability to fail.
You know, so through failure, then there’s another attempt
and with that secondary and tertiary and, you know, the
consecutive attempts, is growth and possibility and new
directions and new opportunities.”
hell am I doing here?” After about a year of
suffering, I decided to really put my head to it. I
took a whole summer off and I practiced my butt
off. When I came back, I was doing everything
with everybody all the time. I just continued
working from that point on for about a decade. I
didn’t stop.
JI: Were you practicing upright and electric
bass?
MG: No, mainly electric. I focused primarily on
harmony and understanding the fret board versus
technical, flashy stuff. It was much easier for me
to integrate into the jazz world because I understood how that information worked. I went
straight from Gary Burton to Steve Coleman to
[John] McLaughlin and Herbie [Hancock]. It
was consecutive. Just one after the other.
JI: Were you motivated to play bass from the
start - as opposed to any other instrument?
MG: Definitely. That’s been my only instrument
really. I play a little bit of piano.
JI: Talk a little bit about your connection with
and the influence you’ve experienced from your
dad, Jimmy Garrison, who of course performed
and recorded with John Coltrane during the classic Quartet period 1962-1967.
MG: Unfortunately I didn’t get to know my dad
too well because he died when I was about six.
After that, there were always a lot of musicians
and artists around us that would give me information about my dad. It was very helpful because they would just fill in all these gaps.
That’s still ongoing, by the way. Maybe that’s
also the other reason why I’m really into the
music - because it helps me stay connected to
my father. I would have loved to have a talk with
him these days. I listen a lot to his work. There
was a lot of influence from that. I try to emulate
as much as I can the sounds or the texture or the
rhythmic concepts of playing acoustic bass on
electric. I think that’s been a conflict. On acoustic bass you have a much deeper understanding
of dynamics and time stretching. If you can apply some of those ideas to the electric bass, it
gives you a totally different sense of the instrument. I think that’s where cats like Jaco Pastorius and Marcus Miller come from. He sounds
different these days. But if you listen to his earlier works, you can really hear that he had some
of those inflections on the electric bass. So,
yeah, my dad is here right now - in this space.
It’s for him in the end. I’m saying it’s for him
and his folks, and all the people that left us all
this amazing art.
JI: Let’s talk about some of the lessons you’ve
learned or advice you’ve received from some of
the influential artists with whom you’ve played –
and how they have made an impact on your evolution as an artist. Joe Zawinul.
MG: Amazing cat. When I came to Joe’s band,
I’d already been working with Steve Coleman.
6
Jazz Inside-2012-07_004-...
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Sunday, July 01, 2012 00:38
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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
So, by the time I got to Joe’s band, what I was
doing wrong was I had some expectations in my
mind about how the music should have been
played - which he totally derailed. He was like,
“Look man, we’re gonna be playing some show
tunes.” In a way, playing with Joe was a little bit
of putting on a show — which is great. I didn’t
mind it at all. But in the beginning I was like,
“Well can’t we play ‘Teen Town.’” He was like,
“Man, I don’t play that sh*t no more.” He set me
straight on a number of levels, and he was also
one of those hard-ass band leaders. You hade to
learn how to deal with him and then play the
music … and those moments where he would
just go with the band or just let it go … I would
get goose bumps. Amazing stuff. Incredible.
JI: On a whole different level, you played with
Chaka Chan.
MG: Yeah. That was bad. She’s killer. She just
has that propulsion even in her approach to the
musicians. She just pulls you forward. She’s an
impressive human being.
JI: Did she provide any instructions?
MG: No. She just let you do your thing. On the
other hand, with Joe, there was always something. I went from playing two fingered technique to a four fingered technique that I made up
for myself. He got all pissed off. “Man, why you
playing all those ******* notes? Slow down!
Chaka was very loose. Very supportive. Very
cool.
JI: And Steve Coleman is far more exploratory.
MG: Incredible. I still think that this cat, no
matter what he’s doing is probably one of the
most important musicians of the 20th and 21st
Centuries. He helps redefine a way of playing
stuff. I feel really fortunate that he’s starting to
do some work in here. It blew my mind working
with him. To this day I wouldn’t know what to
do with most of it.
JI: What was some of the guidance or instruction that you got from him?
MG: I was terrible. There was none. On my first
gig with him we drove across the United States
for three days. I was hoping that he would give
me some information while we’re driving before
we got to the gig — because when we got there,
we were supposed to play. Three days go by and
he didn’t tell me anything. We get on stage and I
still don’t know. Nothing! So he just started. He
played a little phrase. We’re up in front of the
people and the two other guys start playing. I
don’t know what the heck is going on. Then I
hear him keep playing this little phrase. I’m like,
“What the hell is going on?” And, he does that a
few times. Then he turns around and he puts his
horn in my face. That was the bass line. I’m like.
“Oh my God. What’s happening here?” I just
came from playing with Gary Burton where
everything’s very exact - all the charts. Steve
was the complete opposite of all of that. I loved
it but I was scared. Still to this day I don’t get it.
JI: What was the biggest challenge for you
throughout that gig?
MG: When you play his tunes, you have to learn
everybody else’s part, and know as the performance is taking place where everybody is at any
given moment. On top of that, he’s throwing in
all these wrenches by creating these little musical cues that you have to be absolutely aware of.
So if you focus too much on the other people’s
stuff and he throws in a little thing, you’ll miss
it. There are these big cycles, and everybody has
different cycles, and they’re supposed to line up
after X amount of cycles. Then everybody gets
one together and it’s this big moment. You’ve
just got to be ready all the time. You’re always
on your toes. The way he looks at the band is as
if he can rewind and fast forward and pause you.
So it’s deep man. It’s good.
JI: Were there some others that you had significant experiences with that offered up some
words of advice or guidance that made a significant impact on you — like Paul Simon, Tito
Puente, Herbie Hancock? What was your association with those people?
MG: I was playing in the Saturday Night Live
Orchestra, where we did several concerts and
Paul Simon was a brief little thing. Herbie was
beautiful because he’s one of those guys who
doesn’t really talk much and he doesn’t really
say much in terms of the music. He just lets it
happen. So if there’s a lull in the process, he
won’t force it. He’ll just wait for somebody to
say something on their instrument and then we’ll
go in that direction. I really appreciated that
about his freedom with the concerts. He’s also
very diligent about the chords and the structure.
“This is what we’re gonna play but then just do
what you want,” kind of. Very free spirit. I love
one statement that I got from Bob Moses when I
was quite young. I was like 19. He’s like, “Hey
man.” It was because I think I kept whacking up
the passes or something on one of his tunes. He
says, “Look man, don’t worry about it.” The
most beautiful thing about music is the ability to
fail. You know, so through failure, then there’s
another attempt and with that secondary and
tertiary and, you know, the consecutive attempts,
is growth and possibility and new directions and
new opportunities.
JI: Talk about some of your musical influences
and how you’ve incorporated those into your
playing and composing.
MG: A lot of folks that I worked with were major, major influences for me – Steve Coleman,
Joe Zawinul, Stevie Wonder. Some composers
were also a big influence as well as, Stravinsky,
Prokofiev… One of my favorite pieces of classical music [by Prokofiev] is Peter and the Wolf.
As a child, I was enthralled by that. I learned
later that there are beautiful dark harmonies
underneath the beautiful melodies — intricate
stuff. That’s another thing I’ve always been trying to do in terms of my writing - to try to create
something that’s melodically captivating but
where I can express my kind of dark side on the
underneath without people really noticing.
JI: If there is one for you, what’s the connection
between music and spirituality?
MG: All I can tell you is that I think music is my
religion. Ultimately, that should pretty much say
it all. It’s just like I was telling you before, there
are moments where you’re performing it or
watching music, or experiencing music and you
exit yourself and you’re connected to something
much greater. I’m not even sure what that is but
that, to me, is what I look for as much as possible. If I can get past myself and just listen …
when I can let go of listening to myself talking to
myself, I can really connect to something that’s
much greater. It’s much more infinite or impossible to define - which is probably in the end,
what we’re all dealing with. Where are we? Who
are we? What is this? What’s happening? What
is this universe? That’s beautiful man.
JI: Matt, with all of the work on ShapeShifter
Lab and the need to nurture the growth of this
creative space, what’s your practice and composing schedule like?
MG: It’s really just the last part of it, which is
mainly composing. The practicing kind of falls
in line with it. I’ll write something interesting
and then I’ll just work on that particular thing.
I’ve been writing a lot of music and that’s my
practice time and I love it. It’s the best practice I
can get.
JI: You mentioned that your original vision for
this creative space that is now ShapeShifter Lab,
was something you were imagining since you
were a teen. What kinds of ideas were going
“It’s very childish in a way - his approach to music. He just loves
it and it just happens. But at the same moment, he was imparting
to me that it’s something as serious as your existence, as your life.
There’s a simplicity to it but there’s also that dedication that this
is what you breathe, you live, you drink.”
8
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Sunday, July 01, 2012 00:38
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The Man Who Made Cartoons Swing
You may not know his name,
but you know his music
RAYMOND SCOTT
AWARD-WINNING DOCUMENTARY ABOUT THE
MUSICAL AND TECHNOLOGICAL VISIONARY
A Film by STAN WARNOW
A Film by
STA N
WA RN OW
q
e
e
The Music, Mac
hines and Mys
tery of
R AY M O N D S
COTT
You maY not
Kno w his nam
e… but you
know his musi
c from warner
Bros. cartoons,
and his elect ronic
musi cal instr umen
pave d the way
ts
for toda y’s synth
esize rs and
sequ ence rs.
his only son prov
ides a uniq ue
persp ectiv e on
one of the 20th
centu ry’s unsu
ng geniu ses.
Waterfall films ltd. presen
ts deconstructin
g dad –
a film By stan Warn
oW produced, directed, photog the music, machines
raphed and edited By
stan
Winn
co-produced By Jeff
er
animation seQuence
By scot
t sangiacomo
Schreuders
The Music, Machines and Mystery of
Deconstructing Dad
Poster design by Piet
Deconstructing Dad
“A FAS CIN ATI
NG LOO K AT
A MU SIC AL GEN
AN D THE WA
IUS
Y HE LIV ED HIS
LIFE ” — Leonar
d Maltin
and mystery of raym
ond scott
WarnoW music By raym
ond scott
www.scottdoc.c
om
“An enthralling film that tells the story of a truly pivotal figure in 20th-century
music. A poignant, compelling attempt by a son to understand his father; we know
about the works of great artists like da Vinci, but rarely do we hear how their artistic
triumphs affected their own families. An essential view inside the wonders
of creative genius, American-style.”
—LA WEEKLY, John Payne
PLAYING
JULY 13 - 19
“A very powerful, honest, direct, and personal documentary film.”
—NPR, Radio Times, Marty Moss-Coane
QUAD CINEMA
“A fascinating look at a musical genius and the way he lived his life.
This absorbing, highly personal documentary is well worth checking out. Warnow
allows us to share his journey of discovery as he pieces together the story of his
father. I thoroughly enjoyed it.”
—LEONARD MALTIN, film critic, historian & author
at the
34 West 13th Street
(between 5th & 6th Ave)
www.quadcinema.com
Daily showtimes:
1pm • 3pm • 5:15pm
7:30pm • 9:50pm
Q&A with filmmaker after select
shows on opening weekend.
See website for details.
For advance tickets go to:
www.movietickets.com
For press inquiries contact:
Isil Bagdadi
CAVU Pictures/ CAVU PR
212-246-6300
[email protected]
www.scottdoc.com
O P E N S J U LY 1 3
through your mind during this process during
those many years and how did your concept
evolve?
MG: We initially wanted to just open up a space
for educational purposes and teaching. As we
kept mulling this over, I kept looking at my
phone book and all these thousands of people I
actually know. By looking through my phone
book, I started realizing the reason why I was
thinking about calling most of these people — so
that I could involve them in creating some
courses and get this whole teaching program
going. Why do we have to limit it to that? All
these folks are here in New York City. Why
don’t we just start doing some shows while we
prepare? So the initial intention was to open a
space for education, which was going to be an
expansion on my website, which is where I post
all this material. It very quickly transformed into
this other thing. By the time we got the space, it
took on another whole level because now we had
a very large space within which we could do
video and audio capture and rehearsals and
workshops. Then we just started looking at all
those possibilities. Okay, why don’t we try a bit
of everything? On top of that, we wanted to
tackle a bit of management and some booking,
some overseas booking stuff. So I was the first
guinea pig for that and it worked out very successfully but as soon as we pulled in some other
folks, it was a little bit more than we could handle. As we are in the space, things will keep
shifting a little bit depending on what we feel we
can make happen and also what can keep us
survivable, open and functional. That’s also the
beauty of the space. If you have the right people
inside there, you’re not limited to a particular
market. Now we can tackle as many potential
things as we can handle - and it keeps changing
depending on what’s gonna work. That comes
back to the theory of everything we do throughout our lives has function and meaning and
should be re-examined, re-expressed, re-tried and I think that’s really what Shapeshifter Lab is
about. I think even the words themselves have
one shape that shifts into the next and simultaneously, you’re in a laboratory.
JI: What was the process like as your vision
began to take shape while you were seeking
space for the Shapeshifter Lab to become a reality?
MG: We wanted to have certain structures that
could be moved around the room that could give
you a different perspective or a different presentation angle – that the sound system could be
rotated and moved and changed. Surround sound
was a heavy part of what I’m doing but we still
have to have a proper set up for that. The initial
vision of the actual space and the mechanics of it
is far more than we can afford. What’s interesting about the space as it is, it’s just kind of rustic
and it’s got that raw kind of loft space thing,
which I grew up in - and we’re slowly adding
those elements as we can. Actually, something I
found out which is a little bit more interesting is
this. Instead of us doing that to the space itself, it
seems to me what’s happening is that the artists both musicians and also the actual arts in terms
10
Jazz Inside-2012-07_010-...
page 8
Sunday, July 01, 2012 00:46
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of painting and structures and stuff like that they’re starting to make it shift.
JI: Of course, ShapeShifter Lab is run by a musician, you, someone who is composing and
performing, creating music all the time. That is
naturally going to drive the operation and goals
of the venue with a somewhat different perspective than venues that may be owned or managed
by jazz fans or business people. How would you
characterize that different perspective for readers
in terms of what they can expect, where
ShapeShifter Lab is going to go and so forth?
MG: As I was telling you earlier, my main objective is that folks come in here and feel like,
first of all, the artists, they come in here and they
feel right. They feel at home or in a space that’s
conducive to creating something. We want the
space to run on its own. But what I’ve been asking a lot of musicians is to attempt to bring
something that’s really new for them and not
their standard procedure thing - just come in and
do something that’s completely uncomfortable.
Simultaneously, I think that the audiences that
do come here are very attentive. They’re very
attentive to the process. They’re really involved.
We haven’t even tackled another portion, where
I want them to be involved, where they just get
into it. You know, they’re part of it. And people
get it, man. As soon as you walk in, you get it even a lot of the cats that I called for months and
months trying to get them in here. They’re just
like, “Oh, okay, whatever.” Then they walk in
here and they’re …. “Okay. Gotcha.” It hap-
Jazz Inside-2012-07_010-...
page 9
pened with Steve Coleman, for example. I’d
been inviting him since before we opened. Then,
one night, I did a duo performance with one of
his drummers. Steve happened to show up that
night. Then when I showed him this website
thing I’m doing, he just flipped out. He’s like,
“OK, we gotta do this.” So now he’s starting to
book here and he’s already got a three day workshop here and there’s a lot more coming.
JI: Could you talk a bit more about the lifelong
development of this idea you’ve been nurturing
that is now a reality in Shapeshifter Lab?
MG: You could call it lifelong research because
it started when I was a kid. I grew up in New
York City and we had a loft. We were very entrenched in the whole movement of the time and
my mother was a choreographer and dancer and,
of course, my dad [Jimmy Garrison] was a bass
player. They weren’t together at the time but in
this period that my mother owned this loft, we
had all these crazy performances and shows and
musicians were there all the time - from David
Murray to Chico Friedman to Fred Hopkins.
JI: Tell us about the timetable you followed in
laying the foundation for the ShapeShifter Lab –
from the creation of the business plan to the time
you hammered the first nail and ultimately debuting the space to the public?
MG: I think we had to wait about four to five
months for our construction permits from the
city. Meanwhile I was doing recordings in the
space. I wasn’t quite ready for it acoustically. It
functioned, so I did a lot of video shoots and
audio recordings. People would come and rehearse. So we slowly kind of started tapping into
musicians, saying, “Hey, come on down. See
what’s going on.” Quite a few people saw it
before anything was in here. What was scary
was our build-out hearing should have been in
the first three to four months - which of course
didn’t happen. Then rent kicked in and we were
still waiting for the city. They eventually released the work permits and that took maybe
four months of construction, and throughout the
construction, we still had things going on. I’d
still do recordings and all kinds of cool stuff.
People would come and hang out and help out. A
lot of musicians would come and help paint, put
some nails in and stuff alongside the contractors.
After about four months or so, the panic really
set in. So around February, we said, “Let’s go.”
For about the first month, it was a little slow.
People didn’t know where it was. They’d get lost
coming here, and they still do. But we just kept
at it. It gets better and better every week. Some
nights we’re jam packed. So the jam packed
evenings really help for the slow evenings. What
I mean by slow is that the attendance is smaller
but the music is of the utmost caliber. You can’t
ask for anything better. You see the line up of
people we have here. Some nights we have 30 to
40 people in a space that can theoretically fit like
450. From my perspective, the important thing is
that we’re in New York. The square footage in
the space itself is 3,600, and then we have another 800 in the office. We’re licensed for a
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capacity of 200 people and the only reason is
because at this stage, we can’t afford to put in
the sprinkler system, which would cost another
$40,000 to $60,000. What we can afford, we do
and what we can’t, we wait. I prefer that the
audience pays for those things at this point.
JI: What are the challenges that you’re experiencing in terms of getting people to show up?
MG: We haven’t really done a full blown marketing campaign. We’re just letting it happen
kind of organically and so it’s not so much of a
challenge. We’re just biding our time to get everything absolutely in order. We’re still waiting
on our beer and wine license to fully clear. It’s
been conditionally approved since November of
last year, but the city has to give their final
stamp on one last document. It’s called the PA,
public assembly. We know we can get more
people out to some of these shows that have a
lower attendance. It’s not necessarily a challenge
because we know certain bands will attract a lot
of people - and when you put ‘em in here, they
do. Our beer and wine license will really help
because what I’d like to be able to do is offer
some guarantees which we can’t quite do yet.
Right now it’s only tickets. We also rent the
space out for whatever people want to do. We
have private events and photo shoots, video
shoots, so that also is very helpful. Keeps us
moving and it helps also when ticket sales are
low, so it’s working. It’s working.
JI:
What’s
your
12
Jazz Inside-2012-07_012-...
page 10
long-term
vision
for
ShapeShifter Lab?
MG: One of the first things we’d like to do is
buy the building and to expand from there.
We’ve put this in our business plan. We’d like to
be able to have a second version of this, if possible. I’d like to develop more educational stuff perhaps have a whole school portion. I’m not
sure where it’s going but at this rate of growth
and how things are happening so quickly, new
ideas keep popping up.
JI: It’s good to know that you smartly took the
time to write a business plan. A lot of musicians
would benefit by writing one themselves. As a
mentor told me once, if you have your business
plan in your head rather than in writing, then you
don’t have a business plan.
MG: Right. That’s where I tell you, where Fortuna’s pretty amazing. She comes from a business background. We balance my conceptual
stuff against actual numerical details and we
function with that reality. When I start going
crazy, she’s like. “Yo.” And when she starts
going straight too much with the numbers, I pull
her back in and show her that because she’s so
used to the business side, she might forget the
human interaction, where you have to trade
things at first to make things happen. I’m very
aware of that because I’ve been in this music
world all these years. You can’t just put a number down and people react. It doesn’t work that
way.
JI: Fortuna, since you wrote the business plan
for ShapeShifter Lab, could you share your perspectives about how you’ve brought this to life
with Matt?
FS: The concept started in 2010. Matt was talking about this idea of his being a musician and
how difficult it was to get venues to present new
projects. We wanted to create a space where
people can present different ideas freely and
make the stage morphable. That’s when I started
putting together the business plan. So we started
looking for the space and we found the space.
We started looking at more warehouse spaces,
because they’re very open. We found a space
where the roof did not have these wooden rafters
and the walls were brick. So we painted the
space, white brick walls to display artwork and
we leave the rafters exposed, so it’s very much
like a loft scene and we like the open idea where,
again, going back to the creative idea, so people
don’t have to be limited. We opened up two
walls to make it even more open and it helps let
the sound travel better as well. It’s a very bare
canvas I would say. Like, when you come in, it
has almost that museum kind of look.
JI: And so you and Matt have become expert
painters?
FS: Yes. You know, we did have an architect in
the beginning but it was very hard to work with
the architect in terms of time scheduling. I was
more like a trained interior designer so I did
most of the drawings for the plans and the eleva-
Sunday, July 01, 2012 00:25
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tions, all the drawings we were submitting permits for the city. That’s my involvement in the
space as well, like being the draftsman I would
say. I was more like into design and art but my
career moved to managing events. I’m not a
musician but my family came from an artistic
background so I’m pretty familiar with the environment. Matt and I were high school buddies. I
met him when I was 14 and I was going to
school in Rome, Italy then - 25 years ago. Many
years later, he came up with this concept and
also his website concept. So I went back home,
did some calculations, proposed to him this business plan and it started from there. I was living
in Hong Kong and he said, “I’ll be in Tokyo.” At
that time he was performing with Whitney Houston. I went to Japan from Hong Kong for a skiing trip and we met there. It felt like no time
elapsed since we met in Rome. It was perfect
timing because at that time his tour with Whitney Houston was coming to an end and he was
trying to return to Brooklyn to settle down. I was
tired of the culturally-lacking scene in Hong
Kong. I visited New York a few times and this is
the place where I want to be. So I gave up everything and started this whole thing with Matt and
its just perfect timing. This is almost like a flagship place and we want to open another one. We
don’t know where yet - possibly in L.A. and
possibly in Asia. We want to spread the concept
around the world, especially Asia, where this is
lacking. And they need that.
JI: What kinds of understandings or attitudes do
you expect from those with whom you do busi-
Jazz Inside-2012-07_012-...
page 11
ness or who perform here?
MG: Oh my God. I mean, again, it’s another
side of what’s happening here. It’s like everybody who comes to work here, I have a very
specific thing I request of them. That is, the people that come to lay their bare naked souls out to
the rest of us have to be cherished and respected
as such. There’s a respect level that has to be
generated from beat one. They’ve gotta respect
these human beings when they walk in this door.
That’s the only thing I wanna see. Anybody that
doesn’t wanna deal with that can’t work here.
We’ve had a few bad apples and they’re gone.
It’s not easy. There’s a lot of work to do - which
is also another stressful side. We’re here every
day. We’re curating every part of this. I refuse to
do anything else right now. All the details … and
we still have to prepare for the next day and the
next day after that. We’re booked all the way up
until November at the moment. The musicians
know what’s up. I’m never going to double cross
anybody. They know that about me which is
awesome - because I’m in the trenches with
these cats. There’s another thing that we’re developing in the space - it’s my next recording
project. It’s gone so far in terms of some new
territory that I’ve actually applied for a patent for
this online technology that we developed. It’s
going to be the outward expression or the web
expression of what’s happening in the space and
it’s all completely connected.
13
Sunday, July 01, 2012 00:25
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June 26, 2012
Performance
ShapeShifter Lab
Bill McHenry (above left)
Andrew D’Angelo
(alto sax, below right)
Fortuna Sung &
Matthew Garrison
(above right)
14
Jazz Inside-2012-07_014 ...
page 2
Sunday, July 01, 2012 00:18
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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
Submit your listings via e-mail to [email protected]. Include date, times, location,
phone, tickets/reservations. Deadline: 15th of the month preceding publication (July 15 for Aug).
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ADVERTISING: Reserve your ads to promote your events and get the marketing
advantage of controlling your own message — size, content, image, identity, photos and more. Contact the advertising department:
215-887-8880 [email protected]
NEW YORK CITY
6th Ave. 212-255-4746. www.juniormance.com
 Sun 7/1, 7/8, 7/15, 7/22, 7/29: Arthur’s Tavern.
 Sun 7/1: Limón Dance Company with Paquito
D’Rivera at Central Park Summerstage. 8:00pm.
Free. 69th St. @ 5th Ave. 212-360-2777.
www.cityparksfoundation.org
 Sun 7/1, 7/15,7/29: Swingadelic at Swing 46.
8:30pm. 349 W. 46th St. www.swing46.com
 Sun 7/1, 7/10, 7/17, 7/24, 7/31: Jazz in the Square
Concert Series at Union Square Park. Noon.
Free. West side seating area. Sponsored by The
New School for Jazz & Contemporary Music and
the NYC Dept. of Parks & Recreation.
www.newschool.edu/jazz
 Sun 7/1: Somethin’ Jazz Club. Luis “Laud
Mouth” Camacho @ 7:00pm. 212 E. 52nd St., 3rd
Fl. (Bet. 2nd & 3rd Ave.) 212-371-7657. .
 Sun 7/1, 7/8, 7/15, 7/22, 7/29: Junior Mance at
Café Loup. 6:30pm. No cover. 105 W. 13th St. @
Creole Cooking Jazz Band at 7:00pm. House
Rockin’ Blues at 10:00pm. 57 Grove St. 212-6756879. www.arthurstavernnyc.com
 Sun 7/1: Birdland. Kat Gang @ 6:00pm. Tim
Hagans Quartet @ 9:00pm & 11:00pm. 315 W.
