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www.jazzINSIDEMAGAZINE.com
february 2015
George Cables
Interviews
& Features
Wayne
Escoffery
George Cables
Antoinette Montague
Flushing Town Hall, Feb 14
Adam Birnbaum
Nick Sanders
Expanded CD Review Section!
Comprehensive Directory
of NY Club Concert &
Event Listings
Celebrating 40 Live
Village Vanguard, February 3-8
The Jazz Music Dashboard — Smart Listening Experiences
Wayne Escoffery
Dizzy Gillespie
Dave Bass
Vijay Iyer
Feb 12
CD Release
Kitano
Like Us
facebook.com/JazzInsideMedia
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Ambrose Akinmusire
Thurs, Feb 5
Carnegie Hall
Watch Us
youtube.com/JazzInsideMedia
Feature
Interview by Eric Harabadian | Photo by Eric Nemeyer
Hear Wayne Escoffery
February 3-8, 2015
Village Vanguard, New York City
Visit Wayne Escoffery online at
www.EscofferyMusic.com
Jazz Inside: First off, I understand you’re
leaving to go play in Chile tomorrow?
Wayne Escoffrey: I’m going to play with
Tom Harrell at a jazz festival in Santiago.
We’re actually playing a Saturday night and
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page 2
then I’m leaving for the west coast for two
weeks. There’s this organization called Jazz
Reach that’s led by drummer called Hans
Schuman—and we travel all over the country
performing for thousands of young students.
It’s a multi-media presentation introducing
jazz, blues and all kinds of stuff to students all
around the world.
JI: Sounds good. Can you tell me a little bit
about your latest solo recording project or
projects? How were your experiences working
on them and how do they fit into the evolution
of your career thus far?
WE: The current one I have out now The
Wayne Escoffery Quintet Live at Firehouse 12
features Rachel Z, Orrin Evans, Jason Brown,
myself and Rashaan Carter. This is a group
I’ve had for the last few years and it’s more an
electric sounding group. It has two keyboards
and Rachel Z adds that electric sound. And
before her, the original band had Adam
Holzman. Now with this new group it’s gonna
be a return to a more traditional acoustic quar-
February 2015 Jazz Inside Magazine www.JazzInsideMagazine.com
(Continued on page 4)
To Advertise CALL: 215-887-8880
Wednesday, January 28, 2015 23:42
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NEW RELEASE
featuring:
Upcoming gigs...
Phil Woods
Karrin Allyson
Harvie S
Ignacio Berroa
Conrad Herwig
Thursday, February 12, 2015 - 2 shows, 8pm & 10pm
NYC Sessions CD Release Party
Dave Bass Quartet with Karrin Allyson
Jazz at Kitano
66 Park Avenue (at E 38th St) New York, NY
Dave Bass (Piano), Harvie S (Upright Bass),
Richie Morales (Drums), Chris Washburne (Trombone)
and Special Guest Vocalist Karrin Allyson
Saturday, February 14, 2015 - 2 shows, 8pm & 10pm
Karryn Allison with special guest Dave Bass
Scullers Jazz Club
400 Soldiers Field Rd., Allston, MA
Dave will be Karrin’s guest at a special Valentine’s
Day performance. Listen for a selection from Dave’s
new release “NYC Sessions!”
Friday, February 20, 2015 - 8pm
Dave Bass Quintet
Vance Gilbert opens
Narrows Center For The Arts
16 Anawan St, Fall River, MA 02721
Dave Bass (Piano), Greg Abate (Sax & Flute),
Harvie S (Upright Bass), Richie Morales (Drums)
and Chris Washburne (Trombone).
NYC Sessions is available on iTunes, Amazon.com, and direct from Whaling City Sound
1310 Tucker Rd. No. Dartmouth, MA 02747 508-992-6613 www.whalingcitysound.com
“If you can’t dance to this, Sit Down!”
- Phil Woods
About Dave Bass
& NYC SESSIONS
This Cincinnati kid attended Berklee,
studied with Madame Chaloff gleaning
an exquisite touch on piano and an
appreciation for the spirituality of music,
opened for Captain Beefheart, studied
composition with George Russell and
toured the world with Brenda Lee
before hitting 26. After an injury took
him out of the music world for decades,
Dave is back.
As Phil Woods says about NYC Sessions,
“Man! This is a helluva recording. I love it
and am very proud to be on it. It’s swinging
all the way and the overall balance of
material is exquisite. Let’s take this sucker
on the road!”
Wayne Escoffery
tet sound. And this new band, where I’m
gonna be releasing this new CD recorded live
at Small’s, will be with myself, Ralph Peterson, Dave Kikoski and Ugonna Okegwo.
That’s the group I’m also bringing to the Village Vanguard in February. The past few
years I’m been thinking more in terms of orchestrally, with the two keyboards. My writing is definitely different for this new project.
In a way I have less to work with—and it’s
just a completely different concept as far as
what sounds are available to me. I’m really
looking forward to it. I should say that the
writing I’ve done for this group is bringing me
back to my roots and also I’m able to take
some of the inspiration I got from my previous project and put it into this acoustic setting.
It’s a lot of fun.
JI: So, I wouldn’t say what you were doing
before was fusion, per se, but you’re just putting more of the emphasis back on tradition?
WE: Sure. I hate using that word “traditional”
because it implies a lot of things that I’m not.
But that common configuration of acoustic
piano, bass and drums is what I’m talking
about. One of the great things about this band
is that I really have some of the best musicians
in the world. And any musician will tell you
that. They’re definitely not traditional players.
They’ve all come up in this music making
incredible creative strides and it’s a great environment to be working with them.
JI: Can you talk about influences—certainly
musical, but cultural and otherwise that have
affected your musical approach?
WE: Sure. I don’t necessarily wear my culture on my sleeve as to how I present my music. I was born in England but my family is
Jamaican. I haven’t really done much with
reggae, although I have been playing with
Monty Alexander recently and that’s been a
joy. One of the first cultural experiences I had
was hearing my mother’s old R&B and soul
classics at home. I think in my writing strong
melodies are always there. Even though I play
the saxophone and we all pride ourselves on
our technique, my melodies tend to not be
very busy or very nutty. They’re very simple
and have that soulful element and I think that
comes from a strong foundation with that
music. My first formal education was when I
was in this professional choir called the Trinity Boys Choir. We sang choral classical music. Due to several years working in that choir
you develop a sound palette where you hear
layers of sound. From that experience I’ve
always heard different layers of sound to soar
above in my writing. And I can’t get away
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Magenta
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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
inside and out, “the sound”
of yesteryear has been
recaptured.
Otto Link Vintage
for tenor sax.
www.jjbabbitt.com
jjbJazzTimesfull2.indd 1
Mouthpieces for clarinets and saxophones
11/18/09 1:27 PM
Wayne Escoffery
Celebrating 40 Live
at The Village Vanguard
February 3rd - 8th
Sets at 8:30pm & 10:30pm
The 2014 Downbeat Critics Poll winner and
Grammy Award winning Tenor Saxophonist
celebrates turning 40 with a week long engagement
at the Village Vanguard featuring his new quartet.
Wayne Escoffery Tenor saxophone
David Kikoski Piano
Ugonna Okegwo Bass
Ralph Peterson Drums
A new release with this quartet will be
available in April on the SmallsLive label
www.smallsjazzclub.com
The Village Vanguard is located at
178 7th Ave South • New York, NY
(212) 255-4037 for reservations
“One of modern jazz’s
foremost saxophonists.”
—Ross Boissoneau,
Jazziz Magazine
“Escoffery has a large,
vibrant sound; a technical
facility evident to even the
untutored; and a lyrical
streak that can get
a complicated solo
to sing and dance.”
—Niel Tesser
Wayne Escoffery
(Continued from page 4)
from these roots. I want to maintain that type
of orchestration in my work.
JI: Well I definitely hear that strong vocal
background in your horn playing. There are a
lot of flowing lines and sustained notes.
WE: Thank you.
JI: You’ve worked extensively as both a
leader and a sideman. How do you prepare for
each role?
WE: In many ways I try not to look at them
too differently. I’m pretty lucky in that my
main sideman gigs with the Mingus Band and
Tom Harrell are on a very high level and relatively in sync with a lot of the things I wanna
do. So what I offer to those ensembles and
other ones is the same thing I try to offer as a
leader. When I play in Tom Harrell’s band
I’m not just trying to think of how I can nail a
solo or play all this inventive stuff over a
song, but what is my artistic contribution to
that song at that particular moment. And I
think a mature leader is trying to maintain
those same priorities. Even as a leader I try to
write songs that make a strong statement. The
audience is there to just hear what happens
and it’s your job to present that the best way
you can. I think a lot of my success as a sideman has come from the fact that I don’t just
think as a saxophone player. I think as a producer and beyond just myself.
aging to me. He seemed to know what I
needed and when I needed it. He saw something in me that I think people saw but they
didn’t nurse it and push it as much as he did. I
wasn’t the greatest talent when I was young,
but he saw something in me that he wanted to
pull out. And he put me in a lot of situations
that I wasn’t entirely ready for. When I was at
The Artists Collective and then when I went
to the Hartt School he always put me in the
highest ensembles, even if I wasn’t necessarily ready for them. He put me in these high
intensity situations where I had to step up and
perform. A lot of times I ended up falling on
my face, but I think he did that because he
wanted to push me. He always let me know
that he thought of me as a high level musician
and someone that would be very special. I
didn’t grow up with a father so he was the
closest thing to a father I ever had. In addition
to having that confidence in me he made sure
I understood the history of the music and how
important it was. He wanted me to know that
in order to be progressive you have to understand your past. And I think that’s the lesson
he learned from Charlie Parker and Bud Powell and that’s the main lesson he wanted me to
learn.
JI: That kind of leads me into my next question about jazz education. As an educator
yourself do you try to instill that same approach to your students?
WE: I do, sure! And it’s even harder now
than it was when I was a student. There are so
many young musician now trying new, dynamic and inventive things. I think students
are forced to understand a lot of complex
things even sooner, which is great. But it gets
harder to get them to spend the time on under-
“I’m not just trying to think of how
I can nail a solo or play all this inventive stuff over a song, but what
is my artistic contribution to that
song at that particular moment.”
JI: I wanna shift gears for a moment and go
back to your beginnings over 20 years ago
when you were a student at The Artists Collective in Hartford, Connecticut. What was it
like working with and learning from a legend
like Jackie McLean and what did he say or do
that sparked your interest in your musical
direction?
WE: Jackie McLean was always very encourTo Advertise CALL: 215-887-8880
Jazz Inside-2015-02_007-...
page 7
standing the history of the music, or at least
certain aspects of it. So I’ve adapted my approach but I think it’s more of a challenge
now than it used to be. There are few Jackie
McLean’s left with us that you can go and see
play somewhere. And you can say that’s the
real stuff. That’s what I need to do. So it’s up
to people like myself who were able to see
that and learn from them to make them realize
how important it is.
JI: I see on your website that you’ve done
some commercials, film and TV work. Is it
important for an artist to diversify and dabble
in other things as you have?
WE: I think it is important because the industry is not the way it used to be. And we have
to used all the resources that are available to
us. Years ago, when I came to New York I
didn’t know anybody here. I didn’t have relatives, anybody. So one of the things I did was
a little bit of acting just because I thought it
was another tool I had to make a little cash. So
I think it’s important to have things you can
do to supplement your income. But, ultimately, if you want to do this and play music
you have to focus on just that. And that’s why
I didn’t follow any of those other career paths
because I wanted to focus on music. And anything you do that’s gonna require 110% of
your time to do it well, I chose to do music
well.
JI: You delved into all aspects of the jazz
idiom. Do you have a favorite musical style?
WE: I don’t really have a favorite musical
7
Thursday, January 29, 2015 01:07
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Wayne Escoffery
style. I try not to think of musical styles so
much. I try to play good music and consider
myself a good improviser. I play improvisational music that comes from the African
American tradition. But as far as styles I know
executives. You have to be a producer, a
booking agent, a musician, a manager—
everything! And we’re learning how to do all
these things which is good. But it makes it
difficult for some guys like myself who are
okay at the business thing and promoting myself. But I don’t really put as much time and
focus on it as I probably should. I’d rather be
practicing my instrument and spending time
with my family. But I have to do these things
“I didn’t grow up with a father so [Jackie
McLean] was the closest thing to a father
I ever had. In addition to having that
confidence in me he made sure I
understood the history of the music
and how important it was. He wanted me
to know that in order to be progressive
you have to understand your past.”
what you mean. I might be in a mood where I
want to play more hard bop music. I wanna
play gigs in restaurants, play standards and
have a good time doing that. But after a while
I may get bored doing just that and want to do
something different. That’s just my personality and I’m coming to accept that about myself. If I do something for too long, I don’t
wanna say I get bored, but I want to push myself to try something different. I don’t think
that’s the point of life to do the same thing
over and over again.
because if I don’t do it nobody else will. I
admire my colleagues that are able to give the
business part of the industry it’s due and still
devote time to their instrument. That’s a really
hard balance.
JI: I understand. And kind of piggybacking
on that, do you have any advice for aspiring
artists that wanna do what you do?
WE: There is that old quote that if you take
care of the music the music will take care of
you. And that is true. I think it’s good that a
lot more younger musicians are becoming
aware of and more capable of dealing with the
business side of their careers. But we have to
remember that we’re players. And despite the
great contacts that you’re gonna have or hits
on your website, what’s really gonna be the
deciding factor is what you are offering as an
artist and how seriously you take the music. If
you take care of your instrument and the music, I’m not gonna say everything will fall into
place, but it will be a lot easier and come a lot
faster for you.
JI: Good advice! Is there anything else that
you wanted to add?
WE: Not really, but I’m turning 40 on the 23rd
of February so the date we are doing at the
Vanguard in a way is celebrating that. After
that we’re heading to Europe for a two week
tour. So we’ll be celebrating my 40th year and
also celebrating life and making some good
music.
JI: Well, I think that’s what makes you an
interesting artist. There are many jazz artists
that are independently releasing their records
like there are in a lot of other music fields. But
as opposed to what seems to be occurring in
rock and pop music, the construct of the jazz
record company seems to be a viable route for
people to release their music. Do you see this
to be the case?
WE: I don’t think there’s any one formula at
this point. I think the whole industry is upside
down. And the whole industry, especially the
jazz industry should do whatever we can. I
think there are successes if you are on a label
and there are great successes when you are not
on a label. Many of my colleagues out here,
who are more accomplished than me; some of
them are on labels and some put recordings
out themselves. I don’t think there is any one
way to do it. It’s kind of a double edged
sword that we, as musicians, are now forced
to be businessmen and full service industry
8
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Thursday, January 29, 2015 01:07
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Jazz Tuesdays
at the John Birks Gillespie Auditorium in the NYC Baha’i Center
Home base for Legendary
Pianist/Composer
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and his 17 piece big band
The NY State of the Art
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10th: Ray Blue Ensemble
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March
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10th: The Mike Longo Trio Celebrates
Herbie Hancock & Wayne Shorter
17th: Russ Kassoff Orchestra with
Catherine Dupuis
24th: Jay D’Amico Ensemble
31st: Corina Bartra Peruvian
Jazz Ensemble
The NYC Baha’i Center
53 E. 11th Street
(btw. University Place & Broadway)
Shows: 8:00 and 9:30 PM
General Admission: $15
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page 1
January 2015 Jazz Inside Magazine www.JazzInsideMagazine.com
1
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Jazz Inside Magazine
ISSN: 2150-3419 (print) • ISSN 2150-3427 (online)
February 2015 – Volume 6, Number 7
Cover Design by Shelly Rhodes
Cover photo of Wayne Escoffery by Paolo Corradeghini
Photo (right) by Eric Nemeyer
Publisher: Eric Nemeyer
Associate Publisher: Nora McCarthy
Editor: John R. Barrett, Jr.
Advertising Sales & Marketing: Eric Nemeyer
Circulation: Susan Brodsky
Photo Editor: Joe Patitucci
Layout and Design: Gail Gentry
Contributing Artists: Shelly Rhodes
Contributing Photographers: Eric Nemeyer, Ken Weiss
Contributing Writers: John Alexander, John R. Barrett, Curtis
Davenport; Eric Harabadian; Alex Henderson; Rick Helzer; Nora
McCarthy; Joe Patitucci; Ken Weiss, Scott Yanow.
ADVERTISING SALES
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OFFICE: 107-A Glenside Ave, Glenside, PA 19038
Telephone: 215-887-8880
Email: [email protected]
Website: www.jazzinsidemagazine.com
CONTENTS
CLUBS, CONCERTS, EVENTS
15 Calendar of Events, Concerts, Festivals and Club Performances
28 Clubs & Venue Listings
51 How To Connect With Jazz Inside
SUBSCRIPTION INFORMATION
Jazz Inside™ (published monthly). To order a subscription, call 215-887-8880 or
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Companies or individuals seeking reviews of their recordings, books, videos,
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FEATURES
2 Wayne Escofffery
by Eric Harabadian
34 Adam Birnbaum
38 Antoinette Montague
42 Nick Sanders
INTERVIEWS
30 George Cables by Ken Weiss
REVIEWS OF RECORDINGS
49 Corina Bartra; Adam Birnbaum; Nels
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Cline & Julian Lage; Dizzy Gillespie;
Tigran Hamasyan; Hiromi Kasuga;
Allegra Levy; Rudresh Mahanthappa;
Phil Markowitz, Zach Brock; Tomoko
Omura; Chris Potter Underground
Orchestra; Chip White; Glenn Wilson; Wolff & Clark Expedition
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CALENDAR OF EVENTS
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 (Feb. 15 for Mar)
(We cannot guarantee the publication of all calendar submissions.)
ADVERTISING: Reserve your ads to promote your events and get the marketing advantage of
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 Michael Feinstein, Zankel Hall, Carnegie Hall, 7:30 PM. 7th Ave.
@ 57th.
 Otis Brown III: The Thought of You at Dizzy's Club, 7:30 and
9:30 PM. 10 Columbus Cir. #10.
 Ravi Coltrane 5 at Jazz Standard, 7:30, 10:00 PM. 116 E. 27th.
 Alternative Guitar Summit at Shapeshifter, 7:30 PM. Artists
include Ava Mendoza, Anders Nilsson. 18 Whitwell, Bklyn.
 Vincent Herring 4 at An Beal Bocht, 8PM. 445 W. 238th, Bronx.
 Kirk Whalum at Blue Note, 8:00 and 10:30 PM. 131 W. 3rd St.
 Kaiser/Laswell 3 at The Stone, 8:00 PM. 2nd St. @ Avenue C.
 John Pizzarelli at Birdland, 8:30 and 11:00 PM. 315 W. 44th.
 Bob Gingery Group feat. Jon Irabagon at Cornelia St. Cafe,
8:30 PM. 29 Cornelia.
 Judy Kuhn: American Songbook at Appel Room, Lincoln
Center, 8:30 PM. Broadway @ 60th.
 Chet Doxas 3 at Seeds, 8:30 PM. 617 Vanderbilt, Bklyn.
 Wayne Escoffery 4 at Village Vanguard, 8:30 and 10:30 PM. 178
7th Ave. S.
 Ray Drummond 2 at Mezzrow, 9:00 PM. 163 W. 10th St.
Sunday, February 1
 Marlene VerPlanck 3 at Blue Note, 11:30 AM and 1:30 PM. 131
W. 3rd St.
 Michika Fukumori 4 at Garage, 11:30 AM. 99 7th Ave. S.
 Andres Laprida at B. B. King's, 1:00 PM. 237 W. 42nd.
 Ike Sturm & Evergreen at St. Peter's, 5:00 PM. 619 Lexington.
 Daniel Levin 3 at Downtown Music Gallery, 6PM. 13 Monroe.
 Jazz 4 All Workshop at St. Peter's, 6:30 PM. 619 Lexington.
 Pascal Niggenkemper, Downtown Music, 7PM. 13 Monroe.
 Sean Smith/David Hazeltine at Drawing Room, 7:00 PM. 54
Willoughby #3, Bklyn.
 Pharoah Sanders at Dizzy's Club Coca Cola, 7:30 and 9:30 PM.
10 Columbus Cir. #10.
 Christian Scott at Blue Note, 8:00 and 10:30 PM. 131 W. 3rd St.
 Vanguard Jazz Orchestra at Village Vanguard, 8:30 and 10:30
PM. 178 7th Ave. S.
 Hajime Yoshida at Shapeshifter, 9PM. 18 Whitwell, Bklyn.
Monday, February 2
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Tom Finn 3 at Bar Next Door, 6:30 PM. 129 MacDougal.
Howard Williams Jazz Orch. at Garage, 7:00 PM. 99 7th Ave. S.
Ann Ruckert Jazz Memorial at St. Peter's, 7PM. 619 Lexington.
Juilliard Jazz Ensembles at Dizzy's Club Coca Cola, 7:30 and
Peter Bernstein at Smalls, 7:30 PM. 183 W. 10th St.
Ece Gosku 4 at Shapeshifter, 8:15 PM. 18 Whitwell, Bklyn.
John Malino 3 at Bar Next Door, 8:30 PM. 129 MacDougal.
David Amram & Co. at Cornelia St. Cafe, 8:30 PM. 29 Cornelia.
VandoJam feat. Sharel Cassity, Zinc Bar, 10PM. 82 W. 3rd St.
Eddie Barbash at Dizzy's Club, 11:30 PM. 10 Columbus Cir. #10.
Spencer Murphy at Smalls, 1:00 AM. 183 W. 10th St.
Tuesday, February 3
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Tobias Meinhart 3 at Bar Next Door, 6:30 PM. 129 MacDougal.
Irene Walsh at Caffe Vivaldi, 7:00 PM. 32 Jones.
Champian Fulton 4 at Garage, 7:00 PM. 99 7th Ave. S.
Atomic at Shapeshifter, 7:00 and 8:15 PM. 18 Whitwell, Bklyn.
Simon Bolivar Big Band at Dizzy's Club Coca Cola, 7:30 and
Ravi Coltrane, Jazz Standard, 7:30 and 10:00 PM. 116 E. 27th.
Kirk Whalum at Blue Note, 8:00 and 10:30 PM. 131 W. 3rd St.
Nick Moran at NYC Baha'i Center, 8:00 and 9:30 PM. 53 E. 11th.
Arnon Palty 3 at Bar Next Door, 8:30 PM. 129 MacDougal.
John Pizzarelli at Birdland, 8:30 and 11:00 PM. 315 W. 44th.
Wayne Escoffery 4, Village Vanguard, 8:30, 10:30 PM. 178 7th
Ave. S.
Henry Kaiser/Charles K. Noyes at The Stone, 10:00 PM. 2nd St.
@ Avenue C.
Eddie Barbash at Dizzy's Club Coca Cola, 11:30 PM. 10 Columbus Cir. #10.

Wednesday, February 4
 Jazz Clinic: John Coltrane and His Dedication to Practice at
Flushing Town Hall, 6:00 PM. 137-35 Northern Blvd., Queens.
 Nick Biello 3 at Bar Next Door, 6:30 PM. 129 MacDougal.
 Jam Session at Flushing Town Hall, 6:00 PM. 137-35 Northern
Blvd., Queens.
 Yvonnick Prene 4 at Garage, 7:00 PM. 99 7th Ave. S.
 Dezron Douglas 4 at Minton's, 7:00 PM. 206 W. 118th.
 Pablo Aslan/Roger Davidson, Caffe Vivaldi, 7:15 PM. 32 Jones.
February 2015  Jazz Inside Magazine  www.JazzInsideMagazine.com
15
 Jon Lundblom, Jon Irabagon at Cornelia St. Cafe, 10:00 PM. 29
Cornelia.
 Mike Erickson at Shrine, 10:00 PM. 2271 7th Ave.
 Henry Kaiser/Bill Laswell at The Stone, 10:00 PM. 2nd St. @
Avenue C.
 Eddie Barbash at Dizzy's Club Coca Cola, 11:30 PM. 10 Columbus Cir. #10.
 John Barshay 4 at Smalls, 12:00 AM. 183 W. 10th St.
Thursday, February 5
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Alex Levine 3 at Bar Next Door, 6:30 PM. 129 MacDougal.
John Lang, Cleopatra's Needle, 7:00 PM. 2485 Broadway.
Ben Patterson 3 at Garage, 7:00 PM. 99 7th Ave. S.
Bruce Harris 6 at Minton's, 7:00 PM. 206 W. 118th.
Yuhan Su 5 at Shapeshifter, 7:00 PM. 18 Whitwell, Bklyn.
Alternative Guitar Summit, Spectrum, 7PM. Guests include Ben
Monder and others. 121 Ludlow.
Otis Brown III: The Thought of You at Dizzy's Club Coca Cola,
7:30 and 9:30 PM. 10 Columbus Cir. #10.
Ambrose Akinmusire 5 at Harlem Stage Gatehouse, 7:30 PM.
150 Convent Ave.
Solo Piano TBA at Mezzrow, 7:30 PM. 163 W. 10th St.
Kirk Whalum at Blue Note, 8:00 and 10:30 PM. 131 W. 3rd St.
Winard Harper, Hotoke, 8PM. 350 George, New Brunswick NJ.
Mike Moreno 4 at Jazz Gallery, 8PM, 10PM, 1160 Broadway.
Melvin Gibbs/Henry Kaiser/Weasel Walter at The Stone, 8:00
PM. 2nd St. @ Avenue C.
Tomoko Omura 5 at Shapeshifter, 8:15 PM. 18 Whitwell, Bklyn.
Howard Alden/Warren Vache at Bar Next Door, 8:30 PM. 129
MacDougal.
John Pizzarelli at Birdland, 8:30 and 11:00 PM. 315 W. 44th.
Harlem Renaissance Orch, Swing 46, 8:30 PM. 349 W. 46th.
Ravi Coltrane, Jazz Standard, 7:30 and 10:00 PM. 116 E. 27th.
Lea DeLaria at Appel Room, Lincoln Center, 8:30 PM. Broadway @ 60th.
Wayne Escoffery 4 at Village Vanguard, 8:30 and 10:30 PM. 178
7th Ave. S.
Eddie Barbash at Dizzy's Club, 11:30 PM. 10 Columbus Cir. #10.
Carlos Abadie 5 at Smalls, 12:00 AM. 183 W. 10th St.
Friday, February 6
Saturday, February 7
 Herb Woodson at Shanghai Jazz, 6PM. 24 Main, Madison NJ.
 Kuni Mikami 3 at Cleopatra's Needle, 7:00 PM. 2485 Broadway.
 J.C. Hopkins Biggish Band feat. Jon Hendricks at Minton's,
7:00 PM. 206 W. 118th.
 Cathy Kreger at Shapeshifter, 7:00 PM. 18 Whitwell, Bklyn.
 Itai Kriss 3 at Bar Next Door, 7:30 PM. 129 MacDougal.
 Ravi Coltrane at Birdland, 7:30, 10:00, & 11:45 PM. 315 W. 44th.
 Victor Goines & Friends at Dizzy's Club Coca Cola, 7:30 and
 Ravi Coltrane, Jazz Standard, 7:30, 10:00, & 11PM. 116 E. 27th.
 Tardo Hammer 3 at Smalls, 7:30 PM. 183 W. 10th St.
 Broken Reed Saxophone Quartet + Kristin Slipp at I Beam,
8:00 PM. 168 7th St., Bklyn.
 Roy Hargrove 5 at Jazz Gallery, 8PM, 10PM. 1160 Broadway.
 Jason Kao Hwang 3 & 5 at Roulette, 8PM. 509 Atlantic, Bklyn.
 Samuel R. Delaney/Henry Kaiser at The Stone, 8:00 PM. 2nd St.
@ Avenue C.
 Rob Silverman 4 at Sugar Bar, 8:00 PM. 254 W. 72nd.
 Mike Frost, Shapeshifter, 8:15 and 9:30 PM. 18 Whitwell, Bklyn.
7th Ave. S.
 Betty LaVette at Cafe Carlyle, 8:45 PM. 35 E. 76th.
 George Garzone & The Fringe at Cornelia St. Cafe, 9:00 and
 Buster Williams/Renee Rosnes at Mezzrow, 9:00 PM. 163 W.
10th St.
 Lee Genovese 3 + Special Guest at Whynot Jazz Room, 9:00
PM. 14 Christopher.
 African Jazz: Source w/Abdoulaye Diabate at Zinc Bar, 9:00
PM. 82 W. 3rd St.
 Ron Jackson at Showman's, 9:30 PM. 375 W. 125th.
 Ron Sunshine Orchestra at Swing 46, 9:30 PM. 349 W. 46th.
 Luis Bonilla 3 at Knickerbocker Bar, 9:45 PM. 33 University Pl.
 Henry Kaiser/Brandon Ross at The Stone, 10:00 PM. 2nd St. @
Avenue C.
 Recessionals Jazz Band at Garage, 10:30 PM. 99 7th Ave. S.
 Alex Sipiagin at Smalls, 10:30 PM. 183 W. 10th St.
 Eddie Barbash at Dizzy's Club, 11:30 PM. 10 Columbus Cir. #10.
 Mark Shine: Bob Marley Birthday at Blue Note, 12:30 AM. 131
W. 3rd St.
 Larry Newcomb 4 at Garage, 12:00 PM. 99 7th Ave. S.
 Family Concert: Who Is Billie Holiday? at Rose Theater,
Lincoln Center, 1:00 and 3:00 PM. Broadway @ 60th.
 Alternative Guitar Summit: Incorporating Indian and Middle
Eastern Motifs in Jazz Guitar Playing at Spectrum, 1:00 PM.
121 Ludlow.
 In the Mood: 1940's Musical Revue feat. String of Pearls Big
Band at Count Basie Theatre, 2PM. 99 Monmouth, Red Bank NJ.
 Mauricio DeSouza 3 at Garage, 6:00 PM. 99 7th Ave. S.
 Lucas Kadish 5 at Silvana, 6:00 PM. 300 W. 116th.
 Theo Bleckmann: Songs in Key of D at Metropolitan Museum
of Art, 7:00 PM. 1000 5th Ave.
 J.C. Hopkins Biggish Band feat. Jon Hendricks at Minton's,
7:00 PM. 206 W. 118th.
 Lavenia Nesmith at Metropolitan Room, 7:00 PM. 34 W. 22nd.
 Alternative Guitar Summit at Stage 2, Rockwood Music Hall,
7:00 PM. Artists include Lee Renaldo, Adam Rudolph's Go:
Organic Orchestra, and others. 196 Allen.
 Sasha Perry at Mezzrow, 7:15 PM. 163 W. 10th St.
 Petros Klampanis 3 feat. Gilad Hekselman at Bar Next Door,
7:30 PM. 129 MacDougal.
 Muichael Mwenso & The Shakes: Fats Waller Tribute at
Ginny's, 7:30 and 9:30 PM. 310 Lenox.
 Ravi Coltrane, Jazz Standard, 7:30, 10:00, & 11PM. 116 E. 27th.
 Billy Kaye at Smalls, 7:30 PM. 183 W. 10th St.
 Frank Giollombard Plays Frank Zappa at Branded Saloon, 8:00
PM. 603 Vanderbilt, Bklyn.
 Karl Denson's Tiny Universe at Brooklyn Bowl, 8:00 PM. 61
Wythe, Bklyn.
 Larry Banks 3 at Cleopatra's Needle, 8:00 PM. 2485 Broadway.
 Roy Hargrove 5 at Jazz Gallery, 8:00 and 10:00 PM. 1160
Broadway.
 Henry Kaiser 4 at The Stone, 8:00 PM. 2nd St. @ Avenue C.
 John Pizzarelli at Birdland, 8:30 and 11:00 PM. 315 W. 44th.
 Danny Rivera/Nelson Gonzalez at Appel Room, Lincoln Center, 8:30 PM. Broadway @ 60th.
7th Ave. S.
JSjim0215
1/22/15
3:20 PM
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“100 GREAT JAZZ CLUBS WORLDWIDE”
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THU-SUN FEB 19-22H7:30PM & 10PM ONLY
SUN FEB 1HCLOSED
TIERNEY
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TUE-SUN FEB 3-8
RAVI
COLTRANE
RALPH ALESSI - AARON PARKS - BOB HURST - JEFF “TAIN” WATTS
CHRISTIAN JACOB - RAY BRINKER - KEVIN AXT
TUE FEB 10
TUE-WED FEB 24-25
JUSTIN
KAUFLIN
CHRIS
BERGSON
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MATTHEW STEVENS - CHRIS SMITH - BILLY WILLIAMS
WED-THU FEB 11-12
GEORGE
COLEMAN
QUARTET
T
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FRI-SUN FEB 13-15
MINGUS
HHHMINGUS MONDAYSHMINGUS MONDAYSHHH
BIG BAND
RUSSELL MALONE
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MON FEB 2, 9 & 23
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TUE-WED FEB 17-18
RICK GERMANSON - GERALD CANNON - WILLIE JONES III
HHHHHHH
MAR 4-8
THU-SUN FEB 26-MAR 1
THE
MAR 12-15
MON FEB 16
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ORCHESTRA
MAR 17-18
MAR 19-22
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ANAT STEVE KENDRICK LEE KONITZ &
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JAZZ FOR KIDS WITH THE JAZZ STANDARD YOUTH ORCHESTRA EVERY SUNDAY AT 2PM-DIRECTED BY DAVID O’ROURKE
 John Hebert at Cornelia St. Cafe, 9:00 & 10:30 PM. 29 Cornelia.
10th St.
 Afro-Horns: A Tribute to Henry Dumas at Sistas' Place, 9:00
and 10:30 PM. 456 Nostrand, Bklyn.
