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www.jazzINSIDEMaGazINE.coM SEPTEMBER 2009 ISSN: 2150-3419 (print) ISSN: 2150-3427 (online) The Ultimate Directory of NY Area Jazz Club, Concert & Event Listings jazz education Sourcebook & PTAWRTo Program Guide WhAT’S ReAlly GoinG on in jAzz educATion? Rondi Charleston Authenticity & Staying on The Path james Moody new cd on iPo Sept. 3-6 at iridium Fall Preview: Performing Arts centers & jazz concert Series E E Michael Mossman • Mark Rapp • Mike Rodriguez duke ellington— Randall Keith horton Black, Brown and Beige Big Band, Symphony orchestra Rose Theater— Sun, oct. 4, 2009 R luis Bonilla • Maurice Brown • jami dauber BRASS orbert davis • nathan eklund • duane eubanks LOVERS ISSUE Freddie hendrix • Fred jacobs • joe Magnarelli Randall Keith horton F Plenty of cd Reviews ira Gitler’s Apple chorus WHERE THE LEGENDS HAVE PL AYED AND THE TRADITION CONT INUES Ernie Adams John Allred Karrin Allyson Quartet Joe Ascione Pete Barbutti Shelly Berg Anne Hampton Callaway Gilbert Castellanos Bill Charlap Trio James Chirrillo Freddy Cole Quartet Dee Daniels Trio Bill Easley John Fedchock Four Freshmen Jon Gordon Wycliffe Gordon Jeff Hamilton Trio Eddie Higgins Red Holloway Henr y Johnson Quartet Tom Kennedy Kristin Korb Johnny Mandel Bill Mays Trio Andy Martin Butch Miles Bob Millikan Johnny O’Neal Trio Ken Peplowski Houston Person Quartet Claudio Roditi Quintet Anita Rosamond et Tom Scott QutteintMc Williams ule Pa ng turi fea Lynn Seaton Marlena Shaw with Trio Gary Smulyan Grant Stewart Helen Sung Trio Terrell Stafford James Stuckey Denise Thimes Warren Vache Scott Whitfield Rickey Woodard 9 T H A N N U A L BOOK NOW 75% SOLD The Jazz Cruise 2009 is proud to present Anita’s Idol Contest, the first ever passenger performance contest which offers the winner a contract to perform on the next sailing. 2009 WWW.THEJAZZCRUISE.COM 88.852.9987) NADA 888.8JAZZUS (8 CA & US EE FR LL TO LL 872) CA JAZZUSA (+800.852.99 INTERNATIONAL +800.8 Catapult your career in jazz! Enter the contest! See details at www.thejazzcruise.com November 8-15 • 2009 Embarkation / Debarkation: Fort Lauderdale Ports of Call: Grand Turk, St. Thomas St. Barths, Half Moon Cay Ship: Holland America's m/s Westerdam Jazz Inside™ Magazine IMPORTANT: WAIT THERE’S MORE! SIGN UP FOR GROOVE NEWS — Jazz Inside’s FREE Online Newsletter. www.JazzInsidemagazine.com. ISSN: 2150-3419 (print) • ISSN 2150-3427 (online) September 2009 –Volume 1, Number 2 Cover Design by Lori Dawson Cover photo of John Patitucci by Eric Nemeyer Publisher: Eric Nemeyer Editor: Gary Heimbauer Advertising Sales & Marketing: Eric Nemeyer, John Alexander Circulation: Robin Friedman, Susan Brodsky Photo Editor: Joe Patitucci Layout and Design: Karry Thomas Contributing Artists: Shelly Rhodes Contributing Photographers: Eric Nemeyer, Joe Patitucci, Ken Weiss. Contributing Writers: Dan Bilawsky; Al Bunshaft; John Cizik; Curtis Davenport; Bill Donaldson; Dimitry Ekshtut; Robert Gish; Ira Gitler; Gary Heimbauer; Rick Helzer; Jan Klincewicz; Joe Lang; Ronald Lyles, Matthew Marshall; Dave Miele; Nick Mondello; Patricia Nicholson; Joe Patitucci; Michael Steinman Ariel Teitel; Ken Weiss. Advertising Sales 212-887-8880, 347-637-0054 CONTENTS CLUBS, CONCERTS, EVENTS 37 Calendar of Events 46Announcements — Upcoming Events; On The Cover: Rondi Charleston Feature begins on page 6 Editorial Policies Jazz Inside does not accept unsolicited manuscripts. Persons wishing to submit a manuscript or transcription are asked to request specific permission from Jazz Inside prior to submission. All materials sent become the property of Jazz Inside unless otherwise agreed to in writing. Opinions expressed in Jazz Inside by contributing writers are their own & do not necessarily express the opinions of Jazz Inside, Eric Nemeyer Corporation or its affiliates. Jazz Inside ® Magazine Eric Nemeyer Corporation P.O. Box 30284, Elkins Park, PA 19027 Telephone: 215-887-8880 Email: [email protected] Website: www.jazzinsidemagazine.com SUBSCRIPTION INFORMATION (1) Jazz Inside (monthly). To order a subscription, call 215-887-8880 or visit Jazz Inside on the Internet at www.jazzinsidemagazine.com. Subscription rate is $49.95 per year, USA. Please allow up to 8 weeks for processing subscriptions & changes of address. ™ (2) Jazz Inside™ Magazine (Quarterly, with CD). Subscription rates are $44.95 per year, USA; $69.95, Canada; $99.95 Foreign #1 (destinations with U.S. Global Priority delivery); $129.95 Foreign #2 (no Global Priority). All prices subject to change without notice. Advertising in Jazz Inside ™ Magazine & Jazz Inside™ NY Magazine (print and online) Jazz Inside™ Magazine provides its advertisers with a unique opportunity to reach a highly specialized and committed jazz readership. Please call our Advertising Sales Department at 215-887-8880 for media kit, rates and information. Submitting Products for Review Companies or individuals seeking reviews of their recordings, music books, videos, software and other products are requested to send TWO COPIES of each CD or product to the attention of the Editorial Dept. All materials sent become the property of Jazz Inside, and may or may not be reviewed, at any time. Copyright Notice Copyright © 2009 by Eric Nemeyer Corporation. All rights reserved. No part of this publication may be copied, photocopied or duplicated in any form, by any means without prior written consent. Copying of this publication is in violation of the United States Federal Copyright Law (17 USC 101 et seq.). Violators may be subject to criminal penalties as well as liability for substantial monetary damages, including statutory damages up to $50,000 per infringement, costs and attorneys fees. Two publications from Jazz Inside™ Jazz Inside™ NY MONTHLY — FREE (available FREE in print at 200 locations around NY and via download of PDF file from website. Also available in print by paid subscription, delivered to your home or office). Features interviews, articles, reviews of recordings and books, listings of events, jazz clubs, festivals and other venues. Jazz Inside™ Magazine QUARTERLY — 150–200 pages, CD (available by paid subscription & at retailers throughout the USA, Internationally) is a 150–250 page quarterly magazine that includes a companion CD featuring full-length tracks by leading and emerging artists. It is available by subscription and at book, record and music stores and chains and newsstands nationally and internationally. Each edition of Jazz Inside™ Magazine features detailed interviews, colossal bio-discographical features, reviews of recordings, books and musical products, motivational, philosophical, articles, and for those readers who make music, a bonus 150-page e-book on the enhanced CD with lead sheets, transcriptions, analyses and more. 2 September 2009 • Jazz Inside NY ™ • www.jazzinsidemagazine.com Regular Engagements; Additional Club and Venue Schedules 51 Directory of Clubs, Venues, Music and Record Stores, Schools & Universities, and more 65 Noteworthy Performances 68 Around Town COLUMNS 4 Apple Chorus by Ira Gitler CD REVIEWS 25 20 Hot New CDs INTERVIEWS & SKETCHES 6 Rondi Charleston BRASS LOVER’S CELEBRATION 10 12 14 16 18 19 20 22 24 66 70 72 74 75 76 77 78 99 Jami Dauber Orbert Davis Nathan Eklund Duane Eubanks Freddie Hendrix Luis Bonilla Michael Mossman Mark Rapp Michael Rodriguez Fall Preview Michael Lazaroff –Jazz Cruises LLC Nicole Pasternak Randall Keith Horton James Moody OSPAC Jazz Festival - Kate Baker Bob Gluck Eldar Djangirov Jazz Education Sourcebook LIVE PERFORMANCE REVIEWS 63 Jazz In July; Tierney Sutton To Advertise CALL: 215.887.8880 Apple Chorus Ralph Lalama, John Marshall, 92Y Roundup by Ira Gitler For Apple Chorus I enjoy a carte blanche to write about where my ears take me but when I attended three concerts at Jazz in July at the 92nd Street “Y” I saw and spoke with Jazz Inside NY colleague, Joe Lang, and figured out that he was on assignment. He made me aware that he had already taken in the first two night of the series—Sondheim & Styne and A Helluva Town:New York Jazz—so in order not to step on Lang’s lines for the three musical experiences we had in common I got a pre-publication copy of his review that you will no doubt read, further inside Jazz Inside NY. I think we basically agree that the repertoire was top shelf and the musicianship on a lofty level. For Piano Jazz, subtitled With Respect to Oscar (Peterson, that is), the pianists were many and varied with many new combinations. No one tried to emulate him but producer Bill Charlap took off on an unaccompanied excursion of parallel runs ala Oscar at one point. Some Highlights: Charlap, with Peter and Kenny Washington, opened with a “Slow Boat to China” that was anything but slow but decelerated somewhat by docking time; a two-piano meeting between Mulgrew Miller and Eric Reed on “Just Friends” in which Mulgrew accompanied Eric for a stretch with some Teddy Wilson-like, gentle stride; Reed’s delivery on Peterson’s arrangement of Leonard Bernstein’s “The Jets’ Song”; later on, Eric’s passion practically turning his piano into a B-3 on Oscar’s “Hymn to Freedom”; Miller and Renee Rosnes collaborating on an airborne “Everything I Love” that led to an extended tag; Nicholas Payton and Rosnes in a moving “Ballad to the East.” The Gerry Mulligan Songbook also had some piano pyrotechnics when Charlap and Ted Rosenthal, both former sidemen with Mulligan, shared the piano bench on “Walking Shoes” for three and four-handed forays fueled by tightly-choreographed switching of sides. Gary Smulyan and Jeremy Pelt filled the Mulligan and Chet Baker roles on “Line For Lyons.” I do feel that Gary, who normally sports one of the harder baritone sax sounds, coming out of Pepper Adams, softened his approach somewhat without trying be Gerry, and Jeremy was not channeling Chet. However, the counterpoint was there for all to hear. As noted by Joe Lang, some of the most successful numbers were Mulligan’s romantic ruminations: “Noblesse,” “Lonesome Boulevard” and “A Ballad.” Saxophone Summit wound up this year’s program in a blaze of talent. I’ll second Lang’s praise and give Bill Charlap full marks for his overall presentation, production and playing. This was his fifth year at the helm and it keeps getting better and better. Those of you who have read this column over the past couple of years are aware of trumpeter John Marshall, who from 1992 has lived in Cologne, Germany where he teaches, is a stalwart in the trumpet section of the West Deutscher Rundfunk big band and tours in Europe with his small group. Twice a year (August and December) he comes back to New York and plays two nights at Smalls. I make sure to catch at least one night each time. His regulars were 17” of Archtop Attitude! John Buscarino Custom Gibson (used 1966) Johnny Smith 629 Forest Avenue • Staten Island, NY 10310 718-981-8585 • [email protected] FREE Catalog! • mandoweb.com 4 September 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com To Advertise CALL: 215.887.8880 John Fedchock New York Big Band all there in mid-August: Grant Stewart, tenor sax; Tardo Hammer, piano; Neil Miner, bass; and Jimmy Wormworth, drums. The repertoire on this evening included Clifford Jordan’s Bearcat” and Jimmy Heath’s “Bro’ Slim.” On John’s “Tailwind” where the rhythm section lived up to the title and the soloists responded in kind, I was captivated by the sound of Jimmy’s cymbal behind Tardo’s solo but everyone had the pots on. John’s one vocal this time was a lesser-known Jay Livingston song, “I Was a Little Bit Lonely” and he sang it in his unpretentious musician style with Grant contributing a beautiful solo. They finished with Bud Powell’s “Wail,” living up to the title and then some. I didn’t have to ask myself if I was having a good time. In fact, the entire evening was a good time beginning with a set by tenor saxophonist (and John’s former colleague in the Metropolitan Bopera House) Ralph Lalama. From note one Ralph, backed by bassist Murray Wall and drummer Clifford Barbaro, hit you with that gigantic sound and relentless attack on his own “Lalama’s Dilemma.” On “Namely You,” melody by Gene DePaul for the Broadway production of Li’ l Abner (circa 1957) he was melodically expansive and Wall minimalistly perfect in solo. Barbaro was an integral part of the dynamic. Wayne Shorter’s “Lester Left Town” was followed by a tender but tough “Portrait of Jenny” before Ralph dialed it up again with “Take the Coltrane.” Later in August I went to the Bemelmans Bar at the Carlyle where pianist Bob Albanese was leading a trio with Ugonna Okegwo, bass; and David Meade, drums. Some of you may be aware of him because of his recent Zoho CD of One Way Detour with guest artist Ira Sullivan that has been garnering many positive 1650 Broadway reviews. It was during the release at 51st St, NYC party at Smalls that a Carlyle ex212-582-2121 ecutive heard him and offered him the Sunday night gig at Bemel8pm-10pm mans for the month of August. I’m hoping that he’s held over into September so that you can hear him in trio mode playing such “super-kinetic big band jazz” songs as “This Heart of Mine,” - HOT HOUSE “Just in Time,” “Alone Together,” with a vigorous mambo section, and his original “Merciful Percival.” Sitting in at times were guitarist Paul Myers, “Deep within man dwell trumpeter Chris Payson, a mate of Bob’s in a Buddy those slumbering powers; powers that Rich band of yore; and vocalists Karryn Allison and would astonish him, that he never dreamed Loretta Ables Sayre, the latter currently appearing of possessing; forces that would on Broadway as Bloody Mary in the revival of South Pacific. revolutionize his life if aroused By the second set it became a big party. Judgand put into action.” ing by the enthusiasm of the audience, with one more Sunday to go, perhaps you’ll be able to hear and see it —Orison Swett Marden for yourself in September. To Advertise CALL: 215.887.8880 September 2009 LIVE!! Tuesday, Sept. 8 Iridium • Jazz Inside™ NY • www.jazzinsidemagazine.com 5 Feature Rondi Charleston By Eric Nemeyer Chicago native Rondi Charleston started her musical journey with piano lessons, playing Bach by ear, while also exploring her love of theater. At 16, she entered the Juilliard drama department, but went on to earn a BM and MM in vocal performance. She quickly rose to the professional level in the world of opera. Eventually, her interest in journalism took her to pursue a degree at New York University. Proving that she can be great at anything she puts her mind to, she eventually landed a position as an investigative reporter working with Diane Sawyer on network television. Moving away from that life, Rondi has now come full circle and devotes herself to creative pursuits in a life of composing, writing lyrics, recording and performing. The world of jazz has embraced her with open arms. JI: You’ve gotten heavily involved in writing lyrics. I know you carry a notebook around. So you’ve made a transition from working in network television, which was a corporate and less creative opportunity as I understand. Talk about a little bit about the transition. RC: Well, I’d have to say that I’ve really come full circle and back into music. I started out really as a musician as a child, and I got into Julliard at a very young age. My mother was a professional singer and my father was an English professor. So I really have extremely creative juice in my family. And it’s almost as if the journalism was a side trip - albeit a very interest and productive side trip. It was nonetheless, you know it was a part of the process that led me back into music. I learned how to tell a story working with Diane Sawyer - whether it be a journalism story or a story through a song. Everything that I learned up until now in my life has all fed into being a songwriter. Even the music that I’m doing now is, is really, it’s sort of the culmination of many years of experience. JI: When you were at Julliard, you were focused more on the musical end of the song than on the lyric-writing end of it. RC: Correct, yes. I was really in; I was a classical trained musician as are a lot of jazz musicians. My brother Eric plays with the New York Philharmonic and he also plays a lot of jazz though. And if fact, he and I grew up sort of fighting over who got to practice piano after school. It was sometimes a real race home just to see who got first dibs on practicing. So we’re both deeply into the music. I used to play Brubeck and Miles Davis, and my dad played Miles Davis for me when I was in utero, he tells me. So, I had to come back to music. It’s always been my destiny. Now I’m getting the chance to thank God and fully explore whatever gifts I may have. It’s surprising even to me how the songs that I’ve written have turned out to be kind of the audience favorites on the road and on the “Every thought or subconscious thought that I have is what I will become. Again it goes back to authenticity. It goes back to having the guts to walk the walk not just talk the talk. I realized that every thought I have will manifest in the world.” 6 September 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com radio. “Telescope” has become like one of the hits. Like if I don’t sing it, if I don’t sing it I get in trouble. JI: Now, what was the inspiration for “Telescope”? RC: “Telescope” was inspired by a trip that I took with then eight-year-old daughter to the Hayden Planetarium in Manhattan. She did not want to go in. She was terrified of dark, of the bigness of it all. I had to persuade her. Once she was finally inside, she had one of those moments that kids have - that’s an epiphany. She started to connect to herself and the Universe and started to ask these really intelligent, really sophistiTo Advertise CALL: 215.887.8880 JI: Talk about your composition “Ancient Steps.” RC: “Ancient Steps” started with another trip with my daughter to see the March of the Penguins, the www.rondicharleston.com To Advertise CALL: 215.887.8880 documentary. The very mystery and power of it really touched me. There was the sense of wonder, the capacity for love and caring - in this harsh, harsh environment. I thought there was something there. I thought there was a nugget that could be brought into the world. The songs that I write, I try to make both personal and universal so that you know it has to have a huge resonance for me, but generally it turns out that it’s something that everybody can relate to as well. Again, I wrote the lyrics and the melody and then brought them into Bruce Barth. We would just sit at the piano together and play with harmony underneath the melody and see what works. We’d be like “oh yeah, that’s good, that’s good, let’s do that,” or “no, that’s not quite right, that’s not the way we want to go.” But it was very much a collaboration on-thespot, together. I’m also writing now with Lynne Arriale and that’s really exciting. Unfortunately she lives down in Florida, so I can’t go and sit next to her on the piano bench and write together. But “Song for the Ages” … I had a seed of an idea. I was born and raised in Hyde Park in Chicago, which is Obama’s town. The New York Public Library for the Performing Arts presents THE DUKE JAZZ SERIES Beginning in Fall 2008, The New York Public Library for the Performing Arts hosts eight live jazz performances, featuring a selection of Chamber Music America award-winning artists and their innovative jazz ensembles. “A knife-blade articulation on his horn.” —Nate Chinen, The New York Times Photo: Nick Ruechel cated questions that I had no answers for - questions like “what are black holes?” What is a cosmic collision? What are galaxies? How did I end up in the Universe and feeling like a very little small piece of dust, a piece of sand. Then amidst all this, the hugeness – I was completely like unprepared for this moment. I had to come home and write - I just came home and started writing. I started writing like a dialogue, or the dialogue down between the two of us that occurred on that day. I got to then end of the song and I wrote, you can see, the whole idea of seeing out into the universe with a telescope and she said to me at one point, “can I see my future?” I had been reading the book The Litle Prince to her, and I said, “you can see with your heart.” What I wanted to impart to her is that even if you couldn’t understand the magnitude of the Universe that you know this is really what matters. She was happy with that answer. In Minneapolis I had a mother bring her three daughters into the Dakota to hear my performance. She had heard “Telescope” on the radio, and she resonated, and she wanted her daughters to come and hear it live. The way that the song, this song was born was that I brought the words really fully-formed into Bruce Barth. I told him that I wanted to create layers and layers of sound to illustrate the layers and layers of complexity in the Universe. So, on the top we have this very floating child like melody, very simple. [sings]: “Tell me how the dance began between the stars and moon and sun” … very simple, yet very profound floating melody and then underneath it I said I wanted something that is like the churning pulsating chaos of the universe. Give me sounds that are, that sound like cosmic collisions and that sound like the rings and strings, as she said the rings and strings of Jupiter, you know that magical element that happens when you look up into the sky. I said I need all of these sounds in layers and he was able to do this string arrangement - pulsing rhythmic string arrangement that you hear underneath the melody … then we have this rhythm thing going and then he adds this sort of counterpoint and syncopated string line, then we have the melody and then I began and ended this song with this very simple African chant that Emma [my daughter] actually sings along with on the recording and on the DVD at Live at Dizzy’s. I brought her on stage a couple of years in a row now. So it goes from being very simple and pure to sort of layering, layering, layering, more and more complexities, and then back at the end to being very simple and pure with the thought of being able to see with your heart and the pure voice of the child at the very end as well, bookends. On the tour, the originals are getting the response. The standards are great as well. I’m passionate about the standards as well. I love, and I’ve been getting great response to “Shall We Dance” and “I’m Old Fashioned.” BRIAn LyncH & SpHERES of InfLUEncE September 23, 2009 Doors open at 7pm; concert at 7:30pm / Bruno Walter Auditorium 111 Amsterdam Ave @ 65th Street / The New York Public Library for the Performing Arts Dorothy and Lewis Cullman Center/ Free Admission / 212.870.1793 Upcoming in the Duke Jazz Series: pETER ApfELBAUM / THE nEW yoRK HIERoGLypHIcS November 13, 2009 Funding for this series was provided by The Doris Duke Charitable Foundation. September 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com 7 And I wanted to write something after the Grant Park acceptance speech in