44th St.
 Sun 7/1, 7/8, 7/15, 7/22, 7/29: 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 7/1, 7/8, 7/15, 7/22, 7/29: Jazz Vespers at St.
Peter’s Church. 5:00pm 619 Lexington Ave. @
54th St. 212-242-2022. (Bet. 53rd & 54th St.)
www.saintpeters.org.
 Mon 7/2: Melissa Stylianou with Gene Bertoncini
& Ike Strum at The Bar Next Door. 8:30pm &
10:30pm. $12; 1-drink min. 129 MacDougal St. 212-
July 2012  Jazz Inside Magazine  www.JazzInsideMagazine.com
15
529-5945. www.lalanternacaffe.com. www.jaleelshaw.com
 Mon 7/2: Jean-Michel Pilc with Noam Wiesenberg at 55 Bar. 55
Christopher St. 212-929-9883. www.55bar.com.
 Mon 7/2, 7/9, 7/16, 7/23, 7/30: 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 7/2, 7/10: International Women in Jazz at St. Peter’s
Church. 7:00pm 619 Lexington Ave. @ 54th St. 212-242-2022.
(Bet. 53rd & 54th St.) www.saintpeters.org.
 Mon 7/2, 7/9, 7/16, 7/23, 7/30: 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 7/2, 7/9, 7/16, 7/23, 7/30: 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
 Mon 7/2: Birdland. Molly Ryan @ 7:00pm. 315 W. 44th St.
 Tues 7/3, 7/10, 7/17, 7/24, 7/31: Annie Ross at The Metropolitan Room. 9:30pm. 34 W. 22nd St. 212-206-0440.
www.metropolitanroom.com.
 Tues 7/3, 7/10, 7/17, 7/24, 7/31: Chris Ziemba at Kitano. 8:00pm
& 11:00pm. $35 for buffet with Bloody Mary, Mimosa or Aperol
Spritz. 66 Park Ave @ 38th St. 212-885-7119. www.kitano.com
 Tues-Sat 7/3-7/7: Birdland. Bill O’Connell & the Latin Jazz AllStars @ 8:30pm & 11:00pm. 315 W. 44th St.
 Tues 7/3, 7/10, 7/17, 7/24, 7/31: Casimir Liberski Trio at Tomi
Jazz. 8:00pm. No cover; $5 min. 239 E. 53rd St., lower level. 646497-1254. www.tomijazz.com.
 Tues 7/3: First Tuesdays: Seminar for Musicians at St. Peter’s
Church. 3:00pm 619 Lexington Ave. @ 54th St. 212-242-2022.
(Bet. 53rd & 54th St.) www.saintpeters.org.
 Tues 7/3, 7/10, 7/17, 7/24, 7/31: 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 7/3: Norah Jones with Jim Campilongo Trio at Central
Park Summerstage. 7:00pm. $49.50 + fees. Rumsey Field, 69th
St. @ 5th Ave. 212-360-2777. www.norahjones.com.
 Tues 7/3: Somethin’ Jazz Club. Ian Underwood Quartet @
7:00pm. Marla Sampson Quintet @ 9:00pm. 212 E. 52nd St.,
3rd Fl. (Bet. 2nd & 3rd Ave.) 212-371-7657. .
 Wed 7/4, 7/11, 7/18, 7/25: Arthur’s Tavern. Eve Silber at
7:00pm. Alyson Williams at 10:00pm. 57 Grove St. 212-6756879. www.arthurstavernnyc.com
 Thurs 7/5: Amy Cervini with Pete McCann, Matt Aronoff &
James Shipp at 55 Bar. 6:00pm. 55 Christopher St. 212-9299883. www.55bar.com.
 Thurs 7/5: Somethin’ Jazz Club. Noah MacNeil Quartet @
7:00pm. Straight Street @ 11:00pm. 212 E. 52nd St., 3rd Fl.
(Bet. 2nd & 3rd Ave.) 212-371-7657. .
 Thurs 7/5: Michika Fukumori Trio at Kitano. 8:00pm & 10:00pm.
66 Park Ave @ 38th St. 212-885-7119. www.kitano.com
 Thurs 7/5: Birdland. Duke Jones with Tekeshi Ogura @
6:00pm. 315 W. 44th St.
 Thurs 7/5, 7/12, 7/19, 7/26: 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
 Fri 7/6, 7/13, 7/20, 7/27: Birdland Big Band at Birdland. 5:00pm.
315 W. 44th St.
 Fri-Sat 7/6-7/7, 7/13-7/14, 7/20-7/21, 7/27-7/28: 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. 212-675-6879. www.arthurstavernnyc.com
 Fri 7/6: Junior Mance Trio at Kitano. 8:00pm & 10:00pm. 66
Park Ave @ 38th St. 212-885-7119. www.kitano.com
 Fri-Sat 7/6-7/7: Ravi Coltrane Quintet at Birdland. 8:30pm &
11:00pm. 315 W. 44th St.
16
 Fri 7/6: Somethin’ Jazz Club. Steve Nelson @
7:00pm. Paolo Tomaselli @ 9:00pm. 212 E. 52nd
St., 3rd Fl. (Bet. 2nd & 3rd Ave.) 212-371-7657. .
 Sat 7/7, 7/14, 7/21, 7/28: St. Peter’s Church. Big
band jazz workshop @ 10:00am. Vocal jazz workshop @ noon. 619 Lexington Ave. @ 54th St.
212-242-2022. (Bet. 53rd & 54th St.)
 Sat 7/7: Wolff & Clark Expedition at Kitano.
8:00pm & 10:00pm. 66 Park Ave @ 38th St. 212885-7119. www.kitano.com
 Sat 7/7: Somethin’ Jazz Club. NYJA @ 2:00pm.
Lauren Lee @ 5:00pm. CDQ @ 7:00pm. Marla
Sampson Quintet @ 9:00pm. 212 E. 52nd St., 3rd
Fl. (Bet. 2nd & 3rd Ave.) 212-371-7657. .
 Sun 7/8: Birdland. Vibes for Bobby Hutcherson @
9:00pm & 11:00pm. With Jay Hoggard, Steven
Nelson & Warren Wolf. 315 W. 44th St.
 Sun 7/8: Michael Foster/Eric Silberberg/Gene
Janas/Marc Edwards, Erike Dagnino/Blaise
Siwula/ Jesse Dulman/Jason Candler at ABC No
Rio. 7:00pm. 156 Rivington St. $5 suggested donation for musicians.
 Sun 7/8: Barbara King & The Spirit of Jazz at
Dwyer Cultural Center. 2:00pm. $15; $20 at door;
$20 for seniors & students. 258 St. Nicholas Ave.
212-222-3060. www.dwyercc.org
 Tues-Sat 7/10-7/14: Birdland. Louis Hayes Quintet @ 8:30pm & 11:00pm. 315 W. 44th St.
 Tues 7/10: Marco Benevento behind City Winery.
5:30pm. Free. 4th Annual Hudson Square Music &
Wine Festival. 155 Varick St. Bet. Vandam & Spring
17
St.) 212-608-0555. www.citywinery.com
 Wed 7/11: Jonathan Batiste at Joe’s Pub.
9:30pm. $20. 425 Lafayette St. 212-539-8778.
www.joespub.com
 Wed 7/11, 7/18, 7/25: Midtown Jazz at Midday at
St. Peter’s Church. 1:00pm 619 Lexington Ave. @
54th St. 212-242-2022. (Bet. 53rd & 54th St.)
 Wed 7/11: George Mel Quartet at Kitano. 8:00pm
& 10:00pm. 66 Park Ave @ 38th St. 212-885-7119.
www.kitano.com
 Wed 7/11, 7/18, 7/25: Jacob Teichroew Duo at
Tomi Jazz. 8:00pm. No cover; $5 min. 239 E. 53rd
St., lower level. 646-497-1254. www.tomijazz.com.
 Wed 7/11: Somethin’ Jazz Club. Darrell Smith
Trio @ 9:00pm. 212 E. 52nd St., 3rd Fl. (Bet. 2nd &
3rd Ave.) 212-371-7657. .
 Wed 7/11: Nellie McKay at Madison Square Park.
Bet.
Madison
Ave.
&
23rd.
St.
http://
www.nelliemckay.com.
madisonsquarepark.org
 Thurs 7/12: Somethin’ Jazz Club. Jake Hertzog
@ 7:30pm & 9:00pm. 212 E. 52nd St., 3rd Fl. (Bet.
2nd & 3rd Ave.) 212-371-7657. .
 Thurs 7/12: Fat Cat. Oscar Perez Nuevo
Comienzo with Josh Evans, Joseph Perez, Anthony Perez & Alvester Garnett @ 10:00pm. 75
Christopher St. 212-675-6056. www.fatcatmusic.org
 Thurs 7/12: David Lopato Quartet at Kitano.
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 Thurs 7/12: Eiko RIkuhashi Trio at Tomi Jazz.
9:00pm. $10 cover; $10 min. 239 E. 53rd St., lower
level. 646-497-1254. www.tomijazz.com.
 Thurs 7/12: Joe Cohn Quartet at Rue 57. 60 W.
57th St. 212-307-5656. www.rue57.com
 Thurs 7/12: Gary Versace & Project O with Ingrid
Jensen at St. Peter’s Church. 1:00pm Jazz on the
Plaza . 619 Lexington Ave. @ 54th St. 212-2422022. (Bet. 53rd & 54th St.) www.saintpeters.org.
 Fri 7/13: Baby Soda Jazz Band at Hudson River
Park. 7:00pm. Free. Pier 45, Christopher St. @
Hudson River. www.hudsonriverpark.org
 Fri 7/13: Billy Martin & Wil Blades at Sullivan
Hall. 8:00pm. $15. 214 Sullivan St. (Bet. Bleecker &
W. 3rd St.) www.bluenotejazzfestival.com
 Fri 7/13: Roni-Ben-Hur Quartet at Kitano. 8:00pm
& 10:00pm. 66 Park Ave @ 38th St. 212-885-7119.
www.kitano.com
 Fri 7/13: Somethin’ Jazz Club. Karachacha @
7:00pm. E.S.P. Matthew Vacanti @ 9:00pm. 212
E. 52nd St., 3rd Fl. (Bet. 2nd & 3rd Ave.) 212-3717657. .
HSO @ 5:00pm. Gary Fogel Sextet @ 7:00pm.
Matt McClellan Quintet @ 9:00pm. 212 E. 52nd
 Sat 7/14: Towner Galaher at Londel’s Supper
Club. 8:00pm & 10:00pm. 2620 Frederick Douglas
Blvd. 212-234-6114. http://londelsrestaurant.com
 Sat 7/14: Swingadelic at Swing 46. 8:30pm. 349
W. 46th St. www.swing46.com
 Sat 7/14: Judi Silvano at Pigalle. 790 8th Ave.
212-489-2233. www.pigallenyc.com
 Sat 7/14: Roni Ben-Hur Afro Samba & Beyond
Band at Kitano. 8:00pm & 10:00pm. 66 Park Ave
@ 38th St. 212-885-7119. www.kitano.com
 Sun 7/15: George Gee Swing Orchestra at Hudson River Park. 7:00pm. Free dance lessons at
6:30pm courtesy of Dance Manhattan. Pier 84.
www.hudsonriverpark.org
 Sun 7/15: “Hot Lips” Joey Morant at B.B. King
Blues Club & Grill. Noon. 237 W. 42nd St. 212997-4144. www.bbkingblues.com
 Sun 7/15: Birdland. Birdland Jazz Party with Kat
Gang @ 6:00pm. 315 W. 44th St.
 Sun 7/15: Tony Moreno with Jean-Michel Pilc,
Ron Horton, Marc Mommaas & Johannes Weidenmueller at 55 Bar. 55 Christopher St. 212-9299883. www.55bar.com.
 Sun 7/15: Cheryl Pyle/Nicolas Letman/Burtinovic
and Nora McCarthy/Jorge Sylvester at ABC No
Rio. 7:00pm. 156 Rivington St. $5 suggested donation for musicians.
 Sun 7/15: Somethin’ Jazz Club. Yuki Shibata Trio
@ 5:00pm. Towner Galaher @ 7:00pm. 212 E.
52nd St., 3rd Fl. (Bet. 2nd & 3rd Ave.) 212-3717657. .
 Mon 7/16: Bill Charlap, Ted Rosenthal, Sean
Smith & Kenny Washington at Kaufmann Concert Hall. 8:00pm. “Jazz Piano Master Class.” $20.
Lexington Ave. & 92nd St. 212.415-5500.
www.92Y.org.
 Mon 7/16: Frank Sinatra Jr. & His Band at Town
Hall. 8:00pm. $55, $50 & $45. 123 W. 43rd St. (Bet.
6th Ave. & Broadway) 212-840-2824. http://thetownhallnyc.org
Sun, july 22 @ 8pm • christ botti
An Evening of Wine and Jazz – complimentary wine tasting in the lobby
courtesy of 109 Cheese & Wine. A passionate evening of instrumental storytelling. When performing his own interpretations of Sinatra, or String…
Chris Botti sizzles!
Ticket Price: Orchestra $110/ Mezzanine $95. Box office 203.438.5795
Fri, July 27 @ 8pm • Rickie Lee Jones
Rickie Lee Jones will take her audience on an intimate journey, reminiscing,
telling tales, jokes and, of course, singing those inimitable songs which sit
somewhere between jazz, blues, pop and folk. She’s playing her guitar and
singing any number of her award winning songs: “Chuck E.’s in Love,” or
her interpretation of the classic, “Making Whoopee,” for which she won a
Grammy® in 1990. Ticket Price: $55. Box office 203.438.5795
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
 Tues 7/17: Somethin’ Jazz Club. sHaKe @
9:00pm. 212 E. 52nd St., 3rd Fl. (Bet. 2nd & 3rd
Ave.) 212-371-7657. .
 Tues 7/17: Michael Stephenson at Hudson River
Park. 6:30pm. Free. Pier 45, Christopher St. @
Hudson River. www.newschool.edu/jazz
 Tues 7/17: Ernie Andrews & Freddy Cole at Kaufmann Concert Hall. 8:00pm. “Song & Soul.” Lexington Ave. & 92nd St. 212.415-5500.
www.92Y.org.
 Wed 7/18: Melissa Stylianou with Jamie Reynolds, Gary Wang & Mark Ferber at 55 Bar. 55
Christopher St. 212-929-9883. www.55bar.com.
 Wed 7/18: Giacomo Gates Trio at Kitano. 8:00pm
& 10:00pm. 66 Park Ave @ 38th St. 212-885-7119.
www.kitano.com
 Wed 7/18: Somethin’ Jazz Club. Tom Wetmore
Ensemble @ 9:00pm. 212 E. 52nd St., 3rd Fl.
(Bet. 2nd & 3rd Ave.) 212-371-7657. .
 Wed 7/18: Bill Charlap, Renee Rosnes, Steven
Nelson, Greg Gisbert, Dave Stryker, Scott Colley
& Joe La Barbera at Kaufmann Concert Hall.
8:00pm. “Time Remembered: The Music of Bill
Evans.” Lexington Ave. & 92nd St. 212.415-5500.
www.92Y.org.
 Thurs 7/19: Rogerio Boccato with Fernando
Correa & Peter Mazza Trio at The Bar Next Door.
8:30pm & 10:30pm. 129 MacDougal St. 212-5295945.
www.lalanternacaffe.com.
www.jaleelshaw.com
 Thurs 7/19: Adam Larson Quartet at Kitano.
20
 Thurs 7/19: Ted Rosenthal Ensemble 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 7/19: Somethin’ Jazz Club. Jake Herzog @
7:30pm & 9:00pm. 212 E. 52nd St., 3rd Fl. (Bet.
2nd & 3rd Ave.) 212-371-7657. .
 Thurs 7/19: Dave Grisman Sextet at City Winery.
8:00pm. $60. 155 Varick St. Bet. Vandam & Spring
St.) 212-608-0555. www.citywinery.com
 Thurs 7/19: Bill Charlap, Barbara Carroll, Sachal
Vasandani, Warren Vache, Jon Gordon, John
Allred, Jay Leonhart, Sean Smith & Tim Horner
at Kaufmann Concert Hall. 8:00pm. “An Enchanted Evening: The Songs of Richard Rodgers.”
www.92Y.org.
 Fri 7/20: Duke Robillard Band at B.B. King Blues
Club & Grill. 237 W. 42nd St. 212-997-4144.
www.bbkingblues.com
 Fri 7/20: Joyce Breach Quartet at Kitano. 8:00pm
& 10:00pm. 66 Park Ave @ 38th St. 212-885-7119.
www.kitano.com
 Fri 7/20: Noah Haidu with Jon Irabagon,
McClenty Hunter & Ariel de la Portilla 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 7/20: Somethin’ Jazz Club. Alter View @
7:00pm. Mitch Marcus Quintet @ 9:00pm. 212 E.
52nd St., 3rd Fl. (Bet. 2nd & 3rd Ave.) 212-3717657. .
 Thurs 7/19: Rogerio Boccato with Paul Bollenback Trio at The Bar Next Door. 7:30pm, 9:30pm
& 11:30pm. 129 MacDougal St. 212-529-5945.
www.lalanternacaffe.com. www.jaleelshaw.com
 Sat 7/21: Scot Albertson Trio at Tomi Jazz.
 Sat 7/21: Tommy Campbell’s “Vocal-Eyes” at
Kitano. 8:00pm & 10:00pm. 66 Park Ave @ 38th
St. 212-885-7119. www.kitano.com
MUSOH @ 5:00pm. JB Baretsky @ 7:00pm.
Vladimir Kostadinovic @ 9:00pm. 212 E. 52nd
 Sun 7/22, 7/29: Birdland. Birdland Jazz Party with
Kat Gang @ 6:00pm. 315 W. 44th St.
 Sun 7/22: Gabriele Tranchina at New Leaf Café.
7:30pm. 1 Margaret Corbin Dr. 212-568-5323.
 Sun 7/22: The Restrictor and Ras Moshe/Shayna
Dulberger at ABC No Rio. 7:00pm. 156 Rivington
St. $5 suggested donation for musicians.
 Sun 7/22: Joe’s Pub. Quarteto Olinda at 7:30pm.
Pedro Morales at 9:30pm. $15. In association with
Brasil SummerFest. 425 Lafayette St. 212-539http://
8778.
www.joespub.com.
brasilsummerfestny.blogspot.com/
 Sun 7/22: Somethin’ Jazz Club. Devin Bing @
Ave.) 212-371-7657. .
 Sun 7/22: Regerio Boccato with Fernando Correa
Trio at The Bar Next Door. 8:00pm & 10:00pm.
129
MacDougal
St.
212-529-5945.
www.lalanternacaffe.com. www.jaleelshaw.com
 Mon 7/23: Sue Halloran & Ken Hitchcock at The
Metropolitan Room. 9:30pm. 34 W. 22nd St.
 Tues 7/24: Dick Hyman & Bill Charlap with Sandy
Stewart, Ken Peplowski, Harry Allen, Jay Leonhart & Willie Jones III at Kaufmann Concert Hall.
8:00pm. “Piano Summit.” Lexington Ave. & 92nd St.
212.415-5500. www.92Y.org.
 Tues-Sat 7/24-7/28: Birdland. Pablo Ziegler’s
Tango Conexion with Regina Carter @ 8:30pm &
11:00pm. 315 W. 44th St.
 Tues 7/24: Somethin’ Jazz Club. Josh Paris
Group @ 7:00pm. 212 E. 52nd St., 3rd Fl. (Bet.
2nd & 3rd Ave.) 212-371-7657. .
 Wed 7/25: Lewis Nash, Kenny Washington, Joe
Magnarelli, Jimmy Greene, Michael Dease, Bill
Charlap, Renee Rosnes & Peter Washington at
Kaufmann Concert Hall. 8:00pm. “Messengers of
Jazz: The Legacy of Art Blakey.” Lexington Ave. &
92nd St. 212.415-5500. www.92Y.org.
 Thurs 7/25: Abigail Riccards Quartet at Kitano.
 Wed 7/25: Somethin’ Jazz Club. Deborah Latz @
7:00pm. Audrey Silver @ 9:00pm. 212 E. 52nd
 Thurs 7/26: Count Basie Orchestra directed by
Dennis Mackrel, plus Frank Wess, Bucky Pizzarelli, Bill Charlap & Peter Washington at Kaufmann Concert Hall. 8:00pm. “Basie Roars Again!”
www.92Y.org.
 Thurs 7/26: Mamiko Taira Trio at Tomi Jazz.
 Thurs 7/26: Jack Wilkins Quartet at Rue 57. 60 W.
57th St. 212-307-5656. www.rue57.com
 Thurs 7/26: Somethin’ Jazz Club. Jake Hertzog
@ 7:30pm & 9:00pm. 212 E. 52nd St., 3rd Fl. (Bet.
2nd & 3rd Ave.) 212-371-7657. .
 Thurs 7/26: Mamiko Watanabe Trio at Kitano.
 Thurs 7/26: Winard Harper Band 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.
 Fri 7/27: Somethin’ Jazz Club. Steph Chou @
7:00pm. Rodrigo Bonelli @ 9:00pm. 212 E. 52nd
St., 3rd Fl. (Bet. 2nd & 3rd Ave.) 212-371-7657..
 Fri 7/27: Joe Alterman Trio at Kitano. 8:00pm &
10:00pm. 66 Park Ave @ 38th St. 212-885-7119.
 Fri 7/27: Chuck Braman Jazz Band at Hudson
River Park. 7:00pm. Free. Pier 45, Christopher St.
@ Hudson River. www.newschool.edu/jazz
Dee Cassella @ 7:00pm. Arun Luthra Quartet @
Ave.) 212-371-7657. .
 Sat 7/28: Stephanie Nakasian Trio at Kitano.
 Sun-Mon 7/29-7/30: Ladysmith Black Mambazo at
City Winery. 8:00pm. $40-$65. 155 Varick St. Bet.
Vandam
&
Spring
St.)
212-608-0555.
www.citywinery.com
 Sun 7/29: Tom Shad/Joe Gallant and Crime
Scene at ABC No Rio. 7:00pm. 156 Rivington St.
$5 suggested donation for musicians.
 Sun 7/29: Rogerio Boccato with Jean Rohe Band
at Rockwood Music Hall. 11:15pm. 196 Allen St.
(Bet. Houston & Stanton) 212-477-4155. http://
rockwoodmusichall.com
 Mon 7/30: Urban Tango Trio at Joe’s Pub.
7:30pm. $15; $20 at door. 425 Lafayette St. 212539-8778. www.joespub.com
 Tues 7/31: Students from New School for Jazz
and Contemporary Music at Hudson River Park.
6:30pm. Free. Pier 45, Christopher St. @ Hudson
River.
www.newschool.edu/jazz.
www.hudsonriverpark.org
BROOKLYN
 Sun 7/1, 7/8, 7/15, 7/22, 7/29: Stephane Wrembel
at Barbés. 9:00pm. 376 9th St. @ 6th Ave. 347422-0248. www.barbesbrooklyn.com
 Mon 7/2: Cecilia Coleman Big Band at Tea
Lounge. 9:00pm. 837 Union St., Park Slope. 718789-2762.
www.tealoungeny.com.
www.ceciliacolemanbigband.com
 Mon 7/2: Summer Outdoor Jam Session at For
My Sweet. $5. 1103 Fulton St. @ Claver Pl. 718857-1427.
 Wed 7/4, 7/11, 7/18: Tea and Jam at Tea Lounge.
9:00pm. 837 Union St., Park Slope. 718-789-2762.
www.tealoungeny.com.
 Thurs 7/5: IBeam Music Studio. Jason Hwang,
Max Johnson & Weasel Walter at 8:30pm. Sabir
Mateen, Bern Nix, Max Johnson & Weasel Walter at 10:00pm. $10 donation. 168 7th St.