 Irini Res & The Jazz Mix at Sugar Bar, 9:00 PM. 254 W. 72nd.
 Dave Lowenthal's Phantom Pop at Way Station, 9:00 PM. 683
Washington, Bklyn.
 Swingadelic at Swing 46, 9:30 PM. 349 W. 46th.
 Luis Bonilla 3 at Knickerbocker Bar, 9:45 PM. 33 University Pl.
 Henry Kaiser/Alan Licht at The Stone, 10:00 PM. 2nd St. @
Avenue C.
 Akiko Tsuruga 3 at Garage, 10:30 PM. 99 7th Ave. S.
 Alex Sipiagin at Smalls, 10:30 PM. 183 W. 10th St.
 Mark Johnson & Edge of Jazz at Tomi Jazz, 11:00 PM and
12:30 AM. 239 E. 53rd.
 Sharon Rae North at Metropolitan Room, 11:30 PM. 34 W. 22nd.
 Spanglish Fly at Blue Note, 12:30 AM. 131 W. 3rd St.
 Stacy Dillard at Smalls, 1:00 AM. 183 W. 10th St.
Sunday, February 8
 Oscar Peñas 4 at Blue Note, 11:30 AM and 1:30 PM. 131 W. 3rd
St.
 Lou Caputo 4 at Garage, 11:30 AM. 99 7th Ave. S.
 Alternative Guitar Summit: Incorporating Blues, Country, and
Funk Into Jazz Guitar Playing at Spectrum, 12:00 PM. 121
Ludlow.
 Manny Moreira & Julie E. at B. B. King's, 1:00 PM. 237 W. 42nd.
 Eyal Vilner Big Band at Smalls, 4:30 PM. 183 W. 10th St.
 James Weidman Slave Songs Ensemble at St. Peter's, 5:00
PM. 619 Lexington.
 Daniel Carter/Patrick Brennan at Downtown Music Gallery,
6:00 PM. 13 Monroe.
 Ken Filiano & Upsurge at Whynot Jazz Room, 7:00 PM. 14
Christopher.
 Ravi Coltrane 5 at Jazz Standard, 7:30 and 10:00 PM. 116 E.
27th.
 Henry Kaiser 4 feat. John Zorn at The Stone, 8:00 PM. 2nd St. @
Avenue C.
 NY Chillharmonic feat. Sara McDonald at Shapeshifter, 8:15
PM. 18 Whitwell, Bklyn.
 Jane Ira Bloom 3 at Cornelia St. Cafe, 8:30 PM. 29 Cornelia.
7th Ave. S.
10th St.
 Sharik Hasan, Whynot Jazz Room, 10:00 PM. 14 Christopher.
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Juatin Kauflin 4 at Jazz Standard, 7:30, 10:00 PM. 116 E. 27th.
Nicole Henry at Blue Note, 8:00 and 10:30 PM. 131 W. 3rd St.
Ray Blue Ens, NYC Baha'i Center, 8, 9:30 PM. 53 E. 11th.
Chris Stover's Book of Sand at Shapeshifter, 8:15 PM. 18
Whitwell, Bklyn.
Pete McCann 3 at Bar Next Door, 8:30 PM. 129 MacDougal.
Maria Manousaki 4 at Cornelia St. Cafe, 8:30 PM. 29 Cornelia.
Ron Jackson at Vella Wine Bar, 8:30 PM. 1480 3nd Ave.
Colorado Slim Plays John Zorn at Village Vanguard, 8:30 PM.
178 7th Ave. S.
Sara Gazarek at Birdland, 9:00 and 11:00 PM. 315 W. 44th.
Lucas Pino No Net Nonet at Smalls, 9:30 PM. 183 W. 10th St.
Gnostic 3 feat. Colorado Slim at Village Vanguard, 10:30 PM.
178 7th Ave. S.
Chad Lefkowitz-Brown at Dizzy's Club Coca Cola, 11:30 PM.
 Daryl Sherman 2 at St. Peter's, 1:00 PM. 619 Lexington.
 Alex Sugerman 3 at Bar Next Door, 6:30 PM. 129 MacDougal.
 Taiko Drumming Workshop at Shapeshifter, 6:30 PM. 18
Whitwell, Bklyn.
 Marilyn Maye at Birdland, 7:00 PM. 315 W. 44th.
 Dan Adler/Arnon Palty Band at Garage, 7:00 PM. 99 7th Ave. S.
 Martha Redbone at Joe's Pub, 7:00 PM. 425 Lafayette.
 Tish Rabe at Metropolitan Room, 7:00 PM. 34 W. 22nd.
 J.C. Hopkins Biggish Band at Minton's, 7:00 PM. 206 W. 118th.
 Clarence Penn & Penn Station at Dizzy's Club Coca Cola, 7:30
and 9:30 PM. 10 Columbus Cir. #10.
 George Coleman 4 feat. Harold Mabern at Jazz Standard, 7:30
and 10:00 PM. 116 E. 27th.
 Kenny Endo/KAoru Watanabe w/Ne-O Ensemble at
Shapeshifter, 7:30 PM. 18 Whitwell, Bklyn.
 Nicole Henry at Blue Note, 8:00 and 10:30 PM. 131 W. 3rd St.
 Chris Clark/Hashem Assadullahi at Branded Saloon, 8:00 PM.
603 Vanderbilt, Bklyn.
 Joe Alterman at Caffe Vivaldi, 8:30 PM. 32 Jones.
 Lage Lund 4 at Cornelia St. Cafe, 8:30 PM. 29 Cornelia.
 Meshell Ndegeocello at Appel Room, Lincoln Center, 8:30 PM.
Broadway @ 60th.
 Electric Masada feat. John Zorn & Marc Ribot at Village Vanguard, 8:30 and 10:30 PM. 178 7th Ave. S.
 Buster Poindexter at Cafe Carlyle, 8:45 PM. 35 E. 76th.
 Sara Gazarek at Birdland, 9:00 and 11:00 PM. 315 W. 44th.
 Matt Mitchell 4 at Seeds, 9:00 PM. 617 Vanderbilt, Bklyn.
 Loren Stillman at Smalls, 9:30 PM. 183 W. 10th St.
 Chad Lefkowitz-Brown at Dizzy's Club Coca Cola, 11:30 PM.
 Jamale Davis at Smalls, 12:00 AM. 183 W. 10th St.
Monday, February 9
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February 2015
 3rd: Nick Moran Group
 10th: Ray Blue Ensemble
 17th: Eyal Vilner Big Band
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Martin Schulte 4 at Shrine, 6:00 PM. 2271 7th Ave.
Benjamin Bryden 3 at Bar Next Door, 6:30 PM. 129 MacDougal.
Lou Caputo Not So Big Band at Garage, 7:00 PM. 99 7th Ave. S.
Butch Morris Jazz Memorial at St. Peter's, 7:00 PM. 619 Lexington.
John Yao & Flying Dragon at Shapeshifter, 7:00 and 8:30 PM.
18 Whitwell, Bklyn.
Allan Harris at Dizzy's Club Coca Cola, 7:30 and 9:30 PM. 10
Columbus Cir. #10.
Vinx Rhythm Nomads at Blue Note, 8:00 PM. 131 W. 3rd St.
New Deco Orchestra, Highline Ballroom, 8:00 PM. 431 W. 16th.
Glenn Franke Big Band at SuzyQue, 8:00 PM. 34 S. Valley,
West Orange NJ.
Nora McCarthy 3 at Bar Next Door, 8:30 PM. 129 MacDougal.
Kirk Knuffke 2 at I Beam, 9:00 PM. 164 7th St., Bklyn.
Dan Adler 5 at Whynot Jazz Room, 9:00 PM. 14 Christopher.
Miguel Frasconi 2 at I Beam, 9:30 PM. 164 7th St., Bklyn.
S.W.I.S.S.: Poetry of Riddim at Blue Note, 10PM. 131 W. 3rd St.
Ari Hoenig 4 at Smalls, 10:30 PM. 183 W. 10th St.
Jonathan Michel at Smalls, 1:00 AM. 183 W. 10th St.
Tuesday, February 10
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Marilyn Maye at Birdland, 7:00 PM. 315 W. 44th.
Rob Edwards 4 at Garage, 7:00 PM. 99 7th Ave. S.
Minton's Players at Minton's, 7:00 PM. 206 W. 118th.
Alexis Cuadrado 3 at Shapeshifter, 7:00 PM. 18 Whitwell, Bklyn.
Justin Lees 3 at Uptown Lounge, 7:00 PM. 1576 3rd Ave.
Hiromi Suda 5 at Whynot Jazz Room, 7:00 PM. 14 Christopher.
Clarence Penn & Penn Station at Dizzy's Club Coca Cola, 7:30
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Andrew Van Tassel, Bar Next Door, 6:30 PM. 129 MacDougal.
Nathan Brown, Cleopatra's Needle, 7:00 PM. 2485 Broadway.
George Weldon Band at Garage, 7:00 PM. 99 7th Ave. S.
Charenee Wade 7 at Minton's, 7:00 PM. 206 W. 118th.
Kim Nalley: Songs of Love at Dizzy's Club Coca Cola, 7:30 and
Sammy Miller & the Congregation Big Band at Ginny's, 7:30
and 9:30 PM. 310 Lenox.
George Coleman 4 feat. Harold Mabern at Jazz Standard, 7:30
and 10:00 PM. 116 E. 27th.
Awakening Orchestra at Shapeshifter, 7:30 and 9:00 PM. 18
Whitwell, Bklyn.
Spyro Gyra at South Orange Performing Arts Center, 7:30 PM.
1 SOPAC Way, South Orange NJ.
Rachelle Ferrell at Blue Note, 8:00 and 10:30 PM. 131 W. 3rd St.
Ralph Bowen, Hotoke, 8:00 PM. 350 George, New Brunswick NJ.
Rotem Sivan, Jazz Gallery, 8:00 and 10:00 PM. 1160 Broadway.
Dave Bass 3 + Karrin Allyson, Kitano, 8PM, 10PM 66 Park Ave.
Patrick Cornelius 3 at Bar Next Door, 8:30 PM. 129 MacDougal.
Michael Blake 4 at Cornelia St. Cafe, 8:30 PM. 29 Cornelia.
Harlem Renaissance Orch at Swing 46, 8:30 PM. 349 W. 46th.
Medeski Martin & Dunn Play Masada at Village Vanguard, 8:30
and 10:30 PM. 178 7th Ave. S.
Buster Poindexter at Cafe Carlyle, 8:45 PM. 35 E. 76th.
Sara Gazarek at Birdland, 9:00 and 11:00 PM. 315 W. 44th.
Marques/Stinson/O'Farrill at Caffe Vivaldi, 9:00 PM. 32 Jones.
Matt Mitchell 4 at Seeds, 9:00 PM. 617 Vanderbilt, Bklyn.
Scot Albertson 3 at Tomi Jazz, 9:00 PM. 239 E. 53rd.
Julian Shore 5 feat. Dayna Stephens at Smalls, 10:30 PM. 183
W. 10th St.
Chad Lefkowitz-Brown at Dizzy's Club Coca Cola, 11:30 PM.
“We make a living
by what we get.
We make a life by
what we give.”
— Winston Churchill
 Nick Hempton Band at Smalls, 12:00 PM. 183 W. 10th St.
Friday, February 13
 Adam Rongo 3 at Garage, 6:00 PM. 99 7th Ave. S.
 Helio Alves 3 at Shanghai Jazz, 6:30 PM. 24 Main St., Madison
NJ.
 Alicia Olatuja at Minton's, 7:00 PM. 206 W. 118th.
 Stephen Fuller 4 at The Priory, 7:00 PM. 233 W. Market, Newark NJ.
 Ben Monder 3 at Bar Next Door, 7:30 PM. 129 MacDougal.
 Kim Nalley: Songs of Love at Dizzy's Club Coca Cola, 7:30 and
 Mingus Big Band at Jazz Standard, 7:30 and 10:00 PM. 116 E.
27th.
 Manuel Valera & Groove Square at Jazz Gallery, 8:00 and 10:00
PM. 1160 Broadway.
 Rachelle Ferrell at Blue Note, 8:00 and 10:30 PM. 131 W. 3rd St.
 Dianne Reeves at Rose Theater, Lincoln Center, 8:00 PM.
Broadway @ 60th.
 Living Colour at Ridgefield Playhouse, 8:00 PM. 80 E. Ridge,
Ridgefield CT.
 Russ Nolan at Tagine, 8:00 PM. 221 W. 38th.
 Michael Louis Band at Treme, 8:00 PM. 553 Main, Islip NY.
 John Zorn/Milford Graves at Village Vanguard, 8:30 PM. 178 7th
Ave. S.
 Jim Black's Smash & Grab at Cornelia St. Cafe, 9:00 and 10:30
PM. 29 Cornelia.
 Emily Wolf Project at Caffe Vivaldi, 9:30 PM. 32 Jones.
 Rhonda Thomas feat. Marcell Russell at Apollo Theater, 10:00
PM. 253 W. 125th.
 Peter Valera & The Jump Blues Band at Garage, 10:30 PM. 99
7th Ave. S.
 Harry Allen at Smalls, 10:30 PM. 183 W. 10th St.
 Marc Ribot 3 Plays John Zorn at Village Vanguard, 10:30 PM.
178 7th Ave. S.
 Shilpa Ananth & SA at Blue Note, 12:30 AM. 131 W. 3rd St.
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Kypko Oyobe 3 at Garage, 12:00 PM. 99 7th Ave. S.
J.J. Wright 3 at St. Peter's, 5:00 PM. 619 Lexington.
David Coss 4 at Garage, 6:00 PM. 99 7th Ave. S.
Quentin Angus 3 at Bar Next Door, 7:00 PM. 129 MacDougal.
Marilyn Maye at Birdland, 7:00 PM. 315 W. 44th.
Somi at Minton's, 7:00 PM. 206 W. 118th.
Kim Nalley: Songs of Love at Dizzy's Club Coca Cola, 7:30 and
Timothy Bloom feat. Wayna at Ginny's, 7:30 and 9:30 PM. 310
Lenox.
Mingus Big Band at Jazz Standard, 7:30 and 10:00 PM. 116 E.
27th.
Tommy Campbell & Vocal Eyes at Smalls, 7:30 PM. 183 W. 10th
St.
Rachelle Ferrell at Blue Note, 8:00 and 10:30 PM. 131 W. 3rd St.
Living Colour at Brooklyn Bowl, 8:00 PM. 61 Wythe, Bklyn.
Kevin Hildebrandt 3 at Cleopatra's Needle, 8:00 PM. 2485
Broadway.
Antoinette Montague: World Peace in the Key of Jazz at
Flushing Town Hall, 8:00 PM. 137-35 Northern Blvd., Queens.
Diane Schuur & DIVA Jazz Orchestra at Iridium, 8:00 and 10:00
PM. 1650 Broadway.
Lezlie Harrison at Jazz Gallery, 8:00 and 10:00 PM. 1160 Broad-
way.
 Dianne Reeves at Rose Theater, Lincoln Center, 8:00 PM.
Broadway @ 60th.
 Chris Botti at Ridgefield Playhouse, 8:00 PM. 80 E. Ridge,
Ridgefield CT.
 Gregory Porter at Town Hall, 8:00 PM. 123 W. 43rd.
 Dawn Landes at Appel Room, Lincoln Center, 8:30 PM. Broadway @ 60th.
 Masada 4 feat. John Zorn & Dave Douglas at Village Vanguard, 8:30 and 10:30 PM. 178 7th Ave. S.
 Andrew Lamb at Sistas' Place, 9:00 and 10:30 PM. 456
Nostrand, Bklyn.
 Swingadelic at Swing 46, 9:30 PM. 349 W. 46th.
 Ray Gallon 2 at Knickerbocker Bar, 9:45 PM. 33 University Pl.
 Caleb Hawley/Mavis Swan Poole at Apollo Theater, 10:00 PM.
253 W. 125th.
 Sofia Robeiro at Cornelia St. Cafe, 10:00 PM. 29 Cornelia.
 Virginia Mayhew 4 at Garage, 10:30 PM. 99 7th Ave. S.
 Harry Allen at Smalls, 10:30 PM. 183 W. 10th St.
 Nickel & Dime OPS at Blue Note, 12:30 AM. 131 W. 3rd St.
 Philip Harper at Smalls, 1:15 AM. 183 W. 10th St.
Visit www.JazzNewswire.com
Sunday, February 15
 Love & Joy: A Family Valentine at Shapeshifter, 11:00 AM. 18
Whitwell, Bklyn.
 Joey Morant & Catfish Stew at Blue Note, 11:30 AM and 1:30
PM. 131 W. 3rd St.
 Mayu Saeki 3 at Garage, 11:30 AM. 99 7th Ave. S.
 Free Improvisation: Ramin Arjonand/Chris Irvine at Spectrum,
3:00 PM. 121 Ludlow.
 Steve Gosling at Village Vanguard, 3:00 PM. 178 7th Ave. S.
 Resonance Collective/Periapsis Music & Dance at
Shapeshifter, 5:00 PM. 18 Whitwell, Bklyn.
 Bob Gluck + Special Guest at Cornelia St. Cafe, 6:00 PM. 29
Cornelia.
 Nat Adderley Jr. at Luna Stage, 7:00 PM. 555 Valley, West
Orange NJ.
 Kim Nalley: Songs of Love at Dizzy's Club Coca Cola, 7:30 and
 Mingus Big Band at Jazz Standard, 7:30 and 10:00 PM. 116 E.
27th.
 Rachelle Ferrell at Blue Note, 8:00 and 10:30 PM. 131 W. 3rd St.
 Diane Schuur & DIVA Jazz Orchestra at Iridium, 8:00 and 10:00
PM. 1650 Broadway.
 Annie Chen 8 at Shapeshifter, 8:15 and 9:30 PM. 18 Whitwell,
Bklyn.
 Leandro Fortes 6 at Cornelia St. Cafe, 8:30 PM. 29 Cornelia.
 John Zorn at Village Vanguard, 8:30, 10:30 PM. 178 7th Ave. S.
 Ned Goold 4 at Smalls, 10:30 PM. 183 W. 10th St.
Monday, February 16
 Paul Jones 3 at Bar Next Door, 6:30 PM. 129 MacDougal.
 Rob Edwards Big Band at Garage, 7:00 PM. 99 7th Ave. S.
 Dorian Wallace & Ammocake at Whynot Jazz Room, 7:00 PM.
14 Christopher.
 Jane Irving at Zinc Bar, 7:00 PM. 82 W. 3rd St.
 Terry Waldo's Gotham City Band at Dizzy's Club Coca Cola,
7:30 and 9:30 PM. 10 Columbus Cir. #10.
 Art Hirahara 3 at Smalls, 7:30 PM. 183 W. 10th St.
 Kavita Shah 3 at Bar Next Door, 8:30 PM. 129 MacDougal.
 Matt Parker 3 at Cornelia St. Cafe, 8:30 PM. 29 Cornelia.
 Fleur Seule at Bathtub Gin, 9:00 PM. 132 9th Ave.
 Mike Bono Group at Stage 1, Rockwood Music Hall, 11:00 PM.
196 Allen.
 Spencer Murphy at Smalls, 1:00 AM. 183 W. 10th St.
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Drew Williams 9 at Cornelia St. Cafe, 6:00 PM. 29 Cornelia.
Aquiles Navarro/Tcheser Holmes at Shrine, 6PM. 2271 7th Ave.
Jon Sheckler 3 at Silvana, 6:00 PM. 300 W. 116th.
Matt Sollinger 3 at Bar Next Door, 6:30 PM. 129 MacDougal.
Recessionals Jazz Band at Garage, 7:00 PM. 99 7th Ave. S.
Carmela Rappazzo at Metropolitan Room, 7:00 PM. 34 W. 22nd.
Minton's Players at Minton's, 7:00 PM. 206 W. 118th.
19
“The study
of history is a powerful
antidote to contemporary
arrogance. It is humbling to discover
how many of our glib assumptions,
which seem to us novel and plausible,
have been tested before, not once but
many times and in innumerable
guises; and discovered to be,
at great human cost,
wholly false.”
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— Paul Johnson, American Novelist

 Mardi Gras Stomp at Dizzy's Club Coca Cola, 7:30 and 9:30
PM. 10 Columbus Cir. #10.
 Russell Malone, Jazz Standard, 7:30 and 10:00 PM. 116 E. 27th.
 Kermit Ruffins & The BBQ Swingers at Blue Note, 8:00 and
10:30 PM. 131 W. 3rd St.
 Henry Butler/Steven Bernstein Hot 9 at Brooklyn Bowl, 8:00
PM. 61 Wythe, Bklyn.
 George Clinton & Parliament/Funkadelic at B. B. King's, 8:00
PM. 237 W. 42nd.
 Eyal Vilner Big Band at NYC Baha'i Center, 8:00 and 9:30 PM.
53 E. 11th.
 Andrew Drury: Music from Content Provider and The Drum at
Roulette, 8:00 PM. 509 Atlantic, Bklyn.
 Yossi Tamim at Shapeshifter, 8PM. 18 Whitwell, Bklyn.
 Uri Caine/Tim Berne 3 at The Stone, 8PM. 2nd St. @ Avenue C.
 Misha Piatigorsky 4 at Zinc Bar, 8:00 PM. 82 W. 3rd St.
 Jamie Baum 3 feat. Gilad Hekselman at Bar Next Door, 8:30
PM. 129 MacDougal.
 Billy Childs Project at Birdland, 8:30 and 11:00 PM. 315 W. 44th.
 Nick Sanders 3 at Cornelia St. Cafe, 8:30 PM. 29 Cornelia.
 Joe Lovano 9 feat. Tim Hagans at Village Vanguard, 8:30 and
10:30 PM. 178 7th Ave. S.
 Miss Ida Blue at Freddy's Bar, 9:00 PM. 627 5th Ave., Bklyn.
 Fresh Cut Orchestra at Stage 2, Rockwood Music Hall, 9:15
PM. 196 Allen.
 Josh Evans Big Band at Smalls, 9:30 PM. 183 W. 10th St.
 Uri Caine 4 feat. Kirk Knuffke at The Stone, 10:00 PM. 2nd St. @
Avenue C.
 Sammy Miller & The Congregation at Dizzy's Club Coca Cola,
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20
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Friday, February 20
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Mikhail Martin 3 at Shrine, 6:00 PM. 2271 7th Ave.
Gaia Petrelli Wilmer at Silvana, 6:00 PM. 300 W. 116th.
Rafal Sarnecki 3 at Bar Next Door, 6:30 PM. 129 MacDougal.
Lois Bruno at Flute Gramercy, 7:00 PM. 40 E. 20th.
Melanie Marod at Flute Midtown, 7:00 PM. 205 W. 54th.
Avi Rothbard 3 at Garage, 7:00 PM. 99 7th Ave. S.
J.C. Hopkins Biggish Band feat. Johnny O'Neal at Minton's,
7:00 PM. 206 W. 118th.
Lotte Anker 3 feat. Craig Taborn at Shapeshifter, 7:00 PM. 18
Whitwell, Bklyn.
Timo Vollbrecht: Fly Magic at Whynot Jazz Room, 7:00 PM. 14
Christopher.
Frank Vignola Guitar Night feat. Al Caiola & Nicki Parrott at
Cutting Room, 7:30 PM. 44 E. 32nd.
T.S. Monk 6 at Dizzy's Club Coca Cola, 7:30 and 9:30 PM. 10
Columbus Cir. #10.
Russell Malone, Jazz Standard, 7:30 and 10:00 PM. 116 E. 27th.
Uri Caine & Ofakim at The Stone, 8:00 PM. 2nd St. @ Avenue C.
Dawn Clement/Max Johnson 4 at Shapeshifter, 8:15 PM. 18
Whitwell, Bklyn.
Billy Childs Project at Birdland, 8:30 and 11:00 PM. 315 W. 44th.
Joe Lovano at Village Vanguard, 8PM. 178 7th Ave. S.
Amos Hoffman 5 feat. Duane Eubanks at Smalls, 9:30 PM. 183
W. 10th St.
Uri Caine 5 feat. Ralph Alessi at The Stone, 10:00 PM. 2nd St. @
Avenue C.
Sammy Miller & The Congregation at Dizzy's Club Coca Cola,
Vitaly Golovnev 4 at Smalls, 7:30 PM. 183 W. 10th St.
Tony Lustig 5 at Birdland, 6:00 PM. 315 W. 44th.
Nick Brust 3 at Bar Next Door, 6:30 PM. 129 MacDougal.
Steve Elmer 3 at Cleopatra's Needle, 7:00 PM. 2485 Broadway.
Rick Stone 3 at Garage, 7:00 PM. 99 7th Ave. S.
Charenee Wade 7 at Minton's, 7:00 PM. 206 W. 118th.
Matt Panayides 3 feat. Rich Perry at Spectrum, 7:00 PM. 121
Ludlow.
Diane Sweet/Mark Whitfield at Zinc Bar, 7:00 PM. 82 W. 3rd St.
T.S. Monk 6 at Dizzy's Club Coca Cola, 7:30 and 9:30 PM. 10
Columbus Cir. #10.
Tierney Sutton Band at Jazz Standard, 7:30 and 10:00 PM. 116
E. 27th.
Kermit Ruffins & The BBQ Swingers at Blue Note, 8:00 and
10:30 PM. 131 W. 3rd St.
Riley Mulherkar's Uptown Downbeat: The Music of Duke
Ellington at Ginny's, 8:00 PM. 310 Lenox.
Nimrod Speaks 4 at Hotoke, 8:00 PM. 350 George, New Brunswick NJ.
Wayne Krantz at Iridium, 8:00 and 10:00 PM. 1650 Broadway.
Tivon Pennicott 4 at Jazz Gallery, 8:00 and 10:00 PM. 1160
Broadway.
Uri Caine/Theo Bleckmann at The Stone, 8:00 and 10:00 PM.
2nd St. @ Avenue C.
Alejandro Aviles 4 at Treme, 8:00 PM. 553 Main, Islip NY.
Dan Levinson, Nicki Parrott & others at Tribeca Performing
Arts Center, 8:00 PM. 199 Chambers.
Gilad Hekselman 3 at Bar Next Door, 8:30 PM. 129 MacDougal.
Matt Brewer 5 feat. Lage Lund at Cornelia St. Cafe, 8:30 PM. 29
Cornelia.
Glenn Crytzer Savoy 7 at Swing 46, 8:30 PM. 349 W. 46th.
Joe Lovano at Village Vanguard, 8:30 and 10:30 PM. 178 7th
Ave. S.
David Gibson 5 at Smalls, 9:30 PM. 183 W. 10th St.
Uri Caine 3 feat. Ben Perowsky at The Stone, 10:00 PM. 2nd St.
@ Avenue C.
Sammy Miller & The Congregation Big Band at Dizzy's Club
Coca Cola, 11:30 PM. 10 Columbus Cir. #10.
Carlos Abadie 5 at Smalls, 12:00 AM. 183 W. 10th St.
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Antonello Parisi, Cleopatra's Needle, 7:00 PM. 2485 Broadway.
Tom Tallitsch 4 at Garage, 7:00 PM. 99 7th Ave. S.
Andy Bey at Minton's, 7:00 PM. 206 W. 118th.
Jocelyn Shannon 4 at Shrine, 6:00 PM. 2271 7th Ave.
Champian Fulton 3 at Shanghai Jazz, 6:30 PM. Reservations
required. 24 Main St., Madison NJ.
Sherman Irby's Journey Through Swing at Appel Room,
Lincoln Center, 7:00 PM. Broadway @ 60th.
Miles Okazaki at Bar Next Door, 7:30 PM. 129 MacDougal.
Mario Adnet: Sounds of Brazil at Dizzy's Club Coca Cola, 7:30
Tierney Sutton Band at Jazz Standard, 7:30, 10:00, & 11:45 PM.
116 E. 27th.
Wayne Krantz at Iridium, 8:00 and 10:00 PM. 1650 Broadway.
Gretchen Parlato/Lionel Loueke at Jazz Gallery, 8:00 and 10:00
PM. 1160 Broadway.
Cyrille Aimee/Milton Suggs: New Orleans Songbook at Rose
Theater, Lincoln Center, 8:00 PM. Broadway @ 60th.
Hugh Masakela/Vusi Mahlasela at South Orange Performing
Arts Center, 8:00 PM. 1 SOPAC Way, South Orange NJ.
Uri Caine at The Stone, 8:00 PM. 2nd St. @ Avenue C.
Mozayik at Sugar Bar, 8:00 PM. 254 W. 72nd.
Danny Kean at Treme, 8:00 PM. 553 Main, Islip NY.
William 'Chan' Hall at Caffe Vivaldi, 8:15 PM. 32 Jones.
Joe Lovano, Village Vanguard, 8:30 PM. 178 7th Ave. S.
Angela Morris & Candidland at Spectrum, 9:00 PM. 121 Ludlow.
Petros Klampanis 7 feat. Gilad Hekselman at Cornelia St. Cafe,
9:00 and 10:30 PM. 29 Cornelia.
Elio Villafranca's Music of the Caribbean at Appel Room,
Lincoln Center, 9:30 PM.
Victor Lyn 3 at Knickerbocker Bar, 9:45 PM. 33 University Pl.
African Jazz: Kofo the Wonderman at Zinc Bar, 10:00 PM. 82
W. 3rd St.
Keith Burnstein/Avi Steinhardt, Caffe Vivaldi, 10PM. 32 Jones.
Kevin Dorn & Big 72 at Garage, 10:30 PM. 99 7th Ave. S.
Mike DiRubbo 5 at Smalls, 10:30 PM. 183 W. 10th St.
Sammy Miller & The Congregation at Dizzy's Club Coca Cola,
Whit Dickey & Try This at Home at Blue Note, 12:30 AM. 131
W. 3rd St.
 Marc Devine 3 at Garage, 12:00 PM. 99 7th Ave. S.
 Lenny Pickett Interviewed by David Schroeder at SubCulture,
12:30 PM. 45 Bleecker.
 Chris Beck, Candlelight Lounge, 3PM. 24 Passaic, Trenton NJ.
 Sonja Szajnberg at Caffe Vivaldi, 5:00 PM. 32 Jones.
 Andreas Arnold 4: Flamenco Infused Jazz at Cornelia St. Cafe,
 Mark Marino 3 at Garage, 6:00 PM. 99 7th Ave. S.
 William 'Chan' Hall at Silvana, 6:00 PM. 300 W. 116th.
 Javon Jackson, Shanghai Jazz, 6PM. 24 Main St., Madison NJ.
 Elio Villafranca's Music of the Caribbean at Appel Room,
 Rosemary Loar at Metropolitan Room, 7:00 PM. 34 W. 22nd.
 Andy Bey at Minton's, 7:00 PM. 206 W. 118th.
 Howard Paul 3 at Bar Next Door, 7:30 PM. 129 MacDougal.
 Mario Adnet: Sounds of Brazil at Dizzy's Club Coca Cola, 7:30
 Brianna Thomas 4 at Ginny's, 7:30 and 9:30 PM. 310 Lenox.
 Tierney Sutton Band at Jazz Standard, 7:30, 10:00, & 11:45 PM.
116 E. 27th.
10:30 PM. 131 W. 3rd St.
 Darrell Smith at Cleopatra's Needle, 8:00 PM. 2485 Broadway.
 Gretchen Parlato/Lionel Loueke at Jazz Gallery, 8:00 and 10:00
PM. 1160 Broadway.
 Cyrille Aimee/Milton Suggs: New Orleans Songbook at Rose
Theater, Lincoln Center, 8:00 PM.
 John Pizzarelli 4 at South Orange Performing Arts Center, 8:00
PM. 1 SOPAC Way, South Orange NJ.
 Uri Caine & Dragnet at The Stone, 8:00 PM. 2nd St. @ Avenue C.
 Eric Gales Band at Treme, 8:00 PM. 553 Main, Islip NY.
 Hernan Romero at Trumpets, 8:00 and 10:00 PM. 6 Depot Sq.,
Montclair NJ.
 Billy Childs Project at Birdland, 8:30 and 11:00 PM. 315 W. 44th.
 Katya Cruz/Howard Curtis at I Beam, 8:30 PM. 164 7th St.,
Bklyn.
 Joe Lovano 9 feat. Tim Hagans at Village Vanguard, 8:30 and
10:30 PM. 178 7th Ave. S.
 Audiograph at Whynot Jazz Room, 8:30 PM. 14 Christopher.
 Jon Irabagon 3 feat. Barry Altschul at Cornelia St. Cafe, 9:00
and 10:30 PM. 29 Cornelia.
 Blue Soul at Rod's, 9:00 PM. 1 Convent Rd., Morristown NJ.
 Rachim Ausar Sahu: Malcolm X's Legacy at Sistas' Place, 9:00
and 10:30 PM. 456 Nostrand, Bklyn.
 Sherman Irby's Journey Through Swing at Appel Room,
 Crescent City Maulers at Swing 46, 9:30 PM. 349 W. 46th.
 Catto Project feat. Uri Caine at The Stone, 10:00 PM. 2nd St. @
Avenue C.
 Dawn Drake & ZapOte at Way Station, 10:00 PM. 683 Washington, Bklyn.
 Daylight Blues Band at Garage, 10:30 PM. 99 7th Ave. S.
 Mike DiRubbo 5 at Smalls, 10:30 PM. 183 W. 10th St.
 Sammy Miller & The Congregation Big Band at Dizzy's Club
Coca Cola, 11:30 PM. 10 Columbus Cir. #10.
 Hambone Relay at Way Station, 11:59 PM. 683 Washington,
Bklyn.