Grant Park that would convey the hope and sustain the feeling of unity you know into the future. I told Lynne that this was the gist of what I wanted, and she came up with this. I basically wrote the lyrics phrase by phrase on that one. She sent me a phrase of a melody in an MP3 file over the internet. She would send me one phrase and I would write to that one phrase. Then I would send it back to her with the words and she’d be like “oh yeah, yeah, that’s good, that’s good, that’s good. Okay, let me see now. Where is it going to go from here?” Then she would write the next phrase so, and then I would get it and then I was like “okay, yep that works.” Then I would write the words and send them back to her. We just did that back and forth, and back and forth until we had the whole song. It was really organic because you know it was like building brick upon brick upon brick. People literally got on their feet when they heard the song. Now of course part of it was political that they were happy about Obama, but part of it was just the power of the song, the power of the music. So Lynne and I are definitely continuing to write together and we have one, two, three, four, like five more originals that are going to be on my next album that are complete and ready to go and we are going into the recording studio next month to put them down. “…the physical act of yoga is really a preparation for deep meditation and self-inquiry. The physical part of it is great and I do it everyday. But the deeper rewards are the opening of creativity, the opening into your mind.” we just have this trust that is growing and growing and growing over the years. He played for me on my last album. He brings such a big heart and has generous spirit and to say nothing of brilliant chops and really probing mind. He’s always, always fresh and creative and you know just a giant, giant spirit. He inspires me to sing. physics … there is an explanation for these things. Some people don’t believe it but its there. Like the molecules with the water move and response to sound. I wanted to talk a little bit about sound healing and music therapy because it’s another area that fascinates me. Have you read Oliver Sacks’ book Musicophilia – Tales of Music and The Brain? JI: Why don’t you talk a little bit about what drives your creativity? JI: No. RC: It talks about, he talks about the power of music RC: We played yesterday at the Hole in Wall Gang and how it can lift us out of depression when nothCamp for terminally ill children, the camp that Paul ing else can. It can, it can animate people with ParNewman founded 20 years ago. We were playing for kinson’s Disease who couldn’t otherwise move. You 60 kids who are seriously very, seriously sick, bone can- know it can give words to the stroke patients who cer and all kinds of stuff. We got to a place in the per- can’t speak. The power of music, the power of sound formance where some of the kids I knew were riveted. … it’s fascinating to me. Music occupies more areas They were riveted by the music and by the words and of our brain than language does. I have in front of by the vibe. I got feedback afterward you put out this me right now, I have a series of tuning forks, because incredibly careful and yet peaceful vibe. And at one I’ve been exploring the sound, sound healing and the point I don’t remember what happened but I think I power, I don’t know if you’ve heard of this, this group JI: Talk about the kinds of dialogues and dynamics got down on my knees and I sang “Over the Rainbow.” called Tama-do, they’re actually out in California. that evolved in the studio to bring it to life from pa- I had Dave Stryker and Jay Leonhart and Alvester You place them on different areas of the body and per to sound – for the album In My Life. Garnett. Regina Carter, his wife was in the audience for example, the heart area, it’s almost like a chakra thing. I’m no expert on this. I think knowing about as well and Regina and Susie came up to me afterwards RC: I’m passionate about standards on this album. with tears in their eyes and commented that was the it can help with composing and with getting our mu“Shall We Dance,” I’ve always wondered what it most amazing gift that you just gave to these chil- sic in the right place. Certain forks correspond to the would, I played the part of Anna in the King and dren. So it was a mind, body experience for all of us. heart, the spleen, the stomach, the lung, you know. I when I was in high school and I always wondered I thought it was going to be so difficult. I was kind of Everything has a sound relation. That it’s fascinating. Certain notes correspond, resonate with the heart. what it would be like if in the movie, if Yul Brynner terrified to sing in front of these kids and because it’s Hello, you know? had like a couple of glasses of wine… I love to do that a big responsibility. What I thought was going to be a with standards and it turned out there was a lot of scary experience turned out to be a wonderful experiJI: And it has a certain frequency too. juice there underneath the surface. And so the way ence and I find myself today craving to do it again. that Bruce and I did it was, it turned into a very kind RC: Frequency. Frequency. Exactly. of a sexy sultry kind of a thing, which was great fun. JI: It’s all perspectives, you were scared. We make our Then we took “I’m Old Fashioned,” which I adore, own meaning. The mind is a powerful thing. JI: You were talking a minute ago about, about the, adore, adore, by Johnny Mercer. “I’m Old Fashioned” about what you manifest. One quote that I resonate moves at 100 miles per hour, very modern, very mod- RC: It’s such a powerful thing and every thought I’ve with is “Be careful what you think because your ern sounding version … the words suddenly don’t been reading a lot lately about the power of thought thoughts become word. Be careful of your words, sound corny at all. They sound completely relevant and how every thought that you have forms, forms your words become actions. Be careful of your acand modern. I won’t do something unless I have a re- your existence and forms your reality. tions, your actions become habits. Be careful of your ally strong point of view. “Bewitched” - same thing. habits, your habits become your character. Be careIt’s different and yet still authentic and true - because JI: Everything is energy. Recently, I was listening to ful of your character, your character becomes your authenticity is everything to me. It’s got to be. I can’t Bob Proctor, personal development speaker and au- destiny.” fake. I’m not capable of faking it. I paired it down to thor. He was talking about how we know in the physthe most intimate form that I could. ical world that the gestation time for a baby is nine RC: It’s so funny because Aristotle got that sound months or 280 days. He commented that in the spiri- and music could contribute to qualities of character. JI: Were there ample rehearsals for the recording? tual world there are also gestation period although we may not know exactly what they are because we JI: Could you talk a little bit about some of the words RC: Oh you know, it’s like one of those things where can’t visually measure things the same way. But of- of wisdom that you’ve heard from a mentor that has we have one or two rehearsals with the guys and go ten make pretty good guesses. So when we have a inspired you or that has made a significant impact on in. You want to work things out so you know which thought in our minds about creating something new, your creativity? direction you want things to go. That’s why I try to if we can visualize it, believe it … what you what you work with musicians who are really generous, respon- can see in your mind you can have in your hands. RC: Well you know I have to go, I’d have to go to sive, warm nonjudgmental collaborators like Joel Wayne Dyer. I’d have to go to the power of thought. Frahm. You know sometimes musicians just click. RC: Exactly, exactly. Have you ever, did you ever see Every thought or subconscious thought that I have Sometimes people just click for whatever reason and the movie What the Bleep? I love it. The whole meta- is what I will become. Again it goes back to authen8 September 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com To Advertise CALL: 215.887.8880 ticity. It goes back to having the guts to walk the walk not just talk the talk. I realized that every thought I have will manifest in the world. I actually figured that out before I started writing songs and so I know now that the songs that are now pouring out of me, and it’s really kind of scary how they’re pouring out. It’s not scary bad, scary good. It’s wonderful, it’s exhilarating. It is important to pay attention to each, each thought that I have to be sure that it’s not self-destructive - that’s it’s going in a positive direction, that it’s a thought that will impact people in a positive way, that it’s a genuine loving thought. If you have genuine loving thoughts, your music will reflect that. I’ve gotten sort of out of my head and into my heart I suppose you could say. Shining a light on those negative thoughts, kind of makes them go away …if you’re just being aware of them. Just so you know, my thoughts were usually of self-doubt and feelings of unworthiness and that kind of thing. I never had any darker thoughts than that. JI: One of the fragments of wisdom I’ve come across often is that if only we knew how powerful we are, it would scare us. What do you do to, to recharge your batteries and decompress from all the stress in contemporary society? RC: I’m deeply into yoga. It is a means of union - union of body, mind, and spirit. The more you learn about it the more you realize that the physical act of yoga is really a preparation for deep meditation and self-inquiry. The physical part of it is great and I do it everyday. But the deeper rewards are the opening of creativity, the opening into your mind. JI: Well, the greatest obstacle to discovery is not ignorance it’s the illusion of knowledge, as Dan Boorstin, past Librarian of Congress put it. So how have you experienced or dealt with this in your life? RC: The illusion of knowledge, I love that. Recently I read an article in the New Yorker by Malcolm Gladwell about people who are overly confident and how dangerous. He was talking about Bush and Cheney. The more I feel that I have everything to learn and I have insatiable curiosity and wanting to really get it right, to get things out in my own way, the better off I am. The more that I rely on other people’s analysis and the more that I don’t question … JI: … therefore you’ve stopped learning. RC: Then I think the ego gets engaged, and once the ego gets engaged, it’s over. It’s the kiss of death for art. I think even Miles Davis said once, approach music as if you were in kindergarten. Approach it as if you just learning it for the first time and you’ll see so many more possibilities from that perspective. If you approached it from a perspective of thinking you know it all already, it’s over. JI: What kind of musical things are you practicing? Do you work on things at the piano? RC: I have playing the Bach Inventions by ear at age six. My parents sent me to piano lessons immediately. I had piano my whole childhood - but it was a classical foundation. I had no concept of the language of jazz. So a few years ago, I took it upon myself to learn it as a child would learn it basically from kindergarten you know. I studied with Garry Dial for awhile at Manhattan School of Music. I’ve been working recently a lot with Kate McGarry who’s such a brilliant, a brilliant musician and she’s helping me really incorporate the elements of jazz into my music. Only now, after ten years of real study do I feel like I’m getting a handle on it where I can start to improvise and play with the rhythm and play with melody and be spontaneous and in the moment. It’s so thrilling. But if I had had any ego involved, I wouldn’t have been able to go back and study. You can’t fake it. You can’t fake it. You have to go back and learn it. So I did. JI: I’m constantly searching as well and I share Mark Twain’s perspective about it. I love to learn. I just don’t want to be taught. RC: It’s painful. It was hard, hard, hard work. I put in a lot, a lot, a lot of hard work to learn this language of jazz but I’m so glad that I did. I’m having so much Continued on Page 43 To Advertise CALL: 215.887.8880 September 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com BLACK YELLOW MAGENTA CYAN 661828-TBD_V01_01_01_01.pgs 08.03.2009 17:37 9 BRASS L overs ’ celebration Jami Dauber By Gary Heimbauer JI: Many great players have attended North Texas University. Can you talk about your experience there? JD: Attending the University of North Texas was really life-changing for me, actually. I had just graduated from the University of Florida in the fall of 1990 with a Music Education degree, and I moved back to Dallas, lived with my dad and commuted to Den- of St. Rose in Albany with Johnny Mandel—we’ll be playing his charts, which will be a blast! I also play in the Ellington Legacy Band with Norman Simmons and Virginia Mayhew, which I really enjoy. That music is right up my alley. Edward Ellington is the leader and is one of the most amazing people I have ever met! And I occasionally play with Carl Thompson, a master bass maker and player, who has a regu- BRASS L overs ’ celebration “Believe it or not, the band has NO ‘divas’ in the strict sense of the word. Everyone is very cool! I’ve actually seen more ‘diva behavior’ in males than females!” ton. Initially I wanted to get a Masters in classical trumpet, but I decided to audition for one of the lab bands, and I was shocked when Mike Steinel called me at home to tell me I had made the Three O’Clock and “did I want to be in it?” Of course! I finally realized that playing jazz always put me in a much better mood than playing other styles. So, later that semester I changed my major to Jazz Studies. I eventually moved up to the One O’Clock Lab Band, formed my own small group and got up enough courage to book a few gigs around Dallas. There were a lot of performance opportunities and hundreds of amazing players—most of the learning happened at jam sessions at friends’ apartments. When I first moved to New York, it was my friends from UNT who helped me out—it’s a like a big family here. lar gig on Sunday nights in Brooklyn at a restaurant/ bar called Downtown Atlantic. Virginia Mayhew, Lisa Parrott, Jamie Fox and Cook Broadnax are the regulars, and it’s a really fun, swinging band. Carl calls tunes that aren’t your typical standards, like “Carioca,” “Humpty Dumpty Heart,” “Afternoon in Paris.” It’s a great gig with an owner and staff that treat the musicians exceptionally well! sponsibility is in our society? Is what you do something only for you and the musicians you are sharing the stage with, or are you trying to achieve something outside of that microcosm? JD: I’m “one of those” who believes that we are entertainers as well as musicians. I have learned over the years that as a musician—being on stage—it is extremely important to connect with the audience JI: What was it that initially inspired you to play this whether it is on a musical level or on a personal level or hopefully, and ultimately, both. I’m not a big fan music? How did it all start? of musicians who stand up there and play and do not JD: I started playing piano when I was three, and acknowledge applause from anyone in the audience. both of my parents are big music lovers, so music was Taking a bow or giving a nod or a smile is a way for us always playing in the house—from classical to folk as musicians to say “thank you for listening.” There is to jazz to big band. When I was old enough to be in a reason that there is an audience and I want to make the school band, I chose the trumpet, probably be- sure they feel appreciated. Once the audience is gone, JI: What is it like being the manager of The DIVA cause of all of the Maynard Ferguson, Blood, Sweat so are the gigs. Jazz Orchestra? That sounds impossible because a & Tears, Count Basie and Buddy Rich records I’d JI: What is the greatest compliment that you can rediva is someone who won’t be managed! heard at such a young age! ceive as a musician? JD: Believe it or not, the band has NO “divas” in the JI: What are your top five desert island trumpet strict sense of the word. Everyone is very cool! I’ve records that you couldn’t possibly live without, and JD: I think the greatest compliment is when someone says that my playing touched his or her heart. The actually seen more “diva behavior” in males than fe- please state why? best advice I ever got was from Marcus Printup. We males! I sort of naturally progressed into becoming manager several years ago after having been the per- JD: Hmm…this is a really tough one. Definitely Clif- worked together at Disney World in the late 80’s, and sonnel and office manager. In the beginning, it was ford Brown and Max Roach Live at Basin Street. That when I began venturing into the world of improvisaawkward, because I’d been in the band for so long was the first “small group” recording I’d ever owned, tion, he told me to “always play from your heart”— and was friends with everyone. It turns out that that thanks to my dear friend Marcus Printup. The first five simple words that I’ve always remembered and actually was a positive aspect. I think the band mem- time I heard Clifford play his solo on “What is This hope to live and play by for the rest of my life. bers feel like I’m looking out for their best interests Thing Called Love,” I was in shock. I couldn’t believe since I am also in the band. And I would not be able that the trumpet could be played that way! And to do this job without the guidance of Stanley Kay along those same lines, I’d say MF Horn 1 by May(founder/former manager) and help from Sherrie. “Keep away from nard Ferguson, Miles Davis Steamin’, Ella Fitzgerald JI: What events current or upcoming are you excited about in your musical life? and Louis Armstrong’s Porgy & Bess—you gotta have Louis and Ella on the island! Fifth would be The Best of Lee Morgan – The Blue Note Years. JD: DIVA will be performing September 16-20 at JI: As a musician, what do you feel your role or reDizzy’s with Marlena Shaw. I love working with her. She is such a great lady (and she swings her ass off). www.divajazz.com We also have a concert September 26 at the College 10 September 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com 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 To Advertise CALL: 215.887.8880 Randall Keith Horton conducts TWO CONCERTS Sunday, October 4, 2009, 7:00 p.m. Three NYC premieres* The Duke Ellington-Randall Keith Horton full-length orchestral tone poem, *BLACK, BROWN AND BEIGE for big band, symphony orchestra, steel drums, African drums, soprano and baritone soloists in 1973 Duke Ellington chose Randall Keith Horton to succeed Billy Strayhorn Carman Moore’s *GOSPEL FUSE for soprano soloist, soprano/ alto vocal ensemble, Gospel–music quartet and symphony orchestra Kirke Mechem’s *SONGS OF THE SLAVE (the suite from Mechem’s opera, John Brown) for soprano, bass-baritone, chorus and symphony orchestra Rose Theater, Jazz at Lincoln Center Broadway at 60th St., NYC www.jazzatlincolncenter.org Sunday, October 18, 2009, 4:00 p.m. Taped for PBS Television THE SACRED MUSIC OF DUKE ELLINGTON The Riverside Choir, The Riverside Inspirational Choir, Horton’s big band: the Randall Keith Horton Gospel Orchestra, the Dance Theatre of Harlem Ensemble, tap dancer Floyd Williams, sopranos Diana Solomon-Glover and Tamara Mesic, bass-baritone Tyrone Aiken presented by Music at Riverside in cooperation with Rakeiho Musical Offerings, Inc. The historic Riverside Church, 490 Riverside Dr., NYC www.theriversidechurchny.org www.randallkeithhorton.com concerts produced by Rakeiho Musical Offerings, Inc, a tax exempt 501 (c) (3) corporation, Chrysler Bldg., 405 Lexington Avenue, NY, NY Ellington photo © Howard University, the Founders Library, Channing Pollock Theatre Collection, www.founders.howard.edu; other photos: Horton, © Bruce Shippee; Moore, © C. Moore; Mechem, © G.Schirmer, Inc. BRASS L overs ’ celebration Credit: Kenneth Mohammad Orbert Davis By Eric Nemeyer JI: After reading your biography, it seems like Chicago is as fertile as New York when it comes to jazz. You have stayed busy, prolific and in the limelight as a jazz musician without having to move. Can you talk about the scene there, and how it may compare to jazz in other parts of the country or world? OD: I believe that Chicago is as fertile as New York phony Center that featured Grover Washington Jr. JI: What events current or upcoming are you excited about in your musical life? OD: Chicago Jazz Philharmonic! You can check it out at www.chijazzphil.org. I get to flex and challenge all my compositional, musical and conducting BRASS L overs ’ celebration “Improvisation is life. In it we find many skills found in life itself—high levels of communication - listening and responding - democracy, decision making, problem solving, language, leadership, flexibility, teamwork, and even memory.” when it comes to jazz! So the question becomes, muscles in one event! CJP is the culmination of my “what makes a healthy jazz scene?” For me it’s Chi- career. Add to that the fact that I strive to present cago’s performing opportunities (concert and clubs), a new genre based on combining all the amazing audience, community, fiscal support and education. qualities of jazz and classical music. When fused, Chicago received a huge ‘stimulus package’ with the result is something new—something that satisthe formation of the Jazz Partnership in 2005. This fies the audience regardless of preconceived notions. coalition of corporations and foundations provided Gunther Schuller called me recently and told me that over two million dollars in efforts to build the Chi- CJP is the only orchestra of its kind in the US. We are cago jazz audience by focusing on Chicago jazz. My planning a 2010 season of three full orchestra and six 56-piece symphonic jazz orchestra, Chicago Jazz chamber orchestra concerts, and new recordings as Philharmonic, has performed twice on the “Made in well as a few road performances. Chicago” series performing for over 22,000. What a huge risk! The jazz education scene is also healthy. JI: What is it about musical improvisation that you Area students are realizing that they don’t have to find so valuable? What does it offer to you, your leave the city to get a quality jazz education and can band-mates, and the listeners? What motivates you be part of a supportive, creative network that sup- and drives you forward? ports their career. That’s exactly how my career has developed. I was also fortunate to find consistent OD: Improvisation is life. In it we find many skills work in the recording studios, on the stage, in the found in life itself—high levels of communication clubs and in education. Students from all corners of – listening and responding – democracy, decision the United States are also choosing schools like the making, problem solving, language, leadership, flexUniversity of Illinois at Chicago, where I am an asso- ibility, teamwork, and even memory. When performciate professor as their destination for jazz education. ing with my small group I often plan complete sets Jazz is also finding its way back into the schools. My only to change my mind as I count off the first tune. plan is to get it into the general classroom. Then sometimes I just start playing without communicating by word to the guys—just go! An hour can JI: You have played with a huge list of notable people. fly by so quickly! Can you talk about the highlights for you and how they impacted your musicianship and career? JI: What was it that initially inspired you to play this OD: I was very fortunate to hang out and perform at a club near DePaul University, where I received my undergraduate degree, every Monday night. The band was made up of guys (and a few gals) who dominated the recording studios in Chicago. That’s how I learned to play jazz. Every week – I only missed one week in three years – I ‘studied’ with great jazz musicians such as Art Hoyle, Bobby Lewis, Roger Pemberton, Ronnie Colber, Ralph Craig, Ed Peterson, Sonny Seals, Mike Smith and John Whitfield. They were my heroes. Through the years I have had the privilege to record and perform with Ramsey Lewis, including an amazing performance at Chicago’s Sym12 music? How did it all start? OD: The fifth grade band in Momence, IL and Louis Armstrong on the Ed Sullivan Show around 1970. Once I got going, I was hooked on Rafael Mendez and loved to practice—still do! JI: What are your top five desert island trumpet records that you couldn’t possibly live without? OD: Only five? You’re killing me! Let’s see: Miles www.orbertdavis.com September 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com Davis – Sketches of Spain and Kind of Blue; Clifford Brown with Strings; Chet Baker – The Touch of Your Lips; Dexter Gordon – Homecoming, featuring Woody Shaw). JI: When you first embarked on the sophisticated journey of becoming an improvising musician, or a jazz musician who plays over changes, what were some methods that you found extremely useful to achieving your goals? OD: Learning the theory and forgetting about it! Once I developed as a composer, I’ve learned that the creative thought process of writing for orchestra and improvising is exactly the same, except one has a larger template and the other is spontaneous. I developed a method that combines creative free improvisation, transcribing solos, understanding the blues and the writing of jazz motifs in the development of improvisation. It takes a lifetime of practicing! JI: As an artist, your state of mind and ability to dig deep is important. Outside of playing, what do you do to re-center and find peace of mind? OD: I find peace in prayer and my faith as a Christian. Having a personal relationship with Jesus Christ puts everything in perspective and provides strength to deal with reality and to be creative. Also, I work just as hard as CEO of a creative education program, DMDL, where we teach reading and math to children deemed ‘at-risk’ through music. You can learn about it at www.discovermusicdiscoverlife.com. It’s a full-time job in itself! CJP also has its own innovative education programs as well. Every day is different. So when it’s time to finally play, I get to play from my exhausted soul! I find tremendous balance with it all. Did I mention that I’m a husband and father as well? Being at home is the time when I am not a musician. JI: As a musician, what do you feel your role or responsibility is in our society? Is what you do someContinued on Page 43 To Advertise CALL: 215.887.8880 PERFORMANCE Spotlight • PERFORMANCE SpotlighT Scot JazzImprov Ad-SEPT-09.qx7:Layout 2 8/21 Upcoming performances with Jazz Guitarist Sheryl Bailey To advertise your performances in Jazz Inside™ NY Magazine’s PERFORMANCE SPOTLIGHT section, contact Eric Nemeyer at 215-887-8880 or [email protected] September 10 and October 14 Early Show @ the 55 Bar w. The Sheryl Bailey 3 No Cover! • 55 Christopher Street NYC • www.55bar.com September 24 and October 18 Late Show @ the 55 Bar w. Jazz Guitars Meet Hendrix featuring Sheryl Bailey and Vic Juris $10 Cover • 55 Christopher Street NYC • www.55bar.com Saturday, October 17 Late Show @ The Bar Next Door w. The Sheryl Bailey 3 129 MacDougal Street • www.lalanternacaffe.com www.sherylbailey.com Check for information on “A New Promise.” In tribute to Emily Remler from MCG Jazz, available this fall. “A modernist burner with an abundance of Pat Martino-style chops.” -Bill Milkowski JazzTimes Magazine Ted Kooshian's Standard Orbit Quartet Grassella Oliphant ecords on Summit R og, uding Underd le tracks incl a. New 13 memorab Baretta, & Aj n, So d an d CDpianPoo,pearyera, Sangnfemorents • Jeff Ledeumreanr –nsa– xdrums – ott Ne Sc Ted Kooshian arren Odze / d – bass • W Tom Hubbar ry jazz contempora "Ear opening n" t w rte do ua u ..Q yo 's. let that doesn't Midwest Record "Ted Kooshian ld!" tor, wor – Chris Spec is out of this usic.com , AllM – Ken Dryden s: ncer t ing co m o c M 8:30P Up ber 9, 2009 at Septem g for Southpaw – 0236 openin k Tel: (718) 230Murphy Broc on le po Na Brooklyn, NY / o Big Band w 10:30PM & 0 9:0 at the Ed Palerm ts 09 • se October 4, 20 – um 16 ce 48 Ly Brooklyn Tel: (718) 857Brooklyn NY 227 4th Ave, www. Kooshmania.com Hear Gras on these classic CDs and performing with his quintet in the New York & New Jersey metro area. September 4 & 5 80th Birthday CeleBration CeCil’s RestauRant & Jazz Club September 10 lennox lounge [email protected] 973-865-2491 BRASS L overs ’ celebration Nathan Eklund By Gary Heimbauer JI: Can you talk about your new album Trip to the Casbah? NE: Trip to the Casbah is all original music, most of which was written within about six months of the recording. I love playing standards, but I find that one way to continue to develop my own voice in the world of jazz is through composing. What I find interesting about small group jazz is how much personality improviser is creating something different than what I’ve done in the past. That’s a huge part of my motivation for practicing and building vocabulary. JI: What was it that initially inspired you to play this music? How did it all start? NE: As a young child I was definitely familiar with music from the big band era, being the music of BRASS L overs ’ celebration “My goal is always to be as far from being a jazz musician playing over changes as possible. By that I mean that my primary goal is to create music.” each member of the group brings to the music. Since I knew who the band would be as I wrote the music, their styles of play were in my brain through the composition process. The band is Donny McCaslin on tenor sax, John Hart on guitar, Bill Moring on bass, and Tim Horner on drums. It was a great experience being in the studio with these guys, because they have spent so much more time there than I have. They were all really relaxed but ready for what we were going to do, or if not they had me seriously fooled. JI: What events current or upcoming are you excited about in your musical life? my grandparent’s generation. But the first jazz I really spent consistent time “listening” to, were Louis Armstrong records. It wasn’t a conscious realization at the time, but my guess now is that I was drawn to the character and energy that exuded from his music. I loved the tracks where Louis would sing because I could really hear how much fun he had as a performer. After hearing him sing, you can hear the same energy in his playing. Although practicing wasn’t always fun, I always loved the idea of playing music and had a lot of fun with it. JI: When you first embarked on the sophisticated journey of becoming an improvising musician, or NE: I’m playing in a dektet project organized by Ron a jazz musician who plays over changes, what were Horton and Tim Horner that focuses on the music of Andrew Hill. I’ve checked out a couple of Hill’s re- some methods that you found extremely useful to cords from the 60’s, Point of Departure and Andrew!, achieving your goals? but don’t know his music very well. Hill’s compositional style is very unique and Ron’s arrangements NE: I don’t think anything that I’ve done over my life of the material has its own vibe as well. The group is I’ve truly developed on my own, but instead gathered almost a middle ground between a small group and a from all the different people I’ve studied with over big band, as there is plenty of arranging, but also lots the years. My goal is always to be as far from being a jazz musician playing over changes as possible. By of room for blowing too. that I mean that my primary goal is to create music. JI: What is it about musical improvisation that you The playing of chord changes is a part of the process, find so valuable? What does it offer to you, your but isn’t the end-all result. This is something that I’m band-mates, and the listeners? What motivates you still constantly working on. My goal is to truly gain and drives you forward? all of this musical knowledge and understanding so I can forget about it and just play. I don’t feel like I’m NE: For me, improvisation is an opportunity to cre- even remotely close to where I want to be in that reate my own voice through music. It exhibits many gard, and I hope I’ll feel that way for the rest of my major characteristics of any language-building vocab- life. The foundation of my improvisational practice ulary, understanding structure and inflection, and es- is transcribing. I feel that everything I could ever tablishing a mood or attitude. So playing improvised want to play is on a recording somewhere and learnmusic becomes a conversation between myself and my ing through the process of transcribing really open band-mates, and also often the audience as well. I’m up my ears. Not only does it get me into the brain very thankful that most of the gigs I play on feel like of another great performer, but I find that it exposes a collaborative effort as opposed to a competition. I believe that my playing is stronger because of those www.nathaneklund.com musicians around me. The driving factor for me as an 14 September 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com weaknesses in my playing or thinking process. Freddie Hubbard’s playing is very logical to my brain, but his technical execution is really hard to match. Thad Jones, on the other hand, has such a unique approach that I often can’t predict where he’s going or what he’s going to do. When I studied with Joe Magnarelli, getting my master’s degree at New Jersey City University, we used to sit and transcribe together in our lessons. That was great because I got his perspective on the music and how he heard some portions of the music was really different than how I did. JI: As an artist, your state of mind and ability to dig deep is important. Outside of playing, what do you do to re-center and find peace of mind? What do you do to break through all of the surface stress in our contemporary world? Or perhaps, you feel that angst is good for music? NE: I think angst can be good for music, but I don’t have a hard time finding that energy when I need it. I spend a great deal of my day focusing on music or music related issues, so simple things like walking my dog or playing tennis are great escapes from the stress of the everyday world. In those moments I’m typically able to forget what else is going on in my life and just enjoy the present. JI: What is the most rewarding facet of your life as an artist? NE: The most rewarding facet of being an artist for me is the pursuit of a completely elusive dream. I’m sure that sounds a bit strange, but the idea that I can continue to learn and grow musically over the course of my entire life, never coming close to attaining what is potentially available, is really inspiring to me. That being said, there are many goals I set that I will attain or at least I hope to. But the primary goal of learning and understanding all the options that exist in the world of music will never be met. To Advertise CALL: 215.887.8880 PERFORMANCE Spotlight • PERFORMANCE SpotlighT Peter Mazza New York City Jazz Guitarist Debut CD on Late Set Records • “Through My Eyes” features 8 originals and 2 standards Willie Mar tinez REAL NEW YORK STYLE LATIN JAZZ @ played by Will Vinson- Alto Saxophone, Matt Penman- Acoustic Bass , Bill Campbell on Drums and Peter Mazza on Acoustic Guitar and Electric Guitars “switching between acoustic (with a variety of standard and odd tunings) and a beautiful L5 and was playing fingerstyle and with a pick - amazing on all permutations. But most impressive of all is his sense of harmony and voice leading. At times, I thought I was listening to the entire Pat Metheny group and it was only him playing solo” —Dan Adler See Adler’s full CD review in this issue! The CD is Available on Amazon and iTunes.... 236 East 3rd St. between Aves B & C Thurs. September 24th ................... 2 Shows starting @ 9:30 PM www.nuyorican.org www.williemartinez.com www.myspace.com/lafamiliasextet Mazza is the musical curator of the Bar Next Door at La Lanterna, and plays there Sunday nights from 8-11:30pm www.lalanternacaffe.com Sunday September 13th - Selections from “Through My Eyes” in a super-trio, Donny McCaslin and Hans Glawischnig on Bass For More info on this performance and other upcoming Mazza gigs, see www.myspace.com/petermazza www.petermazza.com BRASS L overs ’ celebration Credit: Eric Nemeyer Duane Eubanks By Gary Heimbauer JI: You work in many different idioms, including hip hop. Many people say that hip hop is a modern equivalent to bebop, in terms of self-expression, improvisation, developing your own sound, social significance. How do you perceive this link, and how do you bring these different elements together while still remaining true to your own sound? DE: I got into hip hop early on. Its impact on the music industry and popular culture was immediately JI: What was it like growing up with your brothers, your mom Vera and your Uncle Ray Bryant? Was music something that you took for granted as just an everyday skill? DE: Having music in my family is an advantage that I couldn’t ask for. It was a blessing. From the time that I can remember, I can hear my mother practicing and playing the hardest piano concertos and etudes I have ever heard. She is really a great pianist. BRASS L overs ’ celebration “Usually trumpet players try to outplay each other losing the subtleties like sound and phrasing that makes trumpet playing individualized.” felt. People changed the way they dressed, talked, danced, and interpreted music. My twin brother, Shane, Cousin Barry, and I had a DJ group that wrote raps, scratched, and mixed on turntables in the 80’s. We did neighborhood parties and made mixing tapes to listen back. It was definitely the popular music of that time and today just as bebop was in the 60’s. That’s one of a number of similarities that I see between the two. I pondered the connection between rap and bebop on a number of occasions and could write a thesis about the subject. I’ll try to keep my answer somewhat concise. The communal aspect also relates to them both. In the 60’s, musicians would get together to learn, grow, and eventually form musical groups and relationships. The jam session was the ideal place to flex your chops and test what you worked on. In the hip hop world, battles are quite common when trying to outdo another rap artist. I think the two allow for the freedom of expression to rhythm. I think the rappers today are lacking a sense of tradition and that is hurting the quality being put out. Those that flourish have a strong feel for the ideas and concepts that preceded them. This holds true for both idioms. I think jazz musicians have a broader understanding of this concept. Just as I listen for a jazz artist to tell his story musically, rap artists have that ability as well. It’s not always about how high and loud you can blow, just as in hip hop it’s not all about rapping about guns, hatred, and doing bodily harm. I am trying to incorporate some hip hop concepts in my own music. I’m looking for a rapper named Gabriel Nox AKA The Dark Knight. I heard him on a tape and was intrigued by his lyrical flow and the relevance of his lyrics. You can tell by listening to him that he has natural ability and things come to him quite easily. I am in the process of putting together music that will cross genres and see him as a piece to the puzzle. My love is playing traditional jazz and I am starting to use rhythms similar to rap artists in my improvised lines to make my playing a little more personal, interesting, and challenging. It’s going to take some time to effectively get it across to those listening but eventually it will happen. My grandmother was the root of it all. She got my mother and Uncle Ray deeply into music. It was a real help to know that the tradition of the music that you love – jazz - and the ability to learn and get tips about music were right at my fingertips. My uncle, the great bassist Tommy Bryant, used to come by and give me an earful about music when I was very young. I also have another Uncle, Leonard Bryant, who is an incredible singer and drummer. He recently released a CD putting lyrics to some of Ray Bryant’s most well known tunes. My mother shares stories of my uncles sneaking out of the back window with bed sheets lowering down the upright bass at night to play gigs when they were teenagers. Although my uncles were, my grandparents were not fans of the nightlife and everything that came with it. One thing that came with it was great nights of music with some of the giants of this music that we all hold in high esteem like Sonny Stitt, Miles Davis, Betty Carter, Lester Young—the list goes on and on. This and the many other stories shared by my family about my uncles’ musical exploits peaked my interest in jazz music. I am forever indebted to my uncles and my parents for allowing myself and my brothers to see musical dreams that were attainable. I also forgot to mention: My mother gave me piano lessons when I was still young. That gave me a foundation when I started my trumpet lessons. My mother was Kenny Barron’s first piano teacher and I listened to her give a number of piano lessons every Saturday morning to a number of students. She was making a name for herself on the gospel scene and was an incredible teacher. Seeing people so close to you doing what they loved on such a high level, it gave me a sense of achievability—is that a word? 16 September 2009 JI: What would you consider to be your desert island top 5 trumpet albums, that you couldn’t live without? DE: Wow, only five? Hmm—let’s see. One for sure is Lee Morgan—my trumpet idol. He has an album www.myspace.com/duaneeubanks • Jazz Inside™ NY • www.jazzinsidemagazine.com he recorded when he was 19, a young kid, called The Cooker. Whenever I run into Jeremy Pelt, we talk about this album. The maturity and precision he was playing at such a tender age really blew my mind. He has a sound that captures the streets to me. It’s a sound that people can relate to. Another one I need is Art Blakey, Free For All. From beginning to end, Art is the driving force on this recording. I don’t remember hearing him play that much drums on any other recording. Also, the great Freddie Hubbard is playing at a level that no one can touch. Check out his solo on “Children Of The Night.” I got to have Clifford Brown With Strings. The man’s sound is enormous, round, and lyrical. I checked this out to learn how to interpret ballads. I gotta have some Woody to keep me reaching for the stars—Dexter Gordon, Live At The Village Vanguard. Woody’s technical facility on this recording is just ridiculous. Give me Miles Davis too. I can’t remember the name of the recording. It’s the album with “Airegin,” “Half Nelson,” and “TuneUp” with Trane, Red Garland, Philly Joe, and Paul Chambers. This recording swings so hard and really is a staple for a band sound and concept. I always look and listen to Miles because he really knew how to run a bandstand. That’s something they don’t teach in school. I have a couple of non-trumpet recordings. But the one I most definitely must have is Herbie Hancock’s Inventions & Dimensions. It’s really a concept album that was basically discussed more so than reading charts. I love the idea of allowing music to just happen instinctively. Back to trumpet players— I love Ryan Kisor’s Usual Suspects—surprise! You weren’t expecting that were you? I dig this because he basically just plays his ass off. He very wisely selected and wrote tunes that play to his musical strengths— very smart and very killin’. Also Nicholas Payton, Payton’s Place. Nick was very on top of his game on this one. You can just tell that he was practicing, gigging all over the world, and basically playing his horn a lot. Donald Byrd did a recording with Johnny Coles—two of my heroes. They play a tune together that I played with Roy Hargrove trying to capture Continued on Page 44 To Advertise CALL: 215.887.8880 PERFORMANCE Spotlight • PERFORMANCE SpotlighT WWW.OSPAC.ORG|OSKAR SCHINDLER PERFORMING ARTS CENTER 4 BOLAND DRIVE|WEST ORANGE, NEW JERSEY|(973) 669-7385 SATURDAY SEPTEMBER 12th 12:30-6 PM 12:30 ENRICO GRANAFEI 1:00 PAM PURVIS & Bob Ackerman Quartet 2:00 STEVE LOVELL Vocalist & Friends 3:00 DAVE STRYKER & West Orange All-stars W/ Billy Hart / Steve Slagle 4:00 NAT ADDERLEY, JR. TRIO 5:00 CECIL BROOKS III & Hot D.O.G., Featuring: Matt Chertkoff 6:00 DIZZY GILLESPIE All-stars Featuring: John Lee & Special Guests 7:00 MAYRA CASALES Latin Band W/ Cuban Drummer Francois Zayas SUNDAY SEPTEMBER 13th 12-6 PM 12:15 JANE STUART QUARTET 1:00 BOB DEVOS ORGAN TRIO Featuring: Vocalist Kevin Burke 2:00 OSCAR PEREZ* Nuevo Comienzo w/ Emiliano Valerio & Charenee Wade 3:00 VIC JURIS QUINTET w/ Nilson Matta / Cafe / Kate Baker & Steve Wilson 4:00 ALI JACKSON TRIO Featuring: Aaron Goldberg & Carlos Henriquez 5:00 NEW YORK VOICES (Grammy Award Wining vocal group) OSPAC's Seventh Annual Jazz Festival is sponsored by: This event is $10 for adults and $5 for seniors. Children are free. Admission is taken at the entrance. The amphitheater is located atCrystal Lake, 4 Boland Drive in West Orange N.J. Audience members are encouraged to bring blankets or chairs to enjoy the relaxed outdoor setting. All performance scheduling and musicians are subject to change. Directions: www.ospac.org TWO DAYS OF GREAT JAZZ BRING YOUR FAMILY, FRIENDS LAWN CHAIR & GOOD SPIRITS BRASS L overs ’ celebration Credit: Eric Nemeyer Freddie Hendrix By Eric Nemeyer BRASS L overs ’ celebration JI: What kind of words of wisdom have you received, or absorbed by osmosis, by playing with cats like George Benson, Michael Brecker, Lou Donaldson, Jon Faddis, Slide Hampton, Wynton Marsalis, Rufus Reid, Dr. Lonnie Smith, Byron Stripling, Marcus Belgrave, Joe Williams, James Spaulding, Kenny