21
Calendar of Events
JULY
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 - Sun
Vic Juris 4; Cassandra
Wilson
Keith Ingham
Owen Howard 4; Nick
Fraser 3
2 - Mon
Marc Cary
Roger Lent 3
Caleb Curtis 5; John
Raymond 5
3 - Tue
Angela Johnson
Robert Rucker 3
Walls; Douglas Bradford 4;
Kenneth Salters 4
4 - Wed
Daborah Davis
Les Kurtz 3; Joonsam Lee
David Amram; Gian Carla
Tisera; Saw Lady
5 - Thu
Carmen Lundy
Joel Forrester 3; Daisuke
Abe
Michael Blake/Ben Allison/
Rudy Royston
Bill Goodwin Jazz Jam
6 - Fri
Carmen Lundy; New Soil
Ship
Evan Schwam; Jesse
Simpson
Mark Helias 4
Erin McClelland Band
7 - Sat
Carmen Lundy; Darius
Jones
Masami Ishikawa 3; Jesse
Simpson
Ray Anderson 4
Bob Dorough 3
8 - Sun
Keith Ingham
Arthur Vint 4
Rio Clemente
9 - Mon
Ralph Lalama & Billy
Drewes; Carmen Lundy
Sonny Fortune
Roger Lent 3
Isle of Klezbos
10 - Tue
Paquito D'Rivera
Robert Rucker 3
Quentin Angus 5
11 - Wed
Paquito D'Rivera
Harold O'Neal; Catarina
Dos Santos 4
12 - Thu
Paquito D'Rivera
Keith Ingham; Daisuke Abe Jeremy Siskind 3
13 - Fri
Paquito D'Rivera; Orly
Will Terril 4; Jesse Simpson Russ Lossing 3
Eddie Severn 5
14 - Sat
Paquito D'Rivera; Honey
Larochelle
Will Terril 4; Jesse Simpson John McNeil 4
Marko Marcinko Latin Jazz
Band
15 - Sun
Kuni Mikami;
Paquito D'Rivera
Keith Ingham
Walt Bibinger
16 - Mon
Symphonics Live
Roger Lent 3
17 - Tue
Spyro Gyra
Robert Rucker 3
Michael Attias 5
18 - Wed
Spyro Gyra
19 - Thu
Spyro Gyra
Dan Furman; Daisuke Abe
Alessi/Milne/Formanek/
Rainey
Michael Formanek 5
20 - Fri
Spyro Gyra; Randy Oxford
Band
Marc Devine; Jesse Simpson
Rez Abbasi 4
Jay Rattman 4
21 - Sat
Spyro Gyra; Dwight &
Nicole
Kuni Mikami 3; Jesse
Simpson
Ellery Eskelin 3
Najwa Parkins 3
22 - Sun
Ben Monder 3; Spyro Gyra
Keith Ingham
Joonsam Lee 3; Youngjoo
Song 3
Donna Antonow 3
23 - Mon
Michelle Carr
Roger Lent 3
24 - Tue
Conrad Herwig - Latin Side Robert Rucker 3
of Joe Henderson
25 - Wed
Conrad Herwig - Latin Side Les Kurtz 3; Joonsam Lee
of Joe Henderson
July 17: Guitarist Lou Volpe and Group
26 - Thu
July 24: Mike Longo and the NY State of
the Art Jazz Ensemble with Peter Block
Conrad Herwig - Latin Side Justin Lees 3; Daisuke Abe Spaneas & Goldberg;
of Joe Henderson
Mostly Other People Do the
Killing
27 - Fri
Conrad Herwig - Latin Side
of Joe Henderson
Conrad Herwig - Latin Side
of Joe Henderson
Wade Barnes 3; Jesse
Simpson
Nial Djuliarso 3; Jesse
Simpson
Duane Eubanks 5
Carrie Jackson 4
Jacob Sacks 5
Eric Mintel 4
29 - Sun
Roy Assaf; Conrad Herwig
— Latin Side of Joe
Henderson
Keith Ingham
Amanda Monaco 4
B D Lenz 3
30 - Mon
Sean Smith 4
Roger Lent 3
31 - Tue
Jane Monheit
Robert Rucker 3
July 2012
July 10: Ray Blue Group
28 - Sat
22
Adriano Santos 4
Bill Mays
Jeremy Viner 5; Aryeh
Kobrinsky 5
Deer Head Inn
Jazz Orchestra
Basak Yavuz 7
Calendar of Events
(Continued from page 21)
 Fri 7/6: IBeam Music Studio. Michael Attias at
8:30pm. Minerva with Carlo Costa, Pascal Niggenkemper & JP Schlegelmilch at 9:30pm. $10
suggested donation. 168 7th St.
 Sat 7/7: IBeam Music Studio. 40twenty with
Jacob Sacks, Dave Ambrosio & Vinnie Sperrazza at 8:30pm. $10 donation. 168 7th St.
 Sat 7/7: Djembe in the New Millennium: “The
Sacred Drum” at Long Island University Brooklyn, Kumble Theater. 7:00pm. Flatbush & DeKalb
Ave. 718-488-1624. www.kumbletheater.org
 Sun 7/8: Sweet Honey in the Rock at Prospect
Park Bandshell. 3:00pm. Free; $3 suggested.
Celebrate Brooklyn! 95 Prospect Park West. 718965-8951. www.prospectpark.org.
 Mon 7/9: Erica Seguine/Shannon Baker Jazz
Orchestra at Tea Lounge. 9:00pm. 837 Union
St., Park Slope. 718-789-2762.
 Thurs 7/12: IBeam Music Studio. Elliott Sharp,
Max Johnson & Weasel Walter at 8:30pm. Elliott Levin, Louie Belogenis, Max Johnson &
Weasel Walter at 10:00pm. 168 7th St.
 Fri 7/13: Ana Tijoux & Ritmo Machine at Prospect Park Bandshell. 7:00pm. Free; $3 suggested. Celebrate Brooklyn! 95 Prospect Park
West. 718-965-8951. www.prospectpark.org.
 Fri 7/13: IBeam Music Studio. Jess Cosgrove,
Noah Preminger, Mat Maneri, Frank Kimbrough
& Joe Martin, 8:30pm. 168 7th St.
 Mon 7/16: Franky Rousseau Large Band at Tea
Lounge. 9:00pm. 837 Union St., Park Slope. 718789-2762. www.tealoungeny.com.
 Thurs 7/19: IBeam Music Studio. Mark Whitecage, Max Johnson & Weasel Walter at 8:30pm.
Kirk Knuffke, Ken Filiano, Max Johnson &
Weasel Walter at 10:00pm. $10 suggested donation. 168 7th St. http://ibeambrooklyn.com
 Fri 7/20: Ro Sham Beaux at The Trash Bar.
8:00pm. $8 cover. 256 Grand St. 718-599-1000.
www.thetrashbar.com
 Fri 7/20: IBeam Music Studio. Vladimir Kostadinovic, Danny Grissett, Vicente Archer & Jaka
Kopac at 8:30pm. 168 7th St.
 Sat 7/21: Arturo Sandoval and Arturo O’Farrill &
the Afro Latin Jazz Orchestra at Prospect Park
Bandshell. 7:30pm. Free. Celebrate Brooklyn! 95
Prospect Park West. 718-965-8951.
 Sat 7/21: IBeam Music Studio. Rafiq Bhatia,
Jeremy Viner, Jackson Hill & Alex Ritz at
8:30pm. $10 suggested donation. 168 7th St.
 Sat 7/21: Ro Sham Beaux at Branded Saloon.
10:00pm. 603 Vanderbilt Ave. 718-484-8704.
www.brandedsaloon.com
 Thurs 7/26: IBeam Music Studio. Vinnie Golia,
Max Johnson & Weasel Walter at 8:30pm. Steve
Swell, Mary Halvorson, Max Johnson & Weasel
Walter at 10:00pm. $10 suggested donation. 168
7th St. http://ibeambrooklyn.com
 Fri 7/27: IBeam Music Studio. Ryan Ferriera at
8:30pm. Luce Trio with Jon De Lucia, Ryan
Ferreira & Chris Tordini at 9:30pm. $10 suggested donation. 168 7th St.
 Sat 7/28: IBeam Music Studio. Ben Gerstein &
Tyshawn Sorey at 8:30pm. $10 suggested donation. 168 7th St. http://ibeambrooklyn.com
QUEENS
 Wed 7/4: Happy Birthday Louis Armstrong! At
Louis Armstrong House Museum. 10:00 a.m.(Continued on page 26)
24
JULY
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
feinsteinsattheregency.com
Garage
99 Seventh Ave. S
(at Grove St.)
212-645-0600
www.garagerest.com
1 - Sun
Dion Parson Band
Club Dark
Ben Healty 3; David Coss 4;
Masami Ishikawa
2 - Mon
Band Directors Academy
Faculty 5
Club Dark
Howard Williams Band; Tim
McCall 3
3 - Tue
Will & Anthony Nunziata
Mike Dease Band
4 - Wed
Michika Fukumori 3; Will
Terrill 5
5 - Thu
Magical Nights; Broadway
Ballyhoo; Will & Anthony
Nunziata
Champian Fulton 3; Carl
Bartlett Jr. 4
6 - Fri
Austin Walker 3; Joey
Morant 3
7 - Sat
Larry Newcomb 3; Justin
Wood; Virginia Mayhew 4
8 - Sun
Club Dark
Joonsam Lee 3; David Coss
4; Mauricio DeSouza 3
9 - Mon
Club Dark
Howard Williams Band; Al
Marino 5
10 - Tue
Broadway Ballyhoo
Eyal Vilner Band; Mayu
Saeki 4
11 - Wed
Broadway Ballyhoo
Marc Devine 3; Anderson
Brothers
12 - Thu
Christian McBride Band
Paul Nedzela
Ballyhoo
Dylan Meek 3; Randy
Johnston 3
13 - Fri
Paul Nedzela
Broadway Ballyhoo
New Triks; Hot House
14 - Sat
Paul Nedzela
Broadway Ballyhoo
Daniela Schaechter 3;
Steve Kortyka 4; Akiko
Tsuruga 3
15 - Sun
Paul Nedzela
Club Dark
Iris Ornig 4; David Coss 4;
Ave Ovadia 3
16 - Mon
Morgan James
Club Dark
Howard Williams Band;
Nick Finzer/Joe
McDonough 4
17 - Tue
Igor Butman Orchestra
Lawrence Leathers
Broadway Ballyhoo
Lou Caputo Band; Ave
Ovadia 3
18 - Wed
Lawrence Leathers
Broadway Ballyhoo
Rick Stone 3; Andrew
Atkinson
19 - Thu
Lawrence Leathers
Ballyhoo
George Weldon 3; Alan
Chaubert 3
20 - Fri
Lawrence Leathers
Broadway Ballyhoo
Anderson Brothers; Dre
Barnes
21 - Sat
Lawrence Leathers
Broadway Ballyhoo
Larry Newcomb 3; Fukushi
Tainaka 3; Virginia Mayhew
4
22 - Sun
Lawrence Leathers
Club Dark
Lou Caputo 4; David Coss 4
23 - Mon
Morgan James
Club Dark
Jason Prover 5
24 - Tue
Jean Carn & Doug Carn
Frank Basile
Karen Oberlin
Cecilia Coleman Band;
Mauricio DeSouza 3
25 - Wed
Jean Carn & Doug Carn
Frank Basile
Karen Oberlin
Nick Moran 3; Paul Francis
3
26 - Thu
Phil Woods 5
Dominick Farinacci
Karen Oberlin; Magical
Nights; Broadway Ballyhoo
Rob Edwards 4; Tom
Tallitsch
27 - Fri
Phil Woods 5
Frank Basile
Karen Oberlin
Kyoko Oyobe 3; Brandon
Lee 4
28 - Sat
Phil Woods 5
Frank Basile
Karen Oberlin
Marsha Heydt 4; Michika
Fukumori 3; Daylight Blues
Band
29 - Sun
Phil Woods 5
Frank Basile
Club Dark
Evan Schwam 4; David
Coss 4
30 - Mon
Nicole Henry 5
Brianna Thomas
Club Dark
Tsutomu Naki 3
31 - Tue
Nicole Henry 5
Brianna Thomas
Rebecca Kilgore & Harry
Allen 4
Fat Cat Big Band; Justin
Lees 3
JULY
Jazz Gallery
Jazz Standard
290 Hudson St.
(below Spring St.)
212-242-1063
www.jazzgallery.org
116 E 27th St
212-576-2232
www.jazzstandard.net
Shapeshifter Lab
18 Whitwell Place
Brooklyn, NY
ShapeShifterLab.com
Shrine
2271 Adam Clayton
Powell Blvd.
212-690-7807
www.shrinenyc.com
1 - Sun
Cyrus Chestnut 3 with
James Carter
Pritsker/Baer; John Clark 4 Jazz Jam Session; Statue of
2 - Mon
Mingus Big Band
Jonathan Greenstein 5
Antoine Dowdell; Davide
Tammaro; Matt Geraghty
3 - Tue
Dr, Lonnie Smith's 70th
Birthday Celebration
Matt Garrison
Sax E and Pure Pressure;
Groove Session; Mitshi
Liberty; Shrine Big Band Jazz
Dakota Dior; Christian Hine;
Khaled; William Stull
4 - Wed
5 - Thu
Dr. Lonnie Smith's 70th
Birthday Celebration
Carlo Costa Minerva
6 - Fri
Dr. Lonnie Smith 8
Travis Sullivan's Bjorkestra Jacques & Marie; Yvonnick
Dr. Lonnie Smith 8
Loren Stillman Band
Yacouba Diabate; Leslie
Casey; East Village Pharmacy;
Unlimited Force Band; DJ
8 - Sun
Dr. Lonnie Smith 8
Steve Brickman's Plasma
Face/Ursal Starship
Jazz Jam Session; Haymarket
Squares; John Seeger 3
9 - Mon
Mingus Big Band
Patrick Andy Band
Mad Satta; Uncharted Territory; Peter Ayers
10 - Tue
Chris Bergson Band
Matt Garrison
Steve Tarshis 3; Duke Bantu
X; Paolo Tomaselli
11 - Wed
Lauren Kinhan
Arthr Sadowsky
Felix Van Cleef; This Is Not the
Radio
12 - Thu
Don Byron 5
Robert Gracia Group
Stratospheerius; North Mississippi Hill; Eric Deaton 3
7 - Sat
O'Farrill Brothers 5
Apricot Jam; FreshHunas
Prene; On Ka'a Davis
13 - Fri
Hafez Modirzadeh 5
Don Byron 5
14 - Sat
Godwin LouE-Xplosion
Don Byron 5
Adam Rogers Band
Grace Underground; Eve Soto;
Geoffro Cause; Kakande
15 - Sun
Don Byron 5
Dan Pugach 9; Jeff Miles
Group
Jazz Jam Session; Sindy
Bellemare; Bakurucho Band
16 - Mon
Mingus Big Band
Dawoud Renegade Sufi
The Gathering; Ngozi Flux
17 - Tue
Orrin Evans 3
Kelsey; Ray G. Ward; Dog
Adrift; Diblo Dibala
18 - Wed
Orrin Evans 3
Groovline; Maria Davis
19 - Thu
Orrin Evans Captain Black Big Band
Haiti Cultural Exchange
Event
Steve Nelson; Olu; Cherry
Case; Sister Monk; Rainey
Wexen
Sean Jones 5
Ronnie Burrage Band
Todd Herbert 4; Brother Num;
Sabatta; Kepaar; Hot & Wild
21 - Sat
Sean Jones 5
Tim Berne Band
Jazz Filament; Polyrythmo;
Zozo Afrobeat; Hot & Wild
22 - Sun
Sean Jones 5
Shai Maestro Band
Jazz Jam Session; Silver
Queen; HV 4
23 - Mon
Mingus Big Band
Akiko Pavolka Band
Affinity Jazz 3; Chocolate 4 the
Soul; Cumbia Machin;
Dragoneyeseven; Dark City
24 - Tue
Dario Boente & Proyecto
Sur
25 - Wed
Noah Preminger 4
Jaco Garchik Band
26 - Thu
Anat Cohen & Romero
Lubambo
Teriver Cheng & Simon Yu Footballhead; Natty Dreadz
20 - Fri
Claudia Acuna
Glenn White 4; Edwin
Vasquez; Eliza B
Scan the QR Code below
with your mobile device
Tom Blatt; Natty Dreadz
Natalie Galey; Mr. Though;
Jean Fight; DRS Organ 3
27 - Fri
Chris Morrissey 4
Anat Cohen & Howard
Alden
Doxee Middleton; Reina
Williams; Ayo in Motion
28 - Sat
John Benitez 5
Anat Cohen's Anzic Orchestra
Yacouba Diabate; Sound
Frontier; Platinum Mustache;
Makane Kouyate
29 - Sun
Anat Cohen & Fred Hersch
Jazz Jam Session; Natty
Dreadz
30 - Mon
Mingus Dynasty
RendezVous
31 - Tue
Michael Carvin 4
Soul4Real Open Mic
Jazz Lovers
Heaven
Your Own Personal
Lifetime Access!
Jazz Listening,
Enjoyment, Discovery
Limited Availability
http://bit.ly/JvSML0
25
Calendar of Events
5:00pm. $10 adults; $7 seniors students & children;
free for children under 4; members free. Special
house tours. Free cupcakes for kids. Randy Fertel
reading excerpts from his book The Gorilla Man and
the Empress of Steak at 1:00pm. 34-56 107th St.,
Corona.
718-478-827.
www.louisarmstronghouse.org
 Wed 7/11: 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.
 Sun 7/15: Grupo Chonta by Diego Obregon at
Flushing Town Hall. 2:00pm. Free. 137-35 Northern Blvd. 718-463-7700, x222.
 Sun 7/29: Haitian Beats with The Agoci Band at
Flushing Town Hall. 1:00pm. Free. 137-35 Northern Blvd. 718-463-7700, x222.
BRONX
 Tues 7/3: Jose Alberto “El Canario” at Saint
Mary’s Park. 7:00pm. Free. Bet. St. Ann’s Ave &
Jackson
Ave.
212-360-CPSS.
 Thurs 7/5: Tribute to Tito Puente at Saint Mary’s
Park. 7:00pm. Free. With 8 y Más. Bet. St. Ann’s
Ave
&
Jackson
Ave.
212-360-CPSS.
LONG ISLAND
 Sat 7/7: Steve Tyrell at Westhampton Beach
Performing Arts Center. 8:30pm. $100, $75, $50.
76 Main St. 631-288-1500. www.whbpac.org
 Westchester
 Fri 7/6: Paquito D’Rivera Sextet at Spanish Court-
yard, Caramoor. $15. 8:00pm. 149 Girdle Ridge
Rd. Katonah. 914-232-1252. www.caramoor.org
 Fri 7/6, 7/13, 7/20, 7/27: Jazz Blues & More at Waterfront Amphitheatre. 6:30pm. Free. Main St.,
Yonkers. www.artswestchester.org
 Wed 7/11, 7/25: Brazilian Jazz at Corporate Park.
Noon. 109 Corporate Park Dr., White Plains. 914631-1000. www.jazzforumarts.org
 Thurs 7/12: Pete Malinverni at Purchase College,
Conversatory of Music Recital hall. 8:00pm. Free.
735 Anderson Hill Rd., Purchase. 914-251-4455.
www.purchase.edu
 Fri 7/13: Lynette Washington with Dennis Bell at
Patriot’s Park. 6:30pm. Free. N. Broadway, Tarrytown. www.jazzforumarts.org
 Fri 7/13: Steve Kuhn at The Nyack Library.
7:30pm, 2 sets. 59 S. Broadway, Nyack, NY. 845608-3593. www.carnegieroom.org
 Wed 7/18: Jazz Elite Band at Waterfront Park.
6:30pm. 60 Palisade St., Dobbs Ferry. 914-6311000. www.jazzforumarts.org
 Fri 7/20: Outdoor jazz jam at Patriot’s Park. 6:30pm.
Free.
N.
Broadway,
Tarrytown.
www.jazzforumarts.org
 Tues 7/24: Westchester Jazz Orchestra at Waterfront Park, Chappaqua. 7:30pm. 914-861-9100.
www.westjazzorch.org
 Wed 7/25: Hearts & Bones at Waterfront Park.
6:30pm. Free. 13th Annual Dobbs Ferry Summer
Music Series. 60 Palisade St. 914-631-1000.
www.jazzforumarts.org
 Sat-Sun 7/28-7/29: Caramoor Jazz Festival. The
Cookers, Gretchen Parlato, Kenny Barron, Dee
Dee Bridgewater & Roy Haynes Band at Venetian
Theater, July 28; $15, $30, $45; 3:00pm-9:00pm.
26
JULY
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
1 - Sun
Lezlie Harrison; Johnny O'Neal 3;
Spike Wilner
2 - Mon
Ed Cherry 3; Ari Hoenig 4; Spencer Jon Madof's Zion80
Murphy
Vanguard Jazz Orchestra
3 - Tue
Brooks Hartell; Omer Avital;
Theo Hill
Kenny Barron 5
4 - Wed
Michela Lerman; Michael Dease;
Craig Wuepper
5 - Thu
Sacha Perry; Ehud Asherie 3; Jeff Eugene Chadbourne
Williams 4; Bruce Harris/
Alex Hoffman 5
Sam Raderman; David Berkman 3; Matthew Shipp 3
George Colligan 5; Lawrence
Leathers
BiRyo Sasaki 4; Joshua Breakstone Jessica Pavone; Andrew Lamb 3
3; George Colligan; Eric Wyatt
6 - Fri
7 - Sat
Loren Connors; Kevin Micka
Marc Ribot 3
Rob Mazurek & Angelica Sanchez;
Ryan Sawyer/Darius Jones/
Shahzad Ismaily
John Blum; Trevor Watts & Veryan
Weston
Kenny Barron 5
Kenny Barron 5
Kenny Barron 5
Kenny Barron 5
8 - Sun
Dmitry Baevsky
Jason Lescalleet; Diamond Terrifier Kenny Barron 5
9 - Mon
Peter Zak 3; Jonny King 4; Spencer Jon Madof's Zion80
Murphy
10 - Tue
Spike Wilner; Omer Avital; Josh
Evans
Naked Dance; Gold Sparkle Band
Kenny Barron 3
11 - Wed
Michela Lerman; Whitfield Family;
Philip Harper
Arthur Doyle; Man Forever
Kenny Barron 3
12 - Thu
Sacha Perry; Michael Hashim 3;
Dave Gibson 4; Carlos Abadie 5
Spanish Donkey; Baczkowski/Nace/ Kenny Barron 3
Corsano
13 - Fri
Sam Raderman 4; Anderson Twins Cooper-Moore 3; Angelica Sanchez Kenny Barron 3
8; Ken Peplowski 4
3
14 - Sat
Abraham Ovadia; Tardo Hammer 3; Eleven Twenty-Nine; Blood 3
Ken Peplowski 4; Tyler Mitchell
Kenny Barron 3
15 - Sun
Grant Stewart 4
John Zorn Improv Night
Kenny Barron 3
16 - Mon
Dred Scott 3; Ari Hoenig; Spencer
Murphy
Jon Madof's Zion80
17 - Tue
Spike Wilner; Barak Mori; Theo Hill
Geri Allen & Laurie Anderson
Barry Harris 3
18 - Wed
Michela Lerman; Jazmeia Horn;
Jeremy Manasia 3
Burnt Sugar Arkestra
Barry Harris 3
19 - Thu
Sacha Perry; Danny Fox 3; Joris
Val-Inc.; Mike Lee
Teepee; Bruce Harris/Alex Hoffman
Barry Harris 3
20 - Fri
Sam Raderman 4; Chris Flory 3;
Neal Smith; Lawrence Leathers
Barry Harris 3
21 - Sat
Matt Panayides 3; Ralph Lalama 3; Geri Allen & John Zorn; Carla
Stcy Dillard; Neal Smith
Brothers
Barry Harris 3
22 - Sun
Lezlie Harrison 4; Johnny O'Neal 3; Courtney Bryant; Jaimeo Brown
David Schnitter 4
Barry Harris 3
23 - Mon
Roberta Piket 3; Jean-Michel Pilc 3; Jon Madof's Zion80
Spencer Murphy
24 - Tue
Spike Wilner; David Budway 3; Josh Kim Lake; Nasheet Waits
Evans
Barry Harris 3
25 - Wed
Michela Lerman; John O'Gallagher
3; Tivon P ennicott
Water Scores: Parts 1 & 2
Barry Harris 3
26 - Thu
Sacha Perry; Jaz Sawyer 4; Carlos
Abadie 5
Kassa Overall Experience
Barry Harris 3
27 - Fri
Sam Raderman 4; Ned Goold 3;
Lew Tabackin 4; Spike Wilner 3
Dwight Andrews, Geri Allen & Mino Barry Harris 3
Cinelu
28 - Sat
Marko Djordjevic 4; Marion CowVijay Iyear, Geri Allen & Graham
ings; Lew Tabackin 4; Stacy Dillard Haynes
Barry Harris 3
29 - Sun
Lezlie Harrison 4; Johnny O'Neal 3; Jeff Walton 5
Charles Owens 4
Barry Harris 3
30 - Mon
Jill McCarron 3; J.D. Allen; Spencer Jon Madof's Zion80
Murphy
31 - Tue
Spike Wilner; Jim Ridl 3; Theo Hill
Brian Blade
David Weiss & Point of Departure
Jana Herzen
Pat Metheny Unity Band in Venetian Theater,
July 29. $15; $20’ $37.50; $52.50. 149 Girdle Ridge
Rd. Katonah. 914-232-1252. www.caramoor.org
NEW JERSEY
 Thurs 7/5: Shirazette & the Jazz Women at
Makeda. 7:30pm. No cover; $5 min. 338 George
St., New Brunswick. www.nbjp.org
 Fri 7/6: Billy Test Group at Sophie’s Bistro.
8:00pm. No cover. 700 Hamilton St., Somerset.
www.nbjp.org
 Sat 7/7: Swingadelic at Sitnik Theater, Lackland
Center at Centenary College. 8:00pm. $25; $30 at
door.
715
Grand
Ave.,
Hackettstown.
www.swing46.com
 Sat 7/7: Ted Brown with Jon Easton, Don
Messina & Bill Chattin at Trumpets. 8:00pm &
10:00pm. $15 cover; $12 min. 6 Depot Sq., Montclair. 973-744-2600. www.trumpetsjazz.com.
 Tues 7/10: Bria Skonberg with Ehud Asherie,
Dan Glass, Sean Harkness, Sean Cronin & Will
Anderson 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
 Tues 7/10: Mike Winnicki Quartet at Tumulty’s
Pub. 8:00pm. No cover. 361 George St., New
Brunswick. www.nbjp.org
 Tues 7/10: Bossa Brasil at Morristown’s Music
without Borders. Noon. Free. Corner of Park Pl. &
South
St.,
Morristown.