 Underground Horns at Blue Note, 12:30 AM. 131 W. 3rd St.
 Stacy Dillard at Smalls, 1:30 AM. 183 W. 10th St.
Sunday, February 22
 Brad Shepik & NYU Jazz Ensemble at Blue Note, 11:30 AM and
1:30 PM. 131 W. 3rd St.
 Iris Ornig 4 at Garage, 11:30 AM. 99 7th Ave. S.
 Catherine Russell at NJ Performing Arts Center, 11:30 AM and
1:30 PM. 1 Center St., Newark NJ.
 Alexa Tarantino 2 at St. Peter's, 5:00 PM. 619 Lexington.
 Nick Finzer at Shapeshifter, 7:00 and 8:15 PM. 18 Whitwell,
Bklyn.
 Mario Adnet: Sounds of Brazil at Dizzy's Club Coca Cola, 7:30
 Tierney Sutton Band at Jazz Standard, 7:30 and 10:00 PM. 116
E. 27th.
10:30 PM. 131 W. 3rd St.
 Uri Caine/John Zorn & guests at The Stone, 8:00 PM. 2nd St. @
Avenue C.
 Joe Knipes, Van Gogh's Ear, 8PM. 1017 Stuyvesant, Union NJ.
 Rafal Sarnecki 6 at Cornelia St. Cafe, 8:30 PM. 29 Cornelia.
 Joe Lovano, Village Vanguard, 8, 10:30 PM. 178 7th Ave. S.
thur, february 5 @ 8 pm
wed, february 11 @ 8 pm
Peter Noone
David Cook
Guest Larry Stevens
Guest Artie Tobia
Star of stage, screen and
record, Noone’s performances
are the stuff of legend, deftly
delivering a broad palette of
music, all gems that defined a
generation.
After winning the Idol crown,
Cook went on to sell over
1 million copies of his selftitled debut album and set
out on tour performing his
multiple hit singles.
sat, february 14 @ 8 pm
thur, march 26 @ 8 pm
Chris Botti
Cassandra
Wilson
Valentine’s Day Gala
He’s earned so many
superlatives in his career, it
may be best to put it simply:
the cat can play. See him
on-stage for one night of
can’t-miss musical thrills.
Coming Forth By Day:
A Celebration of
Billie Holiday
Cassandra Wilson, perhaps
the greatest living jazz singer,
comes to The Playhouse to
offer a special tribute concert
to Billie Holiday on the
centennial of Lady Day’s
birth. TIME magazine
recognized her as “America’s
best singer” and “the true heir
of Billie Holiday and Sarah
Vaughan.” The New York
Times noted that she possesses
“a contralto as rich and as
supple as vintage leather.”
sat, february 21 @ 8 pm
Lonestar
Guest Jeff LeBlanc
Merging their country roots
with strong melodies and rich
vocals, Lonestar has topped
the charts for twenty years.
Self described as “just four
good old boys from Texas”.
80 East Ridge, Ridgefield, CT
203.438.5795 • www.ridgefieldplayhouse.org
“All great
and honorable actions
are accompanied with
great difficulties.”
— William Bradford
 Uri Canie 3 w/Mark Helias at The Stone, 10:00 PM. 2nd St. @
Avenue C.
 Charles Owens 3 at Smalls, 10:30 PM. 183 W. 10th St.
Monday, February 23
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Song Yi Jeon at Silvana, 6:00 PM. 300 W. 116th.
Jonathan Saraga 3 at Bar Next Door, 6:30 PM. 129 MacDougal.
Eyal Vilner Big Band at Garage, 7:00 PM. 99 7th Ave. S.
Beat Kaestli at Zinc Bar, 7:00 PM. 82 W. 3rd St.
Jimmy Greene 4 at Dizzy's Club Coca Cola, 7:30 and 9:30 PM.
J.J. Sanseverino at Blue Note, 8:00 and 10:30 PM. 131 W. 3rd St.
Booker T. Jones at City Winery, 8:00 PM. 155 Varick.
Whitney James 3 at Bar Next Door, 8:30 PM. 129 MacDougal.
Dandy Wellington at Bathtub Gin, 9:00 PM. 132 (th Ave.
Martin McDonald Funk Jam Session at Silvana, 9:00 PM. 300
W. 116th.
Jamie Baum & Short Stories at Whynot Jazz Room, 10:00 PM.
14 Christopher.
Ari Hoenig 4 at Smalls, 10:30 PM. 183 W. 10th St.
Jonathan Michel at Smalls, 1:00 AM. 183 W. 10th St.
 Harvey Granat: The Lyrics & Life of Dorothy Fields, with piano
by Fields' son David Lahm, 92nd St. Y, 12PM. Lexington @ 92nd.
 Kyle K. Green at Silvana, 6:00 PM. 300 W. 116th.
 Brian Chahley 3 at Bar Next Door, 6:30 PM. 129 MacDougal.
 Carl Bartlett Jr. Trio at Garage, 7:00 PM. 99 7th Ave. S.
 Valerie Duke at Metropolitan Room, 7:00 PM. 34 W. 22nd.
 Minton's Players at Minton's, 7:00 PM. 206 W. 118th.
 Will Mason Ensemble at Shapeshifter, 7:00 and 8:15 PM. 18
Whitwell, Bklyn.
 William Paterson U. Jazz Ensembles & Orch. at Dizzy's Club
Coca Cola, 7:30 and 9:30 PM. 10 Columbus Cir. #10.
 Chris Bergson Band at Jazz Standard, 7:30 and 10:00 PM. 116
E. 27th.
 Gato Barbieri at Blue Note, 8:00 and 10:30 PM. 131 W. 3rd St.
 Erik Deutsch & The Jazz Outlaws at Brooklyn Bowl, 8:00 PM.
61 Wythe, Bklyn.
 Aaron Burnett & The Big Machine at Roulette, 8:00 PM. 509
Atlantic, Bklyn.
 Warren Smith Washboard Duo at The Stone, 8:00 PM. 2nd St. @
Avenue C.
 Nadav Peled 3 at Bar Next Door, 8:30 PM. 129 MacDougal.
 'Steps Ahead' 35th Anniversary feat. Mike Mainieri & Eliane
Elias at Birdland, 8:30 and 11:00 PM. 315 W. 44th.
 David Aaron & Flip City at Cornelia St. Cafe, 8:30 PM. 29
Cornelia.
 Music from NY Underground at Freddy's Bar, 8:30 PM. 627 5th
Ave., Bklyn.
 Robert Glasper 3 at Village Vanguard, 8:30 and 10:30 PM. 178
7th Ave. S.
 Alexa Ray Joel at Cafe Carlyle, 8:45 PM. 35 E. 76th.
 Kenner: Funk Fusion at Silvana, 9:00 PM. 300 W. 116th.
 Ethan Lipton Orchestra at Joe's Pub, 9:30 PM. 425 Lafayette.
 Warren Smith 3 at The Stone, 10:00 PM. 2nd St. @ Avenue C.
 Russell Hall: The Great Diaspora at Dizzy's Club Coca Cola,
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NY Jazz Force at Shrine, 6:00 PM. 2271 7th Ave.
Addison Frei at Silvana, 6:00 PM. 300 W. 116th.
Kevin Clark 3 at Bar Next Door, 6:30 PM. 129 MacDougal.
Jason Archimandritis at Flute Gramercy, 7:00 PM. 40 E. 20th.
Rose Ellis at Flute Midtown, 7:00 PM. 205 W. 54th.
Dwight Dickerson 3 at Garage, 7:00 PM. 99 7th Ave. S.
J. C. Hopkins Biggish Band feat. Queen Esther & King Solomon Hicks at Minton's, 7:00 PM. 206 W. 118th.
Fatum Brothers at Antibes Bistro, 7:30 PM. 112 Suffolk.
The Amigos + Ken Peplowski at Dizzy's Club Coca Cola, 7:30
Chris Bergson Band at Jazz Standard, 7:30 and 10:00 PM. 116
E. 27th.
Lauryn Hill at Blue Note, 8:00 and 10:30 PM. 131 W. 3rd St.
Juilliard Jazz Orchestra at Sharp Theater, Juilliard School,
8:00 PM. 60 Lincoln Ctr. Plz.
Joey Arias at Appel Room, Lincoln Center, 8:00 PM. Broadway
@ 60th.
Taeko at New Brunswick Hyatt, 8:00 PM. 2 Albany st., New
Brunswick NJ.
Emanuele Cisi at Silvana, 8:00 PM. 300 W. 116th.
Warren Smith 4 w/Howard Curtis at The Stone, 8:00 and 10:00
PM. 2nd St. @ Avenue C.
Diane Moser Big Band feat. Howard Johnson at Trumpets,
8:00 PM. 6 Depot Sq., Montclair NJ.
'Steps Ahead' 35th Anniversary feat. Mike Mainieri & Eliane
Dave Ambrosio 3 at Cornelia St. Cafe, 8:30 PM. 29 Cornelia.
Marko Djordjevic 3 at Seeds, 8:30 PM. 617 Vanderbilt, Bklyn.
Robert Glasper 3 at Village Vanguard, 8:30 and 10:30 PM. 178
7th Ave. S.
Alexa Ray Joel at Cafe Carlyle, 8:45 PM. 35 E. 76th.
Rebecca Mimiaga at Caffe Vivaldi, 9:00 PM. 32 Jones.
Nancy Harms at Metropolitan Room, 9:30 PM. 34 W. 22nd.
Warren Smith/Ras Moshe at The Stone, 10PM. 2nd St. Ave C.
Russell Hall: The Great Diaspora at Dizzy's Club Coca Cola,
 Eugene Marlow's Heritage Ensemble at St. Peter's, 1:00 PM.
619 Lexington.
 Marta Sanchez 6 feat. Kavita Shah at Cornelia St. Cafe, 6:00
PM. 29 Cornelia.
“A guitarist with an instantly recognizable
voice, his original compositions are joyous
whirlwinds of thematic expression, rich
with emotion and personality. Both vulnerable and commanding, he puts it all on
the line and goes for it, the experience is
thrilling.”
— Jazz Inside
22
 John Yao 5 at Silvana, 6:00 PM. 300 W. 116th.
 Gianni Gagliardi 3 at Bar Next Door, 6:30 PM. 129 MacDougal.
 Carrie Jackson All Stars at 16 Prospect, 7:00 PM. 16 Prospect,
Westfield NJ.
 C.J. Everett 3 at Cleopatra's Needle, 7:00 PM. 2485 Broadway.
 Dre Barnes Project at Garage, 7:00 PM. 99 7th Ave. S.
 Camille Thurman 4 at Minton's, 7:00 PM. 206 W. 118th.
 Gabbi Coenen & Ruby My Dear at Shapeshifter, 7:00 PM. 18
Whitwell, Bklyn.
 Music of Dexter Gordon: A Celebration at Dizzy's Club Coca
Cola, 7:30 and 9:30 PM. 10 Columbus Cir. #10.
 Rufus Reid Big Band feat. Tim Hagans at Jazz Standard, 7:30
and 10:00 PM. 116 E. 27th.
 Soul Rebels Brass Band, Bklyn Bowl, 8PM. 61 Wythe, Bklyn.
 Ben Wolfe 4 at Ginny's, 8:00 PM. 310 Lenox.
 Eddie Allen 4 at Hotoke, 8PM. 350 George, New Brunswick NJ.
 Sam Harris at Jazz Gallery, 8:00 and 10:00 PM. 1160 Broadway.
 Eddie Palmieri Salsa Orchestra at B. B. King's, 8:00 PM. 237
W. 42nd.
 Sonia Szajnberg & The Future Scares Me at Shapeshifter, 8:00
PM. 18 Whitwell, Bklyn.
 Warren Smith 3 feat. Bill Cole at The Stone, 8:00 and 10:00 PM.
2nd St. @ Avenue C.
 Thurman Barker's Strike Fource + Amina Claudine Meyers 3 at
Roulette, 8:00 PM. 509 Atlantic, Bklyn.
 Ben Flocks 3 at Bar Next Door, 8:30 PM. 129 MacDougal.
 Sara Serpa & Primavera at Cornelia St. Cafe, 8:30 PM. 29
Cornelia.
 Vanessa Trouble & Red Hot Swing at Swing 46, 8:30 PM. 349
W. 46th.
7th Ave. S.
 Emilie Weibel & oMoo at Shapeshifter, 9:00 PM. 18 Whitwell,
Bklyn.
 Tatiana Eva-Marie & Avalon Jazz Band at Joe's Pub, 9:30 PM.
425 Lafayette.
 Kenneth Salters Haven at Smalls, 9:30 PM. 183 W. 10th St.
 Kinzie Kearce at Metropolitan Room, 9:30 PM. 34 W. 22nd.
 Nick Hempton Band at Smalls, 12:00 AM. 183 W. 10th St.
Friday, February 27
 Masami Ishikawa 3 at Garage, 6:00 PM. 99 7th Ave. S.
 Asako Takasaki at Shrine, 6:00 PM. 2271 7th Ave.
 Stephanie Chao/Octavia Romano at Silvana, 6:00 PM. 300 W.
116th.
 Sunfree Band at Cleopatra's Needle, 7:00 PM. 2485 Broadway.
 George Cables 3 at Minton's, 7:00 PM. 206 W. 118th.
 Roberto Gatto 3 at Bar Next Door, 7:30 PM. 129 MacDougal.
 Rufus Reid Big Band feat. Tim Hagans at Jazz Standard, 7:30,
10:00, & 11:45 PM. 116 E. 27th.
 Miles Okazaki 4 feat. Donny McCaslin at Jazz Gallery, 8:00 and
10:00 PM. 1160 Broadway.
 LCJO feat. Wynton Marsalis: Jazz Across the Americas at
Rose Theater, Lincoln Center, 8:00 PM. Broadway @ 60th.
 Andrew Lamb/Warren Smith at The Stone, 8:00 PM. 2nd St. @
Avenue C.
 Spirit of Satch: Dr. John Interprets Louis Armstrong at Town
Hall, 8:00 PM. 123 W. 43rd.
 Randy Ingram 4 feat. Lage Lund at Shapeshifter, 8:15 PM. 18
Whitwell, Bklyn.
 Bryan Drye 4 feat. Dave Ballou at I Beam, 8:30 PM. 164 7th St.,
Bklyn.
 Andy Rothstein Group at Reckless Estate, 8:30 PM. 164 Brpad
St., Red Bank NJ.
7th Ave. S.
 Chris Lightcap's Bigmouth at Cornelia St. Cafe, 9:00 and 10:30
PM. 29 Cornelia.
 Groove Shoes Funk Orchestra at Shrine, 9:00 PM. 2271 7th Ave.
 Abe Ovadia 3 at Sugar Bar, 8:00 PM. 254 W. 72nd.
 Ron Sunshine Orchestra at Swing 46, 9:30 PM. 349 W. 46th.
 Daryl Sherman 2 at Knickerbocker Bar, 9:45 PM. 33 University
Pl.
 Dave Ballou & BeepHonk at I Beam, 10:00 PM. 164 7th St.,
Bklyn.
 Warren Smith 4 feat. Mark Taylor at The Stone, 10:00 PM. 2nd
St. @ Avenue C.
 Peter Valera & Jump Blues Band at Garage, 10:30 PM. 99 7th
Ave. S.
 Jay Collins & Kings County Band at Smalls, 10:30 PM. 183 W.
10th St.
 Prophetika Songs at Blue Note, 12:30 AM. 131 W. 3rd St.
 Marsha Heydt & Project of Love at Garage, 12:00 PM. 99 7th
Ave. S.
 Dan Faulk 3 at Bloomfield Public Library, 2:00 PM. 90 Broad,
Bloomfield NJ.
 Vince Ector at Candlelight Lounge, 3:30 PM. 24 Passaic, Trenton NJ.
 Shoshana Bush 4 at Cornelia St. Cafe, 6:00 PM. 29 Cornelia.
 Champian Fulton 4 at Garage, 6:00 PM. 99 7th Ave. S.
 Cyrus Chestnut 3 at Shanghai Jazz, 7:00 PM. 24 Main St.,
Madison NJ.
 Mark Lesseraux & The Citizens at Shapeshifter, 7:00 PM. 18
Whitwell, Bklyn.
 Wren Marie Harrington at Metropolitan Room, 7:00 PM. 34 W.
22nd.
 George Cables 3 at Minton's, 7:00 PM. 206 W. 118th.
 Jeff Barone 3 at Bar Next Door, 7:30 PM. 129 MacDougal.
 Norman Connors at Ginny's, 7:30 and 9:30 PM. 310 Lenox.
 Rufus Reid Big Band feat. Tim Hagans at Jazz Standard, 7:30,
10:00, & 11:45 PM. 116 E. 27th.
 Roberto Gatto 4 at Smalls, 7:30 PM. 183 W. 10th St.
 Adam O'Farrill at Tribeca Performing Arts Center, 7:30 PM. 199
Chambers.
 Michael Feinberg at Greenwich House, 8:00 PM. 46 Barrow.
 Adam Larson, Jazz Gallery, 8:00 and 10:00 PM. 1160 Broadway.
 LCJO feat. Wynton Marsalis: Jazz Across the Americas at
Rose Theater, Lincoln Center, 8:00 PM. Broadway @ 60th.
 Warren Smith, Thurman Barker, The Stone, 8PM. 2nd & Ave C.
24
“A nation of sheep
will beget a government
of wolves .”
— Edward R. Murrow
 Miss Ida Blue at Treme, 8:00 PM. 553 Main, Islip NY.
 The Royal Scam at Trumpets, 8:00 and 10:00 PM. 6 Depot Sq.,
Montclair NJ.
 Gold at Shapeshifter, 8:15 PM. 18 Whitwell, Bklyn.
7th Ave. S.
 Chris Lightcap 5 at Cornelia St. Cafe, 9:00 and 10:30 PM. 29
Cornelia.
 Cecil Bridgewater: Stories About the Music at Sistas' Place,
9:00 and 10:30 PM. 456 Nostrand, Bklyn.
 Monocle at Shapeshifter, 9:15 PM. 18 Whitwell, Bklyn.
 Daryl Sherman, Knickerbocker Bar, 9:45 PM. 33 University Pl.
 Dave Ballou at I Beam, 10:00 PM. 164 7th St., Bklyn.
 Virginia Mayhew 4 at Garage, 10:30 PM. 99 7th Ave. S.
 Will Bernard at Blue Note, 12:30 AM. 131 W. 3rd St.
 Philip Harper at Smalls, 1:15 PM. 183 W. 10th St.
Sunday, March 1
 Patrick Brennan/Daniel Carter at Downtown Music Gallery,
6:00 PM. 13 Monroe.
26
 Fatum Brothers at The National, 6:00 PM. 557 Lexington.
 Jaimoe's Jasszz Band at Brooklyn Bowl, 7:00 PM. 61 Wythe,
Bklyn.
 Jason Kao Hwang 2 at Whynot Jazz Room, 7:00 PM. 14 Christopher.
 Rufus Reid Big Band feat. Tim Hagans at Jazz Standard, 7:30
and 10:00 PM. 116 E. 27th.
 Teri Roiger at Caffe Vivaldi, 8:00 PM. 32 Jones.
 Warren Smith Vibes Quartet at The Stone, 8:00 and 10:00 PM.
2nd St. @ Avenue C.
 John Maurice Restrepo 4 at Treme, 7:00 PM. 553 Main, Islip NY.
7th Ave. S.
 Shrine Big Band at Shrine, 9:00 PM. 2271 7th Ave.
Monday, March 2
 Jazz Under 40 Showcase at Shrine, 6:00 PM. 2271 7th Ave.
 Nathan Hook at Silvana, 6:00 PM. 300 W. 116th.
 Eastman Jazz Ensemble at Dizzy's Club Coca Cola, 7:30 and
 Bann at Blue Note, 8:00 and 10:30 PM. 131 W. 3rd St.
 John Suntken 4 at Silvana, 8:00 PM. 300 W. 116th.
 Yoonmi Choi 3 at Whynot Jazz Room, 9:00 PM. 14 Christopher.
Tuesday, March 3
 Lee Marvin Band at Shrine, 6:00 PM. 2271 7th Ave.
 Terence Nolan at Silvana, 6:00 PM. 300 W. 116th.
 Cyrus Chestnut 3 at Dizzy's Club Coca Cola, 7:30 and 9:30 PM.
 Ron Carter 4 at Blue Note, 8:00 and 10:30 PM. 131 W. 3rd St.
 Mike Stern/Bill Evans Band at Birdland, 8:30 and 11:00 PM. 315
W. 44th.
 Miss Ida Blue at Freddy's Bar, 9:00 PM. 627 5th Ave., Bklyn.
 Dave Meder 3 at Dizzy's Club Coca Cola, 11:30 PM. 10 Columbus Cir. #10.
Wednesday, March 4
 Junior Mance 3 at St. Peter's, 1:00 PM. 619 Lexington.
 Jazz Clinic at Flushing Town Hall, 6:00 PM. 137-35 Northern
Blvd., Queens.
 Alex Bryson 4 at Shrine, 6:00 PM. 2271 7th Ave.
 Nick Grinder Group at Silvana, 6:00 PM. 300 W. 116th.
 Jam Session at Flushing Town Hall, 7:00 PM. 137-35 Northern
Blvd., Queens.
 Dorian Devins at Flute Gramercy, 7:00 PM. 40 E. 20th.
 Becca Ball at Flute Midtown, 7:00 PM. 205 W. 54th.
 James Falzone's Renga Ensemble at Roulette, 8:00 PM. 509
Atlantic, Bklyn.
W. 44th.
Thursday, March 5
 Eden Bereket 3 at Caffe Vivaldi, 8:00 PM. 32 Jones.
 Christian Wolff at 80: A Celebration feat. Joey Baron, Vincent
Chancey and others at Roulette, 8:00 PM. 509 Atlantic, Bklyn.
 Ivan Ward 3 at Treme, 8:00 PM. 553 Main, Islip NY.
W. 44th.
 Chris Pitsiokos: Gadfly Jazz at Spectrum, 8:30 PM. 121 Ludlow.
REGULAR GIGS
Mondays (2/2, 2/9, 2/16, 2/23)

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
Hayes Greenfield 3 at Pearl's, 5:00 PM. 40 St. Nicholas, Bklyn.
Rick Bogart 3 at Broadway Thai, 6:00 PM. 241 W. 51st.
Kat Gang/Joe Young at Arcane Bistro, 7:00. 111 Avenue C.
Mingus Big Band at Jazz Standard, 7:30 and 10:00 PM. 116 E.
27th.
Jon Weiss 3 at Cleopatra's Needle, 8:00 PM. 2485 Broadway.
Cotton Club All Stars at Cotton Club, 8:00 PM. 656 W. 125th.
Vince Giordano Nighthawks at Iguana, 8:00 PM. 240 W. 54th.
John Richmond Jam Session at Turning Point, 8:00 PM. 468
Piermont, Piermont NY.
Swingadelic at Swing 46, 8:30 PM. 349 W. 46th.
Vanguard Jazz Orchestra at Village Vanguard, 8:30 and 10:30
PM. 178 7th Ave. S.
Woody Allen and Eddy Davis' New Orleans Jazz Band at Cafe
Carlyle, 8:45 PM. 35 E. 76th.
Tuesdays (2/3, 2/10, 2/17, 2/24)








Earl Rose at Bemelmans', 5:30 PM. 35 E. 76th.
NY Jazz Workshop at Lexington Hotel, 6:00 PM. 511 Lexington.
John Korba at Shanghai Jazz, 6PM. 24 Main St., Madison NJ.
Spike Wilner 3 at Smalls, 7:30 PM. 183 W. 10th St.
Eric Comstock at Cafe Noctambulo, 8:00 PM. 178 2nd Ave.
Marc Devine 3 at Cleopatra's Needle, 8:00 PM. 2485 Broadway.
Pedrito Martinez Band at Guantanamera, 8:30 PM. 939 8th Ave.
Annie Ross at Metropolitan Room, 9:30 PM. 34 W. 22nd.
 Stan Rubin Orchestra feat. Joe Politi at Swing 46, 7:15 PM. 349
W. 46th.
 Mike Lee Jam Session at Hat City Kitchen, 8:00 PM. 459 Valley
St., Orange NJ.
 Wayne Holmes 4 at Proper Cafe, 8:00 PM. 217-01 Linden,
Queens.
 Jonathan Kreisberg 3 at Bar Next Door, 8:30 PM. 129 MacDougal.
 Kat Gang at Rose Club, Plaza Hotel, 9:00 PM. 768 5th Ave.
 Chris Gillespie 3 at Bemelmans', 9:30 PM. 35 E. 76th.
Thursdays (2/5, 2/12, 2/19, 2/26)




Earl Rose at Bemelmans', 5:30 PM. 35 E. 76th.
Melanie Marod at Toshi's Living Room, 6PM. 1141 Broadway.
Chris Gillespie 3 at Bemelmans', 9:30 PM. 35 E. 76th.
Hardbop Jam Session at Producers Club, 10:00 PM. 358 W.
44th.
 Louis Armstong Eternity Band (except 2/11) at Birdland, 5:30
PM. 315 W. 44th.
 Bill Crow 4 at Red Hat Bistro, 6:00 PM. 1 Bridge St., Irvingtonon-Hudson NY.
 Les Kurtz 3 at Cleopatra's Needle, 7:00 PM. 2485 Broadway.
— Socrates
Fridays (2/6, 2/13, 2/20, 2/27)
 Birdland Big Band (except 2/13) at Birdland, 5PM. 315 W. 44th.
 Charlie Apicella & Iron City at Il Porto, 7:00 PM. 37 Washington,
Bklyn.
 Gene Bertoncini 2 at Ryan's Daughter, 8:30 PM. 350 E. 85th.
 Bill Saxton All Stars at Bill's Place, 9:00 PM. 148 W. 132nd.
 Mac Gollehon Latin All Stars, Cotton Club, 9PM. 656 W. 125th.
 Jam Session at Williamsburg Music Center, 9:00 PM. 367
Bedford, Bklyn
 Chris Gillespie 3 at Bemelmans', 9:30 PM. 35 E. 76th.
Saturdays (2/7, 2/14, 2/21, 2/28)
Wed (2/4, 2/11, 2/18, 2/25)
“A system of morality
which is based on relative
emotional values is a mere
illusion, a thoroughly vulgar
conception which has nothing
sound in it and nothing true.”
 NY Jazz Academy Workshop, St. Peter's, 12PM. 619 Lexington.
 Rick Bogart 3 at Broadway Thai, 8:00 PM. 241 W. 51st.
 Eric Lemon Ensemble at Brownstone Jazz, 8:00 PM. 107
Macon, Bklyn.
 Ben Perowsky 3 at Domu Na Rohu, 8:00 PM. 27 Morton.
Sundays (2/1, 2/8, 2/15, 2/22)
 Martina & The Ladybugs at Hotel Chantelle, 10:00 PM. 92
Ludlow.
 Bob Kindred 3 at Cafe Loup, 12:30 PM. 105 W. 13th.
 Keith Ingham 3 at Cleopatra's Needle, 4:00 PM. 2485 Broadway.
 Ben Monder (except 2/15) at Barbes, 5:00 PM. 376 9th St., Bklyn.
 Brianna Thomas at Minton's, 5:00 PM. 206 W. 118th.
 Junior Mance 3 at Cafe Loup, 6:30 PM. 105 W. 13th.
 Will Sellenraad 3 at Analogue, 7:00 PM. 19 W. 8th St.
 David Coss 4 (except 2/1) at Garage, 7:00 PM. 99 7th Ave. S.
 Johnny O'Neal 3 at Smalls, 7:30 PM. 183 W. 10th St.
 Peter Mazza 3 at Bar Next Door, 8:00 PM. 129 MacDougal.
 Melvin Vines' Harlem Jazz Machine at Paris Blues, 9:00 PM.
2021 7th Ave.

“A guitarist with an instantly recognizable
voice, his original compositions are joyous
whirlwinds of thematic expression, rich
with emotion and personality. Both vulnerable and commanding, he puts it all on
the line and goes for it, the experience is
thrilling.”
— Jazz Inside
27
Clubs, Venues & Jazz Resources
55 Bar, 55 Christopher St. 212-929-9883, 55bar.com
92nd St Y, 1395 Lexington Ave, New York, NY 10128,
212.415.5500, 92ndsty.org
Aaron Davis Hall, City College of NY, Convent Ave., 212-6506900, aarondavishall.org
Alice Tully Hall, Lincoln Center, Broadway & 65th St., 212875-5050, lincolncenter.org/default.asp
Allen Room, Lincoln Center, Time Warner Center, Broadway
and 60th, 5th floor, 212-258-9800, lincolncenter.org
Alor Cafe, 2110 Richmond Rd., Staten Island. 718-351-1101.
alorcafe.com
American Museum of Natural History, 81st St. & Central
Park W., 212-769-5100, amnh.org
Arthur’s Tavern, 57 Grove St., 212-675-6879 or 917-3018759, arthurstavernnyc.com
Arts Maplewood, P.O. Box 383, Maplewood, NJ 07040; 973378-2133, artsmaplewood.org
Avery Fischer Hall, Lincoln Center, Columbus Ave. & 65th St.,
212-875-5030, lincolncenter.org
BAM Café, 30 Lafayette Av, Brooklyn, 718-636-4100, bam.org
Bar Chord, 1008 Cortelyou Rd., Brooklyn, barchordnyc.com
Barbes, 376 9th St. (corner of 6th Ave.), Park Slope, Brooklyn,
718-965-9177, barbesbrooklyn.com
Barge Music, Fulton Ferry Landing, Brooklyn, 718-624-2083,
bargemusic.org
B.B. King’s Blues Bar, 237 W. 42nd St., 212-997-4144,
bbkingblues.com
Beacon Theatre, 74th St. & Broadway, 212-496-7070
Bickford Theatre, on Columbia Turnpike @ Normandy Heights
Road, east of downtown Morristown. 973-744-2600
Birdland, 315 W. 44th St., 212-581-3080
Blue Note, 131 W. 3rd St., 212-475-8592, bluenotejazz.com
Bourbon St Bar and Grille, 346 W. 46th St, NY, 10036,
212-245-2030, [email protected]
Bowery Poetry Club, 308 Bowery (at Bleecker), 212-614-0505,
bowerypoetry.com
BRIC House, 647 Fulton St. Brooklyn, NY 11217, 718-6835600, http://bricartsmedia.org
Brooklyn Public Library, Grand Army Plaza, 2nd Fl, Brooklyn, NY, 718-230-2100, brooklynpubliclibrary.org
Buttonwood Tree Performing Arts & Cultural Center, 605
Main St., Middletown, CT. 860-347-4957, buttonwood.org.
Café Carlyle, 35 E. 76th St., 212-570-7189, thecarlyle.com
Café Loup, 105 W. 13th St. (West Village) , between Sixth and
Seventh Aves., 212-255-4746
Café St. Bart’s, 109 E. 50th St, 212-888-2664, cafestbarts.com
Cafe Noctambulo, 178 2nd Ave. 212-995-0900. cafenoctambulo.com
Caffe Vivaldi, 32 Jones St, NYC; caffevivaldi.com
Candlelight Lounge, 24 Passaic St, Trenton. 609-695-9612.
Carnegie Hall, 7th Av & 57th, 212-247-7800, carnegiehall.org
Chico’s House Of Jazz, In Shoppes at the Arcade, 631 Lake
Ave., Asbury Park, 732-774-5299
City Winery, 155 Varick St. Bet. Vandam & Spring St., 212608-0555. citywinery.com
Cleopatra’s Needle, 2485 Broadway (betw 92nd & 93rd), 212769-6969, cleopatrasneedleny.com
Copeland’s, 547 W. 145th St. (at Bdwy), 212-234-2356
Cornelia St Café, 29 Cornelia, 212-989-9319
Count Basie Theatre, 99 Monmouth St., Red Bank, New Jersey
07701, 732-842-9000, countbasietheatre.org
Crossroads at Garwood, 78 North Ave., Garwood, NJ 07027,
908-232-5666
Cutting Room, 19 W. 24th St, thecuttingroomnyc.com, 212691-1900
“Only fools
and charlatans think they
know and understand everything.
The stupider they are, the wider they
conceive their horizons to be. And if
an artist decides to declare that he
understands nothing of what he
sees—this in itself constitutes a
considerable clarity in the realm
of thought, and a great
step forward.”
—- Anton
Anton Chekhov
Chekhov
28
Destino, 891 First Ave. & 50th St., 212-751-0700
Division St Grill, 26 North Division St, Peekskill, NY, 914-7396380, divisionStgrill.com
Dizzy’s Club Coca Cola, Broadway at 60th St., 5th Floor, 212258-9595, jalc.com
DROM, 85 Avenue A, New York, 212-777-1157, dromnyc.com
The Ear Inn, 326 Spring St., NY, 212-226-9060, earinn.com
El Museo Del Barrio, 1230 Fifth Ave (at 104th St.), Tel: 212831-7272, Fax: 212-831-7927, elmuseo.org
The Falcon, 1348 Rt. 9W, Marlboro, NY., 845) 236-7970,
Fat Cat, 75 Christopher St., 212-675-7369, fatcatjazz.com
Five Spot, 459 Myrtle Ave, Brooklyn, NY, 718-852-0202,
fivespotsoulfood.com
Flushing Town Hall, 137-35 Northern Blvd., Flushing, NY,
718-463-7700 x222, flushingtownhall.org
For My Sweet, 1103 Fulton St., Brooklyn, NY 718-857-1427
Galapagos, 70 N. 6th St., Brooklyn, NY, 718-782-5188, galapagosartspace.com
Garage Restaurant and Café, 99 Seventh Ave. (betw 4th and
Bleecker), 212-645-0600, garagerest.com
Garden Café, 4961 Broadway, by 207th St., New York, 10034,
212-544-9480
Ginny’s Supper Club, 310 Malcolm X Boulevard Manhattan,
NY 10027, 212-792-9001, http://redroosterharlem.com/ginnys/
Glen Rock Inn, 222 Rock Road, Glen Rock, NJ, (201) 4452362, glenrockinn.com
Greenwich Village Bistro, 13 Carmine St., 212-206-9777,
greenwichvillagebistro.com
Harlem Tea Room, 1793A Madison Ave., 212-348-3471,
harlemtearoom.com
Hat City Kitchen, 459 Valley St, Orange. 862-252-9147. hatcitykitchen.com
Havana Central West End, 2911 Broadway/114th St), NYC,
212-662-8830, havanacentral.com
Hibiscus Restaurant, 270 S. St, Morristown, NJ, 973-359-0200,
hibiscusrestaurantnj.com
Highline Ballroom, 431 West 16th St (between 9th & 10th Ave.
highlineballroom.com, 212-414-4314.