Burrell, Stanley Turrentine, John Blake, Sr., Melvin Davis, Bob Mover, Mulgrew Miller? tries with the pop star/actress Alicia Keys, which was great! And from November of last year through April of this year I subbed for Sean Jones in Wynton Marsalis’ Lincoln Center Jazz Orchestra which also was great! Both gigs were major achievements for me. I had a wonderful performance last month with the great tenor saxophonist Billy Harper and his quartet at the MOMA (Museum Of Modern Art) for their outdoor concert summer garden series. And now FH: Well George Benson says, “Be able to play all that I’m back home in the mix of things, I’m looking styles of music baby. It will make you a more versatile player.” I performed with Michael Brecker two forward to three great performances with Roy Hartimes—both in collegiate settings. Just before I grove’s Big Band next week—a performance on Aug started my graduate studies, I was hired as a “ringer” 26 at the Hollywood Bowl in LA, a live broadcast in the NJCU Jazz Ensemble that featured Michael. for 88.3 WBGO in Newark, NJ on the 28, and a live At the end of sound check, I walked up to him to performance at J&R Music in NYC on the 29th. introduce myself and show gratitude. He said, “You don’t go to school here do you? You sound too good “Stress is no good for anyone but daily struggles are good for a to be a student at this school. Give me your telephone number.” Jon Faddis said, “If you want to be a great player because it helps develop character. That character will then improviser, you have to practice improvising. If you begin to develop maturity. Maturity will give you something to want to be a great sight reader, you have to practice sight reading, etc.” Slide Hampton said, “Your playtalk about. Then you can tell a story when you play.” ing reminds me of a young Miles Davis. The best thing that you could be doing right now as a young JI: What is it about musical improvisation that you and to Jazz music, I placed this record on and started African American is playing this music (Jazz).” Lontrying to imitate his singing and playing. And that nie Smith and I recorded together on a George Ben- find so valuable? What does it offer to you, your turned me into the player that I am today. band-mates, and the listeners? son record that was never released. At the session he said, “Your tone reminds me of the way Lee Morgan JI: If you had to choose five of your favorite desert isplayed the melody on the song ‘Flamingo’ from that FH: The most valuable part about musical improland trumpet records to bring with you, which would Jimmy Smith recording ‘The Sermon’. I’m gonna tell visation is that it grants you and your band mates they be? Lou Donaldson about you.” I said, “I’m not ready to the freedom of expression. Musical improvisation play with Lou Donaldson yet.” He replied, “When I or music in general evokes emotions, feelings, good say that you’re ready, then you’re ready.” Prof. Rufus vibrations, and spiritual enlightenment if executed FH: I don’t have any desert island records in my repertoire because there are too many great artists Reid, my mentor says, “Listen my young friend, you’re efficiently and effectively. It gives each band mate a and albums to choose from to be considered the working because you can play and it shows when people see and here you. There is great music and great chance for individual achievement through a group epitome of desert island records. But I’ll give you musicians everywhere and you are willing to be a part collaboration as one. What motivates me and drives a list of trumpeters as leaders of the dates based on of what they ask and throw down hard! When you me forward is playing a great solo and continuously what I think is either some of their best playing or it just represents the best characteristics of their playget a gig, make it hard for the person that’s trying to trying to repeat the process. ing style. I’m omitting Armstrong and Roy Eldridge get in your spot or the person that you’re filling in for. Leave your stamp.” Mulgrew Miller said, “You’re JI: What was it that initially inspired you to play this because that’s too hard to choose. Dizzy Gillespie’s Diz and Bird in Concert Roost 2234; Clark Terry’s on the right path. Keep your ears wide open and music? How did it all start? Serenade To A Bus Seat, Joe Newman’s Joe Newman don’t be afraid to explore your own ideas—and stay with Woodwinds; Miles Davis’ Kind Of Blue, Red beautiful.” Kenny Burrell says, “You have to learn to FH: When I heard a big band for the first time, that’s Rodney’s Red Alert; Chet Baker’s She Was Too Good combine your ears with your theoretical knowledge. But don’t ever completely throw your ears out of what struck my interest in this music. I first heard To Me; Art Farmer’s Gentle Eyes; Fats Navarro’s The the window. When in doubt, your ears will always a large ensemble in junior high school. I wanted to Fabulous Fats Navarro vol. 2; Clifford Brown’s Study get you out of trouble.” And Wynton Marsalis says, know what that sound was and what I needed to do In Brown, Donald Byrd’s Byrd In Hand, Kenny Dor“There’s a certain sincerity in your sound. Sometimes to get next to that sound like getting next to a fine ham’s Quiet Kenny; Nat Adderley’s Radio Nights; you go into playing something that Freddie Hubbard female (which was one of my focuses in those days). I Lee Morgan is a two-way tie between The Gigolo and or Woody Shaw would play and that’s not your stron- auditioned for jazz band and didn’t get in. I couldn’t Delightfulee; Freddie Hubbard’s Red Clay, Woody gest attribute. You need to focus more on your sound read. I was still struggling, and I mean struggling, Shaw’s Stepping Stones, Tom Harrell’s Sail Away; Eddie Henderson’s Dark Shadows, Wynton Marsalis’ and your own ideas. We should shed together.” with the instrument. I completed school for that Standard Time Vol.1 or Vol.5 and Midnight Blues. year, 7th grade, and went home that summer deJI: What events current or upcoming are you excited pressed. One day, I began digging through the family JI: When you first embarked on the sophisticated about in your musical life? record collection and came across a Louis Armstrong journey of becoming an improvising musician, or FH: Well, most of my excitement already came. I did record called “Louis and The Angels”. Unknowing of a jazz musician who plays over changes, what were Continued on Page 53 a year long tour in 2008 of 103 shows in 30 coun- the significance of Louis Armstrong to the trumpet 18 September 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com To Advertise CALL: 215.887.8880 BRASS L overs ’ celebration Credit: Eric Nemeyer Luis Bonilla By Gary Heimbauer JI: Education, as both a student and a teacher, has been a big part of your life. You got your bachelors from Cal Arts, Masters from Manhattan School of Music, and now you teach there, as well as Temple. How has education from both sides had an impact on you? What insights have you gleaned about what we need more of and what we need less of in music education? LB: Education has been one of the biggest gifts and life enhancing endeavors I could have ever asked for. LB: I’m very proud of this recording and of all the people that helped make it happen. The musicians are virtuosic as well as musically muscular. They are not afraid to take risks or hand over complete control to me or to each other. The whole process reflects our attitude and approach to the music and to the jazz industry in general. Several years ago I formed the Now Jazz Consortium [NJC]. The idea behind it was to create a place where several entities - both musical and non musical — could come together in order cre- “I personally don’t believe I have to suffer to create a more profound type of art. I’ve always been more effective and efficient being a happy and positive individual.” JI: What is currently happening in your musical life and what’s on the horizon that you are excited about? LB: (1) The Great Carl Fontana, (2) Frank Rosolino: Frankly Speaking & Turn Me Loose”, (3) “JJ Johnson: JJ in Person, (4) Toshiko Akiyoshi: Road Time (for Bill Richenbach)” and (5) Bill Berry LA Big Band: Hello Rev (for Jimmy Cleveland)” JI: When you first embarked on the sophisticated journey of becoming an improvising musician, or a jazz musician, what were some methods that you found extremely useful to achieving your goals? (Perhaps something that you developed on your own, or your favorite instructional resource) LB: I had a great start at Eagle Rock High School under John Rinaldo’s direction. He was a wonderful trumpeter and had a great ear, which is how he played. He was very expressive and encouraged each of his stuJI: What is it about musical improvisation that you dents to play with that kind of approach and with a big find so valuable? sound. After graduation, I continued my studies at Cal State University at Los Angeles with Roy Main. There, LB: I’ve always been curious and impatient by nature. LB: I enjoy the challenge of having to compose and I was also never very interested in becoming a mem- interact spontaneously my band members and the I was taught the importance of the fundamentals: ber of just one group or playing just one musical style. audience. Creating and controlling the flow of the scales, arpeggios and execution of the instrument. This made me available - time-wise and musically - room, if even for a moment, is one of the most ex- and exposed me to a host of different musical person- hilarating experiences any performer could ever ex- JI: Some say that stress and angst make for good art, and others say you need to find serenity to really exalities and musical worlds. As a result, I am not tied perience. press yourself. Have you found that your life outside down to any one musician or any one musical style. I have learned valuable musical lessons from a host of JI: What was it that initially inspired you to play of music, or your state of mind in general have a direct correlation to your playing? If so, what activities musical masters and played a lot of great music. In trombone? How did it all start? do you do outside of music to better prepare you for these types of situations it’s easy and natural to give 100%. When you give that way, you receive that way LB: Signing up for “Beginning Brass” in 7th grade playing/practicing success?? too. It all becomes part of your musical vocabulary (Eagle Rock J.H./HIGH SCHOOL) wasn’t what I LB: The art in what I do is in the ability to express thought it’d be. I thought it was a shop class and I’d and communicate ideas clearly. I try to create “snapJI: Your latest album, I talking now, mixes so many be making lamps and ashtrays. shot” at every opportunity I get to play. Making a real elements together-Latin, jazz, funk, blues--and it effort to “be in touch” with myself greatly improves seems like everyone on the album has the same diwww.trombonilla.com Continued on Page 53 verse style. Can you talk about the record a little bit? To Advertise CALL: 215.887.8880 September 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com 19 celebration LB: I’ve just celebrated my 10 year anniversary with the (Grammy Winning) Vanguard Jazz Orchestra and spent this past Summer touring with them as well as with Dave Douglas & Brass Ecstasy. Perhaps the most recent and most exciting event is the release of my fourth CD as a leader - I Talking Now! - Planet Arts/NJC). It features Arturo O’Farrill, John Riley, Andy McKee and Ivan Renta on all original compositions and it’s been well received. We’re beginning to play and tour and already starting to make plans for our follow-up recording . JI: What are your top five desert island trombone records that you couldn’t possibly live without, and please state why? The leader doesn’t have to play trombone, but please choose albums based on the role of the trombone. L overs ’ JI: Although you are still youthful in age, you’ve played with such a diversity of legendary players, such as McCoy Tyner, Dizzy Gillespie, Lester Bowie, Tom Harrell, Freddie Hubbard, Astrud Gilberto, Willie Colon, Toshiko Akiyoshi, Billy Childs, Gerry Mulligan, Tony Bennett, Marc Anthony, La India, Paquito d’Rivera, Mary J. Blige, the Vanguard Jazz Orchestra, the Mingus Big Band and the Jazz at Lincoln Center Afro Cuban Jazz Orchestra. How has this diversity of experience impacted your playing? Do you have any anecdotes, or ah hah! moments that you can share with us, that you experienced with some of these players or groups? ate a successful musical venture. The venture, in this case, is I Talking Now. The players/partners involved include not only the musicians, but Thomas Bellino of Planet Arts, Mariah Wilkins Artist Management, Two For The Show Media, and Ed Reed of Lighthouse Productions. BRASS My students are a source of inspiration and keep me more excited then ever about music and its infinite possibilities. The wonderful relationships I’ve formed with my students over the years have also allowed me to have an impact on how we, as young artists, should look at Jazz and the marketplace that surrounds it. Specifically, how we can make the music more accessible to a larger audience. The students act as a sounding board for my ideas and concepts about what it takes to be a successful musician in today’s often challenging musical climate. BRASS L overs ’ celebration Michael Mossman By Gary Heimbauer BRASS L overs ’ celebration JI: You are known for your work in Latin jazz idioms. To really be cutting edge, one has to live and breathe Latin jazz. How did you go from a straight ahead classic player to Afro-Cuban and Brazilian? How did this develop? MM: Many brass players start out in big cities playing in Latin bands. The Latino community, at least when I first moved to Chicago, and then to New York, supported live music like no other I’ve seen. So I learned the style and loved the music. While in grad school, I heard the Machito Orchestra and was really knocked out by the charts and the stylistic performance. After the concert, I marched on up to the stage and told Mario Grillo (Machito’s son and then percussionist) that I wanted to play in that band. A couple weeks later they called me and my first gig was in Queens. Little did I know that playing in that band was kind of like being inducted into a musical family. Soon I met the godfather of Latin trumpet, Victor Paz. He brought me into Mario Bauza’s band, where I met Chico O’Farrill, Ray Santos, Patato Valdez and many other formative figures in the music. Mario wound up, to my surprise “appointing” me his new arranger. I had no experience arranging in the style but had many teachers, especially Bobby Sanabria who was very generous with his knowledge. Mario Bauza is the reason I have any career in Latin Jazz today – he was, and remains my hero. After recording a few charts with Mario, Tito Puente and then Ray Barretto and Slide Hampton (my idol since I was 3 years old) began to call as well and things just took off. Now my association with Hal Leonard has allowed me share some of the lessons I learned with students, so it has come full circle. As a player, I have to credit Michel Camilo for getting me up to New York speed on trumpet. I learned as much playing in his quintet as I did in years of school. Of course there were other associations that were, and are great – playing lead trumpet for Eddie Palmieri, The Lincoln Center Afro Latin Jazz Orchestra and others. But Michel really trains musicians, many of them, for many years. Date with Destiny, was at his home in Fiji – expensive – but worth every penny as I have transformed my life. Corny as it sounds - and it is corny - I multiplied my income several times over, left a poisonous relationship and got out of deep debt, married the woman of my dreams (Spanish dancer, choreographer Mayte Vicens) and now travel all over the world with my family. A remarkable person, Tony Robbins, absolutely committed to helping people seek their dreams. With Tony, I learned, first and foremost, to be proactive; not wait for things to happen. I learned to make a science of modeling successful people’s behavior. I learned to persistently seek the benefits of any situation, no matter how negative it might seem. I learned a lot about time management and responding in a loving way to people who are not handling them- “I learned to make a science of modeling successful people’s behavior. I learned to persistently seek the benefits of any situation, no matter how negative it might seem. I learned a lot about time management and responding in a loving way to people who are not handling themselves well at the moment. I also learned it was OK to think big and expect things to turn out well.” MM: Anthony Robbins is just a brilliant teacher, no question. He does not lay claim to have innovated much of the material he presents, but he has a unique and powerful way of cutting to the essentials of mastering one’s mind, emotions, physical body, relationships and basic orientation toward the world. I was really struggling as an artist and as an adult before I attended his seminars, read his books, which are very valuable for performers, and listened to his tapes. He looks to be a real geek on infomercials, but believe me, this guy is the real deal. The last seminar I did, called MM: Composing, for me, starts with songwriting – a vastly underrated part of jazz education. Some of my heroes are great jazz songwriters, like Jimmy Heath, Freddie Hubbard, Thelonious Monk, Charles Mingus, Joe Henderson, Clare Fischer and Thad Jones. Melody says more than anything and also provides lots of material for the development that follows. A good melody is inexhaustible as far as ideas. I loved the Carnegie Hall Jazz Band, started by Jon Faddis and George Wein. The arrangers, like Slide Hampton, Frank Foster, Manny Albam and Jim McNeely JI: You received degrees in Anthropology/Sociology used standards to create new, innovative arrangeas well as Jazz Composition. Have your studies in ments. But what made the task easier for us was the other areas affected your musicianship? Do you con- quality of the songs we worked with. Composition is, tinue to research these topics? to me, one of the great mysteries of abundance. How a person can create a new work of art that can susMM: Sociology is the study of people in groups – tain human life both spiritually (Barber Adagio for pretty applicable to the music business! I could see strings) and economically? (How many Nutcracker that early on after college. Anyway, I find people fas- Suites have sustained how many musicians over how cinating and see music as an innately human activity. many decades?) A composition is like the gift that just I try to keep my music relevant to people, especially keeps on giving. After the melody comes the fun part, the ones playing it! That is a constant study, solicitdevelopment. It’s like inventing characters in a story ing comments from players, engineers, directors and and watching them do their thing. Of course studythe listening public. There are always insights to be ing music composition is essential. I was lucky to have gained from people, if one is open to them. studied with Wendell Logan at Oberlin Conservatory. He taught me to have reasons behind the notes I JI: Can you talk about the process of composing for wrote and to keep those reasons relevant to human beyou? How do you approach this task? ings. I think that just knowing someone was actually listening made all the difference to me as a student. http://qcpages.qc.edu/music/index. Composing is also a great experiment in seeing how php?L=1&M=162 Continued on Page 53 20 September 2009 JI: We here at Jazz Inside are very much interested in self-development and motivational speakers, etc. Can you talk about your experience with Anthony Robbin’s Mastery University, and some things you may have learned? selves well at the moment. I also learned it was OK to think big and expect things to turn out well. I also learned leadership skills and marketing concepts, key to being successful as a musician. I created a Music Business program at Queens College that starts out with many of the basics I learned in Mastery University. Not a year goes by that I don’t hear from a former student who transformed their career by putting some simple principles, especially that of “constant and never-ending improvement” into practice. • Jazz Inside™ NY • www.jazzinsidemagazine.com To Advertise CALL: 215.887.8880 RONDI CHARLESTON “HERS IS AN IMMENSE GIFT...She handles everything with unfailing taste and intelligence...The greatest highlight is the original Telescope. She is the jazz equivalent of a gin & tonic; cool, clear & effervescent!” -JazzTimes “SHE WORKS HER WAY INTO HER LISTENERS’ HEARTS, and her emotional range is wide. She is in tune with herself and her material and is a joy to hear.” -The New York Times “CHARLESTON CAPTURES OUR ATTENTION COMPLETELY through her heartfelt approach.” - Jazz.com “SHE POSSESSES NOT ONLY SPARKLING, SEASONED VOCAL CHOPS, but impeccable taste, as well.” - JAZZIZ AVAILABLE NOW FOR THE FIRST TIMEThe complete CD/DVD “In My Life,” with never before released material, including the original hit “Telescope.” ON SALE AT BORDERS NATIONALLY AND ONLINE. GET IT NOW! Bonus DVD features Rondi LIVE at Lincoln Center's Dizzy's Club Coca-Cola™ For news, info, updates, downloads, bookings and more, visit the ALL NEW www.rondicharleston.com Be sure to tune in to RadioIO.com’s Real Jazz channel, where Rondi is featured as September’s Artist of the Month. BRASS L overs ’ celebration Mark Rapp By Gary Heimbauer JI: Can you talk about meeting Wynton Marsalis and the effect it had on your path in your formative years? MR: When I first met Wynton Marsalis, I was a student at Winthrop University studying trumpet under - very much a happy, joyous party vibe. Late nights, later mornings, hot sun, rehearsals surrounded by a BBQ with girlfriends and friends hanging out and so on. Solos are played with abandon and no matter what you play, just do it with 110% soul and vibe and it’s all good. New York is intense, high-energy, fast BRASS L overs ’ celebration “Improvisation is the embodiment of freedom and peace. It is, in essence, what we all strive to achieve through governments, laws, religions, diets, fads and the like. All great artists in some form or another present those ideals of freedom and peace – in paintings, poetry, music, sculpture and more.” Dr. Ian Pearson. The day Wynton arrived, I was sure to be involved in the caravan picking him up at the airport and I was sure to wear my best suit. Wynton later gave a quote to the local paper saying, “Rapp’s a sharp young man. He plays with soul, has style and he’s clean too.” - a reference to my always wearing a suit around him. At any rate, when I saw him, I just stood still, eyes wide open, jaw dropped and probably looked like a dumb-struck deer in headlights. Wynton embraced me and said something welcoming that, for a star-struck kid, catapulted me to the heavens. At the concert, he dedicated a solo