973-285-5115.
www.morrisarts.org
 Wed 7/11: Carrie Jackson Group at Hyatt.
7:30pm. 2 Albany St., New Brunswick. No cover.
 Wed 7/11: Al Harrison’s Dixieland Band at Orange County College. 8:00pm. $18; $15 for seniors. College Dr. off County Rd. 549 (Hooper Ave.),
Toms River. 732-255-0400. www.ocean.edu
 Thurs 7/12: Lee Hogans Quartet at Makeda.
7:30pm. No cover; $5 min. 338 George St., New
 Fri 7/13: Rio Clemente at Trumpets. 8:00pm &
 Sat 7/14: Bill Charlap at McCarter Theater.
8:00pm. 91 University Pl., Princeton. 609-258-2787.
www.mccarter.org
 Sat 7/14: Bossa Brasil at Papillon 25. 10:00pm.
No cover or min. 25 Valley St., South Orange. 973761-5299. www.papillon25.com
 Mon 7/16: Fun Bunch Big Band at Bickford Theatre. 8:00pm. $15 in advance; $18 at door. On Columbia Turnpike @ Normandy Heights Road, east
of downtown Morristown. 973-971-3706.
 Tues 7/17: Marlene VerPlanck with Tedd Firth &
Boots Maleson at 170 Elm St., Westfield. In front
of church & opposite Trader Joe’s. 908-789-9444.
www.marleneverplanck.com
 Tues 7/17: Peter Park Quartet at Tumulty’s Pub.
8:00pm. No cover. 361 George St., New Brunswick.
 Tues 7/17: Dixie Crackerjacksat Bickford Theatre. 8:00pm. $15 in advance; $18 at door. On Columbia Turnpike @ Normandy Heights Road, east
of downtown Morristown. 973-971-3706.
 Thurs 7/19: Ray Mantilla Space Station with Nicki
Denner Trio & DJ Rey-Mo at New Jersey Performing Arts Center’s Theater Square. 5:45pm.
Free. 1 Center St., Newark. 973-642-8989.
njpac.org
 Thurs 7/19: Behn Gillece Quartet at Makeda.
7:30pm. No cover; $5 min. 338 George St., New
July 2012 July
Jazz
Inside
 www.JazzInsideMagazine.com
2012
 Magazine
JazzInsideMagazine.com
 27
27
“If the American
people ever allow
private banks to control
the issue of their currency, first
by inflation and then by deflation, the
banks and corporations that will
grow up around them will deprive the
people of all property until their
children wake up homeless on
the continent their
fathers conquered.”
- Thomas Jefferson
 Fri 7/20: Burr Johnson at Trumpets. 8:00pm &
 Mon 7/23: South Shore Syncopators at Bickford
Theatre. 8:00pm. $15 in advance; $18 at door. On
Columbia Turnpike @ Normandy Heights Road,
east of downtown Morristown. 973-971-3706.
 Mon 7/23: Summer Jazz Workshop Faculty Quintet at William Paterson University, Shea Center
for Performing Arts. 7:30pm. “The Music of Thad
Jones.” $10; $8 for seniors & those with WBGO
discount. Students with ID free. $40 for weeklong
pass. 300 Pompton Road, Wayne. 973-720-2371.
 Tues 7/24: Alex Perry Quartet at Tumulty’s Pub.
8:00pm. No cover. 361 George St., New Brunswick.
 Tues 7/24: Danny Block’s “Big Four” at William
Paterson University, Shea Center for Performing
Arts. 7:30pm. $10; $8 for seniors & those with
WBGO discount. Students with ID free. $40 for
weeklong pass. 300 Pompton Road, Wayne. 973720-2371. www.wplive.org.
 Wed 7/25: Adrienne West Group at Hyatt.
7:30pm. 2 Albany St., New Brunswick. No cover.
 Wed 7/25: Nancy Marano with the Summer Jazz
Ensemble directed by Steve Marcone at William
Paterson University, Shea Center for Performing
Arts. 7:30pm. $10; $8 for seniors & those with
WBGO discount. Students with ID free. $40 for
weeklong pass. 300 Pompton Road, Wayne. 973720-2371. www.wplive.org.
 Thurs 7/26: Ed Cherry Trio at Makeda. 7:30pm. No
cover; $5 min. 338 George St., New Brunswick.
www.nbjp.org
 Thurs 7/26: Dave Gibson & the DG Organ 4tet at
William Paterson University, Shea Center for
Performing Arts. 7:30pm. $10; $8 for seniors &
those with WBGO discount. Students with ID free.
$40 for weeklong pass. 300 Pompton Road,
Wayne. 973-720-2371. www.wplive.org.
 Fri 7/27: Heath Brothers Quartet at William Paterson University, Shea Center for Performing Arts.
7:30pm. $10; $8 for seniors & those with WBGO
discount. Students with ID free. $40 for weeklong
pass. 300 Pompton Road, Wayne. 973-720-2371. .
 Mon 7/30: Pat Metheny Unity Band at Bergen
Performing Arts Center. 8:00pm. $89, $59, $49,
$39, $29. 30 N. Van Brunt St., Englewood. 201227-1030. www.bergenpac.org
 Mon 7/30: Randy Reinhart with Mark Shane, Matt
Hoffman, Brian Nalepka & James Chirillo at
Bickford Theatre. 8:00pm. $15 in advance; $18 at
door. On Columbia Turnpike @ Normandy Heights
Road, east of downtown Morristown. 973-971-3706.
 Tues 7/31: Adam Machaskee Quartet at Tumulty’s Pub. 8:00pm. No cover. 361 George St.,
New Brunswick. www.nbjp.org
…AND BEYOND
Thurs 7/5: Akie B. & the Falcons at The Falcon.
7:00pm. 1348 Rt. 9W, Marlboro, NY.
 Sat 7/7: Sketchy Black Dog at The Falcon.
7:00pm. 1348 Rt. 9W, Marlboro, NY.
 Sun 7/8: Ben Taylor at Ridgefield Playhouse.
8:00pm. $35. Free wine tasting at 7:00pm. 203-4385795.
80
E.
Ridge,
Ridgefield,
CT.
www.ridgefieldplayhouse.org
 Fri 7/13: Ed Palermo Band at The Falcon. 7:00pm.
1348 Rt. 9W, Marlboro, NY.
 Sat 7/14: Gene Ess Quartet & Nicki Parrott at The
Falcon. 7:00pm. 1348 Rt. 9W, Marlboro, NY.
 Sun 7/15: Matt Finck Group at The Falcon.
10:00am. 1348 Rt. 9W, Marlboro, NY.
 Sat 7/21: Sheryl Bailey & Vic Juris with Ray Mason at The Buttonwood Tree Performing Arts &
Cultural Center. 8:00pm. $15. 605 Main St., Middletown, CT. 860-347-4957. www.buttonwood.org.
 Sun 7/22: Chris Botti at Ridgefield Playhouse.
8:00pm. $95; $110. 203-438-5795. 80 E. Ridge,
Ridgefield, CT. www.ridgefieldplayhouse.org
 Fri 7/27: Rickie Lee Jones at Ridgefield Playhouse. 8:00pm. $55 203-438-5795. 80 E. Ridge,
Ridgefield, CT. www.ridgefieldplayhouse.org
 Sat 7/28: The Cookers at The Falcon. 7:00pm.
1348 Rt. 9W, Marlboro, NY

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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March 2012  Jazz Inside Magazine  www.JazzInsideMagazine.com
31
JULY - National
Cathedral Park Jazz Festival
July 20-22, 2012
Portland, OR
www.cpjazz.com/
Centrum’s Jazz Port Townsend
July 22-29, 2012
Port Townsend, WA
www.centrum.org
Fillmore Jazz Festival: July 7 & 8, 2012
San Francisco, CA
www.fillmorejazzfestival.com
Iowa City Jazz Festival
June 29-July 1, 2012
Iowa City, IA
www.summerofthearts.org
Jazz In July: July 9-20, 2012
Amherst, MA
www.JazzInJuly.com
Jazz in the Valley: July 27 – 29, 2012
Ellensburg, WA
www.jazzinthevalley.com
KoSA Int’l Percussion Workshops &
Festival: July 24-29, 2012
Castleton State College, VT
www.kosamusic.com
Mammoth Lakes Jubilee: July 11-15, 2012
Mammoth Lakes, CA
www.mammothjazz.org
Sioux Falls Jazz & Blues Festival
July 26-28, 2012
Sioux Falls, SD
www.siouxfallsjazzfest.com
JUNE / JULY - International
Aarhus International Jazz Festival: July
14-21, 2012
Aarhus, Denmark
www.jazzfest.dk
Halifax Jazz Festival: July 6-14, 2012
Halifax, Nova Scotia
www.halifaxjazzfestival.ca
Kongsberg Jazz Festival: July 4-7, 2012
Kongsberg, Norway
www.kongsberg-jazzfestival.no
Montreux Jazz Festival: June 29-July 14,
2012
Montreux, Switzerland
www.montreuxjazz.com
North Sea Jazz Festival
July 6-8, 2012
Rotterdam, Netherlands
www.northseajazz.com
Stockholm Jazz Festival
October 1-7, 2012
Stockholm, Sweden
www.stockholmjazz.com
32
Souillac En Jazz
July 15-22, 2012
Souillac, France
www.souillacenjazz.net
Umbria Jazz: July 6-15, 2012
Perugia, Italy
www.umbriajazz.com
AUGUST - Local & Regional
92nd Street Y - Jazz In July
July 17-26
92Y.org/Inside • 212.415.5500
Tue, Jul 17, 8 pm — SONG & SOUL:
ERNIE ANDREWS & FREDDY COLE
TIME REMEMBERED: THE MUSIC OF
BILL EVANS—Bill Charlap, piano /
Renee Rosnes, piano / Steve Nelson,
vibes / Greg Gisbert, trumpet / Dave
Stryker, guitar / Scott Colley, bass /
Joe La Barbera, drums
THU Jul 19, 8 pm—AN ENCHANTED
EVENING: THE SONGS OF RICHARD
RODGERS — Bill Charlap, piano /
Barbara Carroll, piano & vocals / Sachal
Vasandani, vocals / Warren Vaché,
cornet / Jon Gordon, alto sax /John
Allred, trombone / Jay Leonhart, bass /
Sean Smith, bass / Tim Horner, drums
Tue Jul 24, 8 pm — PIANO SUMMIT:
DICK HYMAN & BILL CHARLAP—Dick
Hyman, piano / Bill Charlap, piano /
Sandy Stewart, vocals / Ken Peplowski,
clarinet / Harry Allen, tenor sax / Jay
Leonhart, bass / Willie Jones III, drums
WED Jul 25, 8 pm — MESSENGERS
OF JAZZ: THE LEGACY OF ART
BLAKEY — Lewis Nash, drums / Kenny
Washington, drums / Joe Magnarelli,
trumpet / Jimmy Greene, tenor sax /
Michael Dease, trombone / Bill Charlap,
piano / Renee Rosnes, piano / Peter
Washington, bass
Thu, Jul 26, 8 pm — BASIE ROARS
AGAIN! - The Count Basie Orchestra,
directed by Dennis Mackrel / Frank
Wess, tenor sax / Bucky Pizzarelli,
guitar / Bill Charlap, piano / Peter Washington, bass / Dennis Mackrel, drums
Caramoor Jazz Festival
July 28-29, 2012
Katonah, NY
Sat-Sun 7/28-7/29: Caramoor Jazz
Festival. The Cookers, Gretchen
Parlato, Kenny Barron, Dee Dee
Bridgewater & Roy Haynes Band at
Venetian Theater, July 28; $15, $30,
$45; 3:00pm-9:00pm.
Pat Metheny Unity Band in Venetian
Theater, July 29. $15; $20’ $37.50;
$52.50. 149 Girdle Ridge Rd. Katonah.
Charlie Parker Festival: August 24-26,
2012
New York, NY
Marcus Garvey Park in Harlem.
Bird with Strings, with Miguel AtwoodFerguson; Roy Haynes; Rene Marie’s
“Experiment in Truth,” Derrick Hodge and
ERIMAJ; Ernestine Anderson Quartet, Gregory Porter, Andy Milne & Dapp Theory, and
Sullivan Fortner.
Newport Jazz Festival
August 3-5, 2012
Newport, RI
Dr. John; Preservation Hall Jazz Band;
Catherine Russell; Jonathan Batiste; Pat
Metheny Unity; Bill Frisell-John Lennon
Songbook; Dianne Reeves; Jack DeJohnette
All-Stars; Joe Lovano and Dave Douglas
Quintet:; Bad Plus with Bill Frisell; James
Carter Organ Trio; Dafnis Prieto Sextet;
Darcy James Argue's Secret Society; 3
Clarinets: Ken Peplowski - Evan Christopher
- Anat Cohen; Ken Peplowski, Christian
McBride's Inside Straight; John Ellis & Double-Wide; Pedrito Martinez; Tedeschi Trucks
Band; Maria Schneider Orchestra; Jason
Moran and the Bandwagon; Kurt Elling;
Miguel Zenón's Rayuela; Jenny Scheinman
& Bill Frisell; Ambrose Akinmusire Quintet;
Rudresh Mahanthappa's Samdhi; Gretchen
Parlato; John Hollenbeck's Claudia Quintet;
3 Cohens: Yuval, Anat & Avishai Cohen;
Vince Giordano & The Nighthawks; Lewis
Nash Quintet Ryan Truesdell's Gil Evans
Centennial Project
Historic Lewiston Jazz Festival
August 24 & 25, 2012
Lewiston, NY
www.lewistonjazz.com
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
Jazz Festival Willisau: August 24-28, 2011
Willisau, Switzerland
www.jazzwillisau.ch
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
Sildajazz: August 10-14, 2011
Haugsund, Norway
www.sildajazz.no
Zomer Jazz Fiets Tour: August 26-27,
2011
Groningen, Netherlands
www.zift.nl
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; Randy Brecker and Lew
Tabackin; Steve Wilson, Bird with Strings
Revisited; Fred Hersch Trio; Charles
McPherson; George Benson.
www.detroitjazzfest.com
Jazz By The Blvd Music and Arts Festival
September 29-29, 2012
Fort Worth, TX, www.fortworthjazz.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; Dee Dee Bridgewater.
www.montereyjazzfestival.org
Sedona Jazz Festival:
October 26-28, 2012
Sedona, AZ, www.sedonajazz.com
Vail Jazz Festival & Party
August 30-September 3, 2012
Vail, CO, www.vailjazz.org

Interview
Conrad Herwig
Interview By Joe Patitucci
JI: Could you discuss the evolution of your concept for The Latin Side of Joe Henderson and
how it developed from seed to completed artwork?
CH: Joe Henderson is one of the most iconic
jazz saxophonist’s and composers of the late
20th Century. His compositions like “Inner
Urge,” “Recorda-Me,” “Black Narcissus,”
“Isotope,” and many others have set the bar for
the following generations of young jazz musicians. It was a huge blessing in my life to record
(Joe Henderson Big Band, Porgy & Bess) and
tour with Joe around the world with groups including Jack DeJohnette, Al Foster, Dave Holland, George Mraz, Randy Brecker, Stefon Harris, and Kurt Rosenwinkel. 2012 is Joe Henderson’s 75th Birthday year and it was a total natural to revisit his musical legacy in an AfroCaribbean context. Joe Lovano is a dear friend
and colleague and we are both excited about the
project. I’m collaborating with the incredible
pianist and composer/arranger Bill O’Connell on
the charts and we are really looking forward to
the gigs and recording at the Blue Note
JI: To bolster your interest in Joe Henderson’s
compositions and stylistic approach as an improviser, in association with developing this music,
what kinds of study, transcription or efforts did
you undertake to enhance your understanding of
his music?
CH: Since my teenage years I have idolized
many of the incredible albums to which Joe Henderson has contributed. The Real McCoy, Red
Clay, Cape Verdean Blues, plus all of Joe Hen’s
Hear Conrad Herwig Playing Music From His CD,
The Latin Side Of Joe Henderson
At The Blue Note, 131 W. 3rd St., NY, July 24-29
www.ConradHerwig.com
pattern player. His solos were wonderfully spontaneous. Could you share some of your observations about his solo improvisational approach.
CH: Joe Henderson was a sonic artist and the
audience was his canvas. He painted in sound
color and was one of the most creative improvisers I have ever had the privilege to share the
bandstand with. He had absolutely perfect, impeccable time and swing, while delivering total
“...there are two sets of criteria for every artist.
The External Life and the Internal Life. The music
business can often be based on External goals.
There is nothing wrong with these goals … The
Internal life is a world of sound, feeling, emotion,
and ultimately the inner creative urge. If your soul
is satisfied everything else seems to fall into place.”
albums on Blue Note and Milestone Records. As
a trombonist I really related to the timbre and
register of the tenor saxophone. It is all about
intensive listening and assimilation, one small
step at a time.
JI: When I transcribed some of Joe Henderson’s
solos, it became clear, that he was not a lick or
34
stream-of-conciousness phrases. He incorporated
melodic referential and inventive quotes of familiar themes that encapsulated the entire history
of jazz and the blues. This was juxtaposed with a
genius knowledge of modern 20th Century harmony and phrasing, verging on the avant-garde.
His was a uniquely individual voice, which was
no easy accomplishment as he grew up in the
eras of Sonny Rollins and John Coltrane.
JI: Given the angular qualities about the melodies, intervals and rhythms that characterize Joe
Henderson’s music, what kinds of challenges did
you find that presented for you on trombone?
CH: My friend Jim Snidero has called me a
“frustrated saxophonist in a trombone players
body.” The disciplines on trombone are multiple
tonguing( doodle tonguing), alternate positions,
and against the grain slide technique. I am
deeply indebted to my Masters — J.J. Johnson,
Curtis Fuller, Slide Hampton, Frank Rosolino,
and Carl Fontana — for leading the way in 20th
and 21st Century Trombone Technology.
JI: Could you share some of the guidance, advice or words of wisdom that you might have
received from artists and mentors - perhaps even
from Joe Henderson? - who have made an impact on your artistry or life?
CH: Joe Henderson was a very thoughtful and
brilliant man. He spoke several languages with
ease and was informed in many, many subjects
like politics, philosophy, military science, and
world affairs. It has been said that music and art
are a mirror of life. In his soft spoken way, Joe
Hen showed that a rich and cultured outlook on
life is a fertile ground upon which to base our
art.
JI: The emotional connection for many of us
Interview
Stan Warnow Talks About His Father Raymond Scott
His Film, Deconstructing Dad Provides An Inside Look At The Composer, Recording Engineer & Electronic Music Pioneer
Interview By Eric Nemeyer
Stan Warnow is the son of composer, engineer,
bandleader Raymond Scott, who was born Harry
Warnow in 1908 and died in 1994. Raymond
Scott was both a composer, a bandleader, a
pioneer of electronic music, and a recording
engineer. A great deal of the music and sounds
in the 120 Warner Brothers Looney Tunes and
Merrie Melodies animated short cartoons that
featured Bugs Bunny, Porky Pig, Daffy Duck,
from that period and beyond, are by Raymond
Scott. Many years later Soctt’s music appeared
in cartoons such as Ren and Stimpy, The Simpsons and others. In the 1940s Scott led a band
that included leading jazz players of the day
including Ben Webster, Cozy Cole, Bunny Berigan and others. Stan’s documentary film is entitled Deconstructing Dad.
With the cover of this issue of Jazz Inside
Magazine highlighting the new creative performing and recording space in Brooklyn,
ShapeShifter Lab, it is apropos that we are able
to feature the accomplishments of Raymond
Scott as a pioneering “Shape Shifter” in the field
of recording, electronic music and sythesizers —
works that cannot be overstated.
JI: Did you have a chance to observe your dad
in action?
SW: I did a little bit. You know, as a very young
kid. I sometimes went to rehearsals of the Hit
Parade Show that he did on NBC. I would see
him working around the house. He just kind of
worked all the time. I would see him writing
music which was kind of easy for him. You
know, he said that in the film. He mentions how
writing music is easy for him but writing it down
is hard. That’s funny because he used to compose but he didn’t really like writing it down. He
would have a copyist. I remember seeing my dad
at the piano composing, and this copyist, who
was really amazing, writing down the notes as
my father was playing them. This is just from a
seven year old’s perspective. But it seemed to
me like this guy could write down the notes as
my father was playing them. This was long before sequencers. It was notated. So I remember
seeing my father doing that and then of course I
saw him working on his electronic stuff, which
was impressive in a different way — with him
twisting knobs and flipping switches and things
like that. But my vivid memory is of him sitting
at the piano composing and this copyist doing
what seemed to be a superhuman task of writing
down the notes at the same time.
JI: Would he be tweaking the music as he went
along or was what was written down the finished
masterpiece as instantly created?
SW: You know, I honestly don’t remember. He
did have this amazing ability to kind of compose
on the fly. I can’t remember specifically but
other people have told me about it. His wife
Mitzi, his third wife, said that they would go to
parties and he would sit at the piano and just
make things up, entertain the guests. Later she’d
say to him, “Oh there was one piece that was just
so beautiful. You’ve gotta write that down.” He
would go, “I don’t remember what I played. He
was just somebody with amazing talent who had
a big reputation for doing that.
JI: It is a foundational skill of every jazz player
to summon the musical vocabulary we’ve
learned and assimilated over many years. We
start out by perhaps having the ideas, and then
we get the technique together ... maybe learn
some theory and really assimilate all that, so
when you’re going on stage, everything is impromptu … in an effort to create something logical, meaningful.
SW: It’s ironic that he had that (skill to compose
on the spot) because he wouldn’t let his musicians improvise — even though it sounded like
jazz. He did let them improvise when they were
working things up but when he heard what he
liked, he would say, “That’s it. Play it that way
every time.” As you know, jazz musicians did
not like that. But he had a very successful group
— so they put up with it, up to a point. And later
on, he did have the quintet where he established
that. I’ve heard that when he had this band, this
big band at CBS with Ben Webster, apparently
Ben Webster got there and said, “You know, I
improvise. That’s what I do.” Of course, Ben
Webster was this titanic name — so my father let
“… apparently Ben Webster got there and said, ‘You know, I improvise.
That’s what I do.’ Of course, Ben Webster was this titanic name — so
my father let him improvise. Then the other musicians were like, ‘Well,
wait a minute. If he can do it, we can do it too.’ So that band was a real
jazz band and people did take solos and improvise.”
35
“He would take a microphone when he was recording particular
saxophone solos, and have the musician go to the bathroom and
hang the mike in there to get the echo off the tiles. So he was
very into the kinds of things that we all take for granted today
as part of the recording process.”
him improvise. Then the other musicians were
like, “Well, wait a minute. If he can do it, we can
do it too.” So that band was a real jazz band and
people did take solos and improvise.
JI: Did your father experience anti-semitism?
SW: My father’s side of the family is from the
Ukraine and the original name was Varnowvitsky and then when they came over here, it somehow became Wornow. Then I think my Uncle
Mark, who was also a musician, changed it to
Warnow. Then my father, who was concerned
about being Jewish, wanted to assimilate. Another factor, I think that was more or less the
cover story, was that when he started out at CBS
in the ‘30’s, when his brother really got him the
job. Then when he started becoming a higher
profile figure and composing, he was worried
about charges of nepotism, so he decided to
change his name. But my mother always said
that the real reason he changed his name was he
wanted to assimilate and he wanted to conceal
being Jewish … which is part of being assimilated, for some people anyhow. And so he
picked this name. You know, it’s in the film. But
the story is — and most people who knew him
believe it — he looked through the phone book
and he picked this name. It clearly doesn’t sound
Jewish — Raymond Scott. He just picked it out
of the phone book and he always said it had a
nice rhythm and that’s why he picked it and I do
believe that.
JI: When he was composing, was there a specific time devoted to that or was it all day long?
What was his schedule like?
SW: He was somebody who was obsessed with
work. Part of what my film is about is that kind
of situation with a parent and children — where
the parent is just completely obsessed with his
work and doesn’t pay a lot of attention to his
family and to his children. My father was definitely that way. So he basically was working all
the time on one thing or another and the way he
related to his kids was through his work. I’m not
a musician, although I studied music. He loved
what he did. He loved composing music and also
he loved technology and so it was very natural
for him to move quickly. There were two parallel tracks. He developed his musical ability but
he was always developing his technical ability
— and then with these two tracks, there was a
crossover between them. He was just fascinated
with recording technology from a very early
date, when he was in his teens. He was cutting
36
records himself, getting aluminum discs — before there was even a commercial market for
them. My uncle, who was his neighbor, told me
how he used to get those from Fairchild Aircraft.
They had aluminum and he would get these
things and began cutting his own disks. Then as
soon as he could, and as soon as he was working
at CBS, he opened his own recording studio. He
was a really gifted audio engineer. He loved the
recording process and he was one of the first
people, as far as I know, to kind of see the recording process, not as just is a way to take a
performance and re-record it. His concept was
that this is a way to take a performance and
transform it into something else — whether that
was improving it or shaping it. He was very
aware of those things. Again, as you’ll see in the
film, this was in the 1930’s. He would take a
microphone when he was recording particular
saxophone solos, and have the musician go to
the bathroom and hang the mike in there to get
the echo off the tiles. So he was very into the
kinds of things that we all take for granted today
as part of the recording process. He was into that
way back then when most people’s idea of recording was you hang a mike and you just record, try and reproduce the sound of the orchestra, the band or the individual instrument. But he
was into the idea of, it’s kind of a picturesque
way of expressing it, but the microphone as another instrument in his orchestra.