Hopewell Valley Bistro, 15 East Broad St, Hopewell, NJ 08525,
609-466-9889, hopewellvalleybistro.com
Hyatt New Brunswick, 2 Albany St., New Brunswick, NJ
IBeam Music Studio, 168 7th St., Brooklyn, ibeambrooklyn.com
Iridium, 1650 Broadway, 212-582-2121, iridiumjazzclub.com
Jazz 966, 966 Fulton St., Brooklyn, NY, 718-638-6910
Jazz at Lincoln Center, 33 W. 60th St., 212-258-9800, jalc.org
 Frederick P. Rose Hall, Broadway at 60th St., 5th Floor
 Dizzy’s Club Coca-Cola, Reservations: 212-258-9595
 Rose Theater, Tickets: 212-721-6500, The Allen Room,
Tickets: 212-721-6500
Jazz Gallery, 1160 Broadway, New York, NY 10001, (212)
242-1063, jazzgallery.org
The Jazz Spot, 375 Kosciuszko St. (enter at 179 Marcus Garvey
Blvd.), Brooklyn, NY, 718-453-7825, thejazz.8m.com
Jazz Standard, 116 E. 27th St., 212-576-2232, jazzstandard.net
Joe’s Pub at the Public Theater, 425 Lafayette St & Astor Pl.,
212-539-8778, joespub.com
John Birks Gillespie Auditorium (see Baha’i Center)
Jules Bistro, 65 St. Marks Place, Tel: 212-477-5560, Fax: 212420-0998, julesbistro.com
Kasser Theater, 1 Normal Avenue, Montclair State College,
Montclair, 973-655-4000, montclair.edu/arts/
performancefacilities/alexanderkasser.html
Key Club, 58 Park Pl, Newark, NJ, 973-799-0306, keyclubnj.com
Kitano Hotel, 66 Park Ave., 212-885-7119. kitano.com
Knickerbocker Bar & Grill, 33 University Pl., 212-228-8490,
knickerbockerbarandgrill.com
Knitting Factory, 74 Leonard St, 212-219-3132, knittingfactory.com
La Famiglia Sorrento, 631 Central Ave, Westfield, NJ, 07090,
908-232-2642, lafamigliasorrento.com
Langham Place — Measure, Fifth Avenue, 400 Fifth Avenue
New York, NY 10018, 212-613-8738, langhamplacehotels.com
La Lanterna (Bar Next Door at La Lanterna), 129 MacDougal
St, New York, 212-529-5945, lalanternarcaffe.com
Le Cirque Cafe, 151 E. 58th St., lecirque.com
Le Madeleine, 403 W. 43rd St. (betw 9th & 10th Ave.), New
York, New York, 212-246-2993, lemadeleine.com
Les Gallery Clemente Soto Velez, 107 Suffolk St. (at Rivington St.), 212-260-4080
Live @ The Falcon, 1348 Route 9W, Marlboro, NY 12542,
Living Room, 154 Ludlow St. (betw Rivington & Stanton), 212533-7235, livingroomny.com
The Local 269, 269 E. Houston St. (corner of Suffolk St.), NYC
Makor, 35 W. 67th St., 212-601-1000, makor.org
Lounge Zen, 254 DeGraw Ave, Teaneck, NJ, (201) 692-8585,
lounge-zen.com
Makeda, George St., New Brunswick. NJ, nbjp.org
Maxwell’s, 1039 Washington St, Hoboken, NJ, 201-653-1703,
maxwellsnj.com
McCarter Theater, 91 University Pl., Princeton, 609-258-2787,
mccarter.org
Merkin Concert Hall, Kaufman Center, 129 W. 67th St., 212501-3330, ekcc.org/merkin.htm
Metropolitan Room, 34 West 22nd St NY, NY 10012, 212206-0440
Mezzrow, 163 W. 19th St. 646-476-4346. Facebook.com/
mezzrowclub, mezzrow.com
Minton’s, 206 W 118th St., 212-243-2222, mintonsharlem.com
Mirelle’s, 170 Post Ave., Westbury, NY, 516-338-4933
MIST Harlem, 46 W. 116th St., myimagestudios.com
Mixed Notes Café, 333 Elmont Rd., Elmont, NY (Queens area),
516-328-2233, mixednotescafe.com
Montauk Club, 25 8th Ave., Brooklyn, 718-638-0800,
montaukclub.com
Moscow 57, 168½ Delancey. 212-260-5775. moscow57.com
Museum of the City of New York, 1220 Fifth Ave. (between
103rd & 104th St.), 212-534-1672, mcny.org
Musicians’ Local 802, 332 W. 48th, 718-468-7376
Newark Museum, 49 Washington St, Newark, New Jersey
07102-3176, 973-596-6550, newarkmuseum.org
New Jersey Performing Arts Center, 1 Center St., Newark,
NJ, 07102, 973-642-8989, njpac.org
New Leaf Restaurant, 1 Margaret Corbin Dr., Ft. Tryon Park.
212-568-5323. newleafrestaurant.com
New School Performance Space, 55 W. 13th St., 5th Floor
(betw 5th & 6th Ave.), 212-229-5896, newschool.edu.
New School University-Tishman Auditorium, 66 W. 12th St.,
1st Floor, Room 106, 212-229-5488, newschool.edu
New York City Baha’i Center, 53 E. 11th St. (betw Broadway
& University), 212-222-5159, bahainyc.org
Night of the Cookers, 767 Fulton St., Brooklyn, NY, Tel: 718797-1197, Fax: 718-797-0975
North Square Lounge, 103 Waverly Pl. (at MacDougal St.),
212-254-1200, northsquarejazz.com
Novita Bistro & Lounge, 25 New St, Metuchen.
Nublu, 62 Ave. C (betw 4th & 5th St.), 212-979-9925
Nuyorican Poet’s Café, 236 E. 3rd St. (betw Ave. B & C), 212505-8183, nuyorican.org
Oak Room at The Algonquin Hotel, 59 W. 44th St. (betw 5th
and 6th Ave.), 212-840-6800, thealgonquin.net
Oceana Restaurant, 120 West 49th St, New York, NY 10020
212-759-5941, oceanarestaurant.com
Opia, 130 East 57th St, New York, NY 10022, 212-688-3939
opiarestaurant.com
Orchid, 765 Sixth Ave. (betw 25th & 26th St.), 212-206-9928
Palazzo Restaurant, 11 South Fullerton Avenue, Montclair.
973-746-6778. palazzonj.com
Pigalle, 790 8th Ave. 212-489-2233. pigallenyc.com
Priory Restaurant & Jazz Club: 223 W Market St., Newark,
NJ 07103, 973-639-7885
Private Place, 29 S. Center St, South Orange, NJ, 973-675-6620
privateplacelounge.com
Proper Café, 217-01 Linden Blvd., Queens, 718-341-2233
Prospect Park Bandshell, 9th St. & Prospect Park W., Brooklyn, NY, 718-768-0855
Prospect Wine Bar & Bistro, 16 Prospect St. Westfield, NJ,
908-232-7320, 16prospect.com, cjayrecords.com
Red Eye Grill, 890 Seventh Ave. (at 56th St.), 212-541-9000,
redeyegrill.com
Ridgefield Playhouse, 80 East Ridge, parallel to Main St.,
Ridgefield, CT; ridgefieldplayhouse.org, 203-438-5795
Rockwood Music Hall, 196 Allen St, 212-477-4155
Rose Center (American Museum of Natural History), 81st St.
(Central Park W. & Columbus), 212-769-5100, amnh.org/rose
Rose Hall, 33 W. 60th St., 212-258-9800, jalc.org
Rosendale Café, 434 Main St., PO Box 436, Rosendale, NY
12472, 845-658-9048, rosendalecafe.com
Rubin Museum of Art - “Harlem in the Himalayas”, 150 W.
17th St. 212-620-5000. rmanyc.org
Rustik, 471 DeKalb Ave, Brooklyn, NY, 347-406-9700,
rustikrestaurant.com
St. Mark’s Church, 131 10th St. (at 2nd Ave.), 212-674-6377
St. Nick’s Pub, 773 St. Nicholas Av (at 149th), 212-283-9728
St. Peter’s Church, 619 Lexington (at 54th), 212-935-2200,
saintpeters.org
Salon at Rue 57, 60 W. 57th St, 212-307-5656, rue57.com
Sasa’s Lounge, 924 Columbus Ave, Between 105th & 106th St.
NY, NY 10025, 212-865-5159, sasasloungenyc.yolasite.com
Savoy Grill, 60 Park Place, Newark, NJ 07102, 973-286-1700
Schomburg Center, 515 Malcolm X Blvd., 212-491-2200,
nypl.org/research/sc/sc.html
Session Bistro. 245 Maywood Ave, Maywood. 201-880-7810.
Shanghai Jazz, 24 Main St., Madison, NJ, 973-822-2899,
shanghaijazz.com
ShapeShifter Lab, 18 Whitwell Pl, Brooklyn, NY 11215
shapeshifterlab.com
Showman’s, 375 W. 125th St., 212-864-8941
Sidewalk Café, 94 Ave. A, 212-473-7373
Silver Spoon, 124 Main St., Cold Spring, NY 10516, 845-2652525, silverspooncoldpspring.com
Sista’s Place, 456 Nostrand Ave. (at Jefferson Ave.), Brooklyn,
NY, 718-398-1766, sistasplace.org
Skippers Plane St Pub, 304 University Ave. Newark NJ, 973733-9300, skippersplaneStpub.com
Smalls Jazz Club, 183 W. 10th St. (at 7th Ave.), 212-929-7565,
SmallsJazzClub.com
Smith’s Bar, 701 8th Ave, New York, 212-246-3268
Sofia’s Restaurant - Club Cache’ [downstairs], Edison Hotel,
221 W. 46th St. (between Broadway & 8th Ave), 212-719-5799
Somethin’ Jazz Club, 212 E. 52nd, NY, 212-371-7657
Sophie’s Bistro, 700 Hamilton St., Somerset. nbjp.org
South Gate Restaurant & Bar, 154 Central Park South, 212484-5120, 154southgate.com
South Orange Performing Arts Center, One SOPAC
Way, South Orange, NJ 07079, sopacnow.org, 973-313-2787
South St Seaport, 207 Front St., 212-748-8600
Spectrum, 2nd floor, 121 Ludlow St.
Spoken Words Café, 266 4th Av, Brooklyn, 718-596-3923
Stanley H. Kaplan Penthouse, 165 W. 65th St., 10th Floor,
212-721-6500, lincolncenter.org
The Stone, Ave. C & 2nd St., thestonenyc.com
Strand Bistro, 33 W. 37th St. 212-584-4000
SubCulture, 45 Bleecker St., subculturenewyork.com
Sugar Bar, 254 W. 72nd St, 212-579-0222, sugarbarnyc.com
Swing 46, 349 W. 46th St.(betw 8th & 9th Ave.),
212-262-9554, swing46.com
Symphony Space, 2537 Broadway, Tel: 212-864-1414, Fax:
212- 932-3228, symphonyspace.org
Tea Lounge, 837 Union St. (betw 6th & 7th Ave), Park Slope,
Broooklyn, 718-789-2762, tealoungeNY.com
Terra Blues, 149 Bleecker St. (betw Thompson & LaGuardia),
212-777-7776, terrablues.com
Theatre Row, 410 W. 42nd, 212-714-2442, theatrerow.org
Tito Puente’s Restaurant and Cabaret, 64 City Island Avenue,
City Island, Bronx, 718-885-3200, titopuentesrestaurant.com
Tomi Jazz, 239 E. 53rd St., lower level. 646-497-1254, tomijazz.com
Tonic, 107 Norfolk St. (betw Delancey & Rivington), Tel: 212358-7501, Fax: 212-358-1237, tonicnyc.com
Town Hall, 123 W. 43rd St., 212-997-1003
Trash Bar, 256 Grand St. 718-599-1000. thetrashbar.com
Triad Theater, 158 W. 72nd St. (betw Broadway & Columbus
Ave.), 212-362-2590, triadnyc.com
Tribeca Performing Arts Center, 199 Chambers St, 10007,
[email protected], tribecapac.org
Trumpets, 6 Depot Square, Montclair, NJ, 973-744-2600,
trumpetsjazz.com
Tumulty’s Pub, 361 George St., New Brunswick
Turning Point Cafe, 468 Piermont Ave. Piermont, N.Y. 10968
(845) 359-1089, http://turningpointcafe.com/
Village Vanguard, 178 7th Ave S., 212-255-4037,
villagevanguard.net
Vision Festival, 212-696-6681, [email protected],
visionfestival.org
Watchung Arts Center, 18 Stirling Rd, Watchung, NJ 07069,
908-753-0190, watchungarts.org
Watercolor Café, 2094 Boston Post Road, Larchmont, NY
10538, 914-834-2213, watercolorcafe.net
Weill Receital Hall at Carnegie Hall, 57th & 7th Ave,
212-247-7800
Williamsburg Music Center, 367 Bedford Avenue, Brooklyn,
NY 11211, (718) 384-1654 wmcjazz.org
Zankel Hall, 881 7th Ave, New York, 212-247-7800
Zebulon, 258 Wythe St., Brooklyn, NY, 11211, 718-218-6934,
zebuloncafeconcert.com
Zinc Bar, 82 West 3rd St.
RECORD STORES
Academy Records, 12 W. 18th St., New York, NY 10011, 212242-3000, http://academy-records.com
Downtown Music Gallery, 13 Monroe St, New York, NY
10002, (212) 473-0043, downtownmusicgallery.com
Jazz Record Center, 236 W. 26th St., Room 804,
212-675-4480, jazzrecordcenter.com
Princeton Record Exchange, 20 South Tulane St, Princeton,
NJ 08542, 609-921-0881, prex.com
Scotti’s Records, 351 Springfield Ave, Summit, NJ, 07901,
908-277-3893, scotticd.com
MUSIC STORES
Drummers World, Inc., 151 W. 46th St., NY, NY 10036, 212840-3057, 212-391-1185, drummersworld.com
Roberto’s Woodwind & Brass, 149 West 46th St. NY, NY
10036, 646-366-0240, Repair Shop: 212-391-1315; 212-8407224, robertoswoodwind.com
Rod Baltimore Intl Woodwind & Brass, 168 W. 48 St. New
York, NY 10036, 212-302-5893
Sam Ash, 333 W 34th St, New York, NY 10001
Phone: (212) 719-2299 samash.com
Sadowsky Guitars Ltd, 2107 41st Avenue 4th Floor, Long
Island City, NY 11101, 718-433-1990. sadowsky.com
Steve Maxwell Vintage Drums, 723 7th Ave, 3rd Floor, New
York, NY 10019, 212-730-8138, maxwelldrums.com
SCHOOLS, COLLEGES, CONSERVATORIES
92nd St Y, 1395 Lexington Ave, New York, NY 10128
212.415.5500; 92ndsty.org
Brooklyn-Queens Conservatory of Music, 42-76 Main St.,
Flushing, NY, Tel: 718-461-8910, Fax: 718-886-2450
Brooklyn Conservatory of Music, 58 Seventh Ave., Brooklyn,
NY, 718-622-3300, brooklynconservatory.com
City College of NY-Jazz Program, 212-650-5411,
Columbia University, 2960 Broadway, 10027
Drummers Collective, 541 6th Ave, New York, NY 10011,
212-741-0091, thecoll.com
Five Towns College, 305 N. Service Rd., 516-424-7000,
ext.163, Dix Hills, NY
Greenwich House Music School, 46 Barrow St., Tel: 212-2424770, Fax: 212-366-9621, greenwichhouse.org
Juilliard School of Music, 60 Lincoln Ctr, 212-799-5000
LaGuardia Community College/CUNI, 31-10 Thomson Ave.,
Long Island City, 718-482-5151
Lincoln Center — Jazz At Lincoln Center, 140 W. 65th St.,
10023, 212-258-9816, 212-258-9900
Long Island University — Brooklyn Campus, Dept. of Music,
University Plaza, Brooklyn, 718-488-1051, 718-488-1372
Manhattan School of Music, 120 Claremont Ave., 10027,
212-749-2805, 2802, 212-749-3025
New Jersey City University, 2039 Kennedy Blvd., Jersey City,
NJ 07305, 888-441-6528
New School, 55 W. 13th St., 212-229-5896, 212-229-8936
New York University-Jazz/Contemporary Music Studies, 35
West 4th St. Room#777, 212-998-5446, 212-995-4043
NY Jazz Academy, 718-426-0633 NYJazzAcademy.com
Princeton University-Dept. of Music, Woolworth Center Musical Studies, Princeton, NJ, 609-258-4241, 609-258-6793
Queens College — Copland School of Music, City University
of NY, Flushing, 718-997-3800
Rutgers Univ. at New Brunswick, Jazz Studies, Douglass
Campus, PO Box 270, New Brunswick, NJ, 908-932-9302
Rutgers University Institute of Jazz Studies, 185 University
Avenue, Newark NJ 07102, 973-353-5595
newarkrutgers.edu/IJS/index1.html
SUNY Purchase, 735 Anderson Hill, Purchase, 914-251-6300
Swing University (see Jazz At Lincoln Center, under Venues)
William Paterson University Jazz Studies Program, 300 Pompton Rd, Wayne, NJ, 973-720-2320
“Never esteem anything as of
advantage to you that will make
you break your word or lose
your self-respect.”
— Marcus Aurelius
RADIO
WBGO 88.3 FM, 54 Park Pl, Newark, NJ 07102, Tel: 973-6248880, Fax: 973-824-8888, 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, columbia.edu/cu/wkcr, [email protected]
PERFORMINGS
Orpheus Chamber Orchestra, 490 Riverside Drive, 11th Floor
New York, NY 10027, 212-896-1700, orpheusnyc.com
Westchester Jazz Orchestra, Emily Tabin, Director, PO Box
506, Chappaqua, NY 10514, 914-861-9100, westjazzorch.org
ADDITIONAL JAZZ RESOURCES
Big Apple Jazz, bigapplejazz.com, 718-606-8442,
[email protected]
Louis Armstrong House, 34-56 107th St, Corona, NY 11368,
718-997-3670, satchmo.net
Institute of Jazz Studies, John Cotton Dana Library, RutgersUniv, 185 University Av, Newark, NJ, 07102, 973-353-5595
Jazzmobile, Inc., jazzmobile.org
Jazz Museum in Harlem, 104 E. 126th St., 212-348-8300,
jazzmuseuminharlem.org
Jazz Foundation of America, 322 W. 48th St. 10036,
212-245-3999, jazzfoundation.org
New Jersey Jazz Society, 1-800-303-NJJS, njjs.org
New York Blues & Jazz Society, NYBluesandJazz.org
Rubin Museum, 150 W. 17th St, New York, NY,
212-620-5000 ex 344, rmanyc.org.

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29
Interview
George Cables
More than a sideman
Interview and Photos By Ken Weiss
Visit George Cables online
GeorgeCables.com
George Cables (b. 11/14/44 in Brooklyn, New
York) is considered to be the consummate sideman, a label he takes great pride in upholding,
but he’s much more than that. He’s got thirty
recordings under his own name and a bevy of
original compositions that have been recorded
by many of jazz’ greatest performers. Classically
trained in high school, Cables discovered jazz
relatively late. After attending two years of Mannes College of Music, he was a member of an
early band called The Samaritans which included artists who would go on to also make
names for themselves—Billy Cobham, Lenny
White and Clint Houston. Cables was soon recording with leaders such as Max Roach, Sonny
ber 1, 2014 at The Painted Bride Art Center in
Philadelphia, just prior to his performance with
The Cookers. Off the stage, Cables is extremely
humble, reserved and good-natured. It’s easy to
see why his services have been so valued over
the past half century — not only is he brimming
with superb piano chops but he’s such a joy to
just hang with.
Jazz Inside Magazine: You’ve been with The
Cookers, the super group of veteran artists for
the past seven years. What’s been your experience playing and touring with such accomplished bandmates?
George Cables: It’s not something that I’m not
used to. I’ve been very, very fortunate in my
entire musical career. When I first started getting
gigs, actually going back to my neighborhood
“some people write a piece from the
standpoint of how it fits what they do, how
it fits their strong points. I don’t write like that.
When I write a piece, I write it and then I
gotta’ learn it [Laughs]. And then I have to
learn to play it, learn its ins and outs. So when
I do play those pieces that are particularly
personal to me, I just want to make sure,
because it means a lot to me, that I do it right.”
Rollins, Freddie Hubbard, Joe Henderson,
Woody Shaw, Bobby Hutcherson, Joe Chambers,
Richard Davis and Roy Haynes He also famously enriched the bands of Dexter Gordon,
Frank Morgan, and perhaps most significantly,
Art Pepper. This interview took place on Novem-
“The degree of one’s emotion
varies inversely with one’s knowledge
of the facts — the less you know
the hotter you get.”
-- Bertrand Russell, Philosopher
30
band I was in, The Samaritans, with Billy Cobham, Clint Houston and later Lenny White. I
played with Buddy and Monk Montgomery and
Eddie Moore on my second gig on the road. I got
to play with Stanley Turrentine on my first gig
on the road. The first band that I was actually a
member of was Art Blakey’s group which
Woody Shaw got me into in January of ‘69. That
band had Billy Harper, Buster Williams and
Woody Shaw. I’ve been so fortunate, going from
there to Sonny Rollins, to Max Roach, to playing
with Gary Bartz. My life has actually been a
great learning experience, I kind of look at it that
way. That’s where I learned my trade. Billy Hart
was sort of a mentor of mine because he’s the
guy who kind of pushed me out into playing
with these people. I think he pushed me into that
gig with Buddy and Monk Montgomery and he
was on the very first record that I ever made.
Billy Hart was very instrumental in my being on
the scene in different ways, so playing with The
Cookers is sort of like a reunion in a way. I’ve
worked with all the old guys. I’m the youngest
of all the older guys. It’s challenging because all
these guys are very creative and they are all my
peers/mentors from way back. It’s great to be
playing with the guys who I have a common
frame of reference and we’ve played with many
of the same people
JI: The Cookers’ new recording, Time and Time
Again [Motema, 2014] does a good job portraying the band’s exciting live performances. The
Cookers are somewhat unique today in playing
with a ‘60s old-school intensity.
GC: Yeah, it’s funny to say old-school in terms
of a concept of just giving it up. There’s a lot of
intensity which is something that we all believe
in, playing from the heart. I think it’s something
that shouldn’t be lost. I think what made the
music great and what made people love the music was the intensity of the experience. It wasn’t
just some ethereal music that was just very nice,
it had an urgency. Times change but we don’t
want to lose that energy and intensity. I like to
say that jazz is in the drum, and I don’t mean
that literally, that jazz is only in the instrument
the drum, but it begins there and there’s a drum
in all of us. No matter what, you can’t lose sight
of the rhythm and that’s why I say that.
JI: The Cookers benefit from having seven
veteran leaders as a collective force but that also
means there’s seven strong personalities that
must be dealt with. It seems potentially challenging and competitive to decide whose compositions are performed and recorded and how the
solos are divided up. How challenging has that
been for the band through the years?
GC: We let David [Weiss] do that, that makes it
easier. We don’t fight over that. I can speak for
myself, in that whatever we play, as long as it’s
representative and that we play it well. There’s a
lot of trust when you play with any group and I
think we feel [with The Cookers] that the music
comes first. We want to play this music. We
want to feel a part of it, and I certainly feel that
way. I’ve always felt that way in my career.
That’s why when I began, I couldn’t believe that
I, first of all when I started playing with Art
Blakey, and Max, and Billy Cobham in the
neighborhood band. It was like, wow, I’m really
a part of something special so the idea is that the
music comes first. For me, I don’t really feel that
you’re really sacrificing anything. When you’re
playing music with someone else, you have to
listen and trust and use your talents, voice, and
ego to try to make that music and others around
you play their best. And when you do that,
there’s such a great reward. Playing with this
rhythm section is great. Making music with Cecil McBee and Billy Hart, listening to them, I
feel like I got the best seat in the house. Not only
George Cables
Photo © by Ken Weiss
February 2015 | Jazz Inside Magazine | www.JazzInsideMagazine.com
a most personal expression of love and loss. It’s
haunting and tear-jerking, it’s barely two minutes long and ends with a musical whisper into
the night. It really sets the tone for the album.
George Cables
do I hear them, but I get to play with them.
JI: Your original composition “Farewell Mulgrew” is on the new Cookers recording, as well
as your own newest trio recording, Icons & Influences. Would you compare the two versions
and how utilizing a larger group effects a tender
composition such as this one?
GC: The larger group gives it a chance for more
colors and sounds. It’s a different dynamic. It’s a
little more personal feeling with a smaller group.
JI: You’ve written a number of very personal
compositions such as the Mulgrew piece, as well
as a few for your long time love, Helen Wray,
which appear on your My Muse recording. How
is it to play pieces that are so private night after
night for audiences that carry such deep meaning
to you?
GC: I don’t know. I think I can put more into
those. I certainly want to. I try to put everything
I have into what I play, whatever piece it is. First
let me say, some people write a piece from the
standpoint of how it fits what they do, how it fits
their strongpoints. I don’t write like that. When I
GC: Thank you. Yeah, I thought about it and
my first thought was ending the record with
“Lullaby” until I thought of “I Love You Porgy,”
and that was a better ending. “Lullaby” sets a
tone of what this CD is about. Ideally, whatever
CD I do, I do like to have a theme about it. Although I realize that today, people like to buy
songs off of recordings, I like to see a recording
as a whole, as if it is a painting or a book of short
stories that hold together. “Lullaby” actually was
the first song that I wrote for Helen after we got
together. I was looking out the window at these
eucalyptus trees and was in that sort of impressionist mood. I wrote that piece, it took a little
while, and then I wondered what I was going to
do with it. I played the melody differently and it
sat for a few months and then all of a sudden I
realized it was finished. It’s been my concept
and feeling about when you write something it’s
supposed to be an exposition and your solo is the
development of it. Actually, I heard Geoffrey
Keezer play this song in July and the way he
played it, he played it solo and he did such a
beautiful job that I was saying to myself, ‘Boy, I
wish I’d thought of that!’ [Laughs] Pieces don’t
have to be long, they can be two minutes and say
everything.
“Although I realize that today, people
like to buy songs off of recordings, I
like to see a recording as a whole, as
if it is a painting or a book of short
stories that hold together.”
write a piece, I write it and then I gotta’ learn it
[Laughs]. And then I have to learn to play it,
learn its ins and outs. So when I do play those
pieces that are particularly personal to me, I just
want to make sure, because it means a lot to me,
that I do it right. I want to get as much out of it
as I can. On a song like “Helen’s Song,” I would
like the audience to get a sense of Helen. And I
get comments like that – “Oh, Helen must have
been a beautiful person,” and I’m always gratified when I hear that because she was. I’ve written songs for her sisters [Laughs], her mother,
for my mother, for other people, and even for a
little dog. I’ve tried to capture what that is. On
one of my pieces, “My Muse,” which I wrote for
Helen, I tried to capture her mischievous side
and if people can smile, great. I’m trying to
move people.
JI: My Muse begins with your composition
“Lullaby,” a piece you’ve played for many
years, but on this take, you’ve transformed it into
32
JI: Icons & Influences is a tribute album with
works by musicians you admire, plus three originals dedicated to several others. You’ve noted in
the past that your early influences were not pianists, but rather Miles Davis and John Coltrane.
It’s interesting that on this tribute recording, six
of the twelve tunes are salutes to pianists.
GC: Yes, I said that but of course I listened to
pianists. Some of the early guys like Monk or
Oscar Peterson and Wynton Kelly especially.
Herbie Hancock had such a special feel and I
loved him because he reminded me, especially
early, of Wynton Kelly. Wynton could swing
until the cows came home. I just loved his touch,
the way he played, everything about Wynton
Kelly. I loved Herbie’s touch and harmonic concept, his concept of comping. It’s so important,
comping, golly. Accompanying playing with
people, it’s just like every day existing with
people—how you relate to people. I listened to
pianists that way and how they soloed, but musi-
cally I try to listen to the whole, the whole music
of the band. So I listened to the piano through
that prism. Miles and Trane were probably the
strongest influences on me because of how they
treated the band and how important these
“sidemen” were, they definitely were not backup
musicians. These guys who were not the bandleaders, how sometimes their voice could change
everything, could lead somewhere. How given
the freedom, and responsibility of fulfilling their
role, could just make the music better. There was
Wynton Kelly, Paul Chambers, and Jimmy Cobb
or Philly Joe Jones with Bill Evans. There was
McCoy Tyner and Jimmy Garrison and Elvin
Jones, geez, that was like magic. Someone once
said to me that, “Listening to Trane is like getting the word straight from God. Seeing Miles
was like watching magic happen, especially
when Herbie and Ron and Tony were working
with him. I didn’t listen to pianists in such a way
as to pick up the [standard] pianistic way of
doing things. No, I kind of wanted to know
about the music. That’s first, and what you have
to do to make the music happen. For me, when I
play in a band that’s more than a trio, I feel that
I’m the glue, that’s my role to help to pull things
together. On Icons & Influences I wanted to
honor Dave Brubeck because one of my first
records I got was Take Five and of course I felt I
needed to honor Duke Ellington because he is
one of America’s greatest composers and plus, I
worked for him. I had the opportunity of rehearsing a vocalist for him. I also wanted to honor
Mulgrew Miller, who was a very important pianist, and also Cedar Walton because I heard him
express the same thing about just wanting to be a
great musician and being part of the music and
not necessarily just being the greatest pianist in
the world
JI: Duke hired you to rehearse his vocalist?
GC: He didn’t personally, someone recommended me and I got hired to rehearse a Swedish
vocalist. I don’t know, it could have been Alice
Babs. It was for a religious concert, I think. I
can’t say I played with Duke but I certainly
worked for him and that’s honor enough for me.
JI: When writing a tribute to someone, are you
looking to incorporate their signature style into
the work or keep to your own style?
GC: Well, it’s gonna be me but with the Cedar
piece, it was definitely about Cedar’s style.
You’ll notice there are little snatches of “Mode
for Joe” and the bridge comes from “Bolivia.”
It’s a little picture of Cedar. Mulgrew was a
spiritual person and I wanted to bring that out for
sure. So, in cases like them, yeah, or my impression of them or what I think of them.
JI: What experience helped you grow the most
as a composer?
GC: A lot of them. I learned a lot by listening to
other people and then trying to write a piece like
they did. It was a learning experience. My whole
life is a learning experience. I was influenced by
Herbie in the beginning and then Buddy Montgomery. I did this as a challenge and to prove to
George Cables
cause who would of thunk it! Stravinsky wrote
something for Woody Herman so I’m in good
company.
myself that I could do this. I wrote “Ebony
Moonbeams” and that was not directly influenced by any one thing. What I based it on was a
an imaginary boat ride, it was like taking a cruise
from Miami and going along the Caribbean and
coast of Brazil, hearing the music drifting from
the shores off the islands and since the music is
so strongly influenced by African music and
culture, that’s why it’s called “Ebony Moonbeams.” The introduction was supposed to represent the ship pulling away. When I first wrote it,
I wanted to have foghorns blowing [Laughs].
That was a landmark piece for me and Freddie
Hubbard and Bobby Hutcherson both recorded it
and played it great.
JI: Earlier you had mentioned that Billy Hart
was someone who pushed you. So the question
is why was it necessary to be pushed and also
when did you feel that you really belonged on
stage with these other great musicians?
JI: You’ve written many great pieces. What are
the top three compositions you’ve written and
why?
GC: Oh, gee. No! [Laughs] I don’t know if I
can but I’ll tell you that people like “Helen’s
Song,” like I do. “Ebony Moonbeams.” I don’t
know the top three. I like “Looking for the
Light,” and “Lullaby,” and “EVC,” and “Sweet
Rita Suite (Part 2).”
JI: Why don’t you write ballads more often?
GC: Sometimes I do. I wrote “Sweet Rita
Suite” in three. That’s sort of like a ballad. Some
of the waltzes I’ve written are more like ballads
like “Looking for the Light.” I don’t know why,
maybe I should. I love playing melodies and
ballads. I’ve played with some great ballad players—Art Pepper, Dexter Gordon. Art had a philosophy about ballad playing, about not doubling
up on a ballad. Once you get through the melody, not sort of bouncing, just keep it a ballad all
the way through. He said, “You’re gonna bounce
and swing the song before and afterwards and
this is a ballad so just play it slow.” He was very
adamant about that. I remember one time we
were playing “Somewhere Over the Rainbow”
and Tony Dumas played a passing note and Art
got on him after we played. “Don’t you ever do
that again,” he got on him for doubling up. Tony
was shocked!