trumpet piece to me - it was his composition on Buddy Bolden. All and all, my first meeting with Wynton could not have been better. Although, we did do a quick jam together, it wasn’t anything specific to the trumpet or music that really made an impression on me, but it was his overall vibe in regards to discipline, seriousness, determination, follow-through, honor, integrity and finding your own sound that had the main and most meaningful impact on me. It was also how he talked about New Orleans, the heritage of the trumpet, being on the road, seeing the world, meeting thousands of people and so on. And the idea of doing your own thing with dedication and soulfulness. It was all of those things that helped solidify my path in my formative years. and very business-centric. Most people in New York are there to work, work, work and get things done at the highest level of quality and efficiency - late nights and very early mornings, no resting because if you rest, someone else is getting ahead of you. Jam sessions are filled with difficult tunes often played in anything but the original key and everyone is burning it up and then some. The competition is fierce. Practice and rehearsals are serious business and often require a financial investment. Solos are well-crafted with intricate lines played very precisely often incorporating advanced harmonic approaches and razor sharp rhythmic accuracy. I’ve met so many musicians who would benefit from chilling at a BBQ and dig into some Dr. John or the Meters - just open up and relax man! … and many musicians who would benefit from more technical exercises and being a little more serious with their craft. Like I said, both worlds are indispensable. In terms of getting work and being a working musician, any city anywhere in the world is difficult. No differences there. Hustling for a gig is hustling for a gig. But to wrap this up, the musicians I most enjoy are able to incorporate and present the best of both of those worlds - those worlds being the soul and the mind of the artist. When intellect meets passion, when raw emotion is focused through technique, that’s brilliant and powerful. JI: What are the differences in the New Orleans jazz scene and New York? JI: You are influenced by many different styles. How do you try to manage putting it all together without watering things down too much? MR: First, let me clearly say, that there are simply differences and that doesn’t mean one is better than the other or one is more valid than the other. Different is simply different and having lived and played in both scenes, I have found they create a perfect Yin and Yang. New Orleans is Yin to New York’s Yang and vice versa. New Orleans is down home, relaxed, extremely soulful through and through, from the food, to the people, to the venues, to the lifestyle, etc. The sound is fat, rich, full, heavy with groove and funk 22 MR: Bill Evans is quoted as saying, “Jazz is a mental attitude rather than a style.” I really, really like that. I don’t over think styles - I allow my music - compositionally and in performance - to happen organically. I’m coming from the mindset of good music is good music. And music that stirs emotion or stimulates www.markrapp.com September 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com the mind is what makes music so beautiful and essential to the human experience regardless of genre or style. It doesn’t matter to me whether a song by Bjork, Ron Miles or some obscure singer/songwriter inspired me to write a tune or whether a tune came out of studying a Charlie Parker lick - all of which is the case for the tunes on Token Tales. I hear what I hear and I play what I play. If it comes out as groove or smooth jazz - fine. If it comes out like a soundtrack for a scene in a movie - cool. If it comes out as modern jazz - great. What really matters is if it is honest, real, presented with sincerity and if it engages those involved - listener to performer. Additionally, I’m very fortunate to be supported by some of the best musicians around. Artists like Jamie Reynolds and Rene Hart who are extremely thorough in the study of their instrument, harmony and rhythm and who are very open to all music around the world. I think it is the combination of having solid, skilled supporting musicians and being clear on your intentions. That way, the music is uniform, singular and not convoluted. JI: What events current or upcoming are you excited about in your musical life? MR: There are so many wonderful things happening. We just released a killer iPhone Application that is free through the iTunes App Store and is a very cool way for me to distribute music, photos, videos, Twitter feeds and more. Paved Earth music, the label I’m on, is a very forward thinking label. They were releasing music digitally long before that was the thing to do and offering download cards way before that was fashionable. They teamed up with theConspiracy, LLC who has a client roster that includes everyone from Remy Martin to Korn and is building social media and mobile applications for EMI, Blue Note, Depeche Mode and Def Jam. Not bad associations to have! Derek Lee Bronston, my guitarist, and I have developed an imaginative recording collaboraContinued on Page 54 To Advertise CALL: 215.887.8880 PERFORMANCE Spotlight • PERFORMANCE SpotlighT Saxophonist Alex Terrier and Barking Cat Records announce the release of his sophomore album with Roy Assaf, François Moutin, Steve Davis and guests Roundtrip “Alex is a very gifted and expressive saxophonist. He’s shown in performance a very strong developing conception as a composer and a soloist” —Joe Lovano ReleASe CelebRATionS September 29, 9pm @ Puppets www.Puppetsjazz.com • 481 5th Ave, Bklyn, NY october 8, 8pm @ Cafe iguana www.iguananyc.com • 240 W 54th St, NYC october 10, 7-10pm @ Drom www.dromnyc.com • 85 Avenue A, NYC october 22, 9pm @ Parkside lounge www.parksidelounge.net • 317 E Houston St, NYC www.alexterriermusic.com THE SULTRY VOICE IS BACK! Bi-weekly Jazz series Fall/Winter 2009 starring Sharon L. West on vocals Musicians: Yoshiki Miura, Lou Vega, Masahiro Sakuma, Ian J. Baggette and Ron Austin Experience Vegas in Washington Heights Showtime 7:00 pm SATURDAY, SEPTEMBER 26 55 Bar SATURDAY, OCTOBER 17 Women’s Work “Silvano’s CLEOME... raw snapshots... exciting in their spontaneity.” —Down Beat Magazine www.judisilvano.com www.CDBaby.com/judisilvano8 Singer-Songwriter Sharon L. West Also featuring the sensational vocalists Ron Austin and Gia Williams Thursdays beginning September 10th Sponsored by Culturarte, NY and MightyDreamer Angel PURCHASE TICKETS ONLINE at www.mightydreamerangels.com or www.culturarteny.com ORDER TODAY and receive a 10% discount. Use code TAINA ANACAONA DOMINICAN THEATER 178th Street and Audubon Avenue one block east of St. Nicholas Avenue inside Culturarte, NY BRASS L overs ’ celebration Credit: Eric Nemeyer Michael Rodriguez By Gary Heimbauer BRASS L overs ’ celebration JI: You’re a native New Yorker who went to Miami to study music for a couple of years. What drove you to go down there? The weather? The women? To get a break from this crazy city? You eventually came back and got your degree at the New School. What were the highlights of your college experience? MR: I was born in Queens, NY. My family moved down to Miami in ‘87 when I was about 9 years old. So, I started playing guitar and later picked up the trumpet. I was a guitar major at the New World School of the Arts and also played trumpet in the ensembles. I then went on to the University of Miami and focused on the trumpet. After completing two years, I decided to move to New York to attend the New School University where I got my B. A. The Highlights of my college years were when I got to play with the guest artists that came through in Miami – Maria Schneider, Bob Mintzer, Dave Liebman, Jimmy Heath, Manny Album. Years later after being in NY, I worked professionally with some of those artists such as Bob Mintzer and Maria Schneider. JI: You’ve played with some amazing cats like Joe Lovano, Gonzalo Rubalcaba, Charlie Haden and many more. How have these experiences impacted your musicianship? MR: Having the opportunity and honor to work with artists like Gonzalo Rubalcaba and Charlie Haden is a dream come true. For me, in any musical situation that I am involved in, I always take something away from the experience be it with a big name jazz artist or with one of my peers’ projects. Working with artists such as Charlie Haden, Gonzalo Rubalcaba, and Bob Mintzer, I take away not only musical ideas but also life lessons. It’s an apprenticeship if you will. That level of professionalism is what I strive for. my heroes play on recordings, I get a certain feeling in my soul and I want to make other people feel the same thing. I love playing with other musicians who listen and share that same passion. JI: What was it that initially inspired you to play this music? How did it all start? MR: My father is a musician. He was always playing recordings in the house and had musical instruments around for my brother and I to play with. I would say my first inspiration was my father. When I got to middle school, I wanted to be in the band program so I choose the trumpet. I was watching TV with my father one day and Dizzy came on playing so that led “What improvisation offers me is another avenue for expressing my inner self. Whenever I listen to my heroes play on recordings, I get a certain feeling in my soul and I want to make other people feel the same thing. I love playing with other musicians who listen and share that same passion.” me to want to play the trumpet. JI: If you were stranded on a desert island and could only have 5 trumpet records, with you, what would they be? MR: What improvisation offers me is another avenue for expressing my inner self. Whenever I listen to MR: My ‘top 5 desert island trumpet recordings’ is a tough one to answer but I’ll give it a shot. Miles Davis’ My Funny Valentine/Four and More double CD would be on that list. I love the sound of the recording. Everything is clear and precise. The playing on this recording is breathtaking. I can listen to Miles’ sound and phrasing on this recording for the rest of my life and never get tired of it. It swings so hard and is one of the most musical live performances I’ve ever heard. Another record is Clifford Brown with Strings. Again, Clifford’s Sound and what he plays over those songs is the reason why I love this instrument – such a high level of expression. Freddie Hubbard’s Ready for Freddie is on that list too. It’s tough to choose just one Freddie record but I love his birdlike solo on it so much that I had to choose it. Every time I listen to it I hear something new. The whole album still sounds fresh to my ears. The Freddie Hubbard-Woody Shaw Sessions is a must have and will definitely go to the island with me. Every trumpet player should own this recording – two of my trumpet heroes exchanging musical ideas back and forth. In my opinion, both Woody and Freddie defined the modern jazz trumpet. Last but definitely not least, I would take the Chapotin y su Conjunto recordings with me. Chapotin’s sound and phrasing is mind-blowing. He floats over the rhythm section’s groove so elegantly. 24 September 2009 JI: What are some things currently happening, or on the horizon, that you are excited about? MR: Right now in my musical world, I am doing a lot of exciting sideman gigs that are pushing me to become a better player. My brother Robert, a pianist and composer, and I have the Rodriguez Brothers project happening and we are continuing to travel, perform and grow musically from it. I’ve also started my own quartet project which I’m excited about. Robert has also been playing with his trio project. We both love playing and will continue with the Rodriguez Brothers group but we also want to venture out on solo projects. JI: What does musical improvisation offer to you, your band-mates, and the listeners? • Jazz Inside™ NY • www.jazzinsidemagazine.com JI: When you first embarked on the sophisticated journey of becoming an improvising musician, or a jazz musician who plays over changes, what were some methods that you found extremely useful to achieving your goals? Maybe there is something you discovered on your own? MR: In my development as an improviser I’ve discovered a lot of things on my own. I have had great help along the way and still now at times. But I think everyone gets to a point where they start to figure things out on their own. I think sitting down at the piano is very important. I’ll sit down at the piano and play some chords and hold down the sustain pedal and pick up my trumpet and start to improvise. A lot of my development has been in this way. Listening to recordings and transcribing has helped a great deal for me. That helps get the sound and phrasing of this music in ones ear. It’s a language so one must approach it as they would any other language. Learn the grammar and vocabulary then come up with your own sentences to express what yourself. JI: As an artist, your state of mind and ability to dig deep is important. Outside of playing, what do you do to re-center and find peace of mind? What do you do to break through all of the surface stress in our contemporary world? Or perhaps, you feel that angst is good for music? MR: I heard Herbie Hancock say once that being a musician is part of who we are. We are not always musicians through out the day. We are also a brother or Continued on Page 55 To Advertise CALL: 215.887.8880 CD Spotlight • CD Spotlight • CD SpotlighT CORINA BARTRA SON ZUMBON–Blue Spiral Productions. www. bluespiralmusic.com. No Valentin; El Dorado; Alcatrachu; Latino Blues; Una Larga Noche; Aguacero; Green Dolphin Street; Bailin rodas Las Razas; Osiris. PERSONNEL: Corina Bartra, Clare Cooper, vocals; Tino Derado, piano; Vince Cherico, drums; Peter Brainin, sax and flute; Oscar Stagnoro bass; Fred Berrihill, percussion; Perico Diaz, Peruvian cajon; Andres Prado, guitar. Man in the World of Ideas (spoken word by Dr. Cornel West); Him or Me; Choices; Hugs (Historically Under- represented Groups); Winding Roads; When Will You Call; A New Note (spoken word by Dr. Cornel West); A New World (Created Insides the Walls of Imagination); Touched by an Angel; Robin’s Choice. PERSONNEL: Terence Blanchard, trumpet, synthesizers; Walter Smith III, saxophone; Lionel Loueke, guitar; Fabian Almazan, piano; Derrick Hodge, acoustic and electric bass; Kendrick Scott, drums and percussion; Dr. Cornel West, spoken word; Bilal, vocals and effects. By Bob Gish Here’s a wonderful ristra of Latin tunes sung by an experienced cantadora in conjunto with a fine assembly of instrumental jugadores and musical jesters. The only standard in this waggish assembly from the familiar jazz repertoire is “Green Dolphin Street” which in some ways is the least satisfying rendering of the bunch in that Bartra’s forte is singing in Spanish. One can only wish this tune, hardly the proponent of a witty lyric, had not been included or perhaps sung in translation. When she scats the tune comes more alive, and yet does not arrive at the level of energy as the rest of the songs found here. The tune is, as it were, an exception not the rule. It’s difficult for a salsa singer especially to stand out as a soloist, given all the repetitions and responses formed in the genre. Bartra, however, brings it off as a convincing soloist who knows not only salsa forms but more Afro-Cuban and here Afro-Peruvian traditions. The whole enterprise is a fusion of world beats and rhythms blended with American jazz in a cornucopia of melodies not unlike the exotic head ornamentations of the late Carmen Miranda. Ballads and boleros seem, understandably, to be lacking; however, there’s a compensatory high hat of tasty fruits and condiments to savor. The musicians in large part make the production the stand out it is and in this respect it’s natural to think of Bartra as one of the conjunto. Again, the Spanish as language stands out as its own kind of musica del alma. Bartra’s is not the most soothing of voices, not the kind to appeal to the more popular airwaves of jazz. Her unique almost nasal stridency has its own siren appeal even so. Fans of Latin jazz will not want to miss this one to test their critical ear, cultural affinities, and comprehension of Spanish music, both for its melodies and lyrics. TERENCE BLANCHARD CHOICES – Concord Jazz CJA-31736-02. www. concordmusicgroup.com. Introduction by Dr. Cornel West; Byus; Beethoven (spoken word by Dr. Cornel West); D’s Choice; Journey; Hacia del Aire; Jazz To Advertise CALL: 215.887.8880 September 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com 25 By Matt Marshall Perhaps inspired by his work as a composer for films – most notably with Spike Lee – and certainly inspired by philosopher and civil rights activist Dr. Cornel West, trumpeter Terence Blanchard appears with Choices to be screening a documentary without pictures: one on music’s power to work as philosophy, criticism and a source of redemption. It’s an interesting idea that doesn’t quite fulfill its promise. Several tracks feature West musing as in an interview on subjects from Beethoven to imitation to moral choice “God Made It Beautiful” is a short tune that takes things back to funk territory and Williams (who is credited on piano but doesn’t seem to play acoustic piano on anything) ably accompanies Catalano’s furious flurrying flights. “Damn Right” keeps things moving in the same direction and by this point anybody reading this review probably realizes that stylistic variety isn’t what Catalano is going for here. Fortunately, the reasonable length of the tracks (average length-less than five minutes per track) and the album (clocking in around forty-five minutes) keep your attention. In addition, Catalano’s intensity and drive can’t help but keep your ears perked up and your adrenaline flowing as you listen to these funk-filled delights! “Funky Dunky,” the longest track on the album, digs deep and Daron Nelson’s drums and Adam Whitson’s bass are in the pocket providing the perfect rhythmic base for Catalano to burn over. Williams gets more room than usual to solo here and he stirs the musical stew for a while before handing it back to Catalano, who quickly gives the reins to Daron Nelson. He provides a drum BANG! – Savoy Jazz SVY 17734. www.catalanomu- solo that manages to maintain the groove of the piece sic.com. Bang!; Soul Burner; Shakin’; My One And while presenting some exciting ideas. Catalano is back Only Love; God Made It Beautiful; Damn Right; in the saddle for the remainder of the track. A gentler, more seductive sound takes hold when Catalano moves Funky Dunky; Night Moves; Later; Footprints. PERSONNEL: Frank Catalano, tenor saxophone/ to alto flute for “Night Moves.” Williams gets a chance alto flute/programming; Scott Williams, piano; Adam to be the more aggressive soloist here as he contributes Whitson, bass; Daron Nelson, drums; Chris Paquette, his best solo on the record and Catalano is the calming influence on this track. The presence of an angry percussion; Jen Faletto, angry chick overdub. girl speaking over the music at the start of “Later” is a bit distracting but this tune is more of a transitional By Dan Bilawsky piece than a full fledged song so this minor flaw is easily overlooked. The programmed beat and straightThe cover of Frank Catalano’s Bang! is both ahead rock/dance groove on “Footprints” is the most mysterious and intriguing. Catalano holds his coforiginal spin I’ve heard on this track since I first came fee mug up to his mouth as he gives a menacing stare, upon the wondrous, reggae-fied version from the Jazz as if ready to grab his saxophone and attack at any Jamaica All Stars. Catalano’s bold, expressive playing moment, while an unknown woman stands in the on this program built largely from originals is sure to doorway ready to shoot the unsuspecting reed man. get the blood flowing and the body moving whenever While the imagery might make you think you’re get- you listen to Bang!. ting some noir-ish jazz or something that resides on the fringes of jazz, you actually get something else. The title track opens in mid-tempo, funky-jazz territory, with Catalano tearing it up on tenor saxophone. Daron Nelson provides the back beat while bassist Adam Whitson locks in with him. While pianist Scott Williams gets a bit of solo space, this is largely a feature for Catalano and his scorching saxophone sound. “Soul Burner” begins with Catalano’s saxophone alone, establishing the mid-tempo groove. While the pace and feel of this piece doesn’t stray far from the album opener, Catalano takes it down a VIRTUE – Sony www.sonymasterworks.com Exnotch in terms of intensity at first. After Williams position; Insensitive; Blues Sketch in Clave; Iris; The solos, Catalano gets a bit more raucous while the Exorcist; Lullaby Fantazia; Blackjack; Long Passage; rhythm section holds down the fort. “Shakin’” picks Estate; Daily Living; Vanilla Sky. up the pace a bit and the Catalano-Williams part- PERSONNEL: Eldar Djangirov, piano, electric nership in soloing remains intact. Catalano, while keyboards; Armando Gola, bass; Ludwig Afonso, smoothing out his sound a bit, largely retains his drums; Nicholas Payton, trumpet; Joshua Redman, edgy sound on “My One and Only Love.” Anybody saxophone; Felipe Lamoglia, saxophone. looking for a velvety smooth tenor saxophone sound on a ballad won’t be in love with this track (which is By Matt Marshall taken a bit faster than usual), but those who prefer The young pianist savant is back with a followtheir tenor players with a bit of grease and grit will love it (and everything else here). The cadenza at the up to his 2007 Grammy-nominated album re-imagiend of this track is brash and boisterous. Catalano nation. He augments his classically tinged, dexterous should be commended for moving in a direction that acoustic piano work with a futuristic warping from many players wouldn’t take with this song. an electric keyboard to fashion, along with bass- and spiritual exploration, all ostensibly linked to the art of creating jazz. Elsewhere he waxes more poetic beneath, on top of or intermixed with the music. That music is economical, heartfelt, cinematic Blanchard fare occasionally bent to R&B to support the soul singing of Bilal. It’s accomplished, well-crafted music, but nothing we haven’t heard before. And the inclusion of West’s comments not only comes to sound like a gimmick, but challenges the very thrust of his words: “that music is deeper than philosophy.” Frank Catalano Two for the Show Media offers special, one-on-one attention to the Jazz artist and their personal campaigns. Our experience includes publicity, concert promotion, artist development, and marketing. We have established media contacts (print, radio, and television) and we have the ability and know-how to effectively translate our client’s goals. Call Chris DiGirolamo: 914-346-8677 www.twofortheshowmedia.com Roch Lockyer “Nondirectional is notable