JI: Bunny Berigan.
SW: Yeah, yeah.
JI: Cozy Cole was in his band.
SW: You know, Jerry Colonna played trombone
in one of his original groups. But I think Jerry
Colonna was like my dad’s complete opposite.
He was a total ham. I’ve got some other stories
from later on in his life. They don’t always reflect so well on my dad in certain ways but he
auditioned Bo Diddley to be in one of his groups
as a guitar player and he was like, “Oh no, no.
Too sloppy.” The other famous story with him
involves Anita O’Day who was in one of his
groups. My father was very, very controlling and
he wanted the performance that he had from
rehearsals when they would perform live in front
of an audience. On like the third day that Anita
O’Day was working for him, she forgot the lyrics and she started — guess what? — scat singing. She was one of the best. He fired her because she wasn’t doing what he wanted. I think
in her autobiography she even referred to that.
So there were stories like that, but a lot of musicians respected him. The stories that stick in my
mind are the ones where he had problems with
them. Another musician that somebody told me
about who played with him briefly, and had
really nasty things to say, like “Oh Raymond
Scott, that son of a bitch,” was his first reaction
when the name came up — because my father
was very hard on his musicians. He had very
high standards and a lot of them didn’t live up to
them. So as I said before, he had tremendous
respect for the really good ones. But the ones
who he didn’t think were very good, or probably
weren’t as good — he could be really hard on
them, and would do things like make them play
scales in front of the whole band and things like
that. So he was a tough guy. He was a real taskmaster. He had this group called the Secret
Seven. He had a couple of incarnations of them.
It was supposed to be unknown who the musicians were. But the last one had musicians like
Toots Thielemans in it. Whe some of the top
ranked musicians were in the studio, they’d be
kidding around. He [my father] would get on the
PA and go like, “Hey you guys, it’s not fun.
We’re not supposed to be having fun here. This
is work.” At the same time, he wrote in the liner
notes how making music was fun. So there was a
lot of paradox in my father’s career.
SW: Yeah. I don’t know anything specific about
Cozy Cole. Well, in his first group, he had a very
famous trumpet player who left because it was
too rigid. Who was that?
JI: As you were making the film and going
through all these interviews and all of the documents and information, were there some surprising discoveries that you made about his music,
JI: Did he talk about or do you have any interesting, dramatic, humorous experiences that
might shed some light on his connection with
some of these jazz players?
SW: The real story I have is the Ben Webster
one that I already told you. I think a lot of musicians resented him but at the same time, he had
tremendous respect for his musicians, for the
ones that he felt were really good. In fact I’m
named after a saxophone player whose name
was Stan — not Stan Getz. So my father had
tremendous respect for musicians who he felt
were really good. Johnny Williams [the father of
composer John Williams] was the drummer in
his band. He had tremendous respect for him and
a lifelong friendship. I don’t think they saw each
other very much but when they did, I think that
they always had a relationship.
Raymond Scott
Stan Warnow
career or life?
SW: Yeah, for me there were because I was in
an odd situation where, as I mentioned, my father wasn’t very involved with his family. So my
reaction as a kid and as a young adult, even
when I was an adult for that matter, was well
he’s not very interested in me so why should I be
so interested in him. So I certainly knew the
generalities about his career but I didn’t know a
lot of the specifics. Then I decided to make this
film, which is a little bit of a paradox too, after
what I just said. But after he died — again this
is stuff that’s in the film — I was selected to
deliver the eulogy at a memorial we had. I wasn’t too thrilled about that, but I was the only son
and my sisters certainly didn’t want to do it. So I
ended up doing it and I was doing it, I got all
choked up and I realized that I had this deep
emotional attachment to my father, or that I
loved him, which I had kind of denied my whole
life. So that was the way the film was really born
— right there. Then as I started getting into it,
finally learning more about my father, I did learn
certain things. One of the biggest discoveries I
made was that when he was asked to return to
CBS in the early 1940’s. He said, “I’ll come
back but only on the condition — that I can hire
whoever I want for this band that I’m gonna put
together, and that means black musicians as well
as white. Whoever I think is the best, I wanna be
able to hire.” They were very resistant to that but
he stood firm and they finally allowed him to do
that. He had the first integrated network radio
orchestra. That one would have been Ben Webster, Cozy Cole, and a lot of other people. That
was something I had no idea about and I was
very proud to learn that about him. That was an
orchestra that was really a great group in the
‘40’s but it wasn’t really remembered because
that was during the recording strike. They could
not officially record. Now fortunately my father,
with that whole technical side of him and his
own recording studio, recorded every rehearsal,
so that stuff exists in the archives. I’ve heard
some of that big band stuff and it is fabulous.
You know, these compositions of his are really
great. I hope some day there will be an album of
those things. But there is some of that in my
film. It’s not extensive but there’s some of it. I’d
love to at some point do a CD or an iTunes album or whatever of the full versions of a lot of
the stuff that’s in the film and if I felt like there
was enough demand for it and I had the time,
because I’m always very busy even today, I
would do that. I’m opening the film in New
York and I hope that it’ll get it out to more and
more people. It’s so far in kind of a niche thing
where I’ve gone to festivals with it. But now it’s
gonna be reviewed in the major New York papers and I’m hoping for the best.
JI: What was his perspective about the Looney
Tunes and Merrie Melody cartoons that featured
Bugs Bunny and the others, in which his music
and sounds played an immensely integral role?
SW: The thing to remember about those Warner
Brothers cartoons is that he never wrote a note of
music for those cartoons, for Warner Brothers.
What happened is that Carl Stalling, who was
the Music Director for Warner Brothers for all
their animation, was really into my dad’s music
— and for good reason. It’s because the music
sort of sounds like it’s written for animation, but
it wasn’t. They just got in touch with my father
— probably through his agent. They licensed the
music and he never participated in the production of it for them. They had this great studio
orchestra in LA. They would use the music, rerecord it, and do whatever they wanted with it—
and my father had no connection to that. He
never talked about it. In fact, again, Mitzi, his
third wife, had no idea that he had done that and
then Ren and Stimpy. During the early years of
the Raymond Scott revival, which started in the
early ‘90’s, they started using the music on the
Ren and Stimpy show and they began getting
these royalty checks and they had no idea. “Ren
and Stimpy? Who’s that?” Then they found out
“He loved the recording process and he was one of the first people,
as far as I know, to kind of see the recording process, not as just is
a way to take a performance and re-record it. His concept was that
this is a way to take a performance and transform it into something
else — whether that was improving it or shaping it.
37
Stan Warnow
(Cont’d from page 37)
about it and what happened and she said, “Well
Raymond, I didn’t know. I didn’t know your
music was used in cartoons.” He said, “Oh, that
was a long time ago.” But neither my sister nor I
remember him ever saying anything about that
music in cartoons. He seemed to have no interest
in it that we ever saw. I remember as a very
young kid going to a Saturday matinee and my
mother knew. She said, “You’re going to hear
your dad’s music on one of the cartoons today.”
So somehow she knew about it but I never remember hearing him tell us anything about it. So
again, it’s another one of those paradoxes and
ironies in his careers.
JI: What about your father’s association with
Johnny Williams, the drummer and father of
composer John Williams?
SW: John Williams is in my film. He has recollections. When the quintet first started at the end
of 1936 and in the beginning of 1937, they had
been so successful that they were kind of summoned out to Hollywood. They appeared in several Hollywood films and my dad’s music was
used in Rebecca of Sunnybrook Farm, you
know? But my father really wasn’t suited for
Hollywood. He only stayed out there for about a
year. During that year, that’s how the Williams
family ended up in LA. They may have stayed
out there afterwards. But John Williams has
chine using random sequences of tones, rhythms,
and timbres without a keyboard. He invented the
“Karloff,” an early sampler capable of recreating
sounds raning from sizzling steaks to jungle
drums, and the Clavivox, a keyboard synthesizer
complete with an electronic sub-assembly designed by Bob Moog which fused together a
keyboard and a TV screen to aid in composing
music for films and other moving images
SW: Yes. He was always fascinated with the
potential and then the reality of electronic music
so that in 1946, again it’s in the film, he had this
idea for something called the Orchestra Machine
— where he would do what was the equivalent
of sampling with tape loops that would be of
individual instruments and the notes that they
could play and that this thing would recreate the
sound of an orchestra. The Electronium, in a
way, was an evolution from that. But the machine that he envisioned in 1946 and he actually
filed a patent disclosure for it, meaning he intended to file a patent but never did, for this
machine which was really the same exact idea as
what later became the Mellotron in the early
‘60’s. A lot of rock and roll people using it in the
early ‘60’s used that ... I think the Beatles.
JI: And then he worked with Berry Gordy from
Motown later in his career.
SW: Right. The story with that is my father kept
filming these different electronic musical instruments, and each one led to the next ... and ideas
or even hardware from one machine was incorporated into the next generation … and eventu-
synthesizers and monophonic keyboards. This
machine was completely polyphonic. It had I
think 12 voices and chords. It had random capabilities and it did harmony and counterpoint.
Pretty amazing stuff. There was a newspaper
article about it and somehow Berry Gordy heard
about it. He was always very cutting edge and
wanting to have the latest of everything and they
came out to Long Island where my dad’s studio
was at the time. He demonstrated it for them and
Berry Gordy ordered it. Then my dad took a year
to finish the version to their specs and then
brought it out to California. He was supposed to
spend six weeks out there. But one thing led to
another and they eventually hired him as their
director of electronic music research and development. He spent something like five or six
years at Motown and in his ‘60’s and into his
early ‘70’s.
JI: Where was this studio on Long Island?
SW: His studio on Long Island at that time was
out in Farmingdale. I’d go visit him and it was
an industrial park where he was living. He would
live in SoHo later on. But this was just a big
industrial space that he converted and it was all
his lab and his workshops. He had a living area
and I would visit him there. But his place at that
time was in an area where they were in the very
early stages of building—like, buildings every
mile.
JI: As you know from being creative yourself,
once we’re in the creative mode, we tend to stay
in the creative mode. So did your dad retire? If
“Carl Stalling, who was the Music Director for Warner Brothers
for all their animation [Looney Tunes, Merrie Melodies Bugs
Bunny, was really into my dad’s music — and for good reason. It’s
because the music sort of sounds like it’s written for animation,
but it wasn’t. They licensed the music and he never participated in
the production of it for them. They had this great studio orchestra
in LA. They would use the music, re-record it, and do whatever
they wanted with it— and my father had no connection to that.”
these memories of going to rehearsals of the
group on the lot of Twentieth Century Fox. He
was entranced with it all. I don’t know if specifically that inspired him to pursue a career in music, which obviously runs in the family to begin
with. But he talks about that in the film. So I
think that’s how the Williams family ended up
out there and John eventually became this legendary film composer.
JI: Your father created the Electronium, which
he worked on for 15 years beginning around
1960. It was an instantaneous composing ma38
ally, because he was very interested in the idea
of artificial intelligence or a machine somehow
participating in the composition process …. so
his grand opus was this machine called the Electronium. It was sort of a synthesizer and a sequencer. It had these random capabilities. The
way my dad expressed it was that the operator
kind of guides the machine, kind of sets up
something, and then the machine starts doing
iterations of what you’re doing so that certain
notes can change. The machine had counterpoint
capabilities and it was polyphonic. You know,
back in the time, people were playing Moog
so, what did your dad do in his retirement? What
was his life like after all this activity?
SW: Well first of all, like so many creative people, my dad wasn’t a good business man. So
money was very tight for them. But you’re absolutely right. He always needed to be creating. So
after Motown they gave him the Electronium
back. I think they had already been letting him
work on it at home after a couple of years. He
worked on it some more and he started to kind of
evolve. The whole digital revolution was happening then and he started to kind of work on a
“He was somebody who was obsessed with work. Part of what my film
is about is that kind of situation with a parent and children — where
the parent is just completely obsessed with his work and doesn’t pay a
lot of attention to his family and to his children. My father was
definitely that way ... basically was working all the time on one thing
or another and the way he related to his kids was through his work.”
digital version of it but at that time, at one point,
he really had the most advanced stuff technically
in the world. But then all the big corporations
were jumping on this bandwagon and so he
started to make an all digital version of the Electronium. But they began coming out with this
other stuff. With all their corporate resources, he
kind of realized, or so I’m told, that it wasn’t
going to be possible for him to do something that
beat what these companies were doing. So it was
one of those situations — well, if you can’t beat
them, join them. He then got a PC back in the
early 80’s. I told him to get an Apple computer
but he got a PC. I talk about this in the film. It
was kind of an irony because I don’t think I
mentioned this before, but — and most people
who are experts on this do acknowledge that —
my dad really had the first sequencer. He had
this machine that could play back things, be
programmed to play back notes. Then in the
‘80’s, he ended up getting a sequencer to compose and then he got a Yamaha DX7. This was
in the early ‘80’s, before he had his stroke. Yeah,
he had his stroke in like ‘87, I think and he was
still composing using those tools. He always did
other things too. During the Motown years, he
had a company with another guy and they made
something called the Musical Maker I still don’t
quite understand how it worked. I have to read
about it again but it was something that was
designed in use in recording studios. He had this
incredibly varied interest in all kinds of technical
things. Back in the ‘50’s, he invented a radio
scanner. Again, these are things that we talk
about in the film. Actually, I don’t think I mention that in the film, but he questioned why every
phone should sound the same? There could be
individual rings for different phones that could
be electronic. Now we have ringtones. He had
this radio scanner. Somebody called him one day
and said could you make a machine that could
transmit images over phone lines — a fax. My
father said, “Sure.” He invented a machine like
that and patented it and later on. People like
ABOUT THE FILM
Deconstructing Dad:
The Music, Machines and Mystery of
RAYMOND SCOTT
A film by Stan Warnow
PLAYING JULY 13 - 19 at the QUAD CINEMA
34 West 13th Street (between 5th & 6th Ave)
www.quadcinema.com
Showtimes: 1pm, 3pm, 5:15pm, 7:30pm, 9:50pm
www.ScottDoc.com
Xerox had to cite his patent when they were
making their own machines. Unfortunately, you
would think he would have made millions of
dollars. We never made anything from that. I
don’t really know why. But he had these incredibly far ranging technical interests. He was always working on something — a lot of it to do
with music but not all of it. He was a photographer and he got tired of agitating the trays for
when you’re printing negatives or prints and he
built, I remember the tool because I was in photography too. I’d go out there and he had these
machines he had built to agitate the trays, simple
machines that would just agitate the trays back
and forth. He was just always, always inventing
and experimenting.
JI: How did you become interested in film. Tell
about your background.
SW: Well, I always kind of enjoyed film. But
wasn’t sure what I wanted to do when I was
getting near the end of my college career as an
undergraduate. I thought maybe journalism, but I
wasn’t really sure. Then it suddenly occurred to
me that, like my father in a way, I had this creative side and I had this technical side and I had
this very conscious thought, “What could I do
that combines those two things?” I thought, “Oh,
television.” I went to school at Boston University and started studying television but quickly
realized that it was film and making film that
was much more appealing to me, rather than
working in a TV station. So I switched over to
film and I switched to NYU Film School, and
studied film there. It was a great time to do that.
All these new technologies were emerging and
we were learning them. They were very smart at
NYU and they had all the latest small technology
— meaning 16 millimeter kind of stuff in the
‘60’s. So I went there for a couple of years, got
my Master’s degree, and immediately started
working on film. Then I just lucked into some
really good films right at the beginning. One of
them was this cult film. But people who are in
the film often know about it — The Honeymoon
Killers. It became a very big hit in Europe more
than here but it was a success here too and was
on the New York Times Top 10 Best list and I
was the editor on that. And then right after that
came the Woodstock film. I was among the core
group of people who worked on that who were at
NYU. We all knew each other from there and
they hired me to work on Woodstock — first as a
cameraman, and then as an editor. But after
Woodstock, I loved editing so much on that film,
that I pursued a career mainly in editing and then
since that time, I’ve worked on all kinds of films
from big Hollywood feature films to Public
Television documentaries to television series,
TV movies ... everything. I started out mostly
doing documentaries but sometimes with dramatic films. Then I went through a period of
about 10 or 15 years where it was all dramatic
films. In the last 10 or 15 years, I’ve gravitated
back to documentaries. It’s emerged as a much
more popular form and most of my work in the
last 10 years has been on documentaries, particularly my own film—which is about Raymond
Scott. Some people think, “Oh, you were somebody who wanted to make a film about your
father and you didn’t have a film background.”
But in fact my whole career has been working in
film.
JI: I was just looking at pictures from the early
‘50’s, a cover of TV Guide with Gisele
MacKenzie and Dorothy Collins.
SW: Yeah, yeah. I mean, that’s another whole
story because Dorothy Collins was my father’s
protege and came to live with us. Then my father
ended up leaving my mother and marrying her
and that’s all in my film too — the whole scandalous element. I tried to make a film that would
appeal to everybody ... that would appeal to the
people who know about my father and the music
and the jazz …. but also people about the electronic music …. and then people who had no
interest in music and Raymond Scott, or any of
that stuff, but simply want to hear a human story.
I tried to make my film all of those things. A lot
of people have said — mostly women — “I kind
of got dragged to your film because my boyfriend wanted to go. But to hear the personal
story about your relationship with your father
and all the things with your family and everything was really fascinating to me. So it’s a film
that has lots of different ways into it.

“...among human beings
jealousy ranks distinctly as a
weakness; a trademark of small minds;
a property of all small minds, yet a property
which even the smallest is ashamed of;
and when accused of its possession will
lyingly deny it and resent the
accusation as an insult.”
-Mark Twain
39
Interview
Joe Fonda
Interview by Eric Harabadian
Photo by Ken Weiss
New York City-based bassist, composer, educator and producer Joe Fonda has to be one of the
busiest and hardest working musicians active in
the world of jazz today. Not only does he have a
plethora of diverse solo and collaborative recordings to his credit but he has a long history,
dating back to the ‘70s, associating and performing with some of the greats of contemporary
improvisational music such as Anthony Braxton,
Lou Donaldson, Bill and Kenny Barron, Randy
Weston, Carla Bley and Barry Altschul, among
many others. Fonda has performed throughout
the United States, Canada, Europe and Asia
leading his own ensembles that span the gamut
from traditional bebop to world beat, blues and
even dance. Speaking with him recently by phone
he proved to be a most gracious, candid and
humble individual.
Jazz Inside: What drew you to the bass as your
chosen instrument and, also, who were some of
your earliest bass influences and general musical
influences?
Joe Fonda: It was an accident. The way I came
to the bass was an accident. Like everybody in
the ‘60s I wanted to be the next Jimi Hendrix. A
bunch of us youngsters got together and started a
band. I was ten or eleven years old. There was
five of us—four of us had guitars and one was
on drums. We all looked at each other and said
“who’s gonna play bass?” Nobody wanted to do
it. After we sat around for a while I got up and
said I would do it. On that same day I had saved
up about thirty dollars from a paper route. Back
in those days there was a Montgomery Ward
store on the corner. And I bought this electric
bass that they had for thirty dollars and walked
back to practice and the guys were all smiling. I
plugged in the bass and the rest is history. It was
the smartest thing I ever did. Look where I’m at
now. The other three guys that played guitar,
they’re all pumping gas (laughs). None of them
made it to be the next Jimi Hendrix. And I
wouldn’t have made it either. And from there, I
played electric bass until about ‘73. At that point
I decided I wanted to play the upright bass because I started listening to Monk, Miles and
things where the acoustic bass was being used. I
was leaving the fusion music I was playing at the
time and began playing the upright bass. And I
never looked back. I still dabbled with the electric but as time has passed I realized that the
upright worked for me. Even though I’m a small
guy; the fact that the instrument is so physical
works for my personality because I enjoy the
physicality of the instrument. And I actually
enjoy the physicality of this music. It draws me
to it. I actually enjoy the music when the guys or
40
gals are hitting hard and sweating. Not just your
mind, but your whole body is involved in the
process. So the instrument fits right into that
concept and personality.
Visit Joe online at www.JoeFonda.com
Hear Joe Fonda in July:
 July 11, Wednesday: Tony Waag and Tap
City, Symphonie Space, New York
 July 16, Monday: Katy Bull Band with Joe
Fonda, Bushnell Park, Hartford CT
JI: That’s interesting what you’re saying there,
Joe. It’s all about perception and reality. I think a
lot of people perceive jazz to be very cerebral
music whereas rock ‘n roll and music like that to
be more physical. But I think I tend to agree with
you that playing jazz is as much physical as it is
cerebral.
JF: When you go to see Bruce Springsteen, he’s
physical! But jazz music can have a very complicated harmonic and melodic structure to it so it
takes mental understanding and your mind has to
be in tune with it. But I miss the days in the ‘70s
and ‘80s when I would go and see bands like the
Sam Rivers Trio and these guys were playing so
hard you thought the walls in the club were
Joe Fonda
gonna melt! When I went to see McCoy Tyner
during his “Atlantis” period and the music was
played so much more physical than it is now.
And that’s the aspect of the physicality that I’m
talking about. People like Sam and McCoy chose
to play hard in terms of throwing their whole
bodies into it. I enjoyed going to see Bill Evans
Trio also but that was a different approach.
JI: Do you think a lot of jazz that’s out there
now is a little less intense as a rule?
JF: Yeah, I would say that, but not everybody.
There are still people that carry on that tradition
like Billy Harper. I love to go hear Billy Harper.
These guys are still hitting it hard! But as a general rule some of that approach has stepped back.
Not that it’s been lost but the approach with
some people just became more cerebral.
JI: And can you talk about your musical influences?
JF: Sure. From a jazz point of view I would say
Sam Jones, David Holland, Mingus, Richard
Davis. In terms of more contemporary bass players I’d have to say Joelle Leandre. She’s a
French bassist that is really something special! I
also have to give credit to the drummers I’ve
played with. My first focus is always the rhythm
and the feel, time and pulse. I’ve spent a lot of
time with drummers like Steve McCraven. We’d
spend hours just working on time. Barry Altschul is a drummer I’ve been playing with for
the last ten years. We had a trio with Billy Bang,
who passed away. But Barry is an influence.
Even when I used to play with records I’d put on
Sonny Rollins Live at the Village Vanguard, with
Elvin Jones and Wilbur Ware on bass. I’d put on
headphones and always focus on where Elvin
was at, before I even copped the bass notes. I
focused on that ride cymbal and tuned into the
drummers.
JI: What is your musical education background?
JF: I graduated from high school and then went
to Berklee College of Music for two years—that
was it. After that I took some lessons with Rufus
Reid and George Mraz. But the rest of it has
come from people I’ve played with. It’s been all
about musicians getting together and sharing
information. But I’ve continued to study with all
the people I’ve played with. I’ve learned a lot
from Michael Stevens the piano player I’ve
played with for many years. I’ve learned an
enormous amount from Gebhard Ullmann, another musician that I’ve played with. Mark
Whitecage is another colleague that I’ve learned
from. These are people I’ve been playing with
for twenty to thirty years.
JI: Along those lines, you’ve played with so
many diverse artists, ensembles and musical
styles. What do you look for in a project before
you take it on?
JF: Good question. If I was to start my own
project I would probably think about a body of
music I’d like to perform and who would perform it well. If it’s a collective thing I would
look at the individuals and see if it has the potential to grow musically and does it have potential
to grow in a business sense. Is there a potential
for work. I have many projects so if I am going
to take something new on I’ve gotta be sure that
there is musically something fulfilling and the
potential for it as a performing concept. I always
have to consider where in the world can I shop a
project once I have it together.
JI: That makes sense.
JF: Before I forget I wanna mention two other
influences that were very important to me as a
musician. The first is Wadada Leo Smith. I spent
a lot of time with Leo in the ‘80s and it was an
education. I used to go to Leo’s house three or
four times a week for quite a few years. I kinda
went through the Leo Smith school. My whole
sense of space and improvisation in a collective
context is partly shaped by my time with Leo.
And one of my favorite records to this day is one
of the first ones I ever did, and it was a Leo
Smith record, called Procession of the Great
Ancestry. We did it in the ‘80s and I rehearsed
this music with Leo for months and then I got to
record it. And the other opportunity I had for a
little over ten years was to work with Anthony
Braxton. And that also was an education. Braxton’s influence helped shape my understanding
of possibilities and what improvisation in a composition could be. Braxton’s music is a whole
universe in itself and he showed me that the
possibilities were infinite.
JI: What were their concepts or ideas that specifically changed your bass style or way of looking at music?
JF: Going back to Leo, one of the things I
learned as a bass player, the man was writing
where I had to learn where all the harmonics
were on the instrument. I had never explored this
aspect of the instrument. And Leo had these
pieces where there were harmonics written everywhere. I had to find them in order to play these
compositions. That was a gift in and of itself
because I use that information to this day. I often
use the harmonics I learned from Leo in my
solos and to color other things. Also, again, my
sense of space—knowing when to play and
when not to play—is something I learned from
Leo as well. With Braxton what I learned is so
vast. There were so many things but I’ll try to
come up with a couple. One thing he taught me
was that a piece of music is ever evolving. He
would bring a piece of music and we’d play it
and perform it. The next time he’d come around
he’d bring, not the same piece, but the same
concept for a piece but it would have, maybe, six
or seven new elements in it. This was during his
Ghost Trance music. He showed me that a piece
of music does not have to be a fixed structure. It
doesn’t have to be finished if you view it in another way. Braxton has a real connection to creativity. And I watched how it could unfold right
in front of me. It made me realize that the more
41
Joe Fonda
you connect with the creative flow that goes
through an artist the greater your body of work
will be and the greater the possibilities will be.