JI: Who were you most surprised about that
recorded one of your songs?
GC: Woody Herman [Laughs}. No bout-adoubt it! He did “Think on Me,” and he did it in
such a great job on that. The arranger wrote an
introduction on that that made so much sense.
It’s another one I said, ‘Why didn’t I think of
that!’ So I use that most of the time when I do
that song. So the answer is Woody Herman be-
GC: Why was it necessary for me to be pushed?
Because I don’t think I was ready, I don’t know
enough, I’m not good enough. You know, all
that. When did I think I belonged on stage? I
don’t know. I can tell you one story about when
‘Who?” [Laughs]. I didn’t believe it and I wondered if he felt like I didn’t know who he was.
He said he had an audition for me. I found out it
was Freddie Hubbard who recommended me and
I wasn’t even in Freddie’s band at that time but
we had done a couple things together. I went
down to George Braith’s place on Spring Street
where people used to rehearse and play. I heard
this saxophone behind the door. I banged on the
door and I heard this saxophone coming closer to
the door and then a big guy opens the door. This
was actually the first time I saw Sonny Rollins in
person. He asked me to come in and sit behind
the piano. He asked me if I knew “Love Letters”
and I said no [Laughs]. I didn’t know a lot. He
“I got a call from Sonny Rollins, he said,
‘Is this George Cables?’ I said, ‘Yeah.’ He
said, ‘This is Sonny Rollins,’ and I said,
‘Who?’ [Laughs]. I didn’t believe it and I
wondered if he felt like I didn’t know
who he was. He said he had an audition
for me. I found out it was Freddie
Hubbard who recommended me”
I got hired by Art Blakey. After playing my first
night with him, I didn’t feel like I had given my
best. It was after the last set, and Billy Harper,
who thinks he can play drums [Laughs], he sat
down and started playing the drums, I mean he
plays alright, he’s gonna kill me, and I started
playing [with him] and Art said, “You don’t
have to prove anything, you’re a Messenger
now.” Boy, that took a load off of my mind, but
still. It was Woody Shaw who also encouraged
me a lot. My endings would be timid and he
said, “Go ahead and play! Don’t end like that.”
He was a tough love guy. I got more confidence
in hanging around with Woody, we used to be
very close, very, very tight. If you saw one of us,
you saw the other. We’d hang out together after
the gig and during the night. It’s hard to say
[when I felt confident] because I always felt as if
I was playing catchup. I felt that I started late
and the other people around me knew about jazz
longer, they grew up on their father’s jazz records. I always felt I was playing catchup and
sometimes, I still do. A lot of my learning was
on the spot. I got a call from Sonny Rollins, he
said, “Is this George Cables?” I said, ‘Yeah.’ He
said, “This is Sonny Rollins,” and I said,
said, “Here’s the sheet music” and boom there it
was. It was in C, we played it through. Then he
said, “OK, let’s do it in D-flat.” We did that, it
wasn’t that hard. Then he said, “Night and Day.”
I said, ‘OK, I know “Night and Day!’ [Laughs].
So we did that and then he called it in E-major. I
got through it OK and then he said something to
George Braith like, “Hey man, this guy’s good.”
I think part of that was for my benefit. I couldn’t
help it, I was trying to be cool, but I felt like I
had this smile from ear to ear but I tried to keep
a straight face. I later rehearsed with his band
which had Buster [Williams] and Tootie [Heath].
That made me feel great but still, because inside
you know, there’s so many greats like Albert
Dailey, John Hicks and others, but I was there
and I just made the best of it. We went out to
California for the first time in my life, in 1969. I
don’t know when I felt comfortable. When I
played with Dexter [Gordon], I felt like a student
still. It’s Dexter Gordon, you know, he’s the
embodiment of jazz to me. When I worked with
Freddie Hubbard I wanted to pinch myself and
say how could I get here? You try to be yourself,
play as best you can. Try to contribute and still
“When I worked with Freddie Hubbard I wanted to pinch myself and say
‘how could I get here?’ You try to be yourself, play as best you can. Try to
contribute and still explore. They’ll tell you if you’re screwing up.”
33
Interview
puter Science aside when I graduated from BC in
2001 and haven’t touched it since.
Adam Birnbaum
Pianist
By Eric Nemeyer
Visit Adam Birnbaum at
www.adambirnbaum.com
JI: Could you discuss one or more ideas and or
music business experiences that Al Foster has
amassed during his career (playing with Miles
Davis and numerous others) — that he might
have shared with you during your recent tour or
during your association with him?
AB: Al loves nothing more than to talk about
Miles and all the lessons he learned from him.
Too many to list here for sure! One phrase that
sticks out is ‘spoil the bandleader.’ Al grew up
listening to Bird, Sonny Rollins, the great Miles
Quintets, etc, and that’s the kind of music he
really loves. When Al joined Miles’ band he was
asked to play rock beats--not his # 1 choice stylistically—but he did it, and did it extremely
well, because that’s what the music required and
that’s what Miles wanted from him. I always
think about that when trying to play someone
else’s music, trying to make it not about me and
what I want to do but about how I can serve that
particular bandleader in the best way possible.
JI: What were some of the highlights you ex-
would be right in the wheelhouse of this particular group of musicians and allow us to do what
we do best. The tunes don’t have a lot of complicated hits or extended forms. They are just some
simple vehicles that I felt would give this group
a platform to play around with and do our thing.
I also included two of Al’s compositions. Not
enough people are aware that Al is an amazing
composer and I wanted to feature that on the
album as well. We rehearsed the music in Germany while on tour in April 2012, and went in to
record in Brooklyn at Brorby’s one day the next
month.
JI: You graduated from Boston College with a
degree in computer science. What areas of focus
in your computer science studies most attracted
you, and why?
AB: I was initially drawn to Computer Science
because of the blank palette it offers the programmer. I discovered I could bring anything
from my imagination to life with a few lines of
code: a baseball game, an organizational tool, a
ray tracer, etc. I also liked the extreme logic of
everything. Even something very abstract, like
tracing a ray of light as it reflects of an imaginary object in a room, can be reduced to a
mathematical formula. If a program doesn’t
work it’s because there is one line of code some-
“Kenny’s [Barron] basic lesson is that
there is no shortcut to do what he does.
You have to play for years and years at a
very high level and continually strive
towards finding your voice.”
perienced in the creation of your new album
Three Of A Mind from the initial inception, in
developing the repertoire, and selecting the personnel, recording and so forth in your pursuit
toward the completed work of art?
AB: The conception and the development of the
repertoire was pretty simple. I knew from the
beginning that the album would feature myself,
Doug and Al. We have played countless hours
together as a rhythm section over the last five
plus years and I wanted to document our working relationship as a trio. I wrote music that
34
where that isn’t doing what it’s supposed to do.
It can be very frustrating if you can’t find the
faulty code, but it’s assuring to know that there
is always a solution to every problem.
JI: If this is relevant for you, how have you
incorporated your aptitudes and experiences in
computer science into your creative efforts as an
improvising musician in jazz?
AB: I honestly can’t say that this has much of an
effect on my career as a jazz musician. I’m sure
it does in abstract ways but I basically put Com-
JI: Could you talk about your association with
Kenny Barron and Fred Hersch during your
matriculation in the Juilliard jazz program, and
how those developed and benefited you?
AB: Each taught me a lot in very different ways.
At first in my lessons with Kenny I was frustrated. We would get together and play duo for
the entire lesson. At the end I would be asking,
‘can you give me some exercises to show me
how you do this or that? What should I be practicing?’ Kenny doesn’t operate like that as a
teacher. He believes that once you have a certain
basic skill set the rest has to be worked out by
playing, a lot. That’s how Kenny learned, and it
took me a while to understand that. We live in an
era of instant gratification, but Kenny’s basic
lesson is that there is no shortcut to do what he
does. You have to play for years and years at a
very high level and continually strive towards
finding your voice. Fred’s lessons were very
different. When you first play for him he has a
way of noticing all your weaknesses and laying
them out to you in a way that can be horribly
humiliating. But he’s right, so in the end it really
inspires you to work hard and improve. Fred also
introduced me to concepts like how to incorporate voice-leading and counterpoint into your
playing and follow your intuition, rather than
thinking about theory, chords, etc. This really
opened up a whole new world for me, especially
in the realm of solo piano.
JI: Given your classical music background as a
teenager, and your jazz pursuits now as what
appears to be the recipient of your capital of
conscious energy, what if any are the points of
intersection of the two genres in your current
reality? How do the requirements of these two
divergent genres function as foils or in support
of one another in your artistic growth?
AB: There are many intersections between jazz
and classical music, or for that matter jazz and
any other music in the world. I sometimes like to
play classical lieder and treat them almost like
jazz standards. At home I always incorporate
Bach preludes and fugues and Chopin etudes
into my daily practice when I have the time; it
really helps me stay connected to the instrument.
I did a collaboration a few years back where I
was asked to do a solo concert of improvisations
on Scriabin preludes. This ended up turning out
really interesting. I’ve also recently done several
collaborations at the Chelsea Music Festival
where I had the chance to supplement my trio
with strings and other instruments and write
arrangements of classical pieces that could work
in a jazz context. This is something I really enjoyed doing and I hope to do much more of in
the future.
JI: In what ways has Danilo Perez, whom you
met while your were still at Boston College,
been an influential mentor for you?
AB: Danilo was the first person to instill in me
Adam Birnbaum
February 11, CD Release Concert, Smoke
contributed to your development in that regard and helped you avoid the tyranny of the ago?
Adam Birnbaum
the belief that I could really make it as a jazz
musician. When I first met him at a clinic back
in Boston when I was 12 or 13, he was very
encouraging to me. I went home feeling inspired.
Then the phone rang a day later, and it was
Danilo, asking me to come sit in and play a song
at Scullers that night with his trio during his set.
I can’t even begin to describe how exciting that
was as a young jazz pianist, to get that kind of an
opportunity. It was incredibly generous of him.
He used to give me lessons at his place when I
was a teenager. At the time, some of what he
was showing me went over my head, but I
grabbed everything I could understand and ran
with it. His passion and joy for the music is contagious, and it’s hard not to get inspired just
being around him.
JI: What were the noteworthy understandings,
words of wisdom, or gems you might have
picked up about life, business or music during
your performances or associations with Wallace
Roney? Eddie Henderson? Eddie Gomez? Wynton Marsalis?
AB: Wallace learned a lot from Miles, and he
seems to have inherited that way of challenging
you to figure something out rather than just
spelling it out for you. I remember a couple
years ago we were out in Dubai with Al Foster’s
group and Wallace and I got in a discussion
about the forms to various Miles Davis tunes on
Miles Smiles, ESP and Nefertiti. There is a lot
going on on these albums, and many musicians
have puzzled over them. Anyway, there was a
tune “Circle’ whose form I had never been able
to figure out, and Wallace pointed me in the
right direction without telling me anything specific. I went back to my hotel room and listened
to that track, drew out the form on paper, and all
of a sudden I saw it. He knew what it was the
whole time, but he pushed me to figure it out
myself rather than spoon feed me the answer. To
me that is the mark of a good mentor. Wynton is
very thought provoking. He challenges you to
really confront your own weaknesses honestly,
and work towards improving your musical skill
set over time. When I first played for him at
Juilliard I was more into Herbie, McCoy, Keith
Jarrett. etc. and he laid out a series of steps designed for me to grow, many of which involved
delving deeply into stride piano, from Jelly Roll
Morton on. I learned and continue to learn so
much from really addressing stride piano and all
the various musical and technical devices it employs, and I am ever thankful that Wynton gave
me a nudge in that direction.
JI: You’ve won or received honorable mention
in several noteworthy awards and competitions American Jazz Piano Competition, the American
Pianists Association’s Cole Porter fellow in jazz,
the Martial Solal Jazz Piano Competition. It is
said that compliments like perfume are meant to
be inhaled not swallowed; and are worth considering as reminders that we need to work to become even better. How have these accolades
36
AB: I never took part in The American Jazz
Piano Competition, which I believe takes place
in Jacksonville, FL. I have read a quote from
Jason Moran saying he never entered a competition, and I respect him greatly for making that
choice. Personally, I felt I needed the advantage
that some of these competitions offered me. The
APA Cole Porter Fellowship provided me some
great performance opportunities which allowed
me to grow a lot as an artist. Also, I can’t even
begin to count how many amazing pianists I
have met at these competitions, many of whom I
continue to have ongoing relationships with. So
you get your chance you really get to let loose,
which can feel quite cathartic. Cecile is really a
remarkable talent. She first came to me to take
piano lessons, and at the time I had never heard
her sing. Now I knew she was a very talented
musician from the way she played piano, but
when I first heard her sing live I was shocked. I
had no idea she was capable of that! She is classically trained and has an incredible instrument,
range-wise and with all the various colors she
can create. And she is a singer who really improvises and lives in the moment. Playing with her
you really have to be on your toes because you
never know for sure exactly how things are going to go. I love that and it’s really rare to find
that kind of spontaneity in a jazz singer these
“there was a tune “Circle’ whose form I had
never been able to figure out, and Wallace
pointed me in the right direction without telling
me anything specific. I … listened to that track,
drew out the form on paper, and all of a sudden
I saw it. He knew what it was the whole time,
but he pushed me to figure it out myself rather
than spoon feed me the answer. To me that
is the mark of a good mentor.”
win or lose that is one advantage to them. But I
think we all know that while it’s nice to be recognized for your talent and win an award, your
long term development as an artist requires constant growth. And in many cases too much attention at too young an age can stifle that growth.
I’m thankful that at my age I am no longer eligible for any more competitions.
JI: What do you enjoy and what are you discovering in your work with two of the artists who
have been gaining more notoriety in the jazz
world - Darcy James Argue? Cecil McLorin
Salvant?
AB: Darcy’s music is extremely challenging for
a number of reasons. Rhythmically is can be
quite complex, and your part might be staggered
one 8th note behind the part of the musician next
to you, so if you listen to them you will likely
get thrown off. To really concentrate and nail
your part while what’s going on around you can
be quite disorienting can be a real challenge. I
would make the analogy of being one cog in this
enormous complex piece of machinery. At the
same time I’ve found that once you’ve lived with
Darcy’s music a bit you reach a point where you
no longer have to count everything out, where it
starts to feel organic. To me that’s a sign that
there is a method to his madness. Darcy also
always leaves room for the performers to stretch
out and improvise at certain points, and when
days.
JI: How has your playing evolved since your
debut CD release in 2009, Travels?
AB: I think the older I get that less concerned I
am with whether what I do is hip or not, whether
people will like it or not. I play the way I play
because that’s who I am, as a person and as a
musician. So I think you could say that since
2009 I am a lot more comfortable in my own
skin than I used to be.
JI: What do you hope to experience when you
have the chance to perform before an audience?
AB: I hope to make an emotional and intellectual connection to any audience, to hopefully
move them with an honest musical statement
that comes from my heart.

It’s surprising how many
persons go through life without ever
recognizing that their feelings toward other
people are largely determined by their
feelings toward themselves, and if you’re not
comfortable within yourself, you can’t
be comfortable with others.”
-Thomas Sowell
PERFORMANCE REVIEW
Eric Frazier
Milk River, Brooklyn, NY
By Nora McCarthy
The house was jumping with good vibes on
the night of April 30 at Milk River, an upscale
restaurant in the heart of Brooklyn. The small
but enthusiastic audience that came out to enjoy
a night of great music and fantastic food braved
the torrential downpour to hear the music of the
Eric Frazier Jazz Review. Inclement weather
such as the cats and dogs that were falling on the
city this night would normally discourage most
folks from coming out on such a dreadful evening but while it was not a packed house the
group performed two eclectic sets of jazz, funk,
Blues, Latin and Brazilian music as well as classic standards and contemporary jazz hits of the
70’s, to a more than appreciative and enthusiastic crowd of locals as well as several friends and
family members that came out to enjoy their
favorite jazz singer. Among them was, Rome
Neal, actor, singer and organizer of Banana
Puddin’, one of the longest running creative
series on the L.E.S. who came up on the second
set to perform an excerpt from his play, Monk, to
Miles Davis’ “All Blues.” The evening from
start to finish was just like that, friends getting
blues, and ragtime playing. It also helped living
in New Orleans and being able to hear people
like James Booker and Professor Longhair on
the radio, not to mention all the players around
town who were playing in that evolved ragtime/
stride style. When I saw that the requirements
for the Eubie Blake International Piano Award
called for playing in this traditional American
style, I said, “Hey, I can sort of do that!” It was a
challenge for sure and boning up on my stride
playing was fun and great thing to work towards.
Winning the Blake was an affirmation and I
became more confident in that aspect of my
playing, however, I still have a lot more to learn.
I played a little stride on the old Ink Spot’s tune,
“I Don’t Want To Set The World On Fire,”
which I covered on my first album, “Nameless
Neighbors.”
JI: Could you talk about some of your inspirations as a composer and the process or processes
that you go through - realizing that the germ of a
composition can start with anything from a
rhythm to a motivic, melodic idea and so on?
NS: I started playing piano when I was seven or
eight. I was heavily classically trained for the
first twelve years of playing the instrument. This
has had a tremendous impact on my compositional style and musical view. Though I don’t set
out to consciously incorporate classicism into
my playing I guess it is just a natural by product
of my musical upbringing. Several music writers
have commented that my sound incorporates the
together with spontaneous interplay and a sense
of community. Eric Frazier may well be the
Ambassador of Brooklyn having run Eric Frazier’s Open Mic Jazz Jam every first Tuesday of
the month at another Brooklyn haunt, the Rustik
Tavern for quite some time now.
Frazier truly loves to give the audience a
great show and is very generous with his stage
which he also shared with his niece, Liza Frazier, who played a very spirited version of,
“When the Saints Come Marching In” on harmonica in the first set as well as some percussion
later on.
Accompanied by seasoned veterans: James
“Ajax” Baynard – trumpet—formerly a member
of the incredible Crown Heights Affair—the
renowned 70’s r&b, funk group from Brooklyn;
legendary jazz, R&B organist and keyboard
player Nathan Lucas; Brooklyn native and virtuoso bassist and educator Gene Torres; drummer
extraordinaire Lon Ivey who has performed and
recorded with artists such as: Angie Bofill, Sam
Rivers, Jon Lucien, and Grover Washington to
name a few—word has it that he is quite the
singer as well; and, sitting in on percussionist
was Carol Cole whose rhythmic sensitivities
added to the overall groove of the group. To sum
it up, there was a lot of talent on that stage.
In addition to being a sincere jazz singer,
Frazier is a true song and dance man who really
feeling of different styles of classical music such
as the romantic elements of Rachmaninoff, Prokofiev, and Messiaen, who are fairly modern
composers but still have an amazing western
melodic sense. The contrapuntal feeling of composers like Machaut and Johann Sebastian Bach,
and the dramatic intensity of Beethoven or Mozart all inform my playing. As far as the way I
go about composing my music, it varies from
tune to tune. For example, sometimes I will sit at
the piano and just start improvising for a while
until I stumble upon something that I like. It
could be a rhythmic figure, melody, or set of
chords. It just depends on the day. Sometimes I
come up with a whole piece in 20 minutes and
other times it takes two weeks or more. It just
depends. There are also times where I compose
away from the piano and that usually produces
interesting results. Another factor is working
through the material with the trio. Connor and
Henry have and continue to give me invaluable
insight and suggestions that is always making
the music better and fresh. Sometimes we clash
but on the whole it’s a good thing because we
are growing together as a band and that’s really
important.
puts on an excellent show. Frazier’s performance
included some percussion, scat singing, crooning
and tap dancing which came as both a surprise
and a delight to witness. I was impressed with
the amount of energy Eric gives to the music and
the audience engaging them through witty repartee, historical anecdotes and sheer showmanship.
His exuberance is contagious. He dipped from a
repertoire that included an original composition
“Mom and Dad,” and popular jazz fare like
“Softly As In A Morning Sunrise” and “Autumn
Leaves” then took to the islands with a spicy
calypso, “St Thomas,” a heartfelt rendition of
“Besame Mucho” and the Jobim classic,
“Dhindi.” Standouts were, “Watermelon Man,”
“Muddy Water,” and “Moody’s Mood” where
Frazier was able to handle quite readily both the
male and female vocal parts to this familiar
charmer, not an easy feat. It was a well rounded
two shows as Eric’s song choices were both
quality and nostalgic but above all “grooving”
thanks to the great rhythm section driven by the
“spot-on” playing of bassist Gene Torres and the
funky jazz horn lines of James Baynard.
All in all, it was an enjoyable, relaxed and
memorable night spent at Milk River where the
moto is, “Enjoy Life, Let It Flow”……..and
that’s exactly what was up, great food, atmosphere and music were all flowing and as sweet
as milk. For more information Eric Frazier and
his upcoming performances, please check out his
website at: ericfraziermusic.com

having a good rapport with them is important. I
am sort of a recluse most of the time and probably don’t get out much as I should. It is one of
my New Year’s resolutions! The point about
human nature is an interesting one. I have encountered a few club owners that seemingly
have tremendous egos and won’t book you
unless you know them personally as a friend or
whatever. I really dislike that aspect of the business. It should be about the music and not about
people that are good buddies of yours, etc. Publicists and managers etc. are definitely newer territory for me. I’m still trying out some different
options to see what fits and so forth. As far as
festival decision makers…I can’t say much. I
just send my stuff in and if they like it and book
me then that’s great, but if not, it’s totally fine. I
know there are a lot of great acts out there that
deserve attention.


JI: What have you discovered about the music
business and human nature as a result of your
dealings with jazz club operators, festival decision-makers, record labels, promoters, publicists,
etc.
NS: I’ve discovered a lot for sure. I definitely
think knowing certain people in the business and
“A man wrapped
up in himself makes
a very small bundle.”
- Benjamin Franklin
37
Interview
Antoinette Montague
Interview by Eric Nemeyer
JI: What were some of the key understandings about music, the music business and life
and human nature that you picked up?
Hear Antoinette Montague at
Flushing Town Hall, Flushing, Queens, NY
February 14, 2015
Visit Antoinette online at
AntoinetteMontague.com
Celebrate that we woke up this morning. Everything else...lines up after that.
JI: Could you discuss your your upcoming
Valentine’s Day performance at Flushing
Town Hall—entitled The Red Ball: World
Peace In The Key Of Jazz—and your motivations and inspirations for this in relation to
both the music and the broader relevance in
terms of human nature and cooperation?
AM: Flushing Town Hall is a beautiful jewel
box, a historic building with a contemporary
feel inside. The gorgeous wood makes the
music sound so very rich. The folks who run
it, Ellen Kodadek, Shawn Choi and the entire
staff, gift shop team and fabulous volunteers
are welcoming and wonderful to me. It is
prestigious and global. I pray that folks come
out and experience its special flavor. Pass the
word, come, and claim your seat. I visited
Flushing Town Hall first with Ms. Carrie
Smith, star of the Broadway show Black and
Blue as her intern/supporter/manager. Then
Jimmy Heath hired me to sing on several
Queens Jazz Orchestra performances, doing
the music of legendary New York singers and
writers such as Ella Fitzgerald, Lena Horne,
and others. Thrilling!!! Gratitude to Jimmy
Heath forever. Ellen Kodadek and Shawn
Choi invited me to do a March “Women’s
Appreciation” event. I love thinking about
JI: You’ve performed at Flushing Town Hall
in the past. Could you discuss what you love
about the venue?
AM: The Red Ball at Flushing Town
Hall: “World Peace in the Key of Jazz” though it is Valentine’s Day and the focus is
on fun and love, I came up with this title last
May. It’s [world peace] always in need. Super
timely now. We need peace in our complex,
troubled world, as well as more love and self
love. I’m a 1960s kid who watched the
marches, the Newark riots, Queen Mahalia
sing on the Mall in Washington, D.C., and
peace rallies / love-ins and powerful speeches
that reshaped a nation and the world. We
could use a little peace, love dove! This event
“Don’t worry about negative people who
put you down—because you do have to
market. Plus, the venue must publicize.
You want to help them make their
money and bring your following.”
was planned back in May. It always amazes
me how things line up re: timeliness. Perhaps
we’ve never left the issues for civil unrest.
My hope is to gather, sing, swing, and create
a moment inside a musical collective consciousness. Let’s never get tired of doing
what’s right inside of our art. I’m inviting
folks to wear a splash of red, or all red, if they
still believe in love and the need for peace
and to enjoy some swinging blues, in the key
of Jazz.
38
that we need the message now more than
ever. Music can heal and encourage. It’s bigger than we are while encouraging us to be
better than ourselves. World Peace In The
Key of Jazz expresses it better than I can.
Jazz and blues have been ambassador to the
world. I pray we “Let It Be” on that night at
Flushing Town Hall, February, 14, 2015 at
8pm.
interesting programming that tickles me and
hopefully reverberates with the people. I
called that event “Here’s to the Ladies that
Bling and Swing,” a tribute to Etta Jones, Etta
James, Carrie Smith, Dorothy Ashby, Nina
Simon and other legends. I had the fabulous
Akua Dixon on cello, Riza Printup on harp, a
terrific rhythm section. What a thrill to be
invited to return. The need for World Peace
In The Key of Jazz was on my mind when I
got booked last May. Just spiritually uncanny
AM: One: You have been on this journey
since your life began. Follow your path and
dreams and that big heart of yours. I was born
singing to loving singers. My mother was a
singer. Don’t let negative people stop your
dreams. Two: Listening is sometimes more
important than speaking or singing. Observe.
Three: Learn the basics on the piano. Carrie
Smith taught me this. Four: Pick tunes you
love that mean something to you. Tell the
story. Mean it! Keep it fresh. Study your
craft. Practice so when the call comes, you
are ready. Preparation meets opportunity.
Five: You’d better love the business, or you
will soon be out of love with it due to its challenges. Six: 6. Observe successful people.
Seven: Although you can learn from imitation, be yourself, an original. Eight: Realize
there is no you. Know and love thyself, then
understand we are in a musical service to the
public.
Nine: If you need to live with less to pursue
an artist’s life, do it. Ten: You need to promote and market and let people know where
you are appearing. Don’t worry about negative people who put you down—because you
do have to market. Plus, the venue must publicize. You want to help them make their
money and bring your following. Anyone can
tell you I work hard at it.
JI: What were some important lessons you
learned in producing your own recordings?
AM: One: Get great players to help you.
Two: Record what you love, what’s in your
soul. Keep growing and expanding your
soul’s work. Three: Say something meaningful. Four: Each song is a performance. Five:
Be in the moment and enjoy each one of
them. Six: Recording can be hard and humbling. You meet yourself where you are and
where you are not. Seven: When you finish
the recording—you’re 40% there. Then the
other work begins. Packaging, marketing,
airplay, quotes. You are blessed if you have
folks who do it for you. Eight: As an indie
artist, you must always work and make sure
the recording represents you, what you stand
for.
JI: Given your travels to perform in locations
Antoinette Montague
February 14
Flushing Town Hall
Photo by Tony Graves
Antoinette Montague
around the world, you have no doubt had
some eye-opening and learning experiences.
Could you share one or more of the most
humorous and or dramatic and or unusual and
or interesting experiences—with musicians or
audiences or business associates - that have
expanded your awareness?
AM: I have been very blessed to travel and
I’m thankful for every opportunity. I enjoy
the responsive audiences but everyday people
on the street fascinate me, too. When I was in
South Korea for an appearance, I went for a
walk early one morning for breakfast, get my
bearings, and see people. About seven ladies
were sitting on the sidewalk waiting to be
also make their own opportunities—ethically
and with integrity?
AM: I really was just trying to sing, and have
a good time. I was singing for years at the
request of others, choirs etc. However, every
artist takes the entrepreneurial approach at
some point, in order to produce a painting,
show, book or work, including you. The creator makes the talent and opportunities. Every
artist has to start by his or her will/desire to
create, sing, and play an instrument. People
have to want you. You just can’t make people
hire you. We who are music service providers
decide if we want control of our work, use
our resources or have others do so. Either
way, you sell your services to a record producer. Or you get the resources by working
very hard and investing in yourself. Or your
donors help. If I am not for myself than who
“I encourage my audiences to “Play It Forward” by
taking old instruments, get them in good shape, and
give them to a disenfranchised young person ….
asking [schools] if they have a music and arts program that helps with the refinement of all children.”
picked up for work. They stared me down as I
said good morning, just not smiling back as I
smiled and nodded. Then I sang a song in
their language that I learned for the festival, a
folk song Ari Rang. Man, they start smiling,
singing with me, hugging me, and eating my
almonds. Music is powerful stuff. It heals. It
unites.
JI: Having been someone with the get up and
go to make your own opportunities—rather
than hoping and waiting for opportunities and
people to do things … your initiative has
been instrumental in helping you create recordings, generate bookings and so on. As
one of my favorite marketers said: “You
don’t have to get it perfect you just have to
get it going.” Can you share some of the successes and failures as you’ve stayed on the
path that might be an inspiration for others to
will be? If it’s someone else’s resources they
decide if they want to gamble on you, but
then you must still be willing to perform.
That is work and “enterprising”. The James
Brown movie Get on Up shows the same
tracking. It’s a great example of what an artist
must do. People decide if they are interested
in presenting you or reserving a ticket. It
helps serve as a model, but it’s not a new one.
Illinois Jacquet promoted at the Vanguard,
and delivered. My dreams have been fueled
by my loyal friends and fans, and those producers who hire me annually, like Robin Bell
Stevens of Jazzmobile. I believe I deliver to
my audiences who love my work. Jazzmobile
just had their 50th anniversary with several
dues-paying ladies. Audience members that
night hugged me and enjoyed the singing and
performance. They know I’m not just business but I give all I have in that moment. I
“Keep away from
people who try to belittle
your ambitions. Small people
always do that, but the really great
make you feel that you, too,
can become great.”
- Mark Twain
have had folks tell me they were just diagnosed with cancer, and forgot about it during
the show. That’s a privilege and to be a vessel/servant in the arts is success too.
JI: You are someone who works diligently to
bring people together musically, and in terms
of creating successful business and organization endeavors. Could you talk about the drivers and experiences you have had that have
made you a tenacious organizer?
AM: After years of supporting, singing and
entertaining, I’ve developed a relationship
with my audiences who return repeatedly.
JI: There are utopian allusions to the concept
of community and strength in the face of
shrinking dollars and the reality of more supply than demand in the genre. The faux camaraderie associated with the lip service many
pay to community is sometimes / often a not
too convincing cover for the palpable desperation in the competition to generate bookings, sell music and for a small few—a living.
I know you to be an experienced businesswoman and a thinker. What do you see as
some of the solutions …. even though some
of the challenges are more about deeply ingrained issues of human nature and integrity—and not necessarily the music itself?
AM: Developing and nurturing an early interest and appreciation for this great music is
one approach. I created “Jazz Woman to the
“When I was in South Korea … About seven ladies were sitting
on the sidewalk waiting to be picked up for work ... not smiling
back as I smiled and nodded. Then I sang a song in their
language that I learned for the festival, a folk song ‘Ari Rang’.
Man, they start smiling, singing with me, hugging me, and
eating my almonds. Music is powerful stuff. It heals. It unites.”
40
Antoinette Montague
Rescue” a jazz superhero that touches the
hearts of children of all ages, from kindergarten to 10th graders. I use her to introduce jazz
greats from Ella Fitzgerald to Louis Armstrong’s Rosetta Tharp, the mother of Rock
and Roll, to living jazz heroes to schoolchildren. Jazz Woman to the Rescue gives me a
chance to help stir dialogue and a way to approach the painful lack of art and music in
many disenfranchised schools. As far as the
jazz community and the competition, you’ve
got to create your family. If it’s in your heart,
keep swinging. If not, I understand. It is
tough. As I said earlier, put your music program together, find your audience, and communicate with them about all your events.
Repeat. Find your sweet spot. Papa Jo Jones
said “There’s not a problem the musicians
have, that they can’t solve if they work together.” Keep the faith in what the creator has
planned for you to share your art. If you don’t
have the desire and will to exercise your talent during tough times, you never had it. Life
can be painfully hard. I’ve had horrible times
that almost damaged me permanently. Thank
God for music in my spirit and life for being
able to put my audience in mind. I am very,
very fortunate to have some priceless people
who encourage me. Nieces, coaches, manager, agent, Bethany, WBGO and other jazz
artists who are on “the journey.” They are my
community and we have love for each other.
But we are ultimately alone working our
gigs. There is the self-love you need to operate and have to develop and mature as a
woman and artist. But if you don’t love yourself, its hard pulling community together.
Start on the one, then perhaps true oneness is
more widely possible. As a leader, I put folks
interest in front. Perhaps at times an error, but
satisfying at times, too. I’ve learned to put the
oxygen mask on myself. I’ve learned that I
can be good to lots of people, but I’d better be
good to myself, too. It’s been a tough couple
of years. I’m a soldier for love. Betrayals
happen. Bouncing back is your best bet.
Thank God, I have music as a sacred place. It
heals. It’s a new paradigm in the universe. Many things will bless this music and
create community. Don’t stop trying to create
if you desire to. I encourage far better inclusion and respect for our Jazz Women wherever they are, presenters, managers instrumentalists, and singers. Vocalists are so disenfranchised. TV shows like American Idol
and The Voice have shown regard and a way
to draw people and huge dollars. For more
true community versus what you expressed as
“faux community,” create it. It exists, but
fear, competition and toxic energy can be a
trick of negativity. Be helpful and hopeful.