not only for Lockyer’s thoughtful solos and original voice on the guitar but for his intriguing compositions…improvisations develop logically...a surprising amount of variety... versatility in his playing....excellent modern jazz set...” —Scott Yanow Booking: Roch Lockyer 408-483-4858 www.rochlockyer.com 26 ELDAR September 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com To Advertise CALL: 215.887.8880 CD Spotlight • CD Spotlight • CD SpotlighT Faith Gibson Big Moon Tony Hughes Trio Newly released CD “I Remember You” masterful chord-melody guitar “Faith has done her homework and is a savvy vocal stylist. Big Moon is one of 2009’s best surprises!” —Mike Reisz, WDPS Dayton, OH Tony Hughes performance & instruction in southeastern PA “Ms. Gibson interprets these tunes in an ultra-cool but totally unpretentious manner.” —George Fendel, Jazzscene Magazine [email protected] www.tonesnhues.com “Though Faith Gibson has plenty of chops, it’s her attitude that drew me in. There’s a sincerity in her voice that puts the ears at ease. She’s the ‘jazz singer next door.” —Mark Saleski, www.jazz.com “Every cut is a treasure, and the album is a joy!” —John Segers, Music Director WUCF-FM 89.9 Big Moon is available online at Amazon, iTunes and CD Baby www.faithgibson.com Sherrie Maricle & the the Jazz Orchestra DIVA JAzz TrIo Jazz Quintet Debut release by the newest group in the DIVA family September 12 - Sherrie & DIVA at the COTA Festival, Delaware Water Gap, 7:00pm September 16-20 - Sherrie & DIVA with the great Marlena Shaw at Dizzy’s Club Coca-Cola September 26 - Sherrie & DIVA playing the music of Johnny Mandel at The College of St. Rose DIVA, Five Play, and DIVA Jazz Trio recordings available at divajazz.com, CDBaby, iTunes, & Amazon Currently booking concerts and educational programs through 2010 www.divajazz.com [email protected] ist Armando Gola and drummer Ludwig Afonso, a heady explosion of sound. Eldar’s playing often recalls that of Brad Mehldau, especially on the ballads “Insensitive,” “Iris” and “Lullaby Fantazia.” Its tone is deep and full, massed into atomic groupings of colliding pianistic flurries. He plays with time and, like Mehldau, strikes the count in such a way as to stretch it, unleashing several handfuls of notes without rushing the music but, rather, winding it down. His compositions, of which most of the album is made, lace intricate, classically written passages with equally complex, if more open, improvised choruses. It is intense music from the start. The ballads provide a necessary chance for the listener to catch his or her breath after the rush of such injections as “Exposition,” “Blues Sketch in Clave” and “Blackjack,” none of which can be held to terra firma, but finally blasts into orbit on the streak of Eldar’s electric keyboard. Gola’s electric bass occasionally supplies some funky gasps of air, as in the breaks on “Blues,” but he also proves himself the equal of the leader’s intensity, motoring the music, along with the never-ceasing, bone-kicking drum attack from Afonso, into more powerful gears – into faster, reckless, thrillingly dangerous modes of operation. The occasional addition of sax or trumpet might serve as jet fuel or, as in “Exposition,” run an especially hot piece through a cooling, reedy wash till it’s able to be safely touched again by Eldar. Nicholas Payton’s searing trumpet solo halfway through “Blackjack” sounds the other metal extreme. “The Exorcist” thumps hard, driven by Gola’s bass, and mixes some appropriately creepy electronica with bright, happy-feet dance rhythms and melodies that both laugh at and welcome any careless demons who might think they’re a match for this music. Already (in his early twenties) a major player on the jazz scene, Eldar thrusts himself with Virtue into the first class of those creating modern music. 28 September 2009 KEN FOWSER/ BEHN GILLECE FULL VIEW–Posi-Tone Records. P.O. Box2848, Venice, CA 90292. www.posi-tone.com. Bittersweet; The Hutch; Act of Disguise; Soul Eyes; Two Pail; Just in Time; Crisis Averted. PERSONNEL: Ken Fowser, Tenor Saxophone; Behn Gillece, vibraphone; David Hazeltine, piano; Adam Cote, bass; Paul Francis, drums. STEFON HARRIS & BLACKOUT URBANUS – Concord Jazz CJA-31286-02. www. concordmusicgroup.com. Gone; Christina; Tanktified; Shake It for Me; Minor March; They Won’t Go (When I Go); The Afterthought; For You; Blues for Denial; Langston’s Lullaby. PERSONNEL: Stefon Harris, vibraphone, marimba; Marc Cary, piano, Fender Rhodes; Ben Williams, bass; Terreon Gully, drums; Casey Benjamin, alto sax, vocoder. By Matt Marshall Moving to the Concord label from Blue Note for his seventh release as a leader, vibraphonist Stefon Harris reteams with the Blackout ensemble from his 2004 release Evolution for another hard-hitting session. In fact, this outing finds Harris & Blackout shifting noticeably into a new gear: the rhythms bite By Bob Gish deeper, the melodies (occasionally with vocoder “vocals”) warp into the future. Tenor sax and vibraphone have always been kinRecording the album just a few days before dred spirits and so are Ken Fowser and Behn Gillece President Obama was sworn into office gave the seswho prove the point again here, forcefully and confi- sion special inspiration, Harris has said, creating “a dently, in a grouping of seven tunes, six of them origi- great feeling of audacity and some fantastic energy.” nal compositions by the featured duo of musical pals. And the record certainly has a quality of pushing the “Bittersweet” leads the play list, a tune by Sam limits, of taking from the past and pounding, bendJones with all the tart and sweet contrasts any one ing it into something new. could want in a tune–and in solos, contrasting with Of the covers here, the group transforms George lots of unison playing of the head. Adam Cote plays Gershwin’s “Gone, Gone, Gone” from Porgy & Bess his part too with interpretive soloing. into a go-go funk groove that features an explosive “Soul Eyes,” by Mal Waldron is a longer cut at Fender Rhodes solo from Marc Cary. Stevie Wonseven minutes but comes in about average in running der’s “They Won’t Go (When I Go)” is sung through time with Fowser’s “Two Pair” taking the marathon Casey Benjamin’s vocoder, rendering the lyrics more honors at over eight minutes. But “Soul Eyes,” is a or less unintelligible, at least in a verbal sense – the gem of a tune, showcasing all the dreamy, romantic emphasis is switched to melody and stretched, fucapabilities of the tenor sax when played by someone of Fowser’s talent and ability. You get those special turistic sound. Buster Williams’ ballad “Christina” overtones all set in an obbligato context of soulful is likewise transformed with vocoder effects, while Jackie McLean’s “Minor March” retains its oldvibes. It’s this reviewer’s favorite among favorites. “Just in Time” is a third tune not composed school hardbop force fueled by postbop verve, most by the principals. This familiar Betty Camden tune notably in Harris’ springy vibes solo. Another departure from Blackout’s first record takes on an up-tempo, let’s burn, dressing here, led by the speedy mallets of Gillece who hits everything is found in the original compositions. Whereas Harris carried those honors exclusively on Evolution, right on in clear-eyed, heart-felt precision. Gillece has three of his original tunes here: here Cary, drummer Terreon Gully and Benjamin “Crisis Averted,” “The Hutch,” and “Act of Disguise” join in, composing “Afterthought,” “Tanktified” and Fowser, as mentioned, shows his composition abili- “For You,” respectively (the last – a progressive, morties with “Two Pair” (an obvious commentary not phological standout – co-written by Sameer Gupta). just on poker but on duo playing), and, like Gillece, Harris chimes in with “Blues for Denial” and “Langston’s Lullaby” (co-written by Benjamin). It’s a group Fowser’s creative juices are in full flow. You can’t beat the instrumentation, arrange- effort that carries over into the playing. All are on ments, and musical abilities demonstrated here. So, equal footing here, free to experiment and take the kudos to two kindred spirits of Misters Ken and music where they see fit. Yet the tightness of a seaBehn who are deep in the “zone” and thankfully soned band remains, making forays into electronica, straight-ahead jazz, folk and city beats mesh as one. share that state of grace with us. • Jazz Inside™ NY • www.jazzinsidemagazine.com To Advertise CALL: 215.887.8880 Some may argue that humanity’s move to an urban landscape from its nomadic past was not really an advancement. But surely the urban and its collective push reign supreme over suburban sprawl and its individualistic greed. And on Urbanus, Stefon Harris & Blackout can be heard to have pushed beyond Evolution into an even more rewarding field of improvised collectivity. HEATH BROTHERS ENDURANCE – Jazz Legacy Productions JLP 0901004. www.jazzlegacyproductions.com. Changes; Wall to Wall; You or Me; Ballad From Leadership Suite; Dusk in the City; Two Tees; Autumn in New York; From a Lonely Bass; The Rio Dawn. PERSONNEL: Jimmy Heath, tenor and soprano saxophone; Jeb Patton, piano; David Wong, bass; Albert “Tootie” Heath, drums. By Matt Marshall The Heath Brothers, saxophonist Jimmy and drummer Albert “Tootie,” pay tribute to their own lasting legacy and physical stamina with Endurance, while nurturing the next generation of great players in pianist Jeb Patton and bassist David Wong. The first album since the death of their brother, bassist Percy, this outing finds the Heaths plowing the nutrient-rich dirt of the family’s jazz acreage. Which is to say it’s a straight-ahead bop quartet work that doesn’t stretch for theatrics or go in for pyrotechnics, but relies on the distinct musical characters of its individuals to swing melodies their own way and add a spark or unique funk that can’t be faked. It’s a risky business, one that demands supreme confidence from each man. Yet it’s one that works throughout here. Jimmy, who composed seven of the record’s tunes, has a full, sparkling sound that drives many of the tracks with the power of an entire sax section, most notably on “Two Tees,” a number dedicated to Tootie. On “Autumn in New York,” Jimmy opens fully into a deep Coleman Hawkins sax blanket, the sound enveloping the listener in rich autumnal hues with a thick, brisk bite. On “Ballad From Leadership Suite,” he adopts a thinner, smoky tone in the vein of Lester Young, his lines slicing painlessly through the skin to directly attack the heart. Tootie prefers to sit mainly in the supporting – which, is to say, the leading – roll. His drumming rarely surges to the fore, but provides the comfortable moving carpet for the others to work upon. The midsection of the aforementioned “Ballad” is an excellent example of this, wherein Patton constructs an intricate structure around Wong’s girders, both meshed and held at their bass by Tootie’s brushes. An exception is his solo, appropriately, on “Two Tees.” Here’s a man with all the flare and polyrhythmic To Advertise CALL: 215.887.8880 ability any drummer could wish for, but who also exudes an element in his playing that is unteachable: a stream of human tenderness to sponge the blow of all-out thundering joy, which on its own can burn through power quickly. Patton’s playing is consistently a joy throughout the record. There’s an immediate kick every time he enters with a solo. He utilizes expert technical control to manipulate time in such a way as to make it tactical and full. His attack of the keys is crisp and bright. Wong, who is also part of Jimmy’s fellow NEA Jazz Master Roy Haynes’ band Fountain of Youth, employs clean, buoyant lines throughout and bows a mournful yet celebratory bass on the tribute to Percy Heath, “From a Lonely Bass.” The Heath Brothers are still rolling solid. Long may they endure! Laurence Hobgood WHEN THE HEART DANCES – Naim Jazz NAIMCD112. www.laurencehobgood.com. Que Sera Sera; When The Heart Dances; First Song; Sanctuary; Chickoree; Stairway To The Stars; New Orleans; Why Did I Choose You?; Leatherwood; Daydream; The Cost Of Living. PERSONNEL: Laurence Hobgood, piano; Charlie Haden, bass; Kurt Elling, vocals. By Dan Bilawsky dards, this track is more of an art song within a jazz framework. As Elling sings of the first song he heard and the first song that was, hints of darkness, sadness and melancholia seem to move over the music. Fortunately, things brighten up on “Sanctuary.” Hobgood is flying solo on this song and a comforting, positive spirit seems to leap forth from the music. He works in little riffs, like occasional sweeping runs or a brief set of sextuplets and triplets here and there, and never gets too predictable as he works his way through this performance. Haden returns for “Chickoree” which he co-wrote with Hobgood. Haden seems to play the straight man on this track and Hobgood moves around him with toying licks. Haden gets some solo space here and then Hobgood returns. The pianist seems to want to play a musical game of cat and mouse but Haden doesn’t bite and keeps moving along, setting the direction and holding it all together. “Stairway To The Stars” is the first of three consecutive tracks that are five star performances. Elling returns and his voice gives off a good deal of warmth here. Hobgood’s masterful accompaniment helps to heighten the vocal performance and the shared history between pianist and singer takes this music to the next level. Hobgood keys in on the lyrics too, and when “climb to heaven with you” comes out of Elling’s mouth he’s right there with some floating upper register piano tinkling to match the sentiment in the words. Hoagy Carmichael’s “New Orleans” has seen an increase in popularity over the last few years and this performance is one of the best I’ve heard. After a brief piano introduction, Haden joins Hobgood and they settle into a comfortable, strolling tempo that perfectly reflects the weather and vibe of the Crescent City. Haden is supportive to a fault when Hobgood is in charge. When the bassist takes his turn in the spotlight he delivers his most moving solo on the album. A fine marriage between Haden’s bass and Hobgood’s piano is found on “Why Did I Choose You?” While I’ve mentioned that Haden is often supportive of Hobgood, this track seems to have both men on an equal playing field, which is a difficult feat to achieve with a piano and bass duo. “Leatherwood,” another solo piano performance, is a showcase for Hobgood’s spirited playing, technical prowess and sharp compositional skills. Elling makes one last appearance on a terrifically grooving, soulful version of the Ellington/ Strayhorn classic, “Daydream.” The album ends with “The Cost Of Living,” which seduces the listener from the very beginning. The hushed sense of beauty and genuine charm in this performance is just one of many special moments on When The Heart Dances. Laurence Hobgood’s name might not ring a bell for some people but if you’ve heard any of Kurt Elling’s albums, or seen him perform live, you’ve heard Hobgood’s piano playing before. While the pianist has been backing Elling for well over a decade, his own music hasn’t always received the attention it deserves. He has recorded several terrific trio albums, and a solo piano record, for the Naim Jazz Label. He creates some absorbing, beautiful music paired with Charlie Haden on his latest album. This album begins with a pretty rendition of “Que Sera Sera.” Both men allow the music to simply flow without musical excess or unnecessary technical displays getting in the way of a gorgeous performance. After Hobgood takes a trip through the melody, Haden takes the first solo. Hobgood’s solo adds a few fancier touches to the piece but things remain uncluttered from start to finish. While the core sentiment of the song remains, this intimate musical portrait is a far cry from the famous Doris Day rendition. The title track, the first of three Hobgood compositions, begins with a solo piano introduction. Hobgood develops descending melodic motifs during the opening of the song and, once Haden joins in, a bouncy feel is established. Haden’s lone composition on the album, “First Song,” features Kurt Elling as UNDER MY SKIN – Challenge Records CR73283. guest vocalist. While the other two Elling appear- www.challengerecords.com. I Love Paris; I’ve Got ances on the album are on performances of stan- You Under My Skin; In The Wee Small Hours Of The Mark Lambert September 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com 29 Morning; Sunshine Of Your Love; Tenderly; But Not For Me (Intro); But Not For Me; This Nearly Was Mine; Without A Song; Tight. PERSONNEL: Mark Lambert, vocals/guitar/percussion; Vana Gierig, piano; Matthew Parrish, bass; Alvester Garnett, drums; Vinicius Barros, percussion; The Avenue C Orchestra. double shot of Cole Porter kicks off the program. The arrangement of “I Love Paris” begins with some Spanish-tinged guitar work over, what seems to be representative of, sounds of the city. Bits of conversation, subway noise and little percussive hints create a wonderful sound stew as Lambert’s voice takes to the air. Lambert’s vocals on the opening track resemble a hushed Michael Bublé, with ever so slight hints of John Pizzarelli and the charm and sophistication is By Dan Bilawsky his delivery is apparent from the very first words. The While Mark Lambert’s Under My Skin is a song moves back and forth from a Middle Eastern standards-based album with lots of familiar material, inspired section to a bluesy swing feel. Pianist Vana the arrangements on this record, the excitement and Gierig is captivating during his solo and Lambert’s guitar solo, almost sitar-like at times, is terrific as he class in the performances and Lambert’s obvious enworks over the Moroccan-influenced section of muthusiasm for music making will make some of these sic at the end of this piece. Lambert’s repetitive guitar songs sound as fresh as if they were written today. A lick on “I’ve Got You Under My Skin” helps to set the mood for this performance. While this piece has a Bossa Nova-like Latin feel to it, it isn’t your typical paint-by-numbers Bossa. The piano and guitar work, in addition to the subtle orchestrations behind it all, make it unique and Lambert’s guitar takes on a harplike quality during his solo here. Gierig’s solo fits into the Brazilian stylistic mold and Lambert’s relaxed vocals are terrific. A simple, repetitious rhythmic pattern sets things up on “In The Wee Small Hours Of The Morning” and Gierig’s single note lines during his solo are the highlight on this one. “Sunshine Of Your Love,” the Cream classic, receives its most unique and jazzy interpretation to date here. Brazilian music is, again, part of the package here and the chorus moves into a slow, raunchy swing feel. Matthew Parrish delivers a hip bass solo over the straight section here and Lambert works well over the swing feel on guitar. “Tenderly” begins with an 8th note pattern on piano that sounds like it could have come from a music box or a carousel. Soothing strings move beneath it and guitar climbs over it all. Lambert begins his gentle vocals over an empty sonic landscape, with Parrish’s bass being the only other sounds holding things together, and Garnett makes a subtle entrance and sets up the light swing feel. Gierig and Lambert both get some solo space and the music that started it all returns at the end. A minute-long guitar solo track, with classical allusions and Mediterranean hints within, serves as the introduction for the Gershwin classic, “But Not For Me.” Gierig gets some more solo space here and Lambert speaks the song’s sentiments as the music vanishes. “This Nearly Was Mine” begins with slowly stirred brushes over the snare drum as Lambert nonchalantly croons over the music. The music moves from a slow four into a waltz feel, briefly, before moving back to the original feel. When the drums dropout and the strings join with Gierig’s piano, the emotional content is briefly heightened before the original feel returns. Gierig’s solo, over the strings at the end of the track, oozes with class. A hip, Devil may care attitude comes through on “Without A ENSEMBLES · PRIVATE LESSONS · GROUP CLASSES Song.” This arrangement wouldn’t seem out of place Guitar · Voice · Piano · Winds · Percussion · Brass on a Jamie Cullum album and Parrish contributes REGISTRATION NOW OPEN! an enjoyable solo over some gentle chordal accompaniment from Lambert and some faint piano in the background. Lambert delivers a swinging solo here LUCY MOSES SCHOOL · 129 W. 67th St. and briefly trades fours with Garnett. Betty Carter’s 212 501 3360 · lucymosesschool.org “Tight” finishes off the album and Lambert seems to 30 September 2009 • Jazz Inside NY ™ • www.jazzinsidemagazine.com pick up small traces of Sting and Kurt Elling, in addition to those listed earlier, and the punchy rhythmic moments on this track are terrific. While I wasn’t familiar with the name Mark Lambert before, I guarantee I won’t forget him, or the finely crafted music he creates, any time soon! Gordon Lee ROUGH JAZZ LIVE AT JIMMY MAK’S – Diatic Records. Web: www.diaticrecords.com. Loss Is Freedom; Piano Cadenza; Istanbul; Yi Mang Shan; Suitcase Odysseus; Tobacco Monkey; Closure; Land Whales PERSONNEL: Gordon Lee, piano; John Gross; tenor saxophone; Dan Schulte, bass; Alan Jones, drums By John Thomas Diatic Records of Portland, Oregon continues to put out top quality music from artists such as the Paxselin Quartet, Chris Mosley and Dusty York. They seem to only sign very unique players who compose their own compositions and Gordon Lee is one of them. Lee, a one time successful New York player, left the rat-race for Portland and has been a fixture on the scene there since. This release is in fact a DVD, and it features Gordon and his band working through his very striking original tunes. Lee has some incredible chord voicings, amazing technique and an ability to create some often dark, but always beautiful soundscapes – he paints some wonderful pictures with his tunes. He also explores some odd meters such as in ‘Loss is Freedom’, one of the highlights of the set. Joining him are saxophonist John Gross, bassist Dan Schulte and drummer Alan Jones. Peter Mazza THROUGH MY EYES – LateSet Records www. latesetrecords.com. www.petermazza.com. Burned, Close To My Heart, Testa Rossa, Goodbye, Alphabet City, My Funny Valentine, On Green Dolphin Street, Shangri-la, Dreaming of Open Spaces, Alone With You. PERSONNEL: Peter Mazza (guitar); Will Vinson (alto & soprano sax), Matt Penman (bass), Bill Campbell (drums). By Dan Adler To Advertise CALL: 215.887.8880 CD Spotlight • CD Spotlight • CD SpotlighT “Faye Miravite has created a world of jazz that has Italian, Philippine and even Brazilian roots. The overall sound is very rich due in big part to the many players on the record. You hear piano, drums, vocals, guitar, soprano & tenor sax along with contrabass. The entire album encompasses a feeling of worldly value; a quality that seemed to be very well-polished