And both Leo and Anthony brought a spiritual
element to it. They’re two heroes of this music.
JI: As an educator yourself, how do you approach teaching?
JF: If I’m doing it in the sense of a bass student
my basic philosophy is, if they don’t have basic
music skills or decent time, I’ll make them focus
on playing a bass line or playing along with a
record. Maybe we’d play a line together for an
hour or maybe we’d play a blues. There was a
gentleman in Hungary that I worked with not too
long ago. He wasn’t happy with the way he was
swinging. He played for me and I could hear that
he just didn’t have the music in his body. He
knew how to walk up and down the bass and
play quarter notes but the groove and rhythmical
reality was not in his body. I told him the only
way you’re gonna get it is if you play with a
drummer who has it and you play with him a lot
or we put the headphones on right now and play
along with something. I made him play
“Impressions” because it’s harmonically simple.
I think it was from Coltrane’s Live at the Village
Vanguard and the groove is so deep that I knew
it was gonna take him a while to get it. But after
a couple hours he was starting to come closer to
what it was. And I asked him and he said he felt
something different. That’s how I approach
teaching by trying to get the student to experience something that gonna get them closer to
what they need to really play it. So I didn’t show
this guy the exact notes I was playing on
“Impressions” but I tried to show him the essence of finding the groove and the feel. If they
already have that then I’ll try to find something
else that they need.
JI: That sounds like a fun way to learn where
you get them involved in the music.
JF: That’s right! It makes the process of learning
fun and not a tedious exercise. That’s a great
observation on your part. And it is a lot of fun
for me and them.
JI: I was trying to narrow things down to just a
few things you are involved in to talk about. But
there are so many I couldn’t do that too well.
What are some things you are involved with that
are really grabbing your attention right now?
JF: Working with Barry Altschul and John Irabagon has been very exciting. The Fonda/
Stevens group is one of my longest standing
projects going back twenty-some years. That
features Michael Stevens on piano, Harvey
Sorge on drums and Herb Robertson on trumpet.
That’s a very special band that has a very high
level of communication. And then there’s Conference Call, with Gebhard Ullmann, Michael
Stevens and George Schuller. I love that group
because we blend our influences together in a
42
very unique way. There’s also the trio with Mike
Mussalami and George Schuller that’s been going on for ten years. There’s the Nu Band that’s
been going on for ten years as well. And that’s
with Mark Whitecage, Roy Campbell and Lou
Grassi. I kind of co-lead that with Lou and we do
all the business too. And there’s a few interesting projects in Europe like the one with Xu
Fengxia who is from Beijing, China. She plays
the guzheng and it is an interesting duo that’s
totally improvised. That’s been going on for
about twelve years. She brings her eastern influences and I bring my stuff from here and we
make a cross-cultural mix. There’s another interesting project that me and Michael started with
two Hungarian musicians called Eastern Boundary quartet. That’s also where we try to mix
cultures together blending some Bartok with
jazz. They bring some of their Hungarian folk
music and we bring some of our stuff and try to
find a way to make the musical idioms blend and
not sound contrived.
JI: So would you refer to your style of music as
world beat or eclectic?
JF: No. When I play with Xu Fengxia it is totally improvised. But I’m a jazz musician and I
bring that aesthetic to whether I’m playing
“Stella by Starlight” or improvising totally free.
Different cultures can work together musically if
you understand how to do it and are open to it.
For me, no matter what I play, I’m a jazz musician and that comes through! For me there has
never been any separation when it comes to music. For me Charlie Parker and Cecil Taylor are
the same people. Whatever the context is I might
play differently but being a jazz musician comes
through loud and clear. And I wouldn’t have it
any other way.
the theater saying “Skippy goes fast….Skippy
goes fast!” And that became my solo. This is an
example of incorporating theater with music,
which is something I learned from working with
the Sonomama Dance Company.
JI: What was the audience response to something like that?
JF: They loved it! And the guys in the band
understood where I was coming from and it was
very connected to the tune. The guys were cracking up and it was very fulfilling for everybody.
And I carried on with dance working with tap
dancers quite a bit. One of the great tap dancers
of our time Brenda Buffalino has become a colleague of mine. She’s recorded with me on one
of my favorite records From the Source, with
Anthony Braxton and Vickie Dodd. I’ve actually
worked with a lot of dancers in New York and
that’s been a serious learning experience.
JI: You’ve got quite an output of your own recordings as a leader. How has your music
evolved over the years?
JF: The music has gotten deeper and the understanding has gotten deeper. The quality of my
playing has risen and the depth of it to reach
higher places and make a bigger impact is there
too. I have some of my favorite records from my
early career. But if you listen to some recorded
more recently you’d have to say Fonda hung in
there and deepened his understanding of his
playing and the music.
JI: To handle everything that you do you must
have great multi-tasking skills. Can you talk
about balancing all the projects you’re involved?
JF: I’ve chosen to take care of my own business.
So as a result of becoming a businessman as well
as an artist I’ve simply made a commitment to
handling all aspects of my career. You just have
to. There’s nobody that’s gonna do it for me and
I wanna continue to work and develop. So I
make it a part of my daily consciousness just like
practicing or composing.

Jazz Lovers
Heaven
JI: You’ve also been involved in dance as well.
Can you tell me about that?
JF: I guess there’s a theatrical element to my
personality. So even though I wasn’t quote unquote a dancer I could go out and do something
that was not necessarily dance, but theater, like
acting out a character or something. It was off
the cuff and improvisational but there was something in it that worked for my personality. If the
situation calls for it I can bring some form of
theatricality to a performance. There was a tour
that we were doing with Conference Call. And
we were doing a Matt Wilson composition. The
composition was called “Skippy Goes Fast.”
Everybody took their solos on it. But at some
point I felt I didn’t want to play the bass. I
wanted the solo to be about Skippy running fast.
So I put down the bass and I literally ran around
Your Own Personal
Lifetime Access!
Jazz Listening,
Venue Profile
Oceanna Restaurant
By Joe Patitucci
Paul McLaughlin, Owner
Oceana Restaurant
The long-established mecca for quality
seafood delicacies now hosts a jazz series every
Saturday evening. We spoke with Paul
McLaughlin, owner and experienced hospitality
professional, along with Ryan Hayden, a Juilliard graduate who plays drums and percussion
and serves as Musical Director for the series.
Paul shared perspectives about the music.
“Well, first off, I’ve been to a number of jazz
clubs over the years and have always enjoyed
jazz. I’m certainly not an aficionado by any
stretch. We moved here about three years ago to
our new location. We’re in a business environment. Monday to Friday the restaurant is
jammed. Quite frankly, Saturday night is a bit of
our Achilles heel. We’re trying to come up with
different ways to entice people a little bit later in
the evening to come to the restaurant. We have a
tremendous pre-theater crowd, which has always
treated us very well. So typically the restaurant
fills, and then nine o’clock and later the reservations get soft. I came up with the thought that if
we have the pre-theater people, at least let’s get
something addressed to them for late night.
That’s exactly what we started to do when we
started presenting jazz. We kind of pitched it to
the theater crowd. After the theater, it’s only
going to be 10:30 PM or so — maybe too soon
to pack it in and call it a night. Why don’t you
come back to Oceana? With all the major shows
being a block or two away from the restaurant ...
come back to the restaurant and you can listen to
an hour, hour and a half, of some great jazz.”
With so many options drawing people’s
attention then, how is the strategy working out?
“So far that has worked. That has been our
audience. What will typically happen is people
will leave, they’ll see the band starting to warm
up, or in some cases already playing. They find
out some of the particulars, and sure enough we
see their faces back at 10:30 or 11 at night.
Of course, if seeing the band warming up
can be the simple allure to get people to come in
later, maybe every venue ought to have a band
constantly on hand, warming up — to warm up
consumer interest.
Paul indicated that “to a matter of degree,
that strategy is working. We pitched it very
heavily as well to all of our concierge friends in
the immediate neighborhood.
Oceana is located in walking distance to a
whole slew of midtown hotels with hungry tourists. With numbers of prospects just ready to be
enticed, how did the idea for a Saturday evening
jazz series go over with his business associates?
“Well, it was really just my partner that I had to
try and convince, who was concerned just from
the standpoint that he just wanted to be sure it
was the proper venue for the restaurant. Typically, I think sometimes people just throw music
against the wall when a restaurant is failing, with
the hope of something catching on. That certainly was not the case here. It was just more
reason to attract people to the restaurant late
night.”
Paul had some additional comments about
positioning the music and attracting return visitors. “With the huge amount of tourists that are
here, and couples, generally from Connecticut,
New Jersey, Westchester...they come for a couple’s night of shows. They’re sort of out for the
night. So to come back to the restaurant and have
a couple of cocktails, you’re not asking them to
buy into a show or hit them with anything stiff
when they come back from the restaurant. From
that standpoint, economically, it’s a winner for
them. I think there’s a tremendous amount of
value in it. Quite frankly, I know it’s important
for the musicians to have a venue to play, and I
understand that. We also ask the musicians to
Photo Courtesy of Ryan Hayden
(L to R) Dan Nimmer, piano; Ben Williams, bass; Ryan Hayden, drums
43
bring in their own crowd. I typically have Ryan
ask them if they have a Facebook page, and if
they have a following. It certainly helps when
the band turns around and brings in a dozen
friends and/or fans of the band to help fill the
cafe and make it more enticing.
Seeing the band for people walking by can
be powerful advertising in itself. “People generally walk past the restaurant. We have huge windows on 49th Street, so you can easily see in.
Once people see a space that’s sort of going and
has activity, they are generally more attracted to
that, and they’ll come in and at least check it
out.”
“Jazz was definitely something of interest
for us. Again, I have to give a lot of the credit to
Ryan [Hayden]. Without all of his contacts, I
probably would not have embarked on this. He
just made it so much easier to reach out to people who he’s played with. I just went with his
instinct and trusted him implicitly. The folks
he’s brought here have been really, really great.
To satisfy my partner’s questions about the
proper venue, I have to admit, the very first
piece of music that was played in the restaurant,
I knew right away in my heart that it was the
right venue for Oceana restaurant. You know,
it’s upscale, it’s elegant. We can pitch our cafe
menu which has a lot of great items on it, a full
fish bar, so it’s a fun menu to compliment late
night snacking, and really perfect for the venue.
For dinner we have such specialties as whole
fish for two, and a lot of fun things on the menu.
Late night we offer the café menu.
Any plans to expand the jazz scheduling?
“At this point the venue is going to stick with
Saturday evening as the prime time for their jazz
presentations. We are, however, kicking around,
ever-so-slightly, possibly extending the venue
from midnight to 1:00 AM. Jazz people tend to
be late night people, so that might have a little
more appeal to come to Oceana.”
Oceana has a rich history in New York. “I
opened Oceana back in 1992, so I’ve been part
of the original restaurant concept, and I’ve been
here almost 21 years. I have great partners,
which is essentially what’s kept me here and
revitalized all these years. They leave all the
day-to-day running of the restaurant to me. I
kind of pitch to them, and generally speaking,
there’s an awful lot of trust there, we collectively
decide what to move forward on, and we do it.
It’s all about relationships—that’s, what it all
boils down to. I’m really a service guy through
and through. As corny as it sounds, I love to see
people pleased with their experiences. You’re
only as good as your last plate of fish. I’m always drilling that into my manager’s head. The
greatest thing about my business is you get to
start with a clean slate every night. Every night
brings you a few hundred more people that
you’re able to please. They come with no baggage, just sort of wanting to sit and have a great
meal. We have to deliver, and that’s what we try
to do.”
Paul commented, “Oceana is a much more
current, ‘hipper,’ today restaurant, and I think
that’s what I like about the jazz too. It shows that
we’re contemporary.
The dining room is about 7,500 square feet
with a 4,000 square foot kitchen. So it’s the real
44
deal. “We have a great great chef who does a
fantastic job for us. It’s a big team effort.”
If you like outdoor cafes on a warm simmer
night, then Oceana fits the bill. Paul wrapped up
by saying: “We have 75 seats outdoors, which is
a great space. It’s on the Eastern portion of our
building … great big umbrellas. It’s a great spot
to go to have either a full meal or some snacks
from the bar menu. We get a lot of after work
people who get rounds of cocktails or beer, wine,
snacks, that sort of thing, but it’s a great weekend venue too.”
Ryan Hayden
Musical Director, Oceana
In discussing his role as Musical Director
for the Saturday evening jazz series at Oceana,
Ryan provided some background about his musical activities. “I’ve done gigs with Jeb Patton. I
went to school with Aaron Diehl and Ben Williams, and then did my undergraduate work with
Luques Curtis. These are all musicians that I’ve
been using to play at Oceana. I’m a jazz drummer and just have the connections through working professionally throughout the city at Fat Cat,
Dizzy’s and other places. I’m just kind of using
the musicians that I like to play with. This month
we’ll have Greg Gisbert. I played with him with
Pat Bianchi.”
From a musician’s perspective, the Saturday evening jazz series at Oceana is ideal in
more ways than one. Ryan commented: “It’s a
great venue to bring music into. The room is
really nice — floor to ceiling glass, so the people
walking by can see the musicians. It’s a great
opportunity for me to be able to bring in my
friends and also get the opportunity to work with
new people. I had never done a gig with Dan
Nimmer before. I met him when he played on
my audition at school for Juilliard. Then we
ended up seeing each other out that night at
Cleopatra’s Needle. He always told me, “if you
ever get a gig, give me a call.” I had tried before,
but he’s always busy with Jazz At Lincoln Center. But this past weekend it was great. I had Dan
Nimmer on piano, and then his friend from his
growing up in Milwaukee, Joe Sanders on bass.”
Getting the thumbs up from Paul McLaughlin to start and manage the Oceana Saturday
evening jazz series was easy. “I actually gave
him a CD one time in the hopes of playing there
for a Valentine’s day thing. I had a quartet together with a couple musicians from school.
Oceana wasn’t that interested because their business on Valentine’s day was already so good,
that they would almost be losing money taking
away a table for us. He had heard that CD before, and he knew that I played at clubs around
the city. He just put his trust in me.”
Hayden is responsibly making things happen for Oceana and for his burgeoning music
career. He also works during the week at
Oceana. “I went to Juilliard to get my Masters
Oceana Restaurant
Jazz series on Saturday nights
from 9:00 PM until midnight
120 West 49th Street, New York, NY 10020
212-759-5941
www.oceanarestaurant.com
Degree so I could teach at a college. That’s my
ultimate goal. I love to teach, I prefer to perform
more, but I want to do both. At the time I graduated, there wasn’t anything really available in
this economy - especially for adjunct faculty, or
a specialty position such as drums. If colleges
were hiring, it would be a piano teacher, or head
of a program. So I know I have to put in my time
working in the city, and I have to make ends
meet, be responsible, pay rent, and so on. So it’s
kind of one of the things I’ve just accepted—
and Oceana’s been great as far as letting me
have a flexible schedule. I’m able to do these
summer camps for Juilliard, and have the weekends off to do what I love to do in music. I’m
doing some trio things, playing with Berklee
people and Juilliard people, Donald Vega, and
doing some stuff with Ben Williams.
Ryan commented on the repertoire for the
Oceana performances. “I want to have a broad
variety of music. I grew up loving trios, and the
hard bop style of music. Paul gave me the reins
to hire who I wanted to and let the musicians
play. That was the one great thing that Paul was
saying — that he didn’t want this to just be background music. He wanted this to be a feature.
We get people to listen who are having dinner at
the restaurant and when they’re walking out,
they look at the musicians and want to stay
around. That’s a great thing. Being able to hire
some of the best musicians is great. Oceana is
open to letting the musicians just play. We play
nine to midnight, and it ends up working. I leave
it open to the musicians as to what they play. We
basically do three sets, 9 PM, 10 PM, and 11.
Some musicians prefer to do two longer sets
instead of just those three — but the music is
going from 9 until midnight, just on Saturdays.”
Ryan described the band setup. “They have
a piano there. When Paul first decided ‘yeah, we
can do this,’ we walked right up to Steinway and
got a piano up there. It’s a Weber piano. That’s
perfect because during the week, the piano isn’t
out there. It takes up too much room. So we’ve
got an upright that we wheel on the marble
floors. I guess there are specific casters that are
on this that are good for the tuning of the piano,
and the floors with the marble. Every Saturday,
we just wheel it out. They have a PA system.
The last thing I’m working on with Paul is trying
to get a set of house drums.”
How about expensive cover charges and
minimums? “I don’t think we’d get many people
out if we were charging a numerical cover. So
we decided that there would be a two drink minimum, unless you’re having something to eat. I
think it’s a great. Whenever I’m talking to new
people about the series, I let them know that
these are musicians who you’d normally have to
pay $20 or $30 to hear — Jeb Patton, David
Wong — at other clubs. So this is a great opportunity for people to go someplace and have two
drinks — which you might normally do anyways. Or, people can enjoy some great seafood,
and not have to pay any cover to hear these great
bands. And, we get to expose people to some
great music and musicians whom they might not
have known about.

Performance Review
Pamela Luss
with Houston Person
March 31, 2012
Metropolitan Room, New York
PERSONNEL: Pamela Luss. vocals; Houston
Person, tenor saxophone; Brandon McCune,
piano; John Burr, bass; Sean Harkness, guitar;
Dwayne “Cook” Broadnax, drums.
The theme of singer Pamela Luss’ March
31st show at The Metropolitan Room revolved
around a quote by best-selling author and self
help guru, Barbara de Angelis, “You never lose
by loving. You always lose by holding back.”
Prior to my attending Ms. Luss’ performance, I
had never heard her sing and knew very little
about her beyond her occasional Facebook gig
announcements and was quite intrigued to hear
her perform with the legendary Houston Person.
The Metropolitan Room is a singer’s venue. It’s
an intimate room with a wonderful stage, lots of
character, dramatic lighting, excellent sound
system, piano and not a bad seat in the house. A
high-end cabaret and jazz club, it is home for big
name talents as well as rising stars.
Described as a contemporary jazz vocalist,
Ms. Luss’ eclectic one hour set consisted of an
array of nicely arranged, favored Jazz standards,
classic pop hits, blues, R&B, and a familiar (at
least to us Baby Boomers) TV theme song from
the long running series (1964-1972) Bewitched,
that she coupled with the Rodgers and Hart
beauty, “Bewitched, Bothered and Bewildered.”
Luss took an uncustomary approach easing into
her show with the ballad “For All We Know”
establishing the theme of loving with full abandon not knowing if tomorrow will ever come.
Backed by a superb and seasoned band, the
music was, swinging, sure, jubilant and soulful
throughout. The format was precise and tightly
arranged with limited room for solos in a predictable fashion each song long enough to accommodate a 15 song repertoire and one encore.
Less would have been more for me with more
Conrad Herwig
creating music can blind us to the importance of
understanding and effectively managing the
business side of our professional activities. What
significant ideas have you discovered
about business, the [music] business, the people, and how have you incorporated some of
those into your own career.
CH: I have always felt that there are two sets of
criteria for every artist. The External Life and
the Internal Life. The music business can often
be based on External goals. There is nothing
wrong with these goals which include promoTo Advertise CALL: 215-887-8880
time given for longer individual solos on some
pieces. Gracing the stage alongside Ms. Luss
was maestro tenor saxophonist Houston Person
who was polished to perfection. From his distinguished and reserved stage presence to his distinctive rich tone, and tasteful phrasing, he carried the songs with the expertise of an elder
statesman lending beautiful accompaniment
behind Ms. Luss, never upstaging, always supporting, a true professional. For me, his playing
was the highlight of the show. Person is Jazz
royalty and it was a special delight to see and
hear him play in this intimate venue after having
listened to him over the years especially with the
great Etta Jones. His high level of musicianship,
sophisticated style and grace was simply a joy to
behold and I wished his solos were longer, however he knows exactly how to play it. He is a
touchstone that we are blessed to have.
Also impressive this evening was pianist
Brandon McCune who packed his limited solo
time with lots of “feel good improvisation,” and
superior technique and virtuosity. He possesses a
cache of chops from Jazz to Gospel and lots of
flair. He truly brought the fun with him and was
quite enjoyable to watch as he draped one arm
over the piano’s music stand during “Teardrops
From My Eyes” as his right hand worked the
keyboard into a religious experience. Obviously
comfortable in many genres, he got down with a
funky groove on the Bill Wither’s anthem,
“Ain’t No Sunshine When She’s Gone.” Guitarist Sean Harkness has a great approach and
sound I would have liked to hear more of and
bassist John Burr, added a special touch by scatting along with one of his solos. One of the most
seasoned quality drummers on the scene today is
Dwayne “Cook” Broadnax. He got to stretch a
little on several tunes and gave the audience
more than some with his deft touch and showmanship which was matched by resounding applauds, hoots, and whistles from the receptive
audience. Luss, very wisely, has surrounded
herself with musicians who are extremely singer
friendly and who have collectively worked with
many of the top singers in the business including
tion, marketing, management, bookings, recording, and financial acumen. We have to live
in the world. The Internal life is a world of
sound, feeling, emotion, and ultimately the inner
creative urge. If your soul is satisfied everything
else seems to fall into place. Balancing these
criteria is what makes us who we are. Joe Henderson was an inspiration because his career and
artistry exemplified hard work and the triumph
of staying the course. Joe Hen was true to his
muse and ultimately the business of music fell
into place.
JI: How has your work as an educator helped or
challenged your artistic pursuits?
CH: I have had some really incredible students
in the past 25 years. Young jazz trombone play-
Jimmy Scott, Etta Jones, Betty Carter, Abbey
Lincoln, and Nneena Freelon among others.
Luss put together a nice show and chose
great songs to sing, songs that stand on their own
merit. She chatted in between numbers with her
musicians and engaged her audience stocked
with many of her friends, family, other singers,
and fans. Despite coming a bit unruffled toward
the end, I felt her performance was good overall.
Her unpredictable demeanor was transparent as
she fired off a few quips at both the bassist and
her audience in true diva fashion – she was fully
in the room and embracing the moment.
Luss has a nice supple instrument with a
hint of smokiness which I found appealing, especially in her lower ranges where the tone is fatter
and more resonate. But, this night she did not
scat or stray from the tight arrangements or basically elaborate on the melodies enough which to
me is what defines a jazz singer, not just the
songs you choose be they “standards” or
“contemporary.” Sound, technique, vocabulary,
improvisational ability and application however
do. I was hoping Ms. Luss would let go a little
and have more fun with the music like her musicians, take more risks as her theme suggested,
explore the harmonic and rhythmic possibilities
more, and follow the music as if tomorrow
would never come. There was a certain level of
confidence and maturity which would have allowed her to be more creative with the songs
even without scatting that was missing in her
performance this night. Again, I think it has to
do with material. While she picks great songs to
sing that in and of itself is not enough and they
may not be the right songs for her voice and her
life experience. Case in point, her voice shined
on the ballad, “Why Did I Choose You,” and on
her moody interpretation of Carol King’s, “It’s
Too Late.” Here was Luss at her most believable, comfortable and effective best – not holding back. But on some of the other songs particularly, “That’s Alright Honey,” and “Alright OK
You Win,” though the band was swinging, she
sounded tentative or distracted.
Regardless, the night ended on a high note
for the audience who summoned Ms. Luss back
to the stage for her encore, “But Beautiful.”

ers like Marshall Gilkes, Andy Hunter, and Nils
Wogram, among many others, are really taking it
to another level. I’m just trying to keep up with
the youngbloods. Teaching makes you think
about the process in order to pass it on. For me
it’s about Sound, Technique, Ideas and continuing to re-investigate again and again in the improvisational context.
JI: What do you do to decompress when you’re
not making music?
CH: I love to listen to Brazilian and Classical
Music. Spending time with my sons Mark(12)
and Glenn(15) is my biggest thrill. We love fishing, BBQing, golfing, basketball, and baseball.
Running around with them keeps me in shape.

45
New CDs Received
Submitted To Jazz Inside by Artists, Labels & Publicists
June 2012
 Beegie Adair, Trio Love
 Cannonball Adderley, Legends Live (Naxos)
 Gerald Albright & Norman Brown (Concord)
 J.D. Allen, The Matador & The Bull
 Joe Alterman, Give Me The Simple Life
 Franco Ambrosetti, Cycladic Suite (Enja)
 Peter Appleyard, Sophisticated Ladies
 Susie Arioli, All The Way
 Avengers (Adam Holzman), On A Mission
 Danny Barrett, This Will be My Shining Hour
 Bruce Barth, Three Things Of Beauty
 Corina Bartra, Quartet
 David Basse, Uptown
 Johnnie Bassett, I Can Make That Happen (Mack
Avenue)
 John Beasley, Brave Souls
 Lakecia Benjamin, Retox (Motema)
 David Benoit, Conversations (Heads Up)
 Otmar Binder, Boogie Woogie Turnaround
 Brazilian Trio, Constelacao (Motema)
 Bosse Broberg, Zzzkaa’s Dance
 Brian Bromberg, Bromberg Plays Hendrix (Mack
Avenue)
 Brian Bromberg, Compared To That (Mack Avenue)
 Brooklyn Jazz Underground, A Portrait of Brooklyn
(BJU Records)
 Bobby Broom, Upper West Side Story
 Brubeck Brothers, Life Times
 John Carey, Oh So Funky (with Anton Fig, Oz Noy,
Will Lee, Andy Narell)
 Brian Clancy, Introducing
 Carl Clements, Forth and Back
 Ravi Coltrane, Spirit Fiction (Blue Note)
 Concrete Cradle, Things I Wonder
 Chick Corea & Gary Burton, Hot House (Concord)
 Jerry Costanzo, Can I Steal A Little Love
 Bruce Cox, Status Cymbals
 Natalie Cressman, Unfolding
 Isaac Darche, Boom Baptism (BJU Records)
 Hamilton de Holanda, Brasilianos 3 (Adventure)
 Joey DeFrancesco, Wonderful! Wonderful!