Consider being a source of community. Consider hosting a quarterly tea and the art of the
hang will increase. Sheila Anderson and I
hosted a tea to connect to some of the
younger artists. Jazzmeia Horn showed up.
We plan to do others. It was rewarding in the
spirit of connecting. It is hard in the world
right now. The world gives the appearance
there are limited resources. So for the music
most “suppressed” it would appear so. Be
encouraged and encouraging. It is a bold
ference goes into the community centers,
churches, Boys and Girls Clubs, after school
programs to “play it forward”. I’ve heard
from many people. To a Pastor M from a
church in Bridgeport, I suggested looking in
her church to “play it forward” with the several instruments she had to donate. We discussed her setting up a music education program. March 15, 2015 I’m receiving the
Bronx Chapter Delta Sigma Theta award,
“Standing on Her Shoulders” award. It’s a
breakfast. I’ll be doing the Centennial birth-
“Keep the faith in what the creator has
planned for you to share your art. If you
don’t have the desire and will to exercise
your talent during tough times, you never
had it. Life can be painfully hard. I’ve had
horrible times … Thank God for music
in my spirit and life for being able to
put my audience in mind.”
scary world that we must speak greater abundance to. Don’t compare the hay day. Prepare
for this new day. We communicate the way
the folks who don’t like talking to people do,
such as texting, etc. Respect the dead, support
the living. You can only support what you
know.
JI: Is there anything you’d like to promote or
discuss that I haven’t prompted you about?
AM: I am going into the studio this week, not
for a commercial recording per se, but for the
soul of this artist, World Peace in the Key of
Jazz. I encourage my audiences to “Play It
Forward” by taking old instruments that may
have been in their closet for decades, get
them in good shape, and give them to a disenfranchised young person. I also encourage
folks to support schools, by asking if they
have a music and arts program that helps with
the refinement of all children. Request they
“put music and arts back”. We hope whatever
bigger systemic issues get corrected, however, if we the people get an opportunity to
move the needle to “Degrees To Yes” about
this matter that limits our children. It starts an
important dialogue/ perhaps argument. May it
hit the ears and hearts that can correct the
systemic problem or help to “Play it Forward”. Imagine if every performing arts organization or artists who want to make a dif-
day of Billie Holliday at Bill Saxton’s Place
with Cynthia Scott. On May 15, 2015, I will
make a return performance for the Nora Iroka
Scholarship Jazz Brunch in New Jersey with
a tribute to the great Slide Hampton. Next
year a return performance to NJPAC’s
Dorthaan’s place tentatively, February 14,
2016. Lookout for new recordings. But the
most important thing I hope to see folks to be
with us. Flushing Town Hall, February 14,
2015, 8PM, The Red Ball: World Peace in the
Key of Jazz. 718-463-7700 137-34 Northern
Blvd, Flushing Queens., NY.
Website: AntoinetteMontague.com

“I have been saying
for many years that we are
using the word ‘guru’ only
because ‘charlatan’ is too long
to fit into a headline.”
— Peter F. Drucker
41
Interview
Nick Sanders
You Are A Creature
By Eric Nemeyer
Hear Nick Sanders
February 17, Cornelia Street Café, New York
Visit Nick online at NickSandersMusic.com
JI: Could you discuss your new recording—You
Are A Creature—and its development from its
beginning to completed work?
NS: The composition of our new album features
a collection of music I composed over the last 2
years, following the release of our debut, Nameless Neighbors. We also included our take on a
rarely recorded Ornette Coleman tune called,
“The Blessing.” On Nameless Neighbors, we
introduced a sound I’d been unconsciously developing since I stared composing in my early
teens. As I was writing the material for our new
record, I grew more aware of the specific compositional and improvisatory elements that I was
developing. You Are a Creature is the logical
next step in the evolution of that voice. The
group dynamic of the trio was changing throughout this whole period of time too, which was a
great thing. Connor, our drummer, was creating
a lot of new sounds and textures and Henry had
just gotten a new bass and was expressing newly
found freedom in his playing because of it. The
record itself is sort of like a series of short pieces
or vignettes, each with their own distinct personality and color. However, I believe that each
piece exemplifies my overall compositional and
emotional vision for the music. Because we had
been playing the music for a while, we were very
comfortable going into the studio and recording.
I think we recorded 15-16 different tunes but in
the end used only 13. This gave us more than
enough material to choose from. We recorded
over two days back-to-back at Oktaven Studios
in Yonkers, New York. Having the experience of
producer Fred Hersch, engineer James Farber,
and assistant engineer Ryan Streber overseeing
the project made things go smoothly.
JI: The cover of your CD You Are A Creature
features a sideshow-poster contortionist. You
had said that this is reflective of how you might
look at someone and realize that some of the
things that we do are so strange. Could you
elaborate with some specifics—perhaps citing
observations that fall under the banners of most
humorous, interesting, dramatic and or unique?
NS: That’s a great question! Basically, what I
am saying is that we are all unique in our own
way, and all of this uniqueness is what makes
life so interesting. I remember once when I got
off the subway at Union Square on 14th St. in
New York and was eagerly greeted by a slightly
disheveled looking man with a red accordion
strapped on his back. He looked at me and
smiled and began playing John Coltrane’s Naima
with some pretty solid chord voicings! It was
weird, it was hilarious, it was shocking, it was
inspiring, it made me smile, and was like nothing
I had ever experienced before. I think, despite
our similarities we are all somewhat strange to
each other…yet we all have a place at the table.
We are all creatures and living beings just like
other life forms on this planet…and we do some
“when I got off the subway at Union Square … in New York and was
eagerly greeted by a slightly disheveled looking man with a red accordion
strapped on his back. He looked at me and smiled and began playing
John Coltrane’s ‘Naima’ with some pretty solid chord voicings! It was
weird, it was hilarious, it was shocking, it was inspiring, it made me
smile, and was like nothing I had ever experienced before.”
42
Nick Sanders
pretty weird [stuff] sometimes. In a loose sort of
way the vignette-like compositions on the new
album each reflect a different creature!
JI: What were some of the key understandings
about music and life that you picked up growing
up in New Orleans that are the foundational
understandings that guide your life and artistic
pursuits?
NS: I feel extremely fortunate to have grown up
in New Orleans. When I was younger, I probably
took it for granted but as I get older I realize
what an amazing place New Orleans really is.
For an aspiring musician and composer, New
Orleans is one of the best environments and
cultures to grow up in. The people, music, architecture, food and the myriad cultural rituals are
so closely intertwined that it really is it’s own
world. As a kid growing up I remember hanging
in the French Quarter with my folks and there
would be brass bands playing all the time or
some sort of street performance art or show happening. I went to all the Mardi Gras parades
every year and I’d get right in front so I could
catch more stuff and hear the incredible bands.
I’d get up so close that my nose would be about
two inches from the trombone slide as the
marching players swung their instruments from
side to side. In New Orleans you can even drink
on the streets in public and not get arrested!
Most people there are so laid back and happy—
everyone is trying to have a good time! The
whole pace of New Orleans is a lot slower than
New York City, which I find to be incredibly
busy and intense. As far as music is concerned,
New Orleans is the “birthplace of jazz.” And
there is an unspoken civic duty there of the elder
jazz musicians passing the tradition on to the
next generation. I grew up with heavy classical
training and may not have gotten into improvising and playing jazz if it weren’t for growing up
in New Orleans. Attending The New Orleans
Center For Creative Arts [NOCCA] high school
[previously attended by Wynton Marsalis, Harry
Connick, Terence Blanchard, Trombone Shorty,
et al.] was also a huge influence on me and
really steered me in a good direction. They have
many artistic disciplines represented there including visual art, drama, musical theater, media
arts, classical music and jazz music. All of the
departments had a lot of respect for each other
and there was a lot of collaboration. It really
prepared me for college life at New England
Conservatory.
JI: Could you discuss some of the specific influences on your playing as a result of your associations with Fred Hersch, Jason Moran, Alvin
Batiste, and Danilo Pérez?
NS: I attended the New England Conservatory
for my undergrad and master’s degrees from
2006-2012. For my first two years of undergrad
my piano teacher was Danilo Perez. Danilo is a
force of nature! He is the most enthusiastic,
warm, encouraging, hilarious, and intense
teacher I have ever had. My favorite expression
of his was, “If it looks good, play it!” That had a
very powerful impact on me. It means, have
confidence and conviction in whatever you play
and don’t think about it too much. He also got
me into doing these exercises playing a different
rhythm in each finger with both hands! It was
really challenging but a great exercise for inde-
cepted! That’s what eventually led to having him
in the studio for my first and second albums—
which was fantastic. Fred definitely has changed
my life in an incredibly rich way. Studying with
Jason Moran was just so cool. I studied with him
for my whole time in grad school at NEC. I remember my first lesson—just discussing music
and actually sharing our musical interests and
people that we dig. It wasn’t just with Jazz music
either. It was all kinds of music. We talked about
“The point about human nature is an
interesting one. I have encountered a
few club owners that seemingly have
tremendous egos and won’t book you
unless you know them personally as a
friend or whatever. I really dislike that
aspect of the business. It should be
about the music and not about people
that are good buddies of yours…”
pendent coordination. One time he had me read
aloud a news article and try to play on the piano
in the same way I was reciting the article. At the
time I thought it was really strange but it made
me think about phrasing in a new way and
opened up my ears to a whole new world. I first
met Fred Hersch when I was a senior and was
super nervous the first time I played for him. I
vividly remember playing the Harry Warren tune
“You’re Getting To Be A Habit With Me,”
which I don’t think Fred was very familiar with.
After playing it he quietly said “very nice” without really looking at me and then asked me to
play some other tunes. I thought to myself “I
guess I passed the first test.” After playing one to
two more tunes he had some nice things to say
and then proceeded to play something for me.
After he finished I almost felt as if I wanted to
quit playing. It was unbelievable. It was some of
the most beautiful and honest solo playing I’d
ever heard. Fred really is a pianist’s pianist and I
think will be considered one of the greatest of all
time—and definitely is already. He is a living
legend for sure. He really taught me about sound
quality, voice leading, and getting a lot of voices
moving together at the same time, but honestly
just watching him play was the greatest lesson
for me. During the last year in my master’s program, my trio came in to a lesson and played
some of my music for him. Afterwards, he told
me that we had something really special and
unique going on and that we should record together. Later that day, he offered to produce my
first album! I was speechless and gladly ac-
indie rock—specifically the band Deerhoof
which is one of my favorite rock bands right
now—hip-hop artists, and a lot of free improvised music. He also gave me some really interesting exercises for opening my hand up and
using larger intervals, which was invaluable for
me. He also pushed me in a physical way and
mental way. I remember he asked the trio and
me in a lesson to go absolutely nuts improvising
and just “go in” and he told me to stop when we
couldn’t handle it anymore. We did the exercise
and eventually he stopped us! My hands were
literally shaking and I couldn’t feel my fingers
afterwards but it really inspired me to just go
wild on the instrument. Lastly, the late jazz clarinetist Alvin Batiste was a guru for me and my
first mentor. He, along with pianist Michael
“Formulate and stamp
indelibly on your mind a mental
picture of yourself as succeeding.
Hold this picture tenaciously. Never
permit it to fade. Your mind will
seek to develop the picture.”
- Norman Vincent Peale
43
Nick Sanders
Pellera were my main teachers in high school.
The best thing about Alvin was that he was always so happy and always practicing! Even
though he was in his late 70’s-early 80’s or
something. It was so inspiring. Every morning I
would hear him practicing scales or doing some
kind of technical exercise. He had this array of
different “sayings”. Here are some of them that I
can recall off the top of my head: “It must be
jam because jelly don’t shake like that,” “Too
much analysis is paralysis,” “Hipness is a profound colloquialism that expresses an abstract
truth,” and my favorite, “You don’t want to get it
too good,” (in reference to rehearsing for live
performances). He was also so encouraging and
kind of took me under his wing. I remember
when I was 16, he hired me to do some gigs at
Snug Harbor in New Orleans and it was probably one of best learning experiences of my life.
He would always call tunes that I didn’t know
and I just had to sort of figure it out on the spot.
It worked out ok and the gigs were a great success. I’ll be forever grateful for having the opportunity to know, study with and play with
Alvin Batiste.
JI: What were the benefits and or challenges to
your artistic pursuits that you experienced being
in an academic environment during your college
years at New England Conservatory?
String Quartet rehearsals to experimental noise
music and everything else in between. The fact
that the school was located in Boston was great
because it felt like a city— certainly bigger than
New Orleans—but it wasn’t so insane, like New
York, that I had a really strong sense of focus
when I was there. I could really “stay in the
weeds” so to speak and practice and hone my
musical voice without feeling pressured to present myself before I felt I was ready.
JI: What are your opinions about the benefits or
shortcomings of the academic route versus performance and apprenticeship in the real world
that had been the pathway to a performance career in the past?
NS: I think there are pros and cons to both
routes. In my opinion, the ideal situation is to
have the best of both worlds. Here’s a story I’d
like to share that I think proves this point. During my sophomore year in undergrad I was in an
ensemble coached by saxophonist George Garzone, which was fucking dope! After a while,
George started having me play shows with him
in New York and in Boston. I remember when I
took the Fung Wah bus from Boston to New
York to play a Friday night show at Cornelia St.
Cafe with Garzone on tenor, Ari Hoenig on
drums, Peter Slavov on bass and Jamie Oehlers
also on tenor saxophone. That was a really
amazing experience for me. We had no rehearsals and I was nervous as hell. I remember I kept
going into the bathroom before the show and
looking at myself in the mirror trying to get a
“What is Jazz? Is jazz a specific kind of
music or is it a spirit or mindset? I tend
to go with the latter. Jazz is about
freedom of expression and being you
instead of just copying and rehashing
the same styles/playing that came before.
It’s about evolution. This is what all the
great artists and innovators in the music
have done before us!”
NS: NEC was a great place to be during the time
that I attended. The whole feel of the conservatory is really homey and nurturing. I believe it’s
technically the oldest conservatory in the country
and the halls and feel of the school definitely
convey that. That in and of itself was an inspiration for me. As to the question, personally I felt
it was mostly beneficial for me. The community
was great because all of the students there were
really open musically to different influences and
I was always roaming the halls stumbling across
music ranging from Bartok and Beethoven
44
hold of myself! The show went really well and I
continued to play on and off with George
throughout my undergrad in Boston and New
York. There is a lot of controversy within the
jazz community about how the educational system is shaping the music today. This is another
reason why NEC was so amazing. They were so
open and accepting of whatever kind of music a
person was into and there were not that many
restrictions. I’ve heard stories of certain schools
where they might have a very strict and structured approach to what jazz music ought to be.
Because of this, it forces a specific viewpoint
down people’s throats and they just end up
sounding like everyone else who came before
them and not like themselves. It’s a shame and I
think it’s a problem that needs to be talked
about, discussed, and hopefully solved in the
future. I’ve even had discussions about this with
some of my peers in New York. What is Jazz? Is
jazz a specific kind of music or is it a spirit or
mindset? I tend to go with the latter. Jazz is
about freedom of expression and being you instead of just copying and rehashing the same
styles/playing that came before. It’s about evolution. This is what all the great artists and innovators in the music have done before us! Miles
Davis and Ornette Coleman are perfect examples
of this in my opinion. Miles and Ornette were
always pushing and trying to expand and test out
new things musically and not stay in the same
place. That being said, I still think it is possible
for one artist to have a specific and unique voice
and kind of stay there and not “progress” as
much or try to do completely new genres and
mix things up. Thelonious Monk falls into this
category for me. I think both of these examples
are equally praiseworthy for different reasons. I
think the shortcomings of studying jazz in school
depend on the structure of how it’s run. If you
have teachers telling you “You have play be-bop
lines and sound a certain way while playing over
Dewey Square or else you aren’t a real jazz musician,” is a very toxic and harmful attitude to
take in my opinion. That being said, I do believe
it is important to learn what came before and to
understand it and be able to play it in a sense…
just don’t get stuck there for eternity. There are
some people that want to just be replicas of
Charlie Parker or Freddie Hubbard and that’s
their decision and it makes them happy then
that’s great but it’s not really my cup of tea. It
goes against what jazz is all about in my opinion.
JI: What do you see as the challenges facing this
music we know as jazz, and the prospects in the
years to come?
NS: This is a very complex question and really
beyond my worldview. I guess it presumes there
is a challenge! I’m not really looking at it this
way. I think the music is alive and well and like
anything in life takes a commitment in order to
work. I’m looking forward to continuing what I
am doing and trying to make interesting music
that will enrich the lives of as many people as
possible.
JI: In winning the Marion and Eubie Blake International Piano Award, what were the challenges that you experienced and what did you
learn as a result of winning the award?
NS: During junior high school, as a classical
piano student, I learned several Scott Joplin rags.
At first the left hand jumps were very challenging, but with a lot of practice I was able to learn
how to hit them. I had played a ton of Bach preludes and fugues so I was prepared for the syncopation. I just loved the sound of Joplin. When I
switched to the jazz program at NOCCA in high
school, I continued experimenting with stride,
GC: Well at this point in my life, I would
choose being a leader but when I was younger,
maybe I would have picked being a sideman
because I got to play with everybody. It’s like
going through jazz history for me.
George Cables
explore. They’ll tell you if you’re screwing up.
Look, with Joe Henderson, when I thought I
could play and stretch the harmonies a bit, he
told me, “I think I play pretty good changes so
could you play the regular changes.” I had to be
told a couple times by different people to stay
home more. That was part of my education. Now
I feel more secure but there are moments that
you’re in a new situation so what is this gonna’
bring? I think that if you really start feeling that
you’ve got it no matter what, you might be in
trouble. One thing I would like to say about all
these lifelong experiences is that people ask me a
lot about the horn players like Dexter, Freddie,
and Art Pepper, but one person I wind up forgetting to mention as one of the most important
people to me is Bobby Hutcherson. Maybe that’s
where I finally began to feel that I belong.
Maybe it was because of the nature of our instruments and the nature of our relationship in the
music. Bobby probably played and recorded
more of my music than anybody. I learned a lot
from playing with Bobby and there was a lot of
interaction. That was one of the most rewarding
musical relationships I’ve had as far as having a
musical conversation, being that close with
somebody.
JI: Do you have a Bobby Hutcherson memory
to share?
GC: I was living in LA at the time and Bobby
came to the house late morning when I was in
bed. I had been up late the night before, so I’m
sleeping and suddenly somebody was shaking
me and saying, “Hey George, wake up!” It was
Bobby and he said, “You got any tunes? We’re
getting ready to record.” [Laughs] Bobby was
living in the Bay area at the time.
JI: Do you find it odd that, although you’ve
made over thirty recordings as a leader, dating
back to 1975, you are known as a sideman?
GC: That’s because I played so much as a sideman and I haven’t played as many gigs as a
leader. I’m playing with great people so I don’t
have a problem with that.
JI: You’re fine with being a sideman but if you
had to choose, would you only be a sideman or a
leader?
“When people are
desperate or wealthy, they turn
to socialism; only when they have no
other alternative do they embrace the free
market. After all, lies about guaranteed
security are far more seductive than
lectures about personal
responsibility.”
- Ben Shapiro
JI: What was the hardest thing you had to learn
as a sideman?
GC: To lay out, maybe, when to lay out. You
want to play, you want to be a part of it but you
need to know when not to play. That’s important.
JI: You mentioned Dexter Gordon earlier, who
you played with in the late ‘70s. That was a pivotal time for you. You’ve referred to him in the
past as “my musical father.” How was he influential for you?
GC: I got back to the piano with Dexter. Before
him, I had been playing a lot on Rhodes, which I
actually liked to use to write, especially the suitcase model. It just seemed to have a certain type
of color and set a certain type of mode for me
that inspired me. Dexter also allowed me freedom. One day we were playing a ballad and
Rufus [Reid] and Eddie Gladden suddenly
stopped playing. It wasn’t planned, at least it
wasn’t my plan! So it was truly a piano solo and
honestly, I didn’t feel that comfortable playing a
piano solo but I played. It kinda worked out. Dex
didn’t say don’t do that again and next ballad,
same thing! So we started doing that and I
started exploring the piano more and I’m glad he
did that because that helped me and my confidence and my concept of solo piano. Dexter was
like a musical history book and we got tight and
he would tell me about territorial bands and his
experience with Art Tatum. He’d get so excited
it was like he was nineteen, with that kind of
fervor. He’d say, “Art Tatum didn’t let saxophonists sit in with him but he let me play with
him!” [Laughs] He’d say it with such pride and
excitement. Dexter left LA with Lionel Hampton, he played with Louis Armstrong, and he was
major part of the bebop concept. Bird was the
guy on alto and Dexter was the guy on tenor. He
influenced Trane, for sure. He’d call all the saxophonists his son. “You know Trane, he’s my
son.” There was definitely a seriousness about
the music but I never felt like he was taking
himself too seriously. This is serious business
but… Woody [Shaw] once told me that he was
in the bathroom and Newk [Sonny Rollins] was
in there with him. Newk turned to him and said,
“You’re Woody Shaw,” and then complimented
him, and then told him, “Don’t believe all your
press clippings.” I think Dexter was that way, he
knew how to smile and laugh and enjoy life, and
still be dead serious about the music. I think he
was the epitome of what jazz is about. He had
that drum in him. Wynton Kelly and McCoy
Tyner had that drummed in them. Herbie and
Miles and Trane had that drum in them.
JI: Your longest standing relationship was with
Art Pepper, starting in the mid-’70s until he died
in ‘82. You picked up with him during his comeback as a leader after a long addiction to heroin
and incarceration. Would you talk about the time
you spent with him and also, did you have any
reservations about working with him?
GC: No, I didn’t have any reservations about
working with him. I’d heard more stories about
Philly Joe Jones and I had reservations about
working with him but it didn’t stop me! [Laughs]
I’m glad I did with both of them. I first met Art
through Lester Koenig, who was a great champion of his. Lester Koenig was with Contemporary Records and some people used to call him
the only honest man in the music business. He
was a great, great man and we had gotten together earlier on Woody Shaw’s record. He introduced me to Art and I didn’t know much
about Art at the time but I was game. I was
pretty adventurous, I still am I guess. I liked to
work with different types of people, learn new
things and see what I could give. I got to know
Art, I think he liked me, but sometimes I was
playing out and he didn’t know what to think
about me [Laughs]. But we got along fine and
there was nothing that scared me about Art.
Sometimes he was reticent because he wasn’t
sure how people viewed him. We got close, we
got to trust each other and hang out and that was
just great.
JI: You were Pepper’s favorite pianist, he
called you “Mr. Beautiful.” What did he value in
your playing beyond that of his other pianists?
GC: He liked what I played. He said he liked
that “downhome” feeling I brought. I paid attention to what he played. It wasn’t my appearance
that he was referring to when he said “Mr. Beautiful!” [Laughs] I think it was about trusting our
relationship and that I was not going to betray
him or do something to hurt him. That I was
always very supportive of him. We had our moments but [Laughs] we played many gigs in
many places including Japan. In those days, it
wasn’t unusual for us to snort cocaine and I remember onetime we were playing in a place in
Malibu and we used to go upstairs on the break
and just sit around and talk. So this night I had
left my wrist bag downstairs, in those days everybody had a wrist bag that you would carry
your ID and everything in it, so Art saw it when
he was packing up his horn and took it with him.
He called me later and said, “George, you know
I got your bag. I took it by accident. I’ve got a
bag just like it, man, I thought it was mine.” But
you know [Laughs] that was lame! He brought it
back to me and said he was sorry but meanwhile,
he still went through it and saw everything that
was in it. He had looked at my ID and said, “I
didn’t know you were born in bla-blabla” [Laughs]. Months later, I was sitting around
the house, wishing I had a “bump,” and I started
looking in the wrist bag to see if I could find
anything and I found this vial with about a gram
of coke. Art had put that in there months ago to
apologize but he didn’t tell me! It was supposed
to be a surprise [Laughs]. I mean it was a nice
surprise at the time but, my God, it could have
been a terrible surprise! That was Art. He was a
good guy and he had a sort of a jail-house mentality. He had spent a lot of time in jail and he’d
say, “I don’t rat on anybody, I’m a man about
this.” He believed in what he believed in and
45
George Cables
that’s what he did. If Art said it, you could take
it to the bank.
JI: Art Pepper’s last recording was a duet album
with you that included “Goin’ Home,” the old
spiritual about death and the soul’s return to
God. Pepper died suddenly about a month after
making the recording. What do you make of that
coincidence? Did anything stand out during the
recording of the song or album?
GC: “Going Home” was my idea because my
mother-in-law at the time had just passed away
and I did that as a tribute to her but when Art
passed away, it had to be about Art. It was definitely a coincidence. He didn’t pass away because we did “Going Home.” He didn’t say I
think it’s a nice time to go [Laughs].
JI: You later played with Frank Morgan, who
also did significant time in San Quentin for heroin addiction and actually played in a prison jazz
ensemble with Art Pepper. How would you compare your experience with Morgan versus Pepper? Were there similarities between the two
horn men battling addiction?
GC: I don’t know. That’s a good question. I
was just involved with a wonderful documentary
about Frank Morgan called The Sound of Redemption. It’s a film by N.C. Heiken and in-
wasn’t a picnic. There was one guy in there I
spoke with who had been in for 33 years. For
one thing, I know both Art and Frank were affected by the time he spent in San Quentin.
Frank was more of a con man. That was his
thing, he was a con man as well as a wonderful
player. After that experience of being in San
Quentin, I felt like I had to reevaluate Frank, not
so much Art though, and I’m trying to figure out
why that is. With Frank, you couldn’t trust him,
you never knew which Frank you were gonna’
get. He was a many sided person, when you
dealt with him you could never know how he
was going to react. He could be a very warm
person but you never knew what to expect. It
seemed that sometimes he might sabotage his
own performance by making the band very uncomfortable. “What are you doing? You’re not
listening to me.” I once asked him if he had a
band in his head, he said, “Yeah, I got a band in
my head.” So I said, ‘Well, we’re not in your
head, we’re here.’ I think those years in prison
really affected him and perhaps he felt resentful
of others such as Bud Shank who were out and
doing well. Frank is a funny guy because he
could be very sensitive, very warm, very helpful
and on the other hand very self-destructive and
very insecure. With Art, you always knew where
you stood. With Frank, sometimes you didn’t.
We would be hanging buddies but you could feel
off balanced with Frank. But it was a real experience with Frank because he loved to play ballads
and to get into playing the song and the mood.
JI: Is there an aspect of your playing or com-
“I didn’t want to be in New York for a minute
because all the pianists in New York were
starting to sound alike, they had similar
devices, many of them. It was the New York
thing. This is what you do, like if you go to
a jazz camp, you gotta’ drop two, etc.”
spired by Michael Connelly. A very important
part of the documentary is a concert we did in
San Quentin and that was moving enough. I
mean being there and when we left the concert, I
felt changed in a way. Seeing the guys in there, it
(Continued on Page 46)
“The study of history is
a powerful antidote to contemporary
arrogance. It is humbling to discover how
many of our glib assumptions, which seem to
us novel and plausible, have been tested
before, not once but many times and in
innumerable guises; and discovered to
be, at great human cost,
wholly false.”
- Paul Johnson — Historian, Journalist, Author
46
posing that you feel still needs work?
GC: Sure, [Laughs] I don’t know what it is but
right now, it’s just being more prolific, writing
more, finding new things to say or ways to express. I haven’t written a whole lot lately but I
am using my sense of humor more I think. I
write some, I have a little germ and then it has to
sit for a while until it marinates. I’d like to write
better! I’d like to do whatever I do better! I want
to be a better person, a better writer, a better
pianist.
JI: Has there been a moment or a performance
that you can point to as the most transcendent of
your career?
GC: There are nights like that, there’s been
some nights at the [Village] Vanguard. Some of
the nights I’ve worked with Victor Lewis and
Essiet Essiet. There are nights like that that you
do and you have to let them go because if you
don’t, you’ll be trying to do the same thing over
and over again and that just makes everything
worse. Moments with Freddie, moments with
Bobby. I did a duet with Bobby in San Francisco, maybe twenty years ago, that was just a
moment in time, just magical. There are those
magical moments sometimes playing solo on a
piece where everything is flowing right and also
with a quartet with Ray Drummond, Victor,
Craig Handy. There have been moments everywhere, at the Keystone Korner, with Dex, but
they kind of go because you are looking for the
next one.
JI: What’s been your worst travel experience?
GC: I’ve had a few, yes! I had worked with
Buddy Montgomery in 1968 and Buddy didn’t
fly. I was excited to be in that group with Lenny
White and Clint Houston. Buddy had this
Camaro that all four of us got into with a U-Haul
on the back with our luggage and all the instruments – the vibes, drums, and bass. We drove
from Milwaukee headed to Vancouver through
Minnesota, North Dakota, Montana, Idaho,
Washington, and we were running out of gas.
Finally, we had to stop someone and find out
where we could get some gas and ended up driving to this farm which had a gas pump. It was a
Quaker farm and this guy comes out with these
little kids in bonnets, and he’s on the porch and I
swear he looked like he just stepped off the
Quaker Oats box. The kids ran to the car and I
stepped out and they stopped dead in their tracks
[Laughs]. They had never seen anything like us!
We ended up going around to the back and this
guy filled us up and the gas was unbelievably
cheap. We drove to the West Coast, got through
Customs and into Vancouver where we were
playing a place called Ronny’s River Queen and
the woman there was notorious. Apparently, she
had angered the phone company so much they
had come to unplug her phone and she got mad
and had thrown the phone at them so they
wouldn’t come back. So the phone wasn’t working, plus there was a newspaper strike so there
was no publicity. Buddy went to get a draw,
which is an advance. He got sixty dollars for the
whole band. Here we are, after driving all this
way, so he had to find a friend, put him on the
door to collect the money. When we left, we
didn’t have money. Lenny and I were staying at
people’s homes and Buddy and Clint were in a
hotel. So we’re thinking how are we going to
pay for the hotel? We can’t sneak out or throw a
sheet out the window so we got the woman to go
and write a check for the hotel. Now the guy at
the hotel had to know that the woman really
didn’t have any money and that the check wasn’t
any good but that got us out of there. So we start
driving to LA for a record date and in southern
Oregon we hit a mountain and it starts to snow.
Here we are, in this Camaro with a U-Haul on
the back and even the trucks are stopping to put
on their chains but we don’t have any snow tires
on our car. We’re slipping and sliding so we had
to get out and push the car up to the summit.
Meanwhile, the car is slipping towards the edge
George Cables
of the road and off the mountain. Finally, we got
to a spot we could hop back in the car and coast
down. We got to LA, did the record date, everything is fine but could we get paid? No, the
money has to go through the union, so there we
are broke in LA. Lenny, I think had just done
Bitches Brew with Miles, so we all followed him
down to Shelley’s Manne Hole where Lenny
asked Miles if he could borrow some money.
Miles gave him a twenty dollar bill [Laughs] so
here we are, cool for a minute. We were staying
in someone’s house on Crenshaw and I had to
send home for money from my mother to get a
ticket to fly back to New York from LA. So that
was, by far, my worst road experience.
JI: During the 2008 JVC Jazz Festival you performed solo as part of a double bill with Cecil
Taylor. Is there a story behind you being paired
with him and what are your feelings on his playing and position in jazz’ tradition?
GC: I like Cecil. Cecil had to struggle to find
his own place, his own identity, and not just
musically. He had to learn to be comfortable
with his own identity and the surroundings. We
had mutual friends that introduced us. These are
people who we’d hang out with, maybe get high
with, and this was way before 2008. Art Blakey
would be around talking with Cecil which was
priceless. We got to know each other over the
years, hanging at Bradley’s. Musically, we don’t
play alike, but playing opposite Cecil was a good
contrast. There was somebody that wanted to
produce the concert with me and she was also
handling Cecil, producing stuff for him, and she
thought the two of us would be a good foil for
each other. We did a couple of things like that
that were really nice. And that concert, I really
enjoyed that a lot, but it was really strange.
There was this red Steinway, fire engine red!
Actually, I really loved the piano but Cecil wasn’t crazy about it, he’s a Bosendorfer person. I
thought I played well, I was really happy about
my performance. It’s always nerve-racking when
you’re playing solo. What’s the instrument
gonna’ be like? How am I gonna’ deal with this?
Speaking about Cecil, I remember visiting
Tootie Heath at the [Jazz] Standard, I think he
was playing with Tommy Flanagan at the time,
and he said, “Come on, we gotta’ go down to the
Blue Note because Cecil is playing with Elvin
[Jones]. Elvin had his band and on the breaks,
Elvin would play with Cecil. So we went there
and at the time, Cecil was playing, Elvin was
rumbling, and when they got through, the people
went crazy and Tootie leaned over to me and
asked, “Hey George, what was the name of that
tune?” [Laughs] He had a great sense of humor!
I think Cecil is a revolutionary player. I heard
the earlier stuff he recorded like an A minor
blues, he comes out of the tradition but he just
plays, he’s really different, he’s really free. I
don’t play the way that Cecil plays but I have a
lot of respect for what he does, especially when
he plays solo piano, especially that, I love that.