throughout. The overall listen is worldly, easy listening jazz that offers energy, romanticism, sophistication and one great group of musicians. Feel the calm & cool breeze for yourself!” —Skope Magazine MattCrisCuolo New CD: tell Me a Bedtime story orderline: 203-856-4040 or send $15 to: 58 W. Meadow road Wilton, Ct 06897 Now oN sale! www.fayemiravite.com MAURICIO ZOTTARELLI NEW CD “7 LIVES” Gustavo Assis Brasil • Itaiguara Brandão Milene Corso • Brandi Disterheft • Dom Salvador Oriente Lopez • Esperanza Spalding Cidinho Teixeira • Rodrigo Ursaia “…Featuring Zottarelli’s many different rhythmic and compositional skills, this album is high-quality Brazilian jazz”. —H.Sugita, Swing Journal, Japan “Mauricio Zottarelli is a hot new talent to watch out for!” —J.Stevenson, www.ejazznews.com CD/Downloads Available at iTunes, Amazon, CDBaby, Digstation www.mzdrums.com Thursday October 8, 2009 CD Release Show at ZINC BAR 82 West 3rd St, Greenwich Village, NYC 212-477-9462 • www.zincbar.com sets at 9:30pm – 11pm – 1am www.mattcriscuolo.com To advertise your CD in Jazz Inside™ NY Magazine’s CD SPOTLIGHT section, contact Eric Nemeyer at 215-887-8880 or [email protected] Although this is his first release as a leader, Peter Mazza is by no means a newcomer to the jazz scene. Born and raised in a musical family in New York City, Mazza obtained his Bachelor’s degree from in the Manhattan School of Music and a Master’s from Juilliard on a full scholarship. He was a regular performer at Augie’s (now “Smoke”), where he played with Brad Mehldau, Joel Frahm, Chris Potter and many others, and went on to lead the jam sessions there. Mazza has performed as a leader and sideman at most NY clubs including Dizzy’s, Birdland, The Knitting Factory and the Cornelia Street Café. His current Sunday evening residency at the Bar Next Door at La Lanterna Di Vittorio, now in its eighth year. The album opens in high gear with one of Mazza’s eight originals: “Burned”. As Mazza explained to the audience in one of his live performances, the song is a tribute to the fiery musicians of New York who you’ll find on any night playing into the wee hours. The opening vamp is full of jazz-rock breaks and builds up the musical tension to a peak before settling into a catchy melody over an altered minor blues form. Vinson takes his time on the first solo, simmering lightly before getting into “burn” mode. Penman and Campbell are seamlessly supportive throughout, keeping the balance between the implied jazz-rock feel and the light up-tempo swing. As Mazza launches into his solo, you are immediately struck by his beautiful clean tone, endless stream of musical ideas and super-accurate execution. Just as To Advertise CALL: 215.887.8880 his solo reaches the climax, the band comes back in to take the tune out. “Close To My Heart” is centered on a hauntingly beautiful melody, rendered in unison, and has a bit of an early Pat Metheny “Watercolors” vibe to it. The lush background on this tune, and others on the album, is woven by Mazza’s judicious use of multiple acoustic guitar tracks in a variety of alternate tunings. I’ve seen him use a loop pedal live to create the same effect, and it’s quite a sight to behold. He lays down loops on different guitars but always switches back in perfect timing. Mazza’s melodic solo on this tune stays within the vibe, while adding some bluesy elements before a brief double time segment that shows off his great technique and the clarity of his musical ideas at any tempo. “Testa Rossa” opens with a super groovin’ riff on an acoustic guitar in a non-standard tuning. The drum and bass feel on this tune are reminiscent of “Weather Report”, and in keeping with that style, Vinson takes a powerful, emotionally charged solo on soprano before giving way to an exciting Mazza guitar solo, this time in full metal jacket, with distortion cranked up, and just as he builds it up to a string-bending climax, he suddenly shifts back to his beautiful clean tone, and within a split second we are transported from the world of rock back to the world of jazz. Mazza doesn’t seem too worried about labeling the music as jazz, progressive, pop or rock. He freely mixes elements from all the styles available on his palette, and lets the openminded listener sort it out. “Goodbye” is a song poem by Mazza that has a melancholy feel, especially during Vinson’s beautifully emotive rendering of the opening melody. The bridge features an ascending repetitive melodic figure and an arpeggiated chord sequence that takes on different hues with changing bass notes being played underneath them. By the time Mazza’s solo starts, the mood is already on fire. Mazza’s solo is another masterpiece of construction, with melodic and rhythmically varied phrases chasing one another to build the excitement before returning to the melody. At the end of the song, it’s Mazza’s pensive chords, and Penman and Campbell’s ensemble work, over a repeating melodic cry, that brings the tune to a height and a close . “Alphabet City” is a mixture of styles and cultures, referring to the NY neighborhood of the same name. Vinson plays the head with expression and dark lyricism while Penman and Campbell keep the grooves tasty and fresh. Mazza lays down some funky chord comping and his solo has a hint of distortion, as he shifts back and forth between a fusion feel and a more straight-ahead approach. The two standards that Mazza chose for the album are “My Funny Valentine” and “On Green Dolphin Street”. Both were transposed to the key of D to allow him to make full use of open strings on his acoustic guitars and both are performed as duets with Will Vinson. “Valentine” starts in the lyrical mood you would expect, but immediately takes some harmonic detours. Mazza is clearly a member of the harmonic elite club of arrangers that can reharmonize a tune in a way that reshapes its character, yet preserves its essence. In the middle of his solo, Mazza gets into some energetic strumming that further transforms the tune’s character. Vinson immediately responds September 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com in kind, and they continue to magically go back and forth between the moods. The interaction between Mazza and Vinson is further developed on “Green Dolphin Street” where Mazza sets the mood with an alternate tuning influenced by Pierre Bensusan. His rhythmically powerful strumming is at times reminiscent of Metheny, Towner, Gismonti and even Coryell and Mclaughlin. Vinson’s performance on soprano is lyrical and precise, yet burning throughout. “Shangri-la” starts in a duet again. The intro features a Satie-like chord motif with an angular melody. It flows into an ethereal main melody played over earthy and low tuned chords invoking Joni Mitchell’s guitar. When Penman and Campbell join in, it starts to propel into higher intensity. A pre-chorus conjures up echoes of indie rock and a chorus resolves to an ambient progression with a repeating melody that quotes Coltrane’s “a love supreme”. Another characteristically high-energy solo by Mazza is followed by almost two minutes of building ensemble playing on a Vinson solo into the song’s final explosive crescendo. “Dreaming of Open Spaces” is another memorable Mazza melody in the key of D, based on an alternate tuning that Mazza learned from his friend and mentor, a singer/songwriter named Matt Smith. Mazza and Vinson trade some exciting choruses feeding off each other’s ideas. A melancholy “Alone With You” rounds off the album with Mazza’s beautiful upper-register guitar doubled and layered on top of a lush fingerstyle background. The acoustic guitar solo is particularly poignant and emotional as Mazza effortlessly creates beautiful melodies over the complex chord changes. With this debut album, Peter Mazza emerges as one of the more lyrical and harmonically sophisticated guitar players and composers on the New York scene today. Every night, in his role as musical director at the Bar Next Door, Mazza introduces and listens to some of the most significant players shaping the direction of jazz in New York City. Many of these players are pushing the envelope in terms of tonal and rhythmic sophistication. And yet, Mazza has found his own way to sound fresh and modern, while at the same time conveying a strong sense of melodic and harmonic beauty, groove, excitement and a deep emotional intensity. After you check out this CD, go hear Peter Mazza live on Sunday evenings at the Bar Next Door. A fun evening is guaranteed! DONNY McCASLIN DECLARATION – Sunnyside SSC 1218. www,donnymccaslin.com. M; Fat Cat; Declaration; Uppercut; Rock Me; Jeanina; 2nd Hour; Late Night Gospel. PERSONNEL: Donny McCaslin, tenor saxophone, alto flute; Edward Simon, acoustic piano, organ; Ben Monder, guitar; Scott Colley, bass; Antonio Sanchez, 32 drums; Pernell Saturnino, percussion; Alex “Sasha” Sipiagin, trumpet, flugelhorn; Chris Komer, French horn; Marshall Gilkes, trombone; Marcus Rojas, tuba, bass trombone; Tatum Greenblatt, trumpet. proaches each project with conviction, a very specific concept, and with a clear set of parameters of how he wants to stretch the harmony, melody and rhythmic elements of the music during the improvisations. The concept in this new album is a string quarBy Matt Marshall tet, which immediately gives the music more of contemporary-classical-music sonority than a traditional On this his eighth recording as a leader, saxo- jazz quartet sound. The concept grew out of Minasi’s phonist Donny McCaslin continues to impress not 2006 album, “The Vampire’s Revenge”, which inonly with his instrumental virtuosity and ability cluded a 15-piece chamber music orchestra, and is to morph his tone naturally into the surrounding considered by many to be one the most ambitious and musical environment – be it bop, harried experi- best free jazz outings in recent years. The music on the mentation, big band, rock or perspiring blues – but new CD is all composed by Minasi and the musicians also, and most notably, with his ceaselessly inventive alternate between reading complex written parts and compositional chops: this man is a major composer free improvisational roles in each piece. of modern music, there’s just no other way to say it. This is music that demands and requires the In fact, it’s hard to bring to mind the name of a com- listener’s full attention. You cannot play this music poser working today who could rightly claim to be as background to another activity as the extreme dishis better, who could craft an album so exquisitely sonance will quickly either capture your attention or rich, varied and ever-evolving. This is a declaration distract you. and then some. Take note. The role of the guitar in this new CD is especially interesting. Minasi sometimes functions as a soloist, but for the most part, it sounds to me like he is more concerned with the overall sound texture and how the instruments blend with each other. The first piece “The Pasadena Two Step” (which is actually in ¾ meter) is a microcosm of the entire album. It alternates between sections that feature guitar, cello and violin in turn, but at each stage, if you pay attention to the other instruments, you can hear that they are playing a pivotal role in painting a sound texture rather than playing a traditional accompaniment role. Dissonance Makes the Heart Grow Fonder – ReThe musicians, all of whom have worked with Minasi construkt. The Pasadena Two Step, The Dark Side, on previous projects, react to each other as jazz muGreen! Green! They’re Green!, Dissonance Makes the sicians, echoing ideas and supporting each other’s Heart Grow Fonder, Slow Dance in the Bottomless ideas, to the point where it’s hard to know which Pit, Tumorology, Zing Zang Zoom! sections are written and which ones improvised. The PERSONNEL: Dom Minasi (guitar); Jason Kao quality of the sound recording also plays a great role Hwang (violin); Tomas Ulrich (cello); Ken Filiano in capturing the balance between the acoustic string (bass). instruments and Minasi’s electric guitar. The mood on all the pieces stays consistently By Dan Adler dark with many dramatic climaxes, and as the CD The only thing you can expect from a new al- title suggests, Minasi is constantly looking for ways bum by Dom Minasi (http://domminasi.com) is the to make the dissonance touch the listener and elicit unexpected. A professional musician for over 40 years an emotional response. There is no other way to listen who has paid his dues with many jazz heavyweights, to this music than with your heart. Since you cannot Minasi has spent the last 20 years delving deep into follow the harmony or sing any of the melodies, your the world of sound textures and free jazz. Influenced mind cannot be occupied with anticipating what will by musicians like Eric Dolphy, Cecil Taylor, Late-pe- come next, and you have to be willing to let go and alriod Coltrane and fellow guitarist Sonny Sharrock, low the music to lead your attention and focus. And, Minasi has recorded 10 previous albums as a leader, hopefully, your heart will grow fonder of the music as each exploring different boundaries of the world of you listen repeatedly. In case you are wondering about jazz improvisation. On “Takin’ The Duke Out” you the names of the compositions, they are explained in can hear his interpretations of Ellington classics de- the excellent liner notes and some of the dark themes constructed in ways you will surely find surprising. in the names are clearly carried over to the music. Dom Minasi continues to be a Maverick in toOn “Goin’ Out Again”, you can hear some beautiful traditional jazz guitar trio sounds (especially on day’s jazz scene. As one of the few artists entirely de“Trane’s Lament” and “Autumn Leaves”) with vary- voted to developing the nearly extinct “free” branch ing degrees of dissonance, and on his “Quick Re- of jazz, it is possible that full impact of Minasi’s musisponse” CD you can hear some swinging and burning cal contributions will only be understood with some inside and outside playing in the context of an organ historical perspective. The crossover in into the neoquartet. When you sample his body of work, there classical domain has opened up a whole new world of can be no question that Minasi is a highly schooled possibilities for mixing composed and freely impromusician and a virtuoso guitarist with astounding vised music, and increasing the composer’s trust in guitar technique and a wild imagination. He ap- the musicians performing the work to become part Dom Minasi To Advertise CALL: 215.887.8880 September 2009 • Jazz Inside NY ™ • www.jazzinsidemagazine.com of the creative process. This doesn’t make it any easier for Minasi to sell CD’s or book gigs, but luckily there are enough open-minded people in NYC to sustain and develop his artistic pursuit. Check out this CD and see if it makes your heart grow fonder. SEAN NOWELL THE SEEKER – Posi-Tone Records PR8049. www. posi-tone.com. New York Vibe; You Don’t Know What Love Is; Oy Matze Matze; Dunavski Park; Jamie’s Decision; For All Intensive Purposes; I Will; I Remember You. PERSONNEL: Sean Nowell, saxophone, clarinet, flute; Art Hirahara, piano; Thomson Kneeland, bass; Joe Abbatantuono, drums; Dave Eggar, cello; Nir Felder, guitar. By Matt Marshall Multi-instrumentalist Sean Nowell establishes a no-nonsense, street-smart sound right from the get go on this his sophomore release. The opener, “New York Vibe,” hums with all the energy of America’s grand city and its music scene, which Nowell has been actively involved with for more than a decade. His sax tone is full, eager and versatile, equally at home attacking the streets of New York, Tel Aviv (“Oy Matze Matze”) or Liverpool (“I Will”). And while boasting a strong melodic line, his playing doesn’t shy from trilling into more jagged, experimental terrain – all the more jarring for being unexpected. Credit also the powerful, multidimensional support he receives from drummer Joe Abbatantuono, who keeps the music rumbling along. JOHN PATITUCCI TRIO REMEMBRANCE – Concord Jazz CJA-31018-02. www.concordmusicgroup.com. Monk/Trane; Messaien’s Gumbo; Sonny Side; Meditations; Mali; Scenes from an Opera; Blues for Freddie; Safari; Joe Hen; Play Ball; Remembrance. PERSONNEL: John Patitucci, acoustic bass, 6-string electric bass, 6-string electric piccolo bass; Joe Lovano, tenor saxophone, alto clarinet; Brian Blade, drums; Sachi Patitucci, cello, Rogerio Boccato, percussion. By Matt Marshall 33 Leading a dream trio of saxophonist Joe Lovano and drummer Brian Blade, bassist John Patitucci pays tribute to jazz greats here and gone over the course of 11 original numbers, giving all involved ample space to explore the voices of those we have lost while feeding in their own timbre, rhythm and grace. Lovano is well-equipped to bridge the gap in “Monk/Trane,” fluttering through clipped statements of scatological Monkian progression while also finding space to dip into open pools of deep metal sound and the airier screeches Coltrane might favor. It’s a technique and sound Lovano revisits throughout the album, most notably again on “Mali,” where his blips, chirps and squawks highlight an upbeat, richly textured Patitucci composition. “Messaien’s Gumbo” finds Patitucci on 6-string electric bass, which he’ll use again on three other pieces here. “Gumbo” maintains a comfortable funk groove spurred by Blade’s emphatic, diverse drumming and additional percussion from Rogerio Boccato. Patitucci trills through some nice passages, while Lovano blows restrained street swagger. “Meditations,” the second piece that employs 6-string electric bass, recalls Coltrane in both name and spirit. While never streaking into the frightening chaos that drives much of the saxophonist’s like-named album, Putitucci’s composition, with the aid of Blade’s thundering mallets and Lovano’s contemplative spirals, forwards a similar mode of searching, full of awe and turbulence before existence, yet culminating with a kind of acceptance and peace. The aforementioned “Mali” goes back to funk but, with Blade and Boccato hard at work, also adopts a strong African flavor, with Lovano threading the steel and glass to heat and sand. The final 6-string electric bass piece, “Remembrance,” also serves as the album’s closer. It’s a brief yet haunting meditation realized through overdubbed 6-string electric bass and 6-string electric piccolo bass. Lovano opens up a bit on “Sonny Side” – which, no doubt, is meant to pay tribute to both Sonny Stitt and Sonny Rollins – spreading his sound into quick yet easy curls of blue smoke. Patitucci’s acoustic bass emerges from Lovano’s gait without missing a step, as if a skeleton escaping its flesh. Lovano returns later to trade with Blade and see the piece out on stray-cat strut. Patitucci accompanies himself on “Scenes from an Opera” by constructing through recording wizardry an arco bass quartet. His wife Sachi also joins in on cello, Lovano moves to alto clarinet and Blade pounds away again with the mallets. It has the Eric Dolphy character of rain and regret when the arco quartet’s strings aren’t rising to bend the piece cinematic: a Terrance Blanchard score with an edge of Shostakovich. “Blues for Freddie” is the most joyous of the tunes here, projecting a street carnival sound. On it’s heels come the somber “Safari” and the brash “Joe Hen,” which features wild braying from Lovano and a quick, dimensioned solo from Patitucci. And on “Play Ball,” a humid, bluesy breeze of a number, the bassist takes a good minute and a half to soloistically explore the dark plodding undercurrents of rhythmic thought. 