 Al DeGregoris, Times & Travels
 Ellington Legacy, Single Petal Of A Rose
 Eric Erhardt, A Better Fate
 Wayne Escoffery, The Only Son Of One
 ESP (Mathew Vacanti), Reach
 Bill Evans, Live At Art D’Lugoff’s Top Of The Gate
(Resonance Records)
 Bill Evans (sax), Dragonfly
 Cynthia Feltom, Freedom Jazz Dance
 Doug Ferony, You Will Be My Music
 Amina Figarova, Twelve (In + Out)
 Bela Fleck & Marcus Roberts, Across The Imaginary Divide (Rounder)
 Bruce Forman, Formanism
 Curtis Fuller, Down Home (Capri)
 Fundamental, Development
 Matt Garrison (sax), Blood Songs
 Sara Gazarek, Blossom & Bee
 Eddie Gomez, Per Sempre
 Jerry Granelli, Let Go
 Avi Granite, Snow Umbrellas
 Phil Grenadier & Bruno Raberg, Plunge
 Tim Hagans, Moon Is Waiting
 Rich Halley, Rich Halley 4
 Jeff Hamilton, Sparkle (Capri)
 Tom Harrell, Number Five (High Note)
46
 Allan Harris & Takana Miyamoto, Convergence
 The Heavens, Atheist Gospel Trombone Album
 Juancho Herrera, Banda
 Conrad Herwig, Tip Of The Sword
 Holly Hofmann & Mike Wofford, Turn Signal
(Capri)
 Gary Honor, Heads & Tails (Trippin’ In Rhythm)
 Brenda Hopkins-Miranda, Simple
 Francois Houle, Genera (Songlines)
 Ochion Jewell, First Suite For Quartet
 Jessica Jones & Mark Taylor, Live At The Frei
 Patricia Julien, Still Light At Night
 Arthur Kell, Jester (BJU Records)
 Lisa Kirchner, Charleston For You
 Elisabeth Kontomanou, Secret Of The Wind
 Susan Krebs, Everything Must Change
 Juliann Kuchocki, Broken Compass
 Rebecca Larsdotter, Feathers & Concrete
 Greg Lewis, Organ Monk
 David Linx, A Different Porgy & Another Bess
 Joe Locke & Geoffrey Keezer, Signing (Motema)
 Lionel Loueke, Heritage (Blue Note)
 Michael Manning, In Winter
 Sandra Marlowe, True Blue
 Branford Marsalis, Four MFs Playin’ Tunes
(Marsalis Music)
 Virginia Mayhew, Mary Lou Williams-Next 100 Yrs
 Nora McCarthy, In The Language of Dreams
 Lisa McClowry, Acoustic Alchemy
 Marcus Miller, Renaissance (Concord)
 Bob Mintzer, For The Moment (MCG)
 Tony Monaco, Celebration - Life, Love, Music
 Monkey Bar, Dear You
 Joy Mover, Joy Mover
 Stephanie Nakasian, Show Me The Way To Get Out
Of This World
 Tyson Naylor, Kosmonauten (Songlines)
 Lucien Nocelli, EvoLucien
 Senri Oe, Boys Mature Slow
 Kat Parra, Las Aventures De Pasion
 Chris Parrello, Concrete Cradle
 Pearl Django with Martin Taylor, Eleven
 Michael Pedicin, Live At The Loft
 Reynold D. Philipsek, Last Summer
 Alvin Clayton Pope, Soul Of A Man
 Ben Powell, New Street
 Irene Reid, Queen Of The Party (Savant)
 Carol Robbins, Moraga
 Alfredo Rodriguez, Sounds Of Space (Mack Ave)
 James Romain, Howl (Innova)
 Paulo Russo, Music Of Paulo Russo
 Amanda Ruzza, This Is What Happened
 Carol Saboya, Belezas
 Arturo Sandoval, Dear Diz (Concord)
 Martin Schlumpf, Summer Circle
 Woody Shaw, Woody Plays Woody (High Note)
 Jeremy Siskind, Finger-Songwriter (BJU Records)
 Steve Smith, Live! One Great Night
 Wadada Leo Smith, Ten Freedom Summers
 Marianne Solivan, Prisoner Of Love
 Luciana Souza, Book of Chet
 Luciana Souza, Duos III
 Jesse Stacken, Bagatelles For Trio
 Mary Stallings, Don’t Look Back (High Note)
 Mike Stern, All Over The Place (Concord)
 Story City, Time & Materials
 Milton Suggs, Lyrical, Volume 1
 Rebecca Sullivan, This Way, This Time
 Jorge Sylvester, Spirit Driven
 Katsuko Tanaka, Beyond Intersection
 Tom Teasley, All The World’s A Stage
 Mark Tonelli, The Thread
 Kevin Toney, New American Suite
 Ryan Truesdell, Centennial: Newly Discovered
Works of Gil Evans
 Akiko Tsuruga, Sakura (Showplace)
 Wataru Uchida, Blue Morpho
 David Ullmann, Falling
 Paul Van Kemenade, Kaisei Nari
 Paul Van Kemenade, Close Enough
 Eric Vaughn, Minor Relocation
 Nick Vayenas
 Alison Wedding, This Dance
 Cassandra Wilson, Another Country
 Curtsi Winchester, Do The Natural Thing
 Maddy Winer, Heart To Heart
 John Yao, In The Now (Innova)
 Hajime Yoshida, Unlimitation (Armored Records)
NEW BOOKS
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July 2012 Jazz Inside Monthly www.JazzInsideMagazine.com
47
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CD Reviews
Béla Fleck
Marcus Roberts Trio
ACROSS THE IMAGINARY DIVIDE –
Rounder
Records
10B6C69
Some Roads Lead Home;
www.rounder.com
I’m Gonna Tell You This Story One More Time;
Across the Imaginary Divide; Let Me Show You
What to Do; Petunia; Topaika; One Blue Truth;
Let’s Go; Kalimba; The Sunshine and the
Moonlight; That Old thing; That Ragtime Feeling
PERSONNEL: Béla Fleck, banjo; Marcus Roberts, piano; Rodney Jordan, bass; Jason Marsalis,
drums
By Curtis Davenport
I had to let the concept of this album roll
around my brain for a few minutes before I be-
gan to listen. My trepidation was certainly not
because of a concern over a lack of musical proficiency. Béla Fleck is one of the finest banjo
players alive today. He has created some memorable music on his instrument. Marcus Roberts
has done nothing but grow in stature since he
came on the scene as Wynton Marsalis’ pianist a
quarter century ago. I was actually worried that
what they might have produced would be
equivalent to mixing fine caviar and HäagenDazs - two things that are sublime by themselves, but just don’t mesh when mixed together.
I popped the CD into the player and held my
breath a little…my concerns proved to be totally
baseless. Across The Imaginary Divide is fresh,
offbeat and quite compelling.
Fleck and Roberts manage to be true to
their own styles, while finding a very comfortable common ground. They get top-notch rhythmic support from Rodney Jordan on bass and
Jason Marsalis, the youngest of the musical Marsalis brothers, on drums. The dozen tracks are
all originals, six composed by Fleck and six by
Roberts. They alternate compositions on the
album, which helps vary the flavor of each
track. For my taste, the similarities between
banjos and guitars stop at the fact that they both
have strings and a neck, but in several cases,
Fleck manages to achieve the fluid sound of the
six-stringed instrument on his five-stringed
banjo; his fleet fingers are a joy to listen to, as is
Roberts when he leads and comps.
It’s hard to pick standout tracks, as all are
consistently solid. I did find myself going back
to listen to a few of them more often, such as
Fleck’s bouncy “Petunia”, which has a Grand
Ole Opry meets Village Vanguard feel. Fleck
flies over the frets in a manner that would make
Earl Scruggs proud. He’s then joined by Jordan
and Marsalis to set the stage. Finally Roberts
enters; first as support and then out of nowhere
with a 4/4 bridge that throws everything into an
excitingly different direction. This tune is followed by Roberts’ “Petunia” a laid back piece of
jazz, on which Fleck sounds a little bit like
George Benson on a banjo, all of this occurs
over a light bossa beat, which Marsalis sneaks in
so subtly that it takes a couple of listens to notice
it. Fleck then turns unexpectedly pensive on the
hauntingly beautiful “One Blue Truth”. Fleck
and Roberts trade not so much solos, but brief
statements, which take on the feel of a conversation. “The Sunshine and the Moonlight” is a
Roberts tune in common time, which features his
best solo on the date. However Fleck is not to be
completely outshone, as he answers with a
strong statement of his own. Fleck also proves
himself to be a formidable jazz writer on “That
Old Thing” a pretty tune that reminds me of “A
Foggy Day”. While Roberts displays his flair for
a bluegrass writing style on “I’m Gonna Tell
You This Story One More Time”.
Béla Fleck and Marcus Roberts have produced a winner with Across The Imaginary Divide. It’s one of the most enjoyable and refreshing jazz albums that I’ve heard so far in 2012. I
only hope that they decide to bridge this divide
again in the near future.
Tom Harrell
NUMBER FIVE — www.TomHarrell.com.
Blue ‘n’ Boogie; Right as Rain; No. 5; Journey
to the Stars; GT; Present; Star Eyes; Preludium;
The Question; Melody in B-Flat; A Blue Time.
PERSONNEL: Tom Harrell, trumpet and flugelhorn; Wayne Escoffery, tenor saxophone;
Danny Grissett, piano and Fender Rhodes;
Ugonna Okegwo, bass; Jonathan Blake, drums.
By Eric Harabadian
Harrell has to be one of the most prodigious
and inventive artists going in modern jazz circles. And since his recording Light On in 2007,
the trumpeter and his trusty ensemble have con48
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sistently brought the musical goods. His latest
Number Five continues his winning streak as one
of the best!
What’s initially interesting and inspiring
about this particular recording is Harrell’s desire
to expand and grow. Yes, he’s basically working
in his tried and true framework of post-bop material but he experiments with different harmonic
structures and works in duet and acapella formats. A case in point is the opening track “Blue
‘n’ Boogie.” This is a Dizzy Gillespie tune
shown loving reverence but done as a duet between Harrell and drummer Blake. The leader
has an absolutely brilliant command of the trumpet, briskly blowing through virtual and implied
changes upon a feathery bed of lithe and rhythmic accents. “Right as Rain” is a slow and
thoughtful ballad that showcases stellar performances from Harrell and saxophonist Escoffery.
Featured are wonderful harmonies in a succinct
and well measured setting. Title track “No. 5” is
a real straight ahead burner. This highlights the
entire group at their level best. IN particular,
Harrell plays with an almost stream of consciousness where his solos are transcendent and
complementary to his musical counterparts.
“Journey to the Stars” is a duet between Harrell
and pianist Grissett. It bears a nice folksy melody that is open and improvisational. Muted
trumpet overdubs provide a soothing backdrop
for the leader’s warm flugelhorn work. The
acoustic piano recalls Keith Jarrett or George
Winston, with prominent arpeggios that fill the
spaces and accompany very well. “GT” is an
open and somewhat avant garde piece. Atonal
and inventive solos from the group converge and
interlace with eruptive rhythms for a daring and
wild ride. “Star Eyes” finds Harrell going it
alone, with his first of two acapella compositions
on the album. The classic, written by Don Raye
and Gene DePaul, is a tender ballad that finds
the trumpeter in his element. Not only is he a
great interpreter of rarities from the Great
American Songbook but he brings a lyricism and
elegance to the piece like no other. “The Question” is another interesting Harrell original that
is highlighted by Danny Grissett’s pristine and
vibraphone-like electric piano flourishes. It’s a
reflective and contemplative work. That’s
quickly followed by the bright and swinging “
Melody in B-Flat.” It’s a real about face from the
previous track featuring exceptional solos from
Escoffery. The tune begins with a repetitive oddmetered figure that alternates with the 4/4 swing
sections and also serves as a solo vamp vehicle
toward the end. Harrell concludes the disc with
the second acapella piece called “A Blue Time.”
The leader is faithful to the Tad Dameron classic
and delivers the melody and gentle bop feel with
passion and a unique individuality.
By: Nora McCarthy
The John Lewis Trio out of Dallas, Texas,
is moving in its own direction with new and
unusual compositions. Progenation, the 2010
release by leader, pianist, John Lewis is the seventh self-recorded CD released on his label
Valarteri Records and is comprised of twelve
original compositions.
As its catchy neologistic title suggests, Mr.
Lewis is creating his own personal approach and
style through his original compositions. He cites
Herbie Hancock, Chick Corea, and Wayne
Shorter as some of his main influences but neither the music nor the playing on Progenation
bears any resemblance to the aforementioned
Jazz masters; instead he draws his inspiration
from their distinctive sound. John Lewis is an
emerging new voice in the process.
The twelve original songs are an evenkeeled mix of laid back simple Satie-like melodic vignettes comprised mostly of medium
tempos, slow bossa groove, a waltz and ballad.
Given the preponderance of like tempos and
the absence of tension and release in the overall
dynamics the end result is a hypnotically pleasant CD. It is music made to accommodate with
its bluesy overtones and non-intrusive presence.
Two standouts are “The Edge of Chaos” whose
changes are vaguely reminiscent of Andrew
Hill’s harmonic concepts and the final cut, “The
Odds,” with its livelier tempo, features Gillett in
between the melodic line of the head and at the
very end of the piece with a nice solo by Apeland.
It can be honestly said that John Lewis has
and does his own thing and if his intent was to
coin a new word as it were as a Jazz stylist, I
believe he accomplished his goal with Progenation.
John A. Lewis
PROGENATION — Valarteri Records. johnalewisjazz.com. Progenation; Slip City; Martha's Muse; The Edge of Chaos; Demps; Amor
Dans Bleu; One Trip Out; That To That; A Deliterious Affair; Def Jay Pea; Olivia; The Odds.
PERSONNEL: John A. Lewis, Piano/
Compositions; Lincoln Apeland, Bass; Merik
Gillett. Drums
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CD Reviews
Joe Locke
Geoffrey Keezer
SIGNING—Motema Music MTM-85 . Signing;
The Lost Lenore; Darth Alexis; Naima; Hide
and Seek; Her Sanctuary; Terraces; This is Just
to Say.
PERSONNEL: Joe Locke, vibes; Geoffrey
Keezer, piano, Rhodes and omnisphere; Terreon
Gully, drums; Mike Pope, electric and acoustic
bass.
By Eric Harabadian
There is an ethereal and Euro-jazz kind of
quality to this album. It kind of references some
of Gary Burton’s work with ECM Records in the
‘70s and early ‘80s. Locke plays with an open
and very demonstrative style that fully complements Keezer’s semi-classical and expressionistic post-bop chords and phrasing. Gully often
plays in-the-pocket but uses his kit in a more
ornamental fashion as well. Pope rounds out
their atmospheric sound with a warm and resonant backdrop.
The title track “Signing” typifies the
group’s intent with a Joe Locke composition
addressing communication and connecting with
others. That is certainly this ensemble’s strong
suit as Locke’s vibes provide the initial anchor,
laying down bright and shimmering accents.
From there is a puzzle of a composition that
unfolds where each musical voice is an integral
piece that completes the whole. Keezer plays an
asymmetrical piano cycle that co-mingles with
Gully’s straight ahead rock-type beats for a
monumental effect. Coltrane’s “Naima” is a
great interpretation that takes on a very dreamy
and spacey quality. This was originally commissioned by the Scottish National Jazz Orchestra
but the arrangement adapted for quartet is brilliant. The ballad “Hide and Seek” by Imogen
Heap is a sweet and somewhat folksy kind of
piece. Mild electronic effects blended with piano
and vibes give the tune a natural vocal-like
touch. They also seem to adhere pretty close to
the melody and take their harmonic liberties
judiciously. “Her Sanctuary” is another noteworthy piece written by Locke . They employ a nice
use of dynamics creating a very cinematic and
expressive mood. The vibist and keyboardist
truly up their game here where they conduct a
musical conversation that dovetails and overlaps
in a seamless harmonic convergence. Keezer’s
tune “Terraces” is inspired by terraced rice fields
on steep mountainsides in parts of Asia. The
main harmonic structures ascend and descend in
a specific manner reminiscent of traveling up
and down a staircase. There is a fine electric bass
solo by Pope on this one as well. “This is Just to
Say” is a Locke composition inspired by the
poetry of William Carlos Williams. It’s a tender
ballad made more poignant and effective by
strong unison hooks between vibes and piano.
The Joe Locke/Geoffrey Keezer Group has
a light fusion edge to its music - with their use of
some electronics and rock rhythms. But, overall,
they are an exciting and inventive modern jazz
ensemble that blends the best of both worlds—
something that could expand their fan base.
Carmen Lundy
CHANGES – Afrasia (www.carmenlundy.com).
The Night Is Young; So Beautiful; Love Thy
Neighbor; A Nightingale Sang in Berkeley
Square; Sleeping Alone; Too Late For Love;
Dance The Dance; To Be Loved By You; Where
Love Surrounds Us.
PERSONNEL: Carmen Lundy: vocals, harp,
string and horn arrangements; Anthony Wonsey:
piano, Fender Rhodes; Kenny Davis: bass, electric bass; Jamison Ross: drums, percussion;
Oscar Castro-Neves: guitar; Nolan Shaheed:
trumpet, flugelhorn; George Bohannon: trombone
By Nora McCarthy
What Carmen Lundy has achieved in her
recent offering, changes, takes a lifetime to perfect. A vocal artisan, musician, highly accomplished performer, band leader, composer/
arranger, lyricist, and educator she blossoms
with beauty and fulfillment on eight original
compositions reflecting a complexity of subtle
moods from a personal yet very relatable perspective.
Lundy’s choice of instrumentation and
harmonically appealing arrangements provide a
full bodied backdrop over which she designed a
lovely mood infused CD. Her choice of musicians include seasoned veterans well versed in
many musical languages – sophisticated, distinctive, and exquisite players who convey Lundy’s
original material with finesse, expertise and
timeless style. The more I listened to this CD,
the more I looked forward to listening again.
Her songs strike a chord within the heart
and soul of the listener and speak intuitively to
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Fort Greene
Festival
Series
Third
Annual
Saturday, July 28 &
Saturday, September 8
3pm - 7pm
Fort Greene Park, Brooklyn, NY
Entrance: Washington Place & Willoughby Avenue
Featuring:
The Eric Frazier Quintet
with vocalists Cynthia Holiday,
Sheryl Renee and Rome Neal
Free Adm
ission
Eric Fr
azie
congas r - vocals, tap
,
,
Donald percussion
Smith
Gene T
orres-b keyboard
ass
Dwayne
“Cook”
Solomo
Broadn
n
a
Lou Ve Hicks - guita x - drums
ga - gu
r
ita
Jorge S
ylveste r
r - sax
Jeff Kin
g
Alicia R - tenor sax
au
Sept 8 - trumpet
Eric Frazier’s
Performance Schedule - July 2012
Tuesday, July 3 • 8PM | Rustik Tavern
Eric Frazier’s Jazz Jam & Open Mic, 471 Dekalb Ave, Brooklyn NY. Information: 347-406-9700
Saturday, July 7 • 6PM | “Jazz on the Bay”
with The Eric Frazier Quintet, 299 South Kettham St, Amityville, NY. $60.00 Donation,
Information: RSVP 516-777-0738, or 516-236-3493
our feelings, experiences and memories. They
are alive with emotion. Lundy sings with comfort and satisfaction, with intention, with reflection, anticipation and most of all…with conviction.
The voyage begins through the portals of a
relationship on the samba-esque “The Night Is
Young,” captivating and enticing with its intervallic melodic waves that continue to oscillate
through the next 7 songs altering over the varying rhythmic pulsations generated by drummer
Jamison Ross and bassist Kenny Davis. This
wave of (e)motion takes us through the many
transformations that is love.
With a voice that is fluid and clean in its
approach, tone and technique, it can also be
funky and sassy. It adapts easily to lyrical interpretation in pure expression. Lundy’s broad
range, sparsely employed improvisation, intricate brush strokes and tonally warm colors communicates the message of each piece by stating
simple truths as in the hybrid funk-rock infused,
“I’m Your Neighbor,” and the uplifting and joyful, “Dance The Dance.”
Ms. Lundy is a prolific composer and has
written over 60 compositions that culminated in
the first publication of The Carmen Lundy Songbook in 2007. The only cover piece on the album, is a wistfully sweet romantic arrangement
of the classic, “A Nightingale Sang in Berkeley
Square.”
Lundy doesn’t overdo. Her delivery is
strong and sure as is her presence throughout –
never overwhelming or overbearing, just right,
exactly enough. She doesn’t over sing. She lets
the music breath which is the sign of a true artist
– to understand balance is the key to mastery.
Ms. Lundy understands what takes a piece
of music from the page to the impression - the
essential ingredients that go into a great song,
what makes it linger, what makes it everlasting.
She expertly mixes elements and textures from
various genres and generations in a powerfully
understated way giving changes its overall embracing sound and significance. In particular, it
was nice to hear the retro ‘70’s vibe of the
Fender Rhodes on, “So Beautiful,” and the worth
repeating message of, “Love Thy Neighbor.”
Interestingly, both are throwbacks to another
time yet very relevant and potent today.
Lundy’s sumptuous vocals resonate on
“Where Love Surrounds Us,” the last song on
this genuinely wonderful CD, a tender and intimate duo with guitarist Oscar Castro-Neves, the
perfect ending to be continued for a long time to
come.
Carmen Lundy is appearing July 5, 6, 7, and 8
at the Blue Note, 131 W 3rd St New York,
212-475-8592
Aruan Ortiz
ORBITTING – Fresh Sounds New Talent
www.FreshSoundRecords.com. Ginga Carioca;
Orbiting; The Heir; Koko; Numbers; WRU;
52
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Green City; Alone Together.
PERSONNEL: Aruan Ortiz, piano; David Gilmore, guitar; Rashaan Carter, bass; Eric McPherson, drums.
By Mark Keresman
At the rate of the current state of affairs,
soon Cuba may be bereft of jazz pianists. (Just
kidding, alright? There’ll be more.) Aruan Ortiz
is yet another Cuban expat to plant his flag on
the American jazz scene via performances and
recording with Terri Lyne Carrington, Greg
Osby, Wayne Krantz, Giovanni Hidalgo, Lionel
Loueke, Jane Bunnett, and tenor don Jerry Bergonzi. He’s versed in twentieth century classics
from the jazz side (Andrew Hill, Bud Powell,
Monk) and the Euro-American notated side
(Ravel, Copeland—himself jazz-influenced,
Schoenberg).
But this album is “billed” to the Aruan
Ortiz Quartet, an appropriately so—though Ortiz
is the nominal leader and half the compositions
are his, it is very much a group effort. There is
lots of snazzy, inspired, vivacious interplay between Ortiz and guitarist David Gilmore. (No,
he’s not the gent from Brit rock band Pink
Floyd—but I wonder if they’ve met?) While
Gilmore established himself with the funkcharged, genre-bending M-Base crew (including
Osby and Steve Coleman), here he’s an
“offspring” of Kenny Burrell, with a pliant, mellow, blues-tinged tone (albeit with an occasional
touch of rock-like assertiveness and sustain). At
time, Ortiz will underscore Gilmore’s flights of
fancy. Ortiz has the mercurial quality of Bud
Powell but also the rich, punchy lyricism of Red
Garland and McCoy Tyner, and like Bill Evans
and the aforementioned Hill, he’s careful with
his notes—not exactly leisurely, but free of clutter and overplaying. Note the melodrama-free
yet compelling building of his solo on “The
Heir.” Drummer Eric McPherson keeps the beat
and provides powerful punctuation throughout.
Rashaan Carter is firm but generally selfeffacing, the solid foundation for the house of
Ortiz.
The Charlie Parker-penned bebop standard
“Koko” gets a vigorous workout, with some
biting guitar lines and some exhilarating and
wryly pointed trade-offs between Ortiz and Gilmore. Ornette Coleman’s “WRU” features
scorching Gilmore and rippling, semi-free spiky
Ortiz over the crackling rhythm matrix of
McPherson and Carter. Ortiz’s “Green City”
soars in a manner that recalls the Flora Purim/
Airto version of Chick Corea’s Return to Forever but transposed to the electric Al Di Meola
version of RtF—sky-blue eloquence and electric
roar perfectly merged into one intoxicating
piece. A truly somber, mysteriously reflective
take on “Alone Together” closes this set, bringing the listener back down to Earth.
This is only Ortiz’s fourth disc and he’s
already starting to look like a serious contender.
Let’s hope this particular combo lasts, as they
sound like a true band, not just a collection of
players for a particular session.
Ben Powell
NEW STREET – www.ben-powell.com . Judith; New Street; Monk 4 Strings; Gary; What is
This Ting Called love; Sea Shell; La Vie En
Rose; Swingin’ For Stéphane; La Chanson des
Rues; Piccadilly Stomp.