And I love the high energy he uses when he
would have his band with him and I love the idea
of him struggling and finding his identity and
fighting against all odds to be Cecil Taylor. He
has a special place in the history of jazz because
he’s broadened the scope of many people who
may not play exactly like him, but play broader
and bigger than they would have. They have
more to look at. He’s opened the floodgates in a
way of how to approach music, how to be free,
the idea of group improvisation and high energy
playing.
getting ready to hit a note, and this was right in
Malibu at a time that the beach was being
eroded, and all of a sudden, he was about to play
a note when whoosh, you could hear the waves
come right in through the pylons. So Bobby
starts playing with the waves [Laughs]. He incorporates it into the music. Bobby is one of
those people who can think of something in the
moment. Gary Bartz is very creative. People like
to find a phrase to describe some people like
with Trane it’s like getting the word straight
from god, Miles is the Prince of Darkness. With
Gary, somebody said, “You know what? Gary
Bartz is incendiary” and I think that is the per-
“Bird was the guy on alto and Dexter
was the guy on tenor. He influenced
Trane, for sure. He’d call all the
saxophonists his son. ‘You know Trane,
he’s my son.’ There was definitely a
seriousness about the music but I never felt
like he was taking himself too seriously.”
JI: Unfortunately, you’ve had a number of devastating health and personal losses over the past
decade. You’ve dealt with kidney dialysis, a
combined kidney and liver transplant, followed
by a repeat kidney replacement, as well as the
death of your partner Helen. Have these challenges changed you as an artist?
fect description of him. Victor Lewis is very
creative and you never know what he’s going to
come up with. Cecil McBee! There’s one! How
about that? Cecil can start an improvised solo
from zero. I’d say Bobby and Cecil.
GC: It changed me as a person. I think it made
me more serious about what I do and brought
home the fact that there are things that I want to
do that I may not have time to do. I may not
have much time and so I want to get them done.
You learn so much about life through this music,
by playing with people and how you deal with
setbacks, how you deal with life and other people you like and don’t like. Things have just
become more urgent. I’ve been around a little
bit, I’m almost seventy years old, it’s been a
great life for me so far and I’ve been very fortunate, really lucky to know the people and musicians in my life. People like Helen, Todd Barkan, Eddie Henderson, Freddie Hubbard, Dexter
Gordon, all the people at the Keystone Korner,
you know that was a family, all the people that
worked at the Vanguard and at Bradley’s. I feel
like I’ve lived many lives. The transplants really
freed me. Yeah, I have to take pills but so what?
All these setbacks have made everything more
important to me.
GC: Helen was in San Francisco, I was in New
York. I used to keep my TV on all the time, it
was like my babysitter. I was in Queens and
CNN was on and I called Helen right away, it
was six o’clock her time, and I told her to turn
her TV on so that we could watch it together. I
didn’t know what to think or do. To go into
Manhattan seemed like something crazy. I mean
what could you do to help? If you went in, it
seemed all you’d do was to create more chaos. I
knew people who saw it out a window but …
Helen and I went there about a year later in November and you would still smell that dust.
JI: Here’s the hardest question. Who is or was
the most creative artist you’ve ever worked
with?
GC:
them.
about
when
[Pause] Bobby Hutcherson was one of
I remember being at Pasquale’s, he was
to play a note, and he can be dramatic
he plays, he lifts up his hand when he’s
JI: What was your 9/11 experience?
JI: The last few questions are from other pianists: Fred Hersch asked – “I know George lived
on the West Coast for some time. Could he describe the differences between there and NYC?”
GC: [Upon hearing the name he yells YEAH!
Oh, he had a question? You’re kidding?
{Laughs} OK Fred.] Well, there’s more stuff in
New York, for one thing. I mean there’s more
places to play, more musicians, and more competition, good and bad. Good in that there are a
lot of ideas flowing, people with different ideas
that are right there, visible to you. In the west,
you have your space. I’ll tell you one thing, I
didn’t want to be in New York for a minute because all the pianists in New York were starting
to sound alike, they had similar devices, many of
47
George Cables
know if they’ve affected me musically, I just get
into that world. But yes, here Ran, [claps his
hands], thanks for that.
them. It was the New York thing. This is what
you do, like if you go to a jazz camp, you gotta’
drop two, etc. But out west, it just felt like in
some ways you kinda missed all that immediate
interaction and the energy of New York. At least
I did, being born in Brooklyn, New York. But I
loved the Bay Area, the vibe. The West Coast, if
you take LA, LA was big and you could drive
around and I liked that because when I was in
New York, I didn’t have a license, didn’t drive,
and I loved driving around in LA. I loved it! I
mean capital L-O-V-E-D driving around in LA.
But LA got old. I mean musically, it was not in. I
lived in LA for twelve years and I was working
there with Freddie. At times I’d be on the way
back to LA but I’d get stuck in San Francisco
and Todd [Barkan] would say, “Hey George,
what are you doing next week?” And so I’d stay
another week in San Francisco and play at the
Keystone Korner. I loved the Bay Area, loved
San Francisco. As a matter of fact, I spent so
much time in the Bay Area when I lived in LA, I
think a lot of people thought I lived in the Bay
Area. The energy in the Bay Area was so great,
but again, the difference between the east and
the west. It’s good for your head out west and
for one thing, the football games come on three
hours earlier, [Laughs] and the second game is
over at four o’clock and you could go for a walk.
Everything just seemed brighter, especially in
the Bay Area. There’s something about nature
out there, even being in the city of San Francisco, it wasn’t as crowded. I still miss it.
Gerald Clayton asked – “Do you feel that there
is a specific goal, intention, or purpose when you
create music? The effect of your music on the
listener is profound with or without a narrative
surrounding it, but I’m curious if you have a
specific goal in mind – an aesthetic, or even a
spiritual, social, or political message that you
strive to express in your music?”
Ran Blake asked – “I know that you are a devotee of film noir. I was artistically influenced
early on by film noir, most profoundly by
[Robert Siodmak’s] Spiral Staircase. What are
your thoughts on Spiral Staircase and has film
noir effected your music?”
GC: Ooh, yes, Spiral Staircase! Helen was that
poor, little mute girl [Laughs] with George Brent
and Ethel Barrymore. I loved Spiral Staircase
and of course, I was really moved because the
victim / heroine, her name was Helen. That was
kind of a creepy movie but I enjoyed it and loved
the suspense of finding out who was the bad guy,
who that eye belonged to. One of my favorite
films is Murder My Sweet with Dick Powell and
Claire Trevor, whose work I really dug. I love
the movies that have a narration going. I don’t
“A society that puts equality,
in the sense of equality of outcome,
ahead of freedom [and equality of
opportunity] will end up with neither equality
nor freedom. The use of force to achieve
equality will destroy freedom, and the force,
introduced for good purposes, will end
up in the hands of people who
use it to promote their
own interests.”
- Milton Friedman, Economist
48
GC: No, not consciously at this point. But yes
in general. I’ve been known to say that the
“Jazz” is in the drum. By that I don’t mean just
literally. Each player (that includes vocalists)
should have that drum inside him or her. Rhythm
is one of the most important things that defines
Jazz. Duke Ellington said “It don’t mean a thing
if it ain’t got that swing.” To me that includes
groove, bump etc… Other elements that are
important to me are melody, energy, harmonic
colors, and of course improvisation. I may try to
paint a picture in motion like “Ebony Moonbeams”. “Helen’s Song” was just my impression
of Helen. Just something I wrote when I was
thinking of Helen. Each listener will hear it and
feel it in their own way and I don’t try to impose
a viewpoint on the listener and anyway, if I did,
they’d probably see it another way anyway. I’m
always thrilled to see how somebody else sees or
hears my music, how it effects somebody else or
how somebody else approaches my music when
they play or arrange it. But let me say this; I’ll
never forget seeing Miles Davis play, and the
effect on me was profound. It was like watching
real magic happen right in front of your eyes and
you were transported to some magical other
worldly dimension. Or when I played a concert
with Sonny Rollins in the LA Art Museum’s
garden. Halfway through the concert, when I
looked at the audience there seemed to be a rainbow like aura above them. There was this
strange kind of smile on everyone’s face. They
were all being lifted, transported to this other
beautiful place together! I guess that what I’m
looking for.
and Herbie Lewis and [pauses and says, ‘I’m
still just so moved by what Geri said’] and I
really liked that and was struck by the interaction
and how it felt. It’s not a perfect record but I
really like that. Of course, I like My Muse because it meant so much to me. I think that’s the
best version of “Helen’s Song” and I thought the
record really expressed the picture of Helen. OK,
and Bobby again with his Highway One recording. I haven’t heard this record in a long
time but I like the fact that he did four of my
pieces on this record. I’m really honored by that.
Oh, Cable’s Vision, that one because Freddie
played his ass off! I can say that, right? Everybody played great and I got Bobby and Freddie
and Peter Erskine and Tony Dumas and Vince
Charles and Ernie Watts. All those guys together, that was great. Also, Phantom of the City
which nobody ever put out as a CD but I was
very proud of that record with Tony Williams, I
was in seventh heaven, and John Heard. There
was one I did with Billy Hart and Cecil McBee
called Night and Day. I gotta go listen to that
again. I don’t listen to myself a lot, I go back
every now and then. I would say any record I
was lucky enough to have played on with Dexter
or Freddie. People tell me they like Keep Your
Soul Together. I liked playing with Freddie, he
was just great. Freddie Hubbard, you know he
was the kind of guy who did a lot of crazy things
and he rubbed a lot of people the wrong way but
people ought to know that he was really like one
of the warmest people you’d ever want to know.
When I worked with him he bought me that
Fender Rhodes, he didn’t say that he bought it
for me but he did. He said, “Here, you keep it at
your house,” and I kept it, that was mine
[Laughs]. You know Freddie would say anything. Sometimes we’d sit down and he’d talk
about very personal things, things that if it were
me, I would have trouble telling my best friend
but he would be very open and I would think,
‘This is Freddie Hubbard talking to me.’ This
was still early on. So those are some of the ones
I like and I have to go back and listen to some of
them in light of that statement by Geri. Thank
you for that Geri.
JI: What do you listen to at home?
Geri Allen said – “George, I am very grateful to
you for your kindness and encouragement
through the years. You are a great inspiration as
a pianist and as a person. I was listening to you
as a student at Howard, trying to internalize and
channel musical moments of yours on recorded
performances such as Think on Me, preparing to
finally come to New York City in the early
eighties. The scene was so vibrant then, and you
were clearly at the center of the most visible and
respected bands because all the greatest musicians wanted you. You have remained one of the
most trusted and respected pianists in our idiom.
Your body of work is absolutely stunning. What
are some of your favorite records and collaborations?” With love and great respect, Geri.”
GC: Sometimes the latest thing I’m working on
or actually some of Gerald Clayton’s stuff
[Laughs]. I listen to some Scarlatti and Chopin
otherwise I’m watching old movies or I’ll listen
to some audio books like Sherlock Holmes. You
know I can listen to them over and over just
because I love the language. I wish I could find
some audio books of Poe.
JI: Do you have any final comments?
GC: No, I’m just happy to be where I am today,
amazed where I am actually. I’m amazed at my
life. That blows my mind and I’m looking forward to more.
GC: Thank you Geri. Oh my, sometimes I forget recordings because you have to let go. I
haven’t listened to a lot of these but I listened to
a Bobby Hutcherson thing called Four Seasons
the other day with Bobby and Philly Joe Jones

CD REVIEWS
Corina Bartra
TRIBUTO A CHABUCA GRANDA – Blue
Spiral 97920 – bluespiralmusic.com Maria Suenos; Me he de Guardar; *Jose Antnio; *Bello
Durmiente; Tun Tun Tun Abre la Puerta-La
Herida Oscura; *La Flor de la Canela;
Canterurias; Cardo y Ceniza; Una Larga Noche; Coplas a Fray Martin; Camaron; Puente de
los Suspiros; Fina Estampa
PERSONNEL: Corina Bartra, vocals; Matthew
Steckler, tenor; Billy Newman, guitar; Yeisson
Villamar, piano; Uri Kleinman, bass; Vince
Cherico, drums; Perico Diaz, cajon; On *: Abel
Garcia, tenor; Coco Vega, guitar; Pepe Cespedes, piano; Eduardo Freire, bass; Javier
Linares, drums; Henry Campos Perez, cajon;
Kayra Guti, background vocals
By Clark Griffin
Corina Bartra, an innovator in combining
together Peruvian melodies and rhythms with
jazz, pays tribute to another Peruvian innovator,
Chabuca Granda, on her latest Blue Spiral CD.
Chabuca Granda (1920-83), who was born
Maria Isabel Granda Larco, began singing when
she was 12 in her school’s choir. When she ws
17 she formed a duo (Luz y Sombra) with a
friend, performing often on the radio. By 1940
she was having success singing Mexican songs
with a trio. Gradna blossomed as a songwriter,
breaking new ground by writing pieces (many of
them waltzes) that utilized Afro-Peruvian
rhythms such as the tondero and the vals criollo.
Among her best-known originals were “La Flor
de la Canela (The Cinnamon Flower),” “Jose
Antonio,” and “Fina Estampa,” each of which
Bartra interprets on her tribute album. Throughout her career, Chabuca Granda was a major
force in Peruvian popular music and she is still
much beloved in Peru today.
In her career, Corina Bartra has taken
Granda’s innovations a few steps further by
utilizing Afro Peruvian rhythms and Peruvian
melodies in her brand of modern jazz. Bartra
earned a Masters in vocal performance and splits
her time between living and performing in New
York and Peru. A composer and arranger in
addition to her vocalizing, she has led her own
CDs for the Blue Spiral label since 1994.
Very aware of Chabuca Gradna’s significance, Corina Bartra had previously included
some of her songs on three of her earlier CDs.
Her Tributo A Chabuca Granda features her
GetYourCDToPressAndRadio.com
modern treatment of 13 of Gradna’s pieces. Bartra sings in Spanish throughout but listeners who
have no idea what the words mean will still be
able to appreciate her expressive voice, the
rhythms, the modern and rich melodies, and the
advanced jazz harmonies. The material may be
unusual but there is a strong jazz content to each
of the performances.
Corina Bartra is joined by a top-notch
group of jazz artists. Matthew Steckler’s sweet/
sour sound perfectly fits the music. He plays
both melodically and with a sense of constant
adventure, pushing the limits of the music,
sometime with urgency. Guitarist Billy Newman
plays pretty in places (such as at the beginning
of “Maria Suenos”) and is a tasteful musician
who adds gentleness to the music. Pianist Yeisson Villamar, who is a superior accompanist,
makes the most of every solo spot he gets.
Among the more rewarding performances
are “Maria Suenos,” “Me he de Guardar” which
the singer and her band take for a postbop romp,
Bartra’s highly expressive long tones on “La
Flor de la Canela” and the relaxed treatment
given “Una Larga Noche.”
Tributo A Chabuca Granda succeeds at
bringing Chabuca Granda’s songs into a jazz
context and at featuring Corina Bartra at her
best.
How to Submit CDs
& Products For Review in
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by following these guidelines.
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Inside, P.O. Box 30284, Elkins
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and may or may not be reviewed, at
any time.
DR001. Binary; Dream Waltz; Thirty-Three;
Brandyn; Rockport Moon; Stutterstep; Kizuna;
Dream Song #1: Huffy Henry; Ooh, What You
Do To Me.
PERSONNEL: Adam Birnbaum, piano; Doug
Weiss, bass; Al Foster, drums.
By Eric Harabadian
Adam Birnbaum
THREE OF A MIND—Daedalus Records
This is a vibrant group that employs a lot of
diversity and energy in what they do. This is a
three way split in the truest sense of that concept.
And each member of the ensemble subscribes to
the notion that the sum is greater than its parts.
The opening cut “Binary” certainly establishes that manner of thinking. Right out of the
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49
gate this trio is going for it, with Birnbaum leading the charge over an exhilarating asymmetric
groove. Foster steps out toward the latter part of
the track as well. The following tune “Dream
Waltz” is aptly named as it has an airy, ethereal
quality that is very dream-like. Birnbaum’s gentle ballad features elegant playing, rich in dynamics and a wonderful use of chord sequencing
and substitutions. Foster diligently pushes the ¾
feel along as Weiss offers a nice middle solo that
further brings out the tune’s strong harmonic
content. “Thirty-Three” has an off-kilter Monk
essence to it; rife with humor and an amusing
rhythmic structure. Once the head is established
the trio is off and running, with a relaxed midtempo swing that can’t be beat. In particular,
Foster is lock step with every accent and nuance
the pianist lays down. “Brandyn” is a tune written by Foster and features an intrepid and interesting melody. The changes vary from semiclassical to modern bop. The drummer alters his
sound and technique, opting for more tone and
color to complement Birnbaum’s approach. But,
around mid-point, the band does an about face
and totally burns into an uptempo swing. Amazing! This band is totally on point to be able to
shift gears again, with a tender ballad like
“Rockport Moon.” The playing and reflective
mood is thought provoking and will cause you to
take pause. It’s just a little sweet tune that really
works.
“Stutterstep” follows and is just as it
sounds; kind of quirky, curious and filled with
mischievous wit. The spirit is high as Birnbaum
really burns in a manner that blends tasteful
dissonance with well executed runs and single
note lines. Weiss also offers some nice soloing
and the pianist trades fours with Foster.
“Kizuna” seems to float above the clouds in a
weightless and other worldly manner. Thoughts
of Kenny Barron or Bill Evans come to mind
when you hear the beauty and masterful effortlessness of Birnbaum’s sophisticated ideas. Each
chorus or phrase seems more developed and
ingenious than the next. Weiss and Foster add to
the mix making it feel so good. “Dream Song #1:
Huffy Henry” is an interesting title for a track
taken from a larger chamber music suite. The
piece has a bluesy swing that runs through it but
is packed with clever and well conceived
changes and harmonic devices. All three of these
masters navigate the atypical tune with grace and
big ears. Foster’s second composition here entitled “Ooh, What You Do To Me” rounds out the
nine selections on the album. This is a nice one
to go out on as it has some kick and really
swings with some gusto. This one pulls out all
the stops featuring a mix of brisk samba beats,
challenging thematic material and a triumphant
call and response between Birnbaum and Foster.
No doubt, these guys are busy as sidemen and
session aces, but it would be really nice to see
this group continue to evolve and grow as a unit.
They’ve got a special rapport that is a joy to
behold.
Nels Cline & Julian Lage
ROOM—Mack Avenue 1091. MackAvenue.com. Abstract 12; Racy; The Scent of Light;
50
Whispers from Eve; Blues, Too; Odd End;
Amenette; Freesia/The Bond; Waxman; Calder
PERSONNEL: Nels Cline, electric guitar,
acoustic guitar; Julian Lage, electric guitar,
acoustic guitar
By Alex Henderson
Guitar duets have been a part of jazz for
generations, going back to Eddie Lang’s acoustic
encounters with Lonnie Johnson (a bluesman
with a strong jazz influence) in the late 1920s.
Lang, who died in 1933, also recorded some
guitar duets with Carl Kress (another important
acoustic guitarist who emerged in the preCharlie Christian era). The concept of two guitarists playing jazz together started with early
swing and was only heard on the acoustic guitar
at first, but it is a concept that has endured for
over 85 years and has made its presence felt in
everything from hard bop to free jazz to gypsy
swing. And on Room, guitarists Nels Cline and
Julian Lage favor an introspective approach that
is somewhere between fusion and post-bop.
There are no drums, horns, bass or piano
anywhere to be found on this December 2013
recording—only guitar, and Cline and Lage are
heard on both electric guitar and acoustic guitar.
The two of them come from different generations: Cline turns 59 on January 4, 2015, while
Lage is only 27 (he turned 26 the month Room
was recorded). The versatile Cline has played a
wide variety of music over the years, ranging
from avant-garde jazz to straight-ahead post-bop
to alternative rock. Cline has never been an easy
artist to categorize or pigeonhole, and on Room,
Cline and the younger Lage are very much in
sync.
Room has its moments of abstraction as
well as its moments of melodic lyricism, but if
any one adjective ties all of the performances
together, it is “airy.” Cline and Lage make extensive use of space: this is not an album of density,
but of wide-open spaces—and that is true
whether a particular song leans more in the direction of fusion or more in the direction of postbop. It is true whether the composer is Cline or
Lage.
When some hear the term “fusion guitar,”
they think of aggressive, extroverted playing that
is hell-bent for chops and hell-belt for technique
(for example, the albums that Al DiMeola recorded in the 1970s such as Casino, Elegant
Gypsy and Land of the Midnight Sun). But the
fact that jazz has some rock muscle does not
necessarily mean that it is going to have flamboyant, showy displays of virtuosity. Pat
Metheny, since the 1970s, has been taking a
folk-influenced, airy approach to fusion that gets
a lot of inspiration from Jim Hall’s post-bop.
And a mutual appreciation of Metheny is one of
the ways in which Cline and Lage find common
ground on Room, which is definitely on the in-
trospective side.
Cline is the dominant composer on Room:
he wrote “Racy,” “Whispers from Eve,” “Odd
End,” “The Scent of Light” and “Amenette” as
well as “Odd End” and “Freesia/The Bond.”
Lage, meanwhile, wrote “Calder” and “Abstract
12.” And “Waxman” is the only selection that
Cline and Lage wrote together. Regardless of
who the composer is, the two of them have no
problem finding common ground; they are very
much in sync throughout this album. The guitarists aren’t the least bit competitive on this CD,
which is about camaraderie and dialogue rather
than competition. There are no fight-to-the-death
guitar battles to be found.
The “jazz guitarists forming an intimate
duo” concept has withstood the test of time, and
it serves Cline and Lage well on Room.
Dizzy Gillespie
LIVE AT RONNIE SCOTT’S, VOLUME
ONE—Consolidated Artists Productions CAP
1040 – www.jazzbeat.com. Sunshine; Black
Orpheus; Con Alma; The Truth; Timet
PERSONNEL: Dizzy Gillespie, trumpet; Al
Gafa, guitar; Mike Longo, piano, keyboards;
Earl May, bass; Mickey Roker, drums
By Scott Yanow
The beginning of this CD has Ronnie Scott
introducing the group and calling Dizzy Gillespie “the world’s greatest trumpet player.” While
some in 1973 when this set was recorded might
have leaned more towards Freddie Hubbard,
Gillespie certainly ranks as not only one of the
greatest jazz trumpeters of all time but as an
immortal musical giant whose contributions are
difficult to overstate.
Few other musicians, Miles Davis aside,
could be said to have co-founded two different
musical styles. One of the pioneers of both bebop and Afro-Cuban jazz, Gillespie was a superb
trumpeter whose best solos still sound futuristic
today. He had the ability of playing what might
be considered a wrong note, holding it, and making it fit as if he were fitting a square into a triangle, although there was certainly nothing square
about Dizzy.
He was quite active during the swing era,
developing his style from the inspiration of Roy
Eldridge. Cab Calloway called Gillespie’s solos
“Chinese music” because the notes did not sound
right. Still he must have sensed the potential
because he gave Dizzy a lot of solo space during
his two years with the band. It was not that Gillespie was playing wrong notes, but that he was
playing off of chord structures much more advanced than the rhythm section was playing. By
1945, when Gillespie and Charlie Parker seemed
to explode upon the scene, turning the swing
world upside down, the trumpeter was teaching
rhythm sections new chords and how to comp in
the new music. He was always an enthusiastic
teacher, insisting that young horn players should
learn enough piano so they would be able to
fully understand chords. After adding Cuban
conga player Chano Pozo to his big band in
1947, he not only learned the Cuban rhythms but
taught them to his sidemen.
By 1973 when this CD was recorded, the
56-year old Gillespie was thought of as a senior
statesman, a survivor who was still in his musical prime during the era of Return To Forever
and Weather Report. While his trumpet playing
would start fading later in the decade, in 1973
Gillespie was still at the peak of his powers. His
regularly working group of the era, unlike his
earlier bands with altoist Leo Wright or James
Moody on tenor, did not have a saxophonist.
Guitarist Al Gafa (who deserves to be better
known) and keyboardist Mike Longo had their
share of solo space while bassist Earl May and
drummer Mickey Roker were in supportive
roles. The trumpeter was in the spotlight much
of the time and fortunately is in fine form
throughout this CD.
Rather than include bebop standards, this
first of four volumes has Gillespie and his group
performing his well-known “Con Alma” and his
rarely played “Timet,” plus Luiz Bonfa’s “Black
Orpheus” and two Mike Longo compositions.
Longo’s blues-based “Sunshine,” after a solo by
the composer on electric piano, has Gillespie
sounding hot from the start, hitting high notes
and playing enthusiastically over the funky background. He plays “Black Orpheus” muted, stating the melody and then building his solo off of
the familiar theme. “Con Alma,” one of Gillespie’s more enduring originals, Longo’s gospellish “The Truth” and the two-chord vamp
“Timet” conclude this spirited set.
The band grooves rather than swings and
the music (beyond some of Dizzy’s phrases) is
more soul jazz than bebop. But Volume 1 gives
listeners an excellent example of 1970s playing
by the great Dizzy Gillespie and his hardworking band.
Dizzy Gillespie
LIVE AT RONNIE SCOTT’S VOL. 3 Consolidated Artists Productions CAP 1043. The
Crossing; Ole for the Gypsies; Something in
Your Smile; No More Blues; Olinga; Oo Popa
Dah; Birks Works.
Gafa, guitar; Mike Longo, piano; Earl May,
bass; Mickey Roker, drums.
By Eric Harabadian
This is the third installment in a series of
live performances by Dizzy Gillespie’s combo at
London’s Ronnie Scott’s in 1973. Although
Gillespie has been usually associated with big
bands and larger ensembles, here he is paired
with a leaner, smaller group that recalls some of
his early career assemblages. But, musically, this
was something a lot different for the trumpet
master. Yes, the band’s sophisticated bopflavored chops were present but there were some
sonic detours and elements of humor and amusement worked into the mix.
They begin with a Mike Longo composition
called “The Crossing.” He composed it to commemorate the band’s journey to Europe via their
SS France cruise ship voyage. And the music
seems to reflect the animated atmosphere of the
high seas, with plenty of splashy swing and percussion-fueled rhythms. Mickey Roker really
pushes the groove here and the solos by everyone on the front line are tastefully inspired. “Ole
for the Gypsies” begins with an extended intro
by Gillespie where he recounts a gig played on
the French Riviera years before. The room is so
quiet that you could hear a pin drop as he describes being “kidnapped” by French gypsies.
Whether it really happened or not is surely up
for grabs but it sure makes for a compelling
story and lead-in to this amusing tune. There is a
sweet solo guitar section by Al Gafa that opens
the piece, with a blend of Django-esque aplomb
and flamenco stylings. Soft muted trumpet and
delicate piano shadings fill the air before the
band picks up the tempo and dynamics. Continuing with a theme of diversity one of Gillespie’s
favorite songs was a piece called “Something in
Your Smile” from the 1967 film “Doctor Doolittle.” The leader himself steps up to the microphone and delivers the smooth ballad, with a Jon
Hendricks-like grace and panache. Longo is
appropriately on point and sympathetic to Gillespie’s subtle phrasing and nuance. Considered the
first bossa nova hit, Antonio Carlos Jobim’s “No
More Blues” has a relaxed flow and brings out
the best in everyone’s solo abilities. Around
mid-point the band takes off on a vamp, with
Gillespie reaching for the stratosphere within the
higher registers of his horn. Roker breaks it
down with some tasty percussion work to close
things out. “Olinga” follows and is an original
written by Gillespie for Enoch Olinga, a Ugandan political leader who was murdered in 1979
at the peak of violent unrest in that country. The
austere and majestic alternate with soft choruses
of trumpet and piano, making for a soul-stirring
track. The latter part of their set starts to wind
things down by ramping them up. The hard
swinging “Oo Popa Dah” takes a brisk bebop
pace featuring the rapid-fire scatting vocalese of
Gillespie himself. This piece is a stark contrast
from the serious “Olinga” as the leader plays the
consummate showman by involving the audience in the song’s chorus. They close their set
with a short version of the bluesy “Birks Works”
which serves as background for stage credits and
announcements.
This is an exciting and thoroughly entertaining document from the trumpet legend and
one of his master groups. And the colorful packaging, with liner notes by journalist Doug Ramsey, makes this a complete and informative experience.
Dizzy Gillespie
LIVE AT RONNIE SCOTT’S VOL. 4 Consolidated Artists Productions CAP 1044. I Told
You So; Kush; Summertime; Alligator; Mike’s
Samba; Bye.
Gafa, guitar; Mike Longo, piano; Earl May,
bass; Mickey Roker, drums.
By Eric Harabadian
In the fourth installment to this live performance series Gillespie and crew hit the stage
with gusto on Mike Longo’s smooth and Latinfueled “I Told You So.” Seemingly effortless
solos ensue from everyone on the front line.
After rapturous applause they lead into the Gillespie penned “Kush.” The nearly 20 minute epic
features a momentous solo trumpet intro that
proves Gillespie was still at the top of his game
at this juncture of time; mixing exotic phrasing
and dynamic pitch bending with breathy depth
and nuance. After that the band comes crashing
in with a mighty wall of sound. Longo adds cascading colors and tone clusters as Roker offers
careening cymbal accents. And then the rhythmic structure of the tune changes to a percussion
propelled African jungle feel. The overall structure here is one of a conceptual piece divided
into several sections or suites. The dynamics
vary from soft to thunderous, with a standout
performance by bassist Earl May. The band totally does an about face as they get downright
funky on the Gershwin classic “Summertime.”
The rhythms are jaunty and syncopated as Gillespie does a lead vocal on the vintage lyric. He
seems to deliberately lag a bit behind the beat,
further perpetuating that Longo induced rhythm
and blues pattern. The leader certainly has fun
with the audience as he adlibs the lyrics and
playfully engages the crowd. And then he breaks
into a muted solo and floors everyone. In particular, Al Gafa steps in with a tasteful solo as
well that bumps the band’s excitement even
more. Probably many people do not know that
pianist Mike Longo was a professional alligator
wrestler at one time. Well, not really, but that’s
the set up pseudo comedian Gillespie gives
Longo’s composition “Alligator” as an introduction. After some laughter subsides the band dives
into some straight ahead jazz-funk. The piece
seems somewhat reflective of the emerging fusion movement that was happening during the
early ‘70s when this unreleased series of recordings occurred. Roker and May are on their
game and lay down a percolating and vampinspired bed for Gillespie and Gafa to take flight.
The equally energetic and upbeat “Mike’s
Samba” is another Longo composition that features intricate changes and lyrical playing from
51
Gillespie and all on the front line. The overall
feel is one of joy and lighthearted fare. Ever the
clown, Gillespie concludes the evening with a
short blues number called “Bye” that has a false
ending and takes the audience by surprise. They
all share a laugh amid the applause and, as they
say, a good time was had by all.
This series of previously unreleased live
recordings of Dizzy Gillespie and his ‘70s quintet are priceless and display a legend and a select
band playing at a relaxed, yet very high level.
These are well worth seeking out.
Tigran Hamasyan
MOCKROOT – To Love; Song For Melan &
Rafik; Kars I; Double Faced; The Roads That
Bring Me Closer To You; Lilac; Entertain Me;
The Apple Orchard In Sahmosarang; Kars 2
(Wounds Of The Centuries); To Negate The
Grid; Out Of The Grid
PERSONNEL: Tigran Hamasyan, piano, keyboards, voice; Sam Minaie, electric bass; Arthur
Huatek, drums, electronics; Gayanee Movsigyan, voice on “The Roads That Bring Me
Closer To You”; On “Song For Melan & Rafik”:
Tigran Hamasyan, keyboards; Ben Wendel,
saxophones; Chris Tordini, bass; Nate Wood,
drums; Areni Agbabian, vocals
By Scott Yanow
The Art Ensemble Of Chicago had the
motto “Ancient to the Future.” Pianistkeyboardist Tigran Hamasyan’s music fits that
philosophy, infusing jazz with both electronics
and scales from the distant past to create music
that does not fit securely into any category.
Tigran Hamasyan was born in 1987 in Armenia. When he was three he started playing his
family’s piano. Three years later he began studying at a music school, discovering jazz when he
was nine. Even as early as his teenage years, he
was interested in using the folk melodies and
Middle Eastern scales that he heard around him
in his jazz improvisations, which gave his renditions of standards a unique sound.
By the time he was 13, Hamasyan was performing at European festivals and playing professionally. When he was 16, Hamasyan moved
with his family to California and in 2006 he won
the Thelonious Monk Jazz Piano Competition. In
2005 when he was 18 he recorded his first CD,
World Passion for the Nocturne label. He has
since recorded two albums for Plus Loin Music
and during 2011-13 made two CDs (the solo
album A Fable and Shadow Theater) for Verve.
Tigran Hamasyan has performed at many
concerts, particularly in Europe. While he has
very impressive technique, he often deemphasizes that in favor of grooves, electronics,
and interplay with his group. As can be heard
52
throughout Mockroot, his music crosses many
stylistic boundaries. While it contains jazz improvising and sometimes hints at Western classical music, he is not shy to include aspects of
heavy metal, avant-garde explorations and most
of all the strong influence of his Armenian heritage.
For his sixth album as a leader, Hamasyan
mostly performs with his versatile trio. He is not
only heard on piano and keyboards but synths
and various sound effects. His voice is also
heard briefly in some of the ensembles as is that
of Gayanee Movsigyan and Areni Agbabian.
Electric bassist Sam Minaie and drummer Arthur
Hustek (who adds electronics) are well attuned
to the leader’s music and diverse styles, following him closely and contributing color to the
music. “Song For Melan & Rafik” utilizes a
different but equally complementary group.
Among the highpoints are the final two selections, “The Grid” and the dramatic “Out Of The
Grid.”
The music overall is quite intriguing and
keeps one guessing. Which pieces are newly
written originals and which are ancient Armenian folk songs that have been reharmonized and
electrified? When are we hearing a voice as opposed to similar sounds from Hamasyan’s keyboards? Which country did a particular scale
come from? What parts of the performances are
improvised as opposed to being an arrangement
or a melody statement? And is this jazz, rock,
World Music or something else?