34 JACKIE RYAN DOOZY – OpenArt Productions OA 07262. www. openartproductions.com. CD1: Doozy; You’ ll See; Caminhos Cruzados; Do Something; With the Wind and the Rain in Your Hair; Speak Low; I Must Have That Man; Dat Dere; Beautiful Moons Ago; My How the Time Goes By. CD2: Opportunity Please Knock; I Haven’t Got Anything Better To Do; Brigas Nunca Mais / A Felicidade; Spring Can Really Hang You Up the Most; Solamente una Vez; Summer Serenade; Get Rid of Monday; Midnight Sun; Tell Me More and More and Then Some; Some Other Time. PERSONNEL: Jackie Ryan, vocals; Cyrus Chestnut, piano; Eric Alexander, sax; Jeremy Pelt, trumpet, flugelhorn; Carl Allen, drums; Ray Drummond, bass; Neal Smith, drums; Dezron Douglas, bass; Romero Lubambo, guitar. dering Nat King Cole’s “Beautiful Moons Ago” and Billie Holiday’s “Tell Me More and More and Then Some” with her own brand of smoldering sass, the latter tune stoked by Jeremy Pelt’s trumpet. And Pelt’s flugelhorn introduces “Speak Low,” perhaps the track most representative – in terms of sonic flavor, rhythm and Ryan’s vocal range and ability – of the album as a whole. Ryan enters after Pelt with classically clear vocals lines underwritten by Chestnut’s piano, then skips into a bright, but humid, island beat driven by Carl Allen’s drums. It’s a progression from solitude into self-determined, upbeat involvement with life. As the singer will tell us on the tune that follows: “I Must Have That Man.” So the album goes, rolling the coaster of existence. Double albums sometimes stretch too far, serving as convenient platforms for musicians to unload trunks of unused material so they might start afresh on the next project. Doozy isn’t such an exercise. It’s a powerful, minimalist exploration of the human heart from a singer confident, capable and complete enough to undertake the extended journey with but the sparest, if choicest, accompaniment. By Matt Marshall Doozy is right! With this, her fifth release, singer Jackie Ryan follows up on her 2007 chart-topping album You and the Night and the Music with a 2-CD set of mostly ballads, seared with the effortless molten flow of her vocals and expert backing from the likes of pianist Cyrus Chestnut and guitarist Romero Lubambo. Ryan kicks off the set with the Benny Carter jumper “Doozy,” for which the singer supplies vocalese lyrics. The snap of her vocal gymnastics are on full display here, vaulting, flipping, twisting and soaring through bar after bar a la Sarah Vaughan – that is, seemingly as an exercise of her natural movement: a warm up. Which, in a way, is apt, as most (though, not all) of the 19 songs that follow are of a cooler nature. In that respect, the doozy of an opener serves as a swinging attention grabber not unlike the title track of Frank Sinatra’s Nice ‘n’ Easy. “You’ll See,” with accompaniment from Chestnut finds Ryan in a dimmer setting, perhaps rehearsing a letter or phone call to a vacant lover in the dark: “You want no part of love, think you’re too smart for love” she sings pleadingly and not without sweetness. “Though I know someday soon, you’re gonna change you’re tune – you’ll see.” With aid from Lubambo she then lilts into breezier fare, switching effortlessly, emotively into Portuguese for “Caminhos Cruzados,” the first of three Jobim numbers on the album. The next two, “Brigas Nunca Mais” and “A Felicidade,” are strung into a simple, celebratory medley on the second disc, which also features a clear yet heartsick reading of the Aguirre Agustín Lara bolero “Solamente una Vez,” accompanied, appropriately, by Lubambo’s solo Spanish guitar. Elsewhere, Ryan shows herself unafraid of attacking compositions from other great singers, renSeptember 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com JORIS TEEPE BIG BAND WE TAKE NO PRISONERS – Challenge Records CR73284. www.challengerecords.com. Flight 643; We Take No Prisoners; Peace on Earth; Almost Lucky; It is Peculiar; The Princess and the Monster. PERSONNEL: Michael P. Mossman, John Eckert, Vitaly Golovnev, Josh Evans, trumpets; Noah Bless, Dion Tucker, Stafford Hunter, trombones; Earl McIntyre, bass trombone; Mark Gross, Craig Bailey, Don Braden, Peter Brainin, Adam Kolker, Jason Marshall, reeds; Jon Davis, piano; Bruce Arnold, guitar; Joris Teepe, bass; Gene Jackson, drums; Rashied Ali, drums. By Matt Marshall When you’re standing cloaked in black on your CD cover, peering out at your listeners from behind shades with a no-nonsense grimace chiseled into your lips, the title proclaiming you “take no prisoners,” you better be able to back the boast up musically. Fear not listener, bassist Joris Teepe has the musical and compositional chops – plus the band – to cement his shorn-head, square-jaw Enforcer look. Not only is there the expected force of a big band brass attack, but a diversity of style, dynamics and management to show that far from imprisoning and trying to contain the work of fellow composers (in the liner notes Teepe cites Beethoven, Duke Ellington, Stevie Wonder and Price as inspirations) Teepe rather embodies what they have done, allows it to germinate To Advertise CALL: 215.887.8880 within him and then leak into and inform his own dynamic work. The opening track, “Flight 643,” takes off with a Basie exuberance that leads into a soaring yet turbulent solo from trumpeter Josh Evans who passes off to saxophonist Mark Gross for an equally wild ride on the crash of Gene Jackson’s drums and Bruce Arnold’s tasty guitar comps. The group as a whole rises in a storm, then clears a patch for pianist Jon Davis to tap out some slightly abstract figures, later to be countered by some emphatic drumming by Jackson. The title track starts quickly yet non-threatening with Davis and Jackson leading with a technically resplendent, foot-tappin’ bop duet. But a minute in the horns blow, rising and falling over scales that increasingly become more forceful. Baritone saxophonist Jason Marshall takes it from there, twisting the piece into hard-driving, reedy corkscrew attacks. Bass trombonist Earl McIntyre covers the flank, his muted squeaks and growls propelled through the brush by Teepe’s steady insistence. Saxophonist Adam Kolker favors a more straight-ahead approach in his solo that is likewise picked up by trumpeter Vitaly Golovnev to lead the solo forays back into a glorious, counterpunctual charge from the various sections of the band. “Peace on Earth” opens with a brass chorus that is by turns harrowing and calming, like something out of Charlie Haden’s book. But that orchestrated gravitas dissolves into a bright, electric funk groove. Trumpeter Michael Mossman fires through a brash, high-end solo and saxophonist Peter Brainin bends, swirls and squawks in whipping the affair into a forceful whirlpool. Arnold returns to funk in his effects-leaden guitar solo that echoes with a thick thwack and wha-wha far removed from anything Freddie Green – or any other guitarist – was doing with big bands in their heyday. Drummer Rashied Ali joins the group for “Almost Lucky,” a haunting – at times, ominous – Ellingtonian drift over the repeated majesty of a group _______ progression, this augmented by Arnold’s sharp guitar work. Teepe turns in his first solo of the set, a spine-rattling exercise backed mostly by Ali’s halting, polyrhythmic drumming. But the emphasis remains with the horns. “It is Peculiar,” is an old-school big band jumping dance number with swooping horns and reeds, the sections confronting and playing off one another to delicious effect. Saxophonist Don Braden excites with his all-cylinders-firing solo and Jackson and Teepe cool matters down a bit half way through. It’s a steady climb back up to full force where the piece ends with an echoing trumpet buzz. The album concludes with the 13-and-a-halfminute musical story “The Princess and the Monster.” Teepe opens plucking the “come gather ‘round friends” lines that lead the listener into a dense woods of competing brass and reed orchestration. Further bass, sax, piano and drum solos serve to segment the piece into chapters – one a nice piece of piano and drum cubanismo – while maintaining the narrative drive. The extended piece puts a vibrant stamp on a fine, complex, intricate work of modern big band composition and performance. TALES FROM THE EARTH – Otá Records OTA 1020. www.melodia.com. Sunrise; Invocation; Walking Song; Tea Break; Forest Journey; River Crossing; Children at Play; Men’s Talk; Flirtation; Praise; Spirit Messenger; Celebration; Elders Speak; Gratitude. PERSONNEL: Mark Weinstein, concert, alto and bass flutes; Omar Sosa, vibraphone, marimba, piano, percussion; Aly Keita, balafon; Jean Paul Bourelly, guitar; Stanislou Michalak, bass; Marque Gilmore, UNTIL IT’S TIME – www. jackwilkins.com. drums; Aho Luc Nicaise, lead vocals, percussion; Theme, Show Me, Blossom, Walk Don’t Run, These Mathias Agbokou, vocals, percussion. Foolish Things, Lauro’s Waltz, Two For The Road, Fur Elise, Tico Tico, Airegin, Until It’s Time For You To Go, Blossom (Extended Version). By Matt Marshall PERSONNEL: Jack Wilkins, guitar; Jon Cowherd, The “earth” music explored here is almost ex- piano, organ; Steve LaSpina, bass; Mark Ferber, clusively of the Afro-Caribbean variety. As such, drums; Jeff Barone, producer, guitar; Samuel Torres, it could be argued that flutist Mark Weinstein and percussion. vibraphonist/pianist Omar Sosa leave much land uncovered. Yet when roots are traced back to their By Dan Adler origins, we can say that all things human begin in Guitarist Jack Wilkins s built up an impressive Africa. By tapping into that historical and folkloric discography over four decades. His flawless techdirt, Weinstein, Omar and group invite us all to return to the beginning, immerse ourselves in it and nique and imaginative chordal approach have inthen, perhaps, imagine (or reimagine) the spread of spired collaborations with Charles Mingus, Michael its influence. At the dawn of the 21st century, what and Randy Brecker, Stan Getz, Phil Woods, Chet Baker, Jimmy Raney, Bob Brookmeyer, Buddy Rich, can this earth music teach us? The group doesn’t leave us wandering the sa- and some of the greatest singers like Sarah Vaughan, vannah to find out. While the traditional players are Mel Torme, Ray Charles, Tony Bennett, Manhattan here in force – marimba, balafon, singing, drums and Transfer, and others. In the liner notes of his 1978 album The Bob Brookmeyer Small Band: Live at Sanother various forms of percussion – Weinstein’s flutes dy’s, Brookmeyer calls Wilkins “the most imaginaand Sosa’s vibraphone and piano thrust the music tive guitarist to have emerged since Jim Hall”. into the modern, blending with the often funky bass Before this new CD, Wilkins’ last recording of Stanislou Michalak and Marque Gilmore’s jazz with a group was back in 2000, and was a reunion of drumming to fashion a music that spans the ages. It the stellar group that played on his 1977 release You sounds neither dated nor forced, rather inevitable. Can’t Live Without It featuring Michael and Randy Ringing metal shoots from the crowd of gourds to Brecker. Those of us, who have been marveling at his flash like a skyscraper, while tribal voices holler and playing every Tuesday night at his duo gig at the Bella rejoice. Luna restaurant on the upper-west-side of ManhatThis is a progressive music that at once em- tan, know that Wilkins is at the peak of his techbraces and challenges progress. Take “Men’s Talk.” It nique and creativity, and we hope we will not have to launches from a percussive stew, a tribal drum circle. wait nine years “Until It’s Time” for another CD. Soon Sosa’s vibraphone rings out single-noted sparks The first thing you will notice about Until It’s of metal. Weinstein’s flute moans low and Gilmore’s Time is that it is fun to listen to. For this album, drumming adopts a more modern groove. All of this Wilkins, with the help of producer Jeff Barone, dug is a conversation even before the human male voice of deep into his vast repertoire and chose to present us Aho Luc Nicaise enters the fray, chanting, imploring, with an eclectic variety of standards, pop and show celebrating life. Jean Paul Bourelly’s guitar then joins tunes and even classical excerpts, all freshly arranged with Sosa’s rather stringy piano (the instrument’s and masterfully recorded and mixed. wires seem to slacken and retighten with each note) Bacharach’s “Arthur’s Theme” (from the Dudin a willful plow toward a new direction. Gilmore ley Moore film) opens with some surprising breaks and Michalak soon pick it up and immediately, before settling into a happy samba feel with Torres’ though naturally, switch the tune toward Western percussion adding a nice touch to the dream-team To Advertise CALL: 215.887.8880 September 2009 MARK WEINSTEIN & OMAR SOSA balladry – of the Stevie Wonder, not Francis James Child, variety. The album does, at times, drift into a sameness: aside from the acutely Western “Praise” with its electric guitar and popish melody, the music sticks mostly to flute, bass, folkloric vocals and percussion that can seem repetitive if these rhythms aren’t you’re favorite cup of tea. But as a whole the album is a vibrant mix of old and new, beat and song. The very stuff of the earth. Jack Wilkins • Jazz Inside™ NY • www.jazzinsidemagazine.com 35 rhythm section, as Wilkins states the theme and launches into the first of many great solos. Wilkins’ legendary guitar sound is warm and inviting, with a hint of acoustic in the mix. His solo is melodic and full of emotional intensity which is sometimes conveyed through beautifully crafted melodies, and sometimes through his signature fast flurries of notes which always come across as authentic and heartfelt. Jon Cowherd, whose musical collaborations include the Brian Blade Fellowship, the Vanguard orchestra, John Patitucci among others, adds a wonderful touch throughout the album. His comping behind Wilkins is supportive and attentive and his solos range from beautiful melodic statements on “Arthur’s Theme” to hard-swinging Tyner-influenced bluesy lines on “Walk Don’t Run”. Bassist Steve LaSpina has appeared on dozens of first-rate CD’s, including Wilkins’ own “Trio Art”, and graces this session with his perfectly timed and tasty bass lines and inspired solos. Drummer Mark Ferber, whose credits include Lee Konitz, Norah Jones, Larry Goldings and others, adds spice to the session with his light touch, sensitivity and hard driving swing. “Show Me”, from the musical “My Fair Lady” is not usually considered a jazz standard, but Wilkins’ brilliant arrangement brings forth the beauty of the song and sets up one of his most exciting and exhilarating solos on the album. James Taylor’s song “Blossom” from his 1970 “Sweet Baby James” album, stays with a light-pop feel throughout and provides a showcase for Wilkins’ bluesier side. His solo (especially the outro on the extended version) conveys so much power and emotion, more typical of rock and blues guitar than traditional jazz guitar, yet he keeps the beautiful clean tone throughout. Johnny Smith has always been one of Wilkins’ stated influences, so it’s natural to see “Walk Don’t Run” included on the CD. The clever arrangement is different from Smith’s version on his “Kaleidoscope” album. Wilkins takes Smith’s interlude line, which is itself borrowed from a Bach invention, and extends it to fit over the bridge. The feel for the solos is a hardbop swing feel and Wilkins’ solo reminds us how hard he can swing and how modern and innovative his playing is. There is also a brief solo guitar interlude after the bass solo which is a masterpiece in itself. Sonny Rollins’ “Airegin” is another hard-swinger taken at a similar tempo with more great post-bop statements by Wilkins and Cowherd, and some exciting trading fours with drummer Mark Ferber. Two beautiful ballads “These Foolish Things” and “Two For The Road” give us an opportunity to enjoy some of Wilkins’ intimate harmonic magic and how much beauty he can extract from his guitar. “Until It’s Time” is a pop ballad by Buffy Sainte-Marie, not exactly standard jazz material, but it proves to be an inspired choice. Cowherd adds a 70’s touch with his organ sound while Wilkins erupts into an acoustic solo that will leave you breathless. “Tico Tico” has made its way into the jazz repertoire when it was recorded by Charlie Parker on “South of the Border”, but Wilkins favors more of a samba feel and, unfazed by the fast tempo, offers the listener an endless variety of perfectly conceived musical lines in his imaginative solo. “Fur Elise”, Beethoven’s timeless melody that inexplicably attracts every new piano student to strive to master it, works perfectly as a duet between Wilkins and Cowherd before they settle into some stormy improvising over the “bridge” section. “Lauro’s Waltz” is another classical excerpt by Antonio Lauro, a Venezuelan composer considered to be one of foremost South American composers for the guitar of the 20th century. The exciting way in which the melody leads and anticipates the chord changes inspires Wilkins to a supremely melodic and memorable solo. “Until It’s Time” is one of the most enjoyable albums I’ve heard in a long time, with broad appeal well beyond the traditional jazz audience. I hope to see it get some radio airplay and move Wilkins’ career into a new phase of increased recognition as one of the true innovators in the world of jazz guitar. And, if there are any guitar fans out there who are still not familiar with Jack Wilkins’ musical genius and stunning technique, this CD is the perfect introduction. 36 September 2009 Brian Woodruff THE TARRIER – Crows’ Kin Records. www.brianwoodruffmusic.com. The Tarrier; Dijon Dance; Be Still (While I Remove The Wart); Trolley Museum; A Wreath Of Cloud; Into The Fire; Chorale; Trafalgar Square. PERSONNEL: Brian Woodruff, drums; Lisa Parrott, alto saxophone/soprano saxophone; Jacob Varmus, trumpet/cornet; Alan Ferber, trombone; Nate Radley, guitar; Matt Clohesy, bass. By Dan Bilawsky The Tarrier, Brian Woodruff’s debut CD as a leader, is a showcase for one of the most up-and-coming drummer/composers on the scene today. The title track opens with a bass solo from Matt Clohesy and the rest of the band soon joins in for this fun and friendly blues. Clohesy delivers a walking bass line and Woodruff lays down a nice shuffling groove as a parade of soloists make their way through the song. Trumpeter Jacob Varmus comes first, trombonist Alan Ferber turns up the heat a little bit with his solo and he turns things over to saxophonist Lisa Parrott. Parrott dials up the intensity a little bit more. The three horn frontline returns and trades off with Woodruff who provides some fine soloing himself. Nate Radley’s guitar playing immediately creates a different mood, at the outset of “Dijon Dance,” that contrasts nicely with the more straightforward sound of the opening track. This piece takes its inspiration from Jackie McLean’s “Demon Dance” and is dedicated to Jack DeJohnette who played on that recording. Woodruff, in attempting to emulate certain stylistic parameters within McLean’s music, was going for a sound somewhere between “50’s • Jazz Inside™ NY • www.jazzinsidemagazine.com hard bop and the modal, and freer styles, popularized by Ornette Coleman and John Coltrane in the 60’s.” He clearly met his compositional goal here. The horn players run through the same solo order as on the opening track and Woodruff shows off his more assertive side when he turns up the heat while trading solos with Parrott. “Be Still (While I Remove The Wart)” features a swampy New Orleans inspired groove that seems to really light a fire under the soloists. Woodruff and Clohesy move well together throughout the song and Radley provides a subtle harmonic presence that fills in the sonic layer between the soloists and the rhythm duo. Ferber solos first and contributes his most enjoyable solo on the record here. Varmus starts off hot but cools down a little bit during his solo stint and Parrott’s solo simply oozes with soul and emotion. Radley comes out for the final solo before the full ensemble returns. “Trolley Museum” is a waltzing tune that begins with the focus on Parrott’s saxophone and features some beautifully harmonized horn lines. Radley takes the first solo and Ferber comes next. As Ferber’s solo nears its end, horn lines move over his trombone and then Clohesy takes control as the next soloist. The horns briefly return and help to transition things for the leader to take over with the last solo here. “A Wreath Of Cloud” is an achingly sad, though beautiful, ballad and Parrott’s singing saxophone quality sets the tone for the song. Clohesy takes his time fleshing things out during his solo while Woodruff supports things from beneath with his brushwork. Radley provides the gentlest of guitar accompaniment. Parrott takes control again and dances with Varmus before allowing the trumpeter to take over and both musicians help to thicken the sound when Ferber takes charge. Eventually, all three horns create a heartwarming blend that seems lighter than air. This composition and countless other moments on the album show Woodruff to be a first-rate composer. His ability to blend the voices in the front-line and create intriguing harmonies put him in a class by himself. Wayne Shorter’s “Angola” provided the inspiration for “Into The Fire.” Woodruff’s fondness for using the alto saxophone as the focal point comes out again here and Parrott doesn’t disappoint as she reels off an impressive, adventurous solo while the rhythm section drives things from below. While other band members get a chance to solo here (i.e. Varmus and Radley), this one really belongs to Parrott and she is in charge again at the end of the track. “Chorale,” as hinted at by the title, is rather classical in nature and begins with a beautiful solo trumpet line from Varmus. Clohesy’s bass line, the only accompanying voice at the outset, anchors this piece. The other horns arrive later with some harmonies that help to add a subtle thickness to the piece, while still allowing Varmus to retain ownership of the melody. Woodruff’s entrance and Radley’s solo help to shift the focus of the piece without altering the mood and things shift back to Varmus as the song moves toward its conclusion. Ferber’s trombone is front and center on the closing track, “Trafalgar Square.” Varmus takes over near the three-minute mark and continues to keep things light and cheery, a mood which Ferber established from the get-go. Radley’s soloing provides a slightly larger dose of energy to the music and the harmonized horn lines continue this trend as this engaging album draws to a close. To Advertise CALL: 215.887.8880 Calendar of Events How to Get Your Gigs and Events Listed in Jazz Inside™ NY Submit your listings via e-mail to [email protected]. Include date, times, location, phone number for additional information and or tickets/reservations. Deadline: 14th of the month preceding publication (e.g. May 14 for June issue). Listings placed on a first come basis. New York City • Tues 9/1: Ken Hatfield with Gene Torres & Butch Campbell at Fetch. 7:00pm. No cover. 1649 Third Ave. (Bet. 92nd & 93rd St.) 212-289-2700. www.kenhatfield.com. • Tues 9/1, 9/8, 9/15, 9/22, 9/29: Annie Ross at Metropolitan Room. 9:30pm. 34 W 22nd St. (Bet. 5th & 6th Ave.) 212-2060440. www.metropolitanroom.com. • Tue 9/1: Evolution Series-Jazz, Bridging The Gap, 9PM – midnight, Igmar Thomas, Luques Curtis, Obed Calvaire, Corey Bernhard; Creole, 2167 3rd Ave (118th Street), New York, NY 10035, 212-876-8838 www.creolenyc.com. • Tues 9/1: Jazz for Curious Listeners at National Jazz Museum in Harlem. 7:00pm. Free. “Dave Brubeck.” 104 E. 126th St., Suite 2C. 212-348-8300. www. jazzmuseuminharlem.org • Tues 9/1, 9/8, 9/15, 9/22, 9/29: Jonathan Kreisberg Trio at La Lanterna Caffe. 8:00pm-11:30pm. $10 cover. 129 MacDougal St. 212-529-5945. www.lalanternacaffe.com. • Wed 9/2: Eric Hoffman with Ken Hatfield & Gene Torres at Trinity Lower East Side Lutheran Church. 6:00pm. Free. Outdoors in garden, weather permitting. 602 E. 9th St. @ Ave. B (Charlie Parker Pl.) www.kenhatfield.com • Wed 9/2: Tine Bruhn with Daniela Schachter, Nori Naraoka & Dan Aran at Zinc Bar. 7:00pm. $7. 82 W. 3rd St. 212-477-ZINC. www.tinebruhn.com rESErvAtionS 212-258-9595/9795 jalc.org/dccc Artist Sets: $20-35 7:30 pm & 9:30 pm w/11:30 pm set Fri & Sat After Hours Sets: $10-20 Student rates available • Wed 9/2, 9/9, 9/16, 9/23, 9/30: A Band Called Stuff, Gordon Edwards & Stuff, 9PM – midnight, Creole, 2167 3rd Ave (118th Street), New York, NY 10035; 212-876-8838 www. creolenyc.com. • Wed 9/2: Local 269. Morcilla with Matt Lavelle & Andre Martinez @ 8:00pm. Jon Lundbom & Big Five Chord with Jon Irabagon, Moppa Elliot, Danny Fischer & Bryan Murray @ 9:00pm. Sabir Mateen, Daniel Carter, Dave Sewelson, Joe Morris & Dee Pop @ 10:00pm. Bobby Radcliff & guests @ 11:00pm. $10. Dee-Pop’s Avant Series. 269 E. Houston St. @ Suffolk. • Wed 9/2: 55 Bar. Amy Cervini with Michael Cabe, Mark Lau & Ernesto Cervini @ 7:00pm. Michael Blake with Dred Scott, Ben Rubin & Tony Mason @ 10:00pm. 55 Christopher St. 212-929-9883. www.55bar.com. www. amycervini.com • Thu 9/3: Antoinette Montague, Bill Wurtzel and the Jazz Icons, American Museum of Folk Art • Celebrating the Jazz Quilt, 6-7:30pm; After Celebration at O’Neals Red Bar, 50 West 65th St, 212-787-4663, 8:30 –11:30pm • Thurs 9/3: Wayne Krantz with Tim LeFebvre & Cliff Almond at 55 Bar. 10:00pm. 55 Christopher St. 212-9299883. www.55bar.com. • Fri 9/4: Soul Cycle at Blue Note. Late Night Groove Series. 12:30am.131 W. 3rd St. 212-475-8592. bluenotejazz.com SEP 14 SEP 1–6 MuSic of Antonio cArloS JobiM & StAn GEtz w/Trio Da Paz, Joe Locke, Harry Allen & Maucha Adnet After Hours: The Anderson Twins Quintet SEP 7–oct 5 fifth AnnuAl DiEt cokE WoMEn in JAzz fEStivAl ElAnA JAMES & thE hot club of coWtoWn w/Jake Irwin & Whit Smith SEP 23–27 cArMEn lunDy QuintEt w/Special Guest Bobby Watson, Geri Allen, Kenny Davis, Steve Williams & Mayra Casales After Hours: Roberta Piket Trio w/Billy Mintz SEP 15 MAriAn McPArtlAnD & friEnDS After Hours: Helen Sung Trio SEP 28 Evi SiAMAnDA SinGS MiMiS PlESSAS w/Christos Rafalides & Mimis Plessas SEP 16–20 MArlEnA ShAW w/ShErriE MAriclE & thE DivA JAzz orchEStrA SEP 7 UPSTARTS! AMinA fiGArovA QuintEt w/Bart Platteau, Ernie Hammes, Marc Mommaas, Jeroen Vierdag & Chris Strik SEP 29–oct 4 kArrin AllySon w/Peter Washington, Lewis Nash & Rod Fleeman After Hours: Lisa Parrott & Friends After Hours: Rose Rutledge Quintet