PERSONNEL: Ben Powell, violin; Tadataka
Unno, piano;
Aaron Darrell, bass; Devin
Drobka, drums; Gary Burton, vibes (4,9,10);
Julian Lage, acoustic guitar (4,9,10); Linda Calise, vocal (7); Adrien Moignard, guitar (5).
By Mark Keresman
While never as prominent as horns, keys, or
guitars, the violin has always had a somewhat
rarified place in jazz, exuding refinement and
heart-on-sleeve passion (icons thereof: Stuff
Smith, Joe Venuti, and Stéphane Grappelli).
During the bebop era, the violin (like the clari-
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net) was practically put on the shelf as a relic
from a bygone era. With the avant-garde and
fusion movements, the violin made a
“comeback,” with such swells as Leroy Jenkins,
Regina Carter, and Jean-Luc Ponty wailing to
the heavens on equal footing with everyone else.
Add Ben Powell to the list of up-andcoming masters of the bow. His main squeeze,
so to speak, is Stéphane Grappelli, one of the
legends of jazz, a violin virtuoso that’s sawedaway with everyone from Django Reinhardt to
McCoy Tyner. New Street is subtitled “A Tribute to Stéphane Grappelli,” and he does pay
homage to the old master with class and style.
Grappelli played with a high, airy, unabashedly
emotive style emphasizing exuberant, joy-filled
swing and proudly displaying the influences of
European classical and folk musics. Powell has a
similar style—too similar, pedantic/cranky-types
might argue, but everything comes from somewhere, right? Powell serves up a canny mix of
originals and select covers and standards that
will transport you to the hep-est Parisian thoroughfare that ever was.
The opener “Judith” even sounds like it
could be a standard from SG’s days with master
guitarist Django—and like Grappelli, Powell
isn’t shy about references to classical music (I
think I heard a J.S. Bach quote or two herein).
It’s warm and wonderful, and sets the tone for
the rest of the set…or does it? Track two is the
title tune, and it jolts you out of the previous
song’s warm reverie with a somewhat pugnacious, winding hard-bop theme. While Powell
has much of SG’s tonal qualities, his solo here
surges and soars in a manner not unlike Blue
Note-era Wayne Shorter.”Monk 4 Strings” continues the modernist bent with a slightly thorny
Monk-styled structure leading into rollicking but
pointed hard bop-style solos. (Fyi: While Grappelli was identified as a swing player stylistically, he was not stuck in the past—he co-led
albums with Gary Burton and McCoy Tyner and
recorded with Paul Simon and master country
fiddler Vassar Clements.)
Speaking of Burton, he lends his distinctive
vibraphone to three tracks here, in a trio context
with guitarist Julian Lage. “Gary” is a sadly
sweet tip-o’-the-hepcat-hat to both Burton and
Grappelli’s Paris Encounter album—the violin
and vibes do an elegant slow dance. “What is
This Thing Called Love” is where Powell really
kicks up his heels with guitar guest Adrien
Moignard, swinging winningly until the cows
come home to roost, Moignard’s rapid-fire sixstrings echoing SG’s old boss Django.
New Street is most definitely Powell’s
show, but his quartet has indeed got the right
stuff—pianist Tadataka Unno plays with lyrical
drive and succinctness and Aaron Darrell and
Devin Drobka are tasteful and solid. Powell can
make that four-stringer of his wail and weep—
his crescendo on “Sea Shell” is almost tearinducing in its sorrowful splendor. While Grappelli has gone on to that Jazz Club That Knows
No Closing Time, Powell is keeping his lantern
burning bright. Jazz fiddle fans take note.
Sunnie Paxson
BOHEMIAN SUN – Roxboro Entertainment
Group 02097 09892. roxboroentertainment.com
Seabound; Something For Nothing; Dolphin
Dance; Three Wrong Notes; One Step Beyond;
Tap Dancer; Stella By Starlight; There is No
Greater Love; Bohemian Sun (Prelude); Go Go;
Khabhaye Talaei; Duke Ellington’s Sound of
Love; Say a Prayer
PERSONNEL: Sunnie Paxson, piano, keyboards; Stanley Clarke, bass; Ronald Bruner, Jr.,
drums; Munyungo Jackson, percussion; Veronca
Spalt-Campbel, violin; Yenlik Weiss, violin;
Marco Bogdanovich, viola; Vlad Dikau, cello;
Michael White, drums. Percussion; Ruslan Sirota, organ; Rohan Reid, guitar; Rod Maurice,
lead & background vocal; Eli Jacobson, Carmen
Harrell, Damietta Griffiths, Alecia Baker, Natasha Agrama; background vocals
By Curtis Davenport
Sunnie Paxson has been a mainstay on the
Los Angeles jazz scene for over twenty years.
Her most notable association has been with the
great bassist Stanley Clarke; she was the keyboardist in Clarke’s band in the late ‘80’s. She
has worked consistently in the smooth jazz
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realm, with artists such as Rick Braun, Justo
Almario and Larry Carlton. In 2002 she released
Groove Suite, her first album as a leader, which
attracted some attention on smooth jazz radio.
She is now back ten years later, with Bohemian
Sun, an album that is decidedly more straight
ahead than its predecessor.
Produced by Mr. Clarke, Bohemian Sun is a
pleasant mix of Ms. Paxson’s originals and her
interpretations of jazz classics. Most numbers
are performed by a trio of Sunnie on piano,
Clarke on bass and Ronald Bruner, Jr. on drums.
Sunnie’s piano style reminds me of another
smooth jazz artist that has experienced some
success playing in a traditional style; David Benoit. Like Benoit (who himself has always
copped to a Bill Evans influence), Ms. Paxson
likes to hang out in the keyboard’s upper register, which lends an inherently happy sound to
her playing. She swings pleasantly and turns in a
number of very interesting solos. It helps that
she is getting support from a producer who happens to be one of the great bassists in jazz history.
Though I’ve always preferred Mr. Clarke’s
work on electric bass, he takes advantage of the
relaxed atmosphere here to show off his acoustic
muscles. He is not just an accompanist, he solos
liberally and with inspiration. One of the best
moments is “Three Wrong Notes” a Clarke composition, on which Sunnie, Clarke and Bruner
dance around each other like three happy kids on
a playground, as they bounce their musical ideas
off of each other. “Tap Dancer” a composition
by Ms. Paxson, is another strong performance,
which sounds like it could have come from Mr.
Evans himself. Not everything works. There are
a couple of contemporary-style tracks that are
weighed down by string arrangements and middling vocals. The take on “Stella by Starlight”
also plods a bit, but it is then followed by the
highlight of the set - a romp through “There is
No Greater Love” on which the trio locks in and
doesn’t let go until almost eight minutes later.
Ms. Paxson’s solo gives us a full look at the
harmonic gifts that she had shown in glimpses
until that point. Clarke follows with a terrific
solo of his own and Mr. Bruner pushes them
both with some strong timekeeping. My toes
were tapping and I grooved along with them
from start to finish on that one. Sunnie also displays formidable chops on a solo version of
“Duke Ellington’s Song of Love”, which ends
much too quickly. These last two tracks, I’ve
revisited multiple times as they’ve found their
way onto my iPod.
Sunnie Paxson’s Bohemian Sun has more
plusses than minuses. It’s worth multiple listens.
I hope that we hear more from Ms. Paxson before another decade passes.
Marianne Solivan
PRISONER OF LOVE — Hipnotic Records
HR—10007 . Bliss; The Lonely One; All or
Nothing at All; Prisoner of Love; I Guess I’ll
Hang My Tears Out to Dry; Moon Ray; May I
Come In; I Can’t Help It; Day Dream; After
You; Social Call.
Available from
Steve Maxwell
Vintage & Custom Drums
Midtown Manhattan
723 Seventh Avenue, 3rd Floor
New York, NY 10019
Ph: 212-730-8138
Iroquois Center
1163 E. Ogden Avenue, #709
Naperville, IL 60563
Ph: 630-778-8060
Hours: 11–6 Fri; 10–5 Sat
www.maxwelldrums.com
Jazz Inside-2012-07_054_...
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55
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PERSONNEL: Marianne Solivan, vocals; Peter
Bernstein, guitar; Xavier Davis, piano; Michael
Kanan, piano; Christian McBride, bass; Ben
Wolfe, bass; Jonathan Blake, drums; Jeremy
Pelt, trumpet.
By Eric Harabadian
It’s hard to believe that this is Solivan’s
debut recording. She has all the poise and artistic
wherewithal that reveals a true veteran artist.
Solivan draws from classic jazz touchstones in
terms of her vocal phrasing or choice of material. But she unabashedly embraces the jazz lexicon and makes it her own.
“Bliss” is a beautiful ballad that sets the
stage for a most satisfying and substantive musical experience. From the first few words of the
song there is an articulation and poetic charm in
her delivery that is rare these days. Guitarist
Bernstein accompanies with a great solo and the
structure of the tune deftly shifts from a lilting
sway to an easy 4/4 swing. “The Lonely One” is
a bittersweet samba that finds Solivan walking
the line between loneliness and redemption.
When she describes an emotion you really feel
for her. And the acoustic piano of Xavier Davis
is the perfect foil that offsets the irony of the
lyrics. “All or Nothing at All” is an inspired duet
between Solivan and Christian McBride. Their
chemistry is electric as the leader’s seemingly
effortless vocals dovetail supplely with
McBride’s muscular, yet melodic bass lines.
Title track “Prisoner of Love” is an apt choice
because it fits Solivan’s style like a glove. This
is one of the ultimate torch songs, again further
enhanced by pianist Davis’ samba-like feel.
Slightly down the list, Jeremy Pelt guests on
Artie Shaw’s “Moon Ray.” He plays a smooth
and somewhat ethereal trumpet that seems to add
a bluesy vintage feel. “May I Come In” is a
lovely piece that displays Solivan at her most
vulnerable. Her pleas for forgiveness from a
romantic misunderstanding seem real. And Peter
Bernstein’s dense chordal accompaniment and
walking note lines add depth and emotional
weight to her delicate phrases. “I Can’t Help It”
is a Betty Carter nugget and it is a hard swinging
lounge type of tune. Davis’ rollicking drive and
rousing rhythms really kick this one up a notch!
There are some nice duets that follow—first with
McBride and Solivan on Ellington/Strayhorn’s
“Day Dream” and the sweet partnership between
the chanteuse and pianist Michael Kanan on
Cole Porter’s “After You.” The album concludes
with Gigi Gryce’s “Social Call.” It’s a brief and
swinging track that is upbeat and effervescent.
If this is, indeed, Solivan’s initial dalliance
into the jazz recording arena, better days for the
art form, as a whole, are certainly ahead!
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Akiko Tsuruga
SAKURA—American Showplace Music.
www.akikojazz.com. Sweet Yam Potato; Smile;
S.O.S.; You Betcha; Valdez in the Country; Sukiyaki; What a Difference a Day Makes; Pretty
Please?; Sakura; Showman’s Boogaloo; I Won’t
Last a Day Without You; The Good Life
PERSONNEL: Akiko Tsuruga, Hammond B3
Organ; Jerry Weldon, tenor saxophone; Joe
Magnarelli, trumpet and flugelhorn; Bob DeVos,
guitar; Rudy Petschauer, drums.
By Eric Harabadian
No one can say that music is not the universal language. And when it comes to jazz that has
certainly been the case for Japanese organist
Akiko Tsuruga. She has been steadily making a
name for herself on the NYC jazz scene since
arriving there over ten years ago. Akiko is the
real deal, adopting a soulful fatback kind of
sound that blends Jimmy Smith with Charles
Earland or modern day masters like Joey
DeFrancesco. On her latest, Akiko has assembled a who’s who of jazz organ accompanists.
Many of the members of her band have done
Jazz Lovers
Heaven
stints with Richard “Groove” Holmes, Jack
McDuff as well as Charles Earland. And Akiko’s
keyboard abilities are assuredly up to the task!
The leader’s own “Sweet Yam Potato” is an
in-the-pocket soul burner that grooves you with
its relaxed beat. Right out of the gate the organist
simultaneously demonstrates taste as a comping
specialist and an incendiary lead player. The
Charlie Chaplin chestnut “Smile” is appropriately sweet and done in a samba style. This naturally has a ‘60s lounge vibe, with lyrical solos all
around and the ever present drive of drummer
Petschauer. Wes Montgomery’s “S.O.S.” is urgent and fast paced as intricate accents move the
groove along. “You Betcha” is another Akiko
original that has all the makings of a soul-jazz
classic. Its lively and somewhat angular head
give way to a relaxed and cooking beat. Donny
Hathaway’s “Valdez in the Country” was a great
choice for its vamp-ish structure and funky
charm. IN particular, Akiko really steps out with
some rocking rhythms and screaming leads. The
leader embraces her Asian heritage with a cover
of the classic ‘60s hit “Sukiyaki.” In someone
else’s hands this tune might have come off a tad
insincere or corny. But Akiko comes by it honestly and infuses it with whimsy and power. She
also shows some range in her playing by altering
the tonal palette of the organ itself. “What a
Difference a Day Makes” is pretty straight ahead
and, again, has a vintage lounge or tiki bar vibe.
Two other tracks of note are “Sakura,”
which Akiko utilizes as a vehicle to blend traditional Japanese melodies with western American
improvisational music. Another of the leader’s
tunes “Showman’s Boogaloo” is simply a fine
and easy laid-back funky mid-tempo number.
There is a lot about this disc to like! Akiko
Tsuruga plays with authority, passion, swing,
soul and taste . From the very first notes on the
B3 you’re hooked and realize you are listening
to a modern day master.
Gabriel Vicéns
Your Own Personal
Lifetime Access!
Jazz Listening,
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POINT IN TIME – self-released
www.GabrielVicens.com. El Comienzo; Point in
Time; Intro to La Diferencia; La Diferencia;
Intro to Cuadro; Cuadro; Beautifil Place; Intro
to Frame of Mind; Frame of Mind; Intro to El
Camino; El Camino; The World in My View.
PERSONNEL: Gabriel Vicéns, electric guitar;
Jonathan Suazo, alto sax; David Sanchez, tenor
sax (5,8,12); Eduardo Zayas, piano; Matt Clohesy, bass; Eddie Gomez, bass (6,7,10,11);
Vladamir Coronel, drums.
stream guitar. While many young-ish sixstringers follow Metheny and Frisell, Vicéns is,
like Peter Bernstein, a “offspring” of Kenny
Burrell and Grant Green. While not quite as
bluesy as Burrell, he’s got that clean, simmering,
slightly shimmering, burnished tone that makes
you feel as if it’s midnight no matter when
you’re listening. (I’d love to hear Vicéns in a
soul-jazz context with one of today’s bosses of
the Hammond B-3, but I digress.)
The opener is the slightly blues-tinged hunk
of modality “El Comienzo”—it has a sleek, sly
theme evoking Neal Hefti’s tune-style. (Hefti
was an arranger for Count Basie in the 1950s
and composer of the 1960s Batman TV theme.)
The title track brings to mind Blue Note-era
Herbie Hancock (i.e., “Speak Like a Child,”
“Maiden Voyage”) in its cozy but slightly bittersweet melodicism. Vicéns does a sweet solo with
very minimal accompaniment, his notes splashing with a crystalline tone not unlike a vibraphone—then he and his band artfully and ratchet
up the tension, gradually raising the excitement
as if it were part of a Hitchcock film soundtrack.
“La Diferencia” (and its “Intro”) find Vicéns and
pianist Eduardo Zayas engaging in some lyrical
dialogues, the ensemble again subtly, crisply
raising the levels of tension, Jonathan Suazo
playing some swaggering, piquant, elegantly
darting alto sax therein. (Vicéns really ought to
consider writing film soundtracks.) Speaking of
saxophone, special guest David Sánchez plays
some hearty, celebratory tenor on the percolating, “Milestones”-esque “Cuadro.”
“Frame of Mind” is the only track with any
sort of rock influence—it has a loping, slightly
ominous theme evoking Led Zeppelin’s
“Kashmir,” and as a special added attraction, the
buoyant, probing bass of Eddie Gomez, which in
part gives “Frame” its baleful bounce. Gomez is
also present on the ruminative mid-tempo “El
Camino,” the longest track here. The drumming
of Vladamir Coronel is especially compelling
here—thunderously seething and crackling, like
a not-so-distant storm about to break.
There’s plenty of ebb-and-flow here, as
with most of the tracks of Point. Vicéns’ tunes
feature his guitar in harmonious tandem with the
saxophone(s). His compositions are wellthought-out and a bit on the moody side (though
never ponderous)—they’re not just play-thetheme-and-jam frameworks, their swing falling
on the side of the moody post-bop zone. This
disc does conclude on an “up” note, with the
faintly Steely Dan-ish “The World in My View.”
Vicéns’ resourceful, impressive view is such that
the Collective We will want to experience anew.
By Mark Keresman
While not a cutting-edge player (yet),
Puerto Rican guitarist Gabriel Vicéns shows
signs of being one of the new aces of mainJuly 2012 Jazz Inside Magazine www.JazzInsideMagazine.com
“The welfare of
the people in particular has
always been the alibi of tyrants, and
it provides the further advantage of
giving the servants of tyranny a
good conscience”
- Albert Camus
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The Fatal Sequence
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According to historical records, the average age of the world's greatest civilizations has been about 200 years. During their existence, these
nations have progressed through the following sequence. The same sequence is so reflective of human nature that it could probably be applied to
our businesses and our own personal relationships.
Great nations rise and fall. The people go…
 from Bondage to Spiritual Faith
 from Spiritual Faith to Great Courage
 from Courage to Freedom
 from Freedom to Abundance
 from Abundance to Selfishness
 from Selfishness to Complacency
 from Complacency to Apathy
 from Apathy to Fear
 from Fear to Dependency
 from Dependency back to Bondage
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The fatal sequence has been attributed to Alexander Tytler around the
time of the framing of the United States Constitution in 1787. While he probably
did not identify the fatal sequence, he did write: “A democracy cannot exist as
a permanent form of government. It can only exist until the voters discover that
they can vote themselves largesse from the public treasury. From that moment
on, the majority always votes for the candidates promising the most benefits
from the public treasury with the result that a democracy always collapses over
loose fiscal policy, always followed by a dictatorship.
More recent research points the attribution to Henning W. Prentis in a
speech “Industrial Management in a Republic," delivered in the grand ballroom
of the Waldorf Astoria at New York during the 250th meeting of the National
Conference Board on March 18, 1943.
Where in this sequence is our Elected Representative Republic that the
Founding Fathers left us?
“The price we pay for liberty is eternal vigilance” — Thomas Jefferson
59
Noteworthy Performances
MICHAEL CARVIN
Jazz Standard: July 31
Master drummer Michael Carvin joined Freddie Hubbbard’s
band in 1973 and has continued his non-stop activity as a
creator and educator on the New York scene ever since. His
credits over the past four decades include Dexter Gordon, Ruth
Brown, Pharoah Sanders, Alice Coltrane and others. He has
appeared on more than 250 albums. A highly respected drum
teacher, he is a master of swing. Joining Carvin is fellow Texan,
tenor saxophonist Keith Loftis. Jon Hendricks remarked:
“Michael Carvin is no ordinary drummer, he is a human rhythm machine.” Branford Marsalis calls Michael Carvin “a true jazz stalwart who has taught many of the major jazz
drummers who have emerged in the past fifteen years.”
Dizzy’s Club: 5/24-5/29
BARRY HARRIS
www.villagevanguard.com
Village Vanguard: July 17-22 and July 24-29
www.JazzStandard.com
SPYRO-GYRA
Blue Note: July 17-22
Pianist, composer and arranger Barry Harris is a master of
bebop, a lifelong student of the art and his craft, the leading
living exponent of the bebop tradition, a respected mentor and
teacher of many noteworthy jazz artists including Charles
McPherson, Barry Harris is hails from Detroit. Since making his
way to New York in the 1950s he has recorded numerous albums as a leader. His discography as a sideman includes recordings with such influential artists as Thad Jones, Sonny Stitt, Dexter Gordon, Cannonball Adderley, Freddie Hubbard, and others. Ray Drummond, bass and Leroy Williams,
drums.
(Photo by Eric Nemeyer)
CONRAD HERWIG
Blue Note: July 24-29
www.BlueNote.net
Created and led by saxophonist Jay Beckenstein, the
group recorded its two big hits—”Shaker Song” and
“Morning Dance” in the 1970s. The group has recorded
29 albums, sold more than 10 million units, has achieved
one Platinum and two Gold releases, and they continue to
perform over 100 dates a year. While the personnel has
changed over the years,, keyboardist Tom Schuman is a mainstay. In the autumn of 2011,
Spyro Gyra released A Foreign Affair, which is stylistically in the tradition of the group’s
original sound. Over the years, people have pointed to the group as being in the smooth
jazz genre. However, the harmonically and rhythmically rich elements and quality soloists
and solos on recordings over many years clearly distinguish the group’s solid jazz roots.
CHRISTIAN MCBRIDE
www.JALC.org/dccc
Dizzy’s Club Coca Cola: Thu-Sun, July 12-15
Among his many accomplishments, bassist Christian McBride has
performed and recorded with an array of influential jazz artists including Sonny Rollins, Sting, Freddie Hubbard, Joe Henderson, McCoy
Tyner, Herbie Hancock, Pat Metheny, Diana Krall, Roy
Haynes, Wynton Marsalis and others. He is Artistic Director at the
National Jazz Museum In Harlem, has appeared on over 300 albums,
and his 2011 big band recording won a Grammy. At Dizzy’s, McBride
will be leading his big band including Ulysses Owens, drums; Xavier Davis, piano; Todd Williams, Loren Schoenberg, tenor saxophones; Todd Bashore, Steve Wilson, alto saxophones;
Carl Maraghi, baritone saxophone; James Burton, Michael Dease, trombones; Frank Greene,
Freddie Hendrix, Nabate Isles, trumpets; Melissa Walker, vocals
www.BlueNote.net
Trombonist Conrad Herwig focuses on the music from his recording The Latin Side of Joe Henderson for this week’s performances. His finesse on dexterity on trombone make his exploration
into the complex and challenging music of the great saxophonist
a natural. Others in his series of “Latin Side” albums include The
Latin Side of Herbie Hancock (2010), The Latin Side of Wayne
Shorter (2008), Sketches of Spain y Mas (2006), Another Kind of
Blue (2004), and The Latin Side of John Coltrane (1998). In
addition to a list of performing credits including with Joe Henderson, Clark Terry, Eddie
Palmieri, the Mingus Big Band and more, Herwig is a noted educator and clinician.
Orrin Evans
Jazz Standard: 7/17-7/19
www.JazzStandard.com
Hailing from Philadelphia, and versed in the mainstream tradition of this music, pianist and composer Orrin Evans attended
Rutgers University, studying with Kenny Barron. He worked with
Bobby Watson, Ralph Peterson, Duane Eubanks, and others.
At the Jazz Standard, he will be leading a trio on the first night ,
adding guests Jack Walrath and Tim Warfield on night two, and
then featuring his Captain Black Big Band on the third night. He
has recorded more than 10 albums as a leader for various
labels. In 2010, he received a Pew Fellowship in the Arts.
Joe Alterman
www.Kitano.com
Give Me The Simple Life CD Release Party
Kitano, 7/27, 8:00 and 10:00 PM
Artists, Music Businesses & Organizations:
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By merging the patient touch of pianists past with his own extraordinary sound, pianist Joe Alterman belies the label of a mere throwback player. Playing with impeccable taste and joyous verve, Alterman manages to revitalize the familiar, rekindling memories of why
you started listening to jazz in the first place. Joined by bassist
James Cammack and drummer Alan Mednard, he celebrates the
release of his new Miles High CD Give Me The Simple Life. Says saxophonist Houston 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.” Alterman also performs with his trio on July 18 at St. Peter’s Church, as part
of the Midtown Jazz at Midday series.
NOAH PREMINGER
www.jazzstandard.com
Jazz Standard, 7/25, 7:30 and 9:30 PM
Tenor saxophonist Noah Preminger has two of the most
critically acclaimed recent small-group jazz albums to his
name - Dry Bridge Road and Before The Rain - but the 26year-old is just getting started. One of the fastest-rising
tenor saxophonists and composers on the jazz scene
today, Preminger’s vital and virtuosic saxophone improvisations have the weight of a seasoned veteran. His tone and
compositional chops show an abundant talent always
willing to take risks and confound expectations, and he is
in-demand as both a leader and side-man throughout New
York. He performs with fellow rising stars guitarist Ben Monder, bassist John Hébert.
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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
CASSANDRA WILSON
ANOTHER COUNTRY
MARC CARY FOCUS TRIO
JULY 2
CD RELEASE
JUNE 28 - JULY 1
CARMEN LUNDY
JULY 5 - 8
ALLAN HARRIS
CONVERGENCE
CD RELEASE
JULY 9
PAQUITO D’RIVERA
SYMPHONICS LIVE
ANOTHER VISION OF PIAZZOLLA
FT. SHAWN RANDALL
JULY 10 - 15
SPYRO GYRA
JULY 17 - 22
JULY 16
LATIN SIDE OF JOE HENDERSON
FT. CONRAD HERWIG,
RONNIE CUBER, & JOE LOVANO
JULY 24 - 29
MAY 21
SEAN SMITH QUARTET
JULY 30
JANE MONHEIT
JULY 31 - AUG 5
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
FRIDAY & SATURDAY
LATE NIGHTS: 12:30 A M
SUNDAY BRUNCH:
12:30PM & 2:30PM

PDF - Jazz Inside Magazine

Transcription

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