Ultimately none of those questions really
matter. Mockroot is an unpredictable set of atmospheric music, rich in tradition but very much
open to the future. Whether one is listening to
Tigran Hamasyan’s piano, his inventive use of
electronics or rockish ensembles, the music will
certainly hold one’s interest.
less flow between tunes.
The leader is also the producer of this project and has an innate sense of giving each track
what it needs, without overplaying or pretense.
The aptly titled “Forgotten Beauty” is one of
Kasuga’s compositions and kicks off the album.
It is a lovely samba that effortlessly evolves to
reveal the leader as a formidable and extremely
tasteful pianist. Her solos define the term lyrical;
concise, well devised and engaging. Perhaps, a
reference to the album title, “House of the Rising
Sun” is, indeed, the traditional folk tune adapted
by The Animals and so many other ‘60s/’70s
rock bands. But you’ve never heard it like this!
The arrangement is a total restructuring and reimagining of the piece, with long sustained
melodies by Seamus Blake, ostinato bass holding down the pocket and a breezy open feel.
Another Kasuga piece “Hydrangea” follows and
has all the makings of a classic standard. The
pianist approaches it with the grace of Bill Evans
and is accompanied in a trio setting by Boris
Kozlov and Mark Taylor. “I Dreamed a Dream”
from Les Miserables is another track that stands
out. The group pursues a brisk take here, with an
outstanding trumpet outing by Joe Magnarelli.
Kasuga and her crew turn a very stately sounding show tune into a real swinging affair. Darting around the track list this is a solid work from
start to finish, with Jerome Kern’s “Smoke Gets
in Your Eyes” and the serene “Laura” rounding
out the latter part of the song order.
Hiromi Kasuga is an artist who plays it
straight ahead and swinging but also is immensely inventive and unique when it comes to
arranging and inspiring high level contributions
from collaborators and inspired creations herself.
Allegra Levy
Hiromi Kasuga
RISING SUN - www.hiromikasuga.net . Forgotten Beauty; House of the Rising Sun; Hydrangea; I Dreamed a Dream; I Wish You Were
Here; Lush Life; Lullaby of Itsuki; Smoke Gets
in Your Eyes; Laura; W.S. (Wayne & Woody).
PERSONNEL: Hiromi Kasuga, piano; Seamus
Blake, saxophones; Joe Magnarelli, trumpet &
flugelhorn; Boris Kozlov, bass; Mark Taylor,
drums.
By Eric Harabadian
This is a streamlined and taut album filled
with well crafted original compositions and
choice standards. Kasuga shines on both acoustic
and electric pianos and is backed by a stellar
aggregation of players. Many of the pieces glow
with a lyrical resonance that makes for a seam-
LONELY CITY – Steeplechase 33118 –
www.steeplechase.dk. Anxiety; I Don’t Want To
Be In Love; Everything Green; A New Face;
Why Do I; A Better Day; I’m Not Okay; ClearEyed Tango; Lonely City; Our Lullaby; The
Duet
PERSONNEL: Allegra Levy, vocals; Adam
Kolker, tenor; John Bailey, trumpet; Carmen
Staaf, piano; Jorge Roeder, bass; Richie Barshay, drums, percussion; Steve Cardenas, guitar
on “Anxiety”; Lolly Bienenfeld, trombone;
Mark Feldman, violin; On “Lonely City: Andy
Green, guitar; Aubrey Johnson, vocals; On ‘The
Duet”: Fung Chern Hwei, violin; Victor Lowrie,
viola; Mariel Roberts, cello
By Scott Yanow
Most jazz singers around today have the
difficulty of having to interpret songs that were
composed at least a half-century ago and sometimes as far back as the 1920s. While many of
the vintage melodies are timeless, it is not surprising that some of the lyrics get dated after the
passage of so much time.
Allegra Levy, a 24-year old singer making
her recording debut, avoids the problem altogether by writing her own songs, both the music
and the lyrics. While many of her songs are autobiographical, they have a timeless quality about
them and a potentially universal appeal.
Levy grew up in West Hartford, Connecticut and was encouraged by her parents to sing.
After winning a scholarship to the New England
Conservatory, she met singer Dominique Eade
and trumpeter John McNeil (producer of Lonely
City) who were two of her teachers. Levy moved
to New York after graduating, in 2008 she performed at the Edinburgh Festival Fringe in Scotland, and recently she spent seven months as a
regular performer at the Four Seasons Hotel in
Hong Kong.
Allegra Levy has an attractive voice and a
wide range, able to hit low notes comfortably yet
also sprinkling her music with some surprising
jumps into the upper register.
Lonely City could be thought of as a meeting between a jazz ensemble and a singer/
songwriter except that Levy is also a jazz singer.
While she mostly sticks to her lyrics on this set,
she does briefly scat in spots, swings even during the slower tempos, and has a real feel for
jazz.
The songs on Lonely City were inspired by
Allegra Levy’s struggles through life. The lyrics
discuss relationships, growing up, falling in love
and breakups. There are some catchy melodies
heard along the way and it would not be surprising if a few of these songs were adopted by other
vocalists in the future. There is plenty of solo
space throughout the set for the often-spectacular
trumpet playing of John Bailey, tenorsaxophonist Adam Kolker and pianist Carmen
Staaf. There are also several guests, most notably violinist Mark Feldman on two songs (he is a
major asset to “Clear-Eyed Tango”) and a string
trio on “The Duet.”
The set includes two song titles that surprisingly do not seem to have ever been used before:
“I Don’t Want To Be In Love” and “I’m Not
Okay.” The former song is an uptempo romp
with some hot trumpet and rapid horn lines
(arranged by John McNeil) that features lyrics
about how it can be inconvenient to be in love.
The latter original has the singer sounding content to simply give up. “Anxiety” effectively
discusses the problems of contemporary life in a
witty fashion while “Everything Green” is more
of a modern folk song. “A Better Day” has some
excellent scat singing by Levy while the ballad
“Why Do I” features her full range and fetching
voice at its best. Lonely City is an impressive
debut for Allegra Levy.
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Rudresh Mahanthappa
BIRD CALLS—ACT 9581. actmusic.com. Bird
Calls #1; On the DL; Bird Calls #2; Chillin’;
Bird Calls #3; Talin Is Thinking; Both Hands;
Bird Calls #4; Gopuram; Maybe Later; Bird
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53
Calls #5; Sure, Why Not?; Man, Thanks for
Coming
PERSONNEL: Rudresh Mahanthappa, alto
saxophone; Adam O’Farrill, trumpet; Matt
Mitchell, acoustic piano; Francois Moutin,
acoustic bass; Rudy Royston, drums
By Alex Henderson
Many jazz enthusiasts have wondered: if
Charlie “Bird” Parker had not died in 1955 and
had lived to see the 1960s, 1970s, 1980s or
1990s, what would he have sounded like? Would
he have embraced modal jazz, post-bop or avantgarde jazz? What would he have thought of fusion? We’ll never have the answers to any of
those questions. But here are some things we can
say with absolute certainty: Bird’s influence did
not end with his death 60 years ago, and his
influence is by no means limited to straightahead bop. Plus, an album paying tribute to Bird
need not be bop-oriented: Rudresh Mahathappa’s Bird Calls is a perfect example.
There have been countless Parker tribute
albums over the years, and many of them have
played his songs in a straight-ahead 1940s/1950s
bop fashion. But on Bird Calls, Mahanthappa
salutes Parker with avant-garde jazz. No one will
mistake this CD for recordings that were made
when Parker was still alive; the abstract performances get a great deal of inspiration from the
acoustic avant-garde jazz of the 1960s and
1970s, which is not to say that Bird Calls is an
exercise in nonstop atonality. Mahanthappa favors an inside/outside aesthetic, thriving on both
freedom and structure. And he acknowledges
Bird with original material.
Leading a quintet that employs Adam
O’Farrill on trumpet, Matt Mitchell on acoustic
piano, Francois Moutin on acoustic bass and
Rudy Royston on drums, Mahanthappa doesn’t
actually play any Parker compositions on this
CD. But many of these Mahanthappa originals
are loosely based on Bird’s songs. While
“Chillin’” is influenced by “Relaxin’ at Camarillo” and “On the DL” is influenced by “Donna
Lee,” the influence on “Maybe Later” is “Now’s
the Time” (the 1945 blues that was ripped off on
“The Hucklebuck”). The Caribbean-flavored
“Sure, Why Not?” draws on both
“Confirmation” and “Barbados,” and “Man,
Thanks For Coming” is loosely based on
“Anthropology.” But “loosely” is the operative
word because there certainly aren’t going to be
any intellectual property or copyright issues with
Bird Calls. These are Mahanthappa improvisations, not actual Parker melodies. Someone who
isn’t paying very close attention while hearing
the bluesy “Talin Is Thinking,” for example,
might not even pick up on the connection to
“Parker’s Mood.” And “Gopuram” isn’t actually
“Steeplechase,” but rather, a free-spirited improvisation that “Steeplechase” influenced.
While “The Hucklebuck” was a blatant ripoff of
“Now’s the Time,” the inspired “Maybe Later”
has an appealing personality of its own.
It should be noted that the combination of
instruments on Bird Calls—alto saxophone,
trumpet, acoustic piano, upright bass and
drums—is the same combination of instruments
Parker used when he led some of his classic
54
quintets of the 1940s, including the one with
Miles Davis on trumpet, John Lewis on piano,
Curley Russell on bass and Max Roach on
drums. But that is where the similarity ends. The
combination of instruments is the same, but what
Mahanthappa and his sidemen do with them is a
totally different matter.
Bird Calls is not an easy album to absorb.
This is cerebral, challenging music. But for those
who really know their Charlie Parker and also
have a taste for avant-garde jazz of the inside/
outside variety, it is a consistently intriguing
celebration of the bop icon.
Phil Markowitz
Zach Brock
PERPETUITY—Dot Time Records 9031. dottimerecords.com. Perpetuity; Triple Dutch;
Fractures; Six Pack; Nebulae; Notorious Z;
Burning Lake; Rongtone; Mirrors; Ankle Biter
PERSONNEL: Phil Markowitz, acoustic piano,
electric keyboards; Zach Brock, violin; Jay
Anderson, acoustic bass; Lincoln Goines, electric bass; Obed Calvaire, drums; Edson “Café”
Da Silva, percussion, vocals
By Alex Henderson
Veteran pianist/keyboardist Phil Markowitz, who turned 62 in 2014, has appeared in a
wide variety of jazz settings over the years—
some of them very traditional and straight-ahead,
some of them experimental and avant-garde. He
is the type of improviser who likes to keep his
options open, and he has done exactly that by
playing with everyone from trumpeter/singer
Chet Baker and vibist/bandleader Lionel Hampton to saxophonist Dave Liebman (who he has
been collaborating with since the 1990s). Markowitz is clearly open to trying a variety of things,
including co-leading a group with a violinist—
and on Perpetuity, the violinist is one of his former students: Chicago native Zach Brock.
Jazz has a long history of the student going
on to collaborate with the teacher. Many sidemen have gone on to achieve great things as
leaders of their own groups; that has happened
time and time again in jazz. And Markowitz was
obviously an insightful teacher when Brock was
studying with him because they sound like they
are enjoying one another’s company a great deal
on the 2012 recording Perpetuity. Markowitz
and Brock share the composing on this album,
which finds them joined by Jay Anderson on
acoustic bass, Lincoln Goines on electric bass,
Obed Calvaire on drums and Edson “Café” Da
Silva on percussion. Half of the ten songs were
written by Markowitz (“Six Pack,” “Notorious
Z,” “Nebulae,” “Mirrors” and the title track),
while the other half were composed by Brock
(“Ankle Biter,” “Burning Lake,” “Rongtone,”
“Fractures” and “Triple Dutch”). And compositionally, Markowitz and Brock are not far apart.
They find common ground as both players and
composers, taking an inside/outside approach
that draws on post-bop and jazz’ avant-garde.
Avant-garde jazz comes in many different
forms, from the blistering atonality of Charles
Gayle to the nuanced abstraction of the Association for the Advancement of the Creative Musicians (AACM) to mildly avant-garde albums that
thrive on a blend of inside and outside improvisation. And Perpetuity is very much an example
of the latter. Markowitz and Brock’s collaboration is far from an exercise in atonal chaos:
every song on Perpetuity has a discernible melody, which is not to say that the material goes
out of its way to be accessible. This is cerebral,
challenging music that must be accepted on its
own terms, but there is never any doubt that
Markowitz (who is heard on both acoustic piano
and electric keyboards) and Brock are going for
a blend of structure and freedom.
While jazz is the main ingredient, European
classical music is a strong influence. Brock
sounds like he has been spending a lot of time
listening to classical violinists, and those Euroclassical overtones come through on everything
from “Fractures” to “Nebulae” to “Notorious Z.”
The latter has a title that will amuse hip-hop
fans: the late Christopher Wallace, a.k.a. The
Notorious B.I.G. or Biggie Smalls, was one of
New York City’s top hardcore rappers in the
early to mid-1990s. And the title “Notorious Z”
sounds like a play on “Notorious B.I.G.”
Whether Markowitz and Brock are playing
inside or outside, they enjoy a consistently
strong rapport. And their sense of teamwork
yields memorable results throughout Perpetuity.
Tomoko Omura
ROOTS—Inner Circle Music INCM 037 –
www.innercirclemusic.net Where Are You From;
Ge Ge Ge; National Anthem; Castle In The
Moonlight; Balsam Flowers; Green Tea Picking; The Mountain; soran-Bushi; ChakkiriBushi; Hometown; National Anthem (Reprise)
PERSONNEL: Tomoko Omura, violin Will
Graefe, guitar; Glenn Zaleski, piano, keyboards;
Noah Garabedian, bass; Colin Stranahan, drums
By Scott Yanow
When musicians from other countries come
to the United States to immerse themselves in
the world of jazz, whether it is studying at Berklee or settling in New York, they often discard
their roots for a time as they learn to master the
art of improvising, swinging, and finding one’s
own voice. In most cases after a period of time,
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(CD Reviews—Continued from page 54)
they rediscover their musical beginnings, finding
a way to infuse jazz with the folk music that they
had heard while growing up in their native countries. Tenor-saxophonist Gato Barbieri was particularly successful in this area. After having
made a mark as a ferocious-sounding avantgardist in 1960s New York, he began exploring
melodic music from Argentina, mixing together
the two to the point that he was instantly recognizable within a few notes and had largely
founded his own style of jazz.
On Roots, violinist Tomoko Omura has
formed her own type of “fusion.” Born in Shizuoka, Japan, she began playing violin as a youth,
taking her first lessons from her mother. She
studied jazz at Yokohama National University.
In 2004, Omura earned a scholarship to Berklee
and came to the United States. She graduated in
2007 and moved to New York three years later.
Since that time she has worked with many musicians from a variety of areas including Paquito
D’Rivera, Fabian Almazan (appearing on his
recording The Rhizome Project), Vadim Neselovskyi, Tammy Scheffer, Simon Yu’s Exotic
Experiment and the Mahavishnu Project. Her
2008 debut album Visions featured tributes to
seven different jazz violinists.
Roots is quite a bit different. In 2009 Tomoko Omura played a concert in her hometown,
including her jazz interpretation of a vintage
Japanese folk song (“Chakkiri-Bushi”) in her
repertoire. Not only was the reaction from the
audience very favorable but she loved playing
the tune that she had heard while quite young.
She resolved to record a full set of traditional
Japanese folk melodies, but in her own way.
Roots is the result.
The ten pieces on Roots (plus a reprise of
“National Anthem”) may be vintage but the
playing is very much up-to-date. With strong
support and fine solos from the rockish guitarist
Will Graefe (who is on eight of the 11 pieces),
pianist and keyboardist Glenn Zaleski, bassist
Noah Garabedian, and drummer Colin
Stranahan, Omura takes adventurous and confident solos. The traditional melodies are recast as
fusion and post bop jazz and, other than her brief
vocal on the opening “Where Are You From,”
these treatments are instrumentals.
While Tomoko Omura is most strongly
influenced by Jean-Luc Ponty, she also her own
voice. On “Green Tea Picking” and “The Mountain” she is particularly inventive, coming up
with creative solos over the acoustic rhythm
section “Chakkiri-Bushi” is a particular joy, a
celebratory performance.
Listeners who are familiar with the Japanese melodies will find the music on Roots to be
a bit of a revelation. For the rest of us who have
never heard these themes before, the interpretations are successful on their own terms, letting
us hear the talented Tomoko Omura performing
the fresh repertoire with passion.
Chris Potter
Underground Orchestra
IMAGINARY CITIES—ECM Records 2244.
Web: chrispotter.net, ecmrecords.com. Lament;
Imaginary Cities 1, Compassion; Imaginary
Cities 2, Dualities; Imaginary Cities 3, Disintegration; Imaginary Cities 4, Rebuilding; Firefly;
Shadow Self; Sky
PERSONNEL: Chris Potter, tenor saxophone,
soprano saxophone, bass clarinet; Adam Rogers,
electric guitar; Craig Taborn, acoustic piano;
Steve Nelson, vibes, marimba; Fima Ephron,
electric bass; Scott Colley, acoustic bass; Mark
Feldman, violin, Joyce Hamman, violin, Lois
Martin, viola; Dave Eggar, cello; Nate Smith,
drums
By Alex Henderson
Along the way, Chris Potter has been incredibly flexible. The reedman, now 44, has not
been shy about leaping into a variety of musical
situations: in addition to all the albums he has
recorded as a leader, Potter has been a sideman
for everyone from Pat Metheny and Mike Stern
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to Paul Motian, Dave Holland and Steve Swallow to Red Rodney. And he has no problem
expressing himself on a variety of instruments,
which have included the tenor, alto and soprano
saxophones as well as flute, alto flute, clarinet
and bass clarinet. Potter has even used the Chinese wooden flute as a jazz instrument on occasion. One never knows from one album to the
next what instruments Potter is going to play,
and his arsenal includes tenor saxophone, soprano saxophone and bass clarinet on Imaginary
Cities—which is the first album by Potter’s Underground Orchestra.
On this December 2013 recording, Potter
takes the members of his bass-less Underground
Quartet—who include guitarist Adam Rogers,
acoustic pianist Chris Taborn and drummer Nate
Smith—and unites them with two bassists (Fima
Ephron on electric bass and Scott Colley on
acoustic bass), Steve Nelson (who Potter played
with in Dave Holland’s quintet) on vibes and
marimba and four string players (Mark Feldman
and Joyce Hammann on violin, Lois Martin on
viola and Dave Eggar on cello). That is 11 musicians altogether, which some would argue isn’t
really an orchestra or a big band but rather, a
medium-sized unit. Regardless, 11 musicians is
certainly larger than the average group in today’s
jazz world—full-fledged big bands with 19, 20
or 21 members have been the exception rather
than the rule in jazz ever since the Swing Era
ended after World War II. And the bandleader/
arranger perspective is very much at work on
probing post-bop performances that include
“Lament,” “Firefly,” “Sky” and “Shadow Self”
as well as the ambitious four-part “Imaginary
Cities” suite, which takes up 35 minutes of the
CD.
One of the nice things about the “Imaginary
Cities” suite is the fact that it can be enjoyed
either as a whole or as four separate compositions. It is best to sit down and hear the suite in
its entirety, starting with the first part,
“Imaginary Cities 1, Compassion” and continuing with “Imaginary Cities 2, Dualities,”
“Imaginary Cities 3, Disintegration” and
“Imaginary Cities 4, Rebuilding” after that. But
all four parts can work well on their own. For
example, one could start with “Imaginary Cities
2, Dualities” and enjoy it without having heard
“Imaginary Cities 1, Compassion”—all four
parts of the suite can stand on their own, much
like the parts of Duke Ellington’s “Perfume
Suite.”
Despite all the arranging that takes place,
Potter still has plenty of room to stretch out. And
he is as expressive on the bass clarinet as he is
on the tenor or soprano sax. Many of Potter’s
followers tend to think of him as primarily a
saxophonist, but as his bass clarinet work on this
CD demonstrates, he shines on that instrument as
well.
Potter’s Underground Orchestra shows
much promise on Imaginary Cities.
Chip White
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Jazz Inside-2015-02_055-...
page 2
FAMILY DEDICATIONS AND MORE Dark Colors 105. Disc 1 (Music): Blue Person;
CW’s Hi-Hat; The Dance Spot; Circle Dance;
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Tuesday, February 3 • 7PM
(and Every first Tuesday each month!) The Eric Frazier Jazz Jam and “Open Mic!”
at Rustik, 469 Dekalb Avenue, Brooklyn, New York. Eric Frazier-vocals, tap, congas, percussion,
Anthony Wonsey-keyboard, Clay Herdon-drums, Rachiim Ausar Sahu-bass, Carol Cole-congas,
and the wonderful artists who come to Jam! Cover $10. Information: 347-406-9700, 718-797-2459
Saturday, February 7 • 9PM
Rome Neal’s Banana Puddin Jazz Jam, Eric Frazier special guest!
The Nuyorican Poets Cafe, 236 E. 3rd St, NYC. Cover $15. Information: 718-288-8048
Wednesday, February 18 • 7:30PM
81st season of “Amateur Night at The Apollo” begins, guest Eric Frazier,
Special Guest performance by R&B singer Jazmine Sullivan! Tickets begin at $20.
available at The Apollo Theater Box Office: 212-531-5305, 253 West 125th Street.
Ticketmaster at 1-800- 745-3000 or www.ticketmaster.com
Amateur Night’s 2015 Season runs from February 18th through November 25th
on Wednesday nights at 7:30pm.
Theme for Jobim; Eb for Elvin; I Never Knew;
Raymond’s Happy Waltz; Al’s Marching Band
Blues; Twilight with Nettie. Disc 2 (Poetry):
Jobim; Louis; Billie and Nat; Keeping Up with
the Joneses; Sassy and Mr. B; Cedar; Nina and
Chet; Tommy; Wayne; Bill E; Ready for Freddy;
Herbie; The Real McCoy; Houston.
PERSONNEL: Chip White, vibraphone, poetry
and drums; Eddie Henderson, trumpet and flugelhorn; Wycliffe Gordon, trombone; Bruce
Williams, alto and soprano saxophone; Patience
Higgins, bass clarinet and flute; Renee Rosnes,
piano; Peter Washington, bass; Steve Kroon,
percussion.
By Eric Harabadian
This release continues leader Chip White’s
reverent and loving observance and dedication to
the many musicians that have influenced him. It
is also very personal in that a lot of the music is
also based on family members and friends.
White started this series of dedication albums a
few years ago and this is the fourth installment.
Disc One contains original music written by
White, with Disc Two focused on the leader’s
original poetry atop ensemble accompaniment.
Disc One begins with “Blue Person,” which
is dedicated to saxophonist Houston Person. It’s
a rocking tune that swings hard from the very
first note. This is cool and collected, with nice
tuneful changes and great spirited performances
from all the soloists. “C W’s Hi-Hat” recalls
Louie Bellson, Gene Krupa and some of the
drumming that took place behind the classic big
bands of the ‘40s and early ‘50s. There’s no
doubt that White is an excellent rhythm maker
and really sparks an open and swinging groove,
with his introductory hi-hat dexterity. The next
tune entitled “The Dance Spot” was originally
written by the leader for a jazz musical called
“Manhattan Moments” that he co-produced. This
has a driving Latin feel, with a flowing melody
and rich harmonies. There are some really strong
moments and interplay between saxophonist
Bruce Williams and bass clarinetist Patience
Higgins, with great musical quotes from Wycliffe Gordon’s soaring trombone and Eddie
Henderson’s lively trumpet. “Circle Dance”
features lovely and lush atmosphere defined by
Renee Rosnes’ transcendent acoustic piano
flourishes. The overall mood is majestic yet
relaxed and serene. “Theme for Jobim” is obviously dedicated to the Brazilian samba master
and the track is appropriately lavish and rhythmically dense. There are notable solos here from
Higgins on flute, Henderson on trumpet, with an
outstanding Bobby Hutcherson-inspired solo by
White on vibes. The next tune “Eb for Elvin” is
a driving track. The groove is relaxed but relentlessly swinging, with great solos from the horns
and smooth accents from the drums. “I Never
Knew” is a tune that White has previously recorded with vocals. It is presented here as an
instrumental and is just as beautiful. It’s a lyrical
ballad that comes to life via Williams’ plaintive
soprano sax. There is also some tasteful interplay
from Rosnes. White offers some more stellar
vibraphone work on “Raymond’s Happy Waltz.”
This spotlights a resonant ascending and de58
Jazz Inside-2015-02_055-...
page 4
scending melody that inspires, not only great
solos but a tight orchestral sound from the whole
group. “Al’s Marching Band Blues” has kind of
a New Orleans feel by way of NYC. The structure is I-IV-V straight down the middle that goes
from a tight militaristic beat to laid back swing.
This one burns, with a smoldering intensity. The
last tune “Twilight with Nettie” starts with a
Caribbean sort of groove; heavy on percussion
and White’s cymbal work. It varies between that
and a swing section. There are some lively exchanges between the horns that interact and
overlap, leading to an exciting percussive dialogue between White and Kroon.
Disc Two shows the other side of the talented leader as a poet. A lot of the pieces are
short snippets that hint at some of the musical
foundations laid down on Disc One. The poems,
which White reads himself, are taken from his
book I’m Just the Drummer in the Band. He
cogently and succinctly shares his love and admiration for many of the great jazz artists that
inspired him and shaped his musical vision. This
is a complete package that displays all aspects of
this amazing artist. Well done!
Glenn Wilson
TIMELY – Cadence Jazz Records CJR 1255 –
www.cadencejazzrecords.com Timely; To Wisdom The Prize; Inner Life; Dylan’s Delight; Fat
Beat; Sightseeing; Nothing Like You Has Ever
Been Seen Before; Diabolique II.
PERSONNEL: Glenn Wilson, baritone; John
D’earth, trumpet, flugelhorn; John Toomey,
piano; Jimmy Masters, bass; Tony Martucci,
drums
By Scott Yanow
Virtually every style of jazz can still be
played creatively. Unlike with most pop music,
approaches to playing jazz do not become dated
with time. Fashions may come and go in popularity and some older recordings may seem dated
due to the recording quality, but the best jazz
music of any era is timeless and is still worth
exploring.
One of the top baritone-saxophonists in jazz
today, Glenn Wilson has a large tone reminiscent
at times of Pepper Adams. Throughout his career
his main love has been straightahead bebop and
he always performs it with spirit and his own
inventive ideas, pushing the music ahead. On
Timely he and his top-notch quintet play eight
songs, only one of which could be considered a
standard.
After graduating from Youngstown State
University in 1977, Wilson moved to New York.
He worked with many bands including Tito
Puente, Machito, Buddy Rich, Lionel Hampton,
Toshiko Akiyoshi, the Bill Kirchner Nonet and
any jazz group that needed a powerful baritonist.
He also had opportunities to record as a leader.
Wilson spent the 1991-2001 period living in
Richmond, Virginia where he led the Jazzmaniacs and played regularly at Bogart’s Back Room
for nine years. He also began an association with
Bruce Hornsby that continues to this day. Since
that time Wilson has become an influential professor at the University of Illinois at Urbana in
addition to working with Hornsby, freelancing,
teaming up with trombonist Jim Pugh in a group
called TromBari, and leading his own bands.
.
Timely, a live set from 2012 that was performed at Havana Nights Jazz Club in Virginia
Beach, Virginia, is a bit of a reunion. Bassist
Jimmy Masters and drummer Tony Martucci
were part of the Jazzmaniacs. Wilson has played
concerts with pianist John Toomey over the past
25 years and he has worked on and off with John
D’earth (who also tours with Hornsby) since the
late 1970s.
The musicians’ familiarity with each
other’s playing definitely comes in handy during
this spontaneous outing. While the music is
straight ahead, there are many adventurous moments in which it becomes apparent that the
players are not unfamiliar with later developments including the free jazz of Ornette Coleman.
The opener, D’earth’s “Timely,” is particularly unpredictable. Although it is a boppish
medium-tempo blues, after Wilson and D’earth
briefly trade choruses, they jam together, playing
off of each other’s ideas for six choruses. Ensemble playing of this quality is often a lost art
in modern jazz so it is a joy to hear these two
interact. Toomey takes an excellent piano solo,
the horns react to his rhythmic phrases for a
chorus, they trade freely with drummer Martucci, and eventually they take the song out.
Larry Willis’ “To Wisdom The Prize” is an
exotic piece that yields some fine solos, particularly from D’earth whose crisp tone is heard on
some heated doubletime runs. The trumpeter
contributed the memorable ballad “Inner Life”
which has nice harmonizing by the horns behind
each other’s lead. “Dylan’s Delight” is a swinger
by Pepper Adams while Bob Belden’s “Fat
Beat” is a soulful tune in the vein of Bobby
Timmons’ “Moanin’.” Wayne Shorter’s obscure
“Sightseeing” is taken on an uptempo ride with
some advanced jamming by the horns.
Bob Dorough’s “Nothing Like You Has
Ever Been Seen Before” is the closest song on
the set to being a standard but it is rarely performed instrumentally. This rendition works
quite well. The tricky Pepper Adams theme
“Diabolique II” gives the quintet a chance to
close the program with a hard-swinging romp
through rhythm changes.
Bebop certainly lives when it is played on
this level.
Wolff & Clark Expedition
EXPEDITION 2—Random Act Records 1015.
randomactrecords.com. Clark Bar; Sunshine of
Your Love; Israel; Madiba; Monk’s Dream;
Stray; Gingerbread Boy; Mulgrew; 1999; A
Night in Tunisia; Invisible; In Walked Bud
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PERSONNEL: Michael Wolff, acoustic piano;
Mike Clark, drums; Christian McBride, acoustic
bass; Daryl Johns, acoustic bass; Wallace Roney,
trumpet; Hailey Niswanger, alto saxophone,
soprano saxophone, tenor saxophone.
By Alex Henderson
Many times, improvisers who want to
maintain a 1960s-like post-bop ambiance will
record a lot of post-bop standards from that decade. They are likely to embrace Herbie Hancock’s “Dolphin Dance,” John Coltrane’s
“Impressions” or Wayne Shorter’s “Speak No
Evil” followed by Freddie Hubbard’s “Little
Sunflower,” Jackie McLean’s “Appointment in
Ghana,” Joe Henderson’s “Recorda Me” or
Chick Corea’s “Windows.” The idea is to record
a bunch of well-known, definitive standards that
say “post-bop of the 1960s” in no uncertain
terms. But a musician does not have to emphasize 1960s post-bop standards in order to achieve
a 1960s-like ambiance. And the Wolff & Clark
Expedition makes that abundantly clear on Expedition 2.
The Wolff & Clark Expedition is a project
co-led by acoustic pianist Michael Wolff and
drummer Mike Clark. The musicians who join
them on this album include Christian McBride or
Daryl Johns on acoustic bass and Hailey
Niswanger on saxophone. Trumpeter Wallace
Roney is featured on Dizzy Gillespie’s “Night in
Tunisia” and Wolff & Clark’s “Madiba.” The
personnel on Expedition 2 can vary from one
selection to the next, but Wolff & Clark are always the ones in the driver’s seat—and apart
from Ornette Coleman’s “Invisible,” they are
hell-belt for acoustic post-bop. “Invisible,” an
angular tune Coleman unveiled on his Lester
Koenig-produced Something Else session of
1958, gives Expedition 2 a detour into avantgarde territory. But “Invisible” is not representative of the album on the whole, and 90% of the
time, the playing is inside and decidedly postbop. However, it is the variety of songs Wolff &
Clark use to achieve a 1960s-minded post-bop
ambiance that makes things interesting.
Jimmy Heath’s “Gingerbread Boy,” which
the tenor saxophonist included on his On the
Trail album for Riverside Records in 1964, is the
only song on this CD that could honestly be
described as a quintessential 1960s post-bop
standard. Elsewhere, he uses everything from
Prince’s “1999” to Thelonious Monk standards
as vehicles for post-bop expression.
Gillespie’s “Night in Tunisia” and the
Monk standards “In Walked Bud” (which Monk
first recorded in 1947) and “Monk’s Dream” are
songs that one associates with bop, but Wolff &
Clark don’t play them in a bebop or hard bop
fashion. They interpret them as 1960s post-bop,
and the same thing happens when they turn their
attention to trumpeter John E. Carisi’s “Israel.”
That tune is closely identified with Miles Davis’
seminal Birth of the Cool sessions of 1949 and
1950 (which had a major impact on cool jazz),
although Carisi’s roots were big band swing (he
was a member of Glenn Miller’s Army Air Force
Band and, after World War II, the bands of
Charlie Barnet, Benny Goodman and Claude
Thornhill). But Wolff & Clark don’t approach
“Israel” as swing, cool jazz or bebop: their arrangement is 1960s-minded all the way.
The anti-war gem “1999” was a major hit
for Prince in 1982, but Wolff & Clark omit
Prince’s lyrics and give the R&B song an instrumental jazz makeover. Try to imagine what
“1999” might have sounded like had it been
written by Cedar Walton or Wayne Shorter
around 1967 or 1968 instead of by Prince in
1982; that is the type of thing Wolff & Clark are
going for on their interpretation of “1999.” They
also put a post-bop spin on Cream’s “Sunshine
of Your Love,” which really is a song from the
1960s. However, it certainly wasn’t written as
post-bop: “Sunshine of Your Love” was one of
the definitive hard rock classics of 1967. But
when Wolff & Clark get through with the song,
it ends up sounding like something Lee Morgan
or Hank Mobley could have written that year.
Full of surprises, Expedition 2 is a creative success for the risk-taking Wolff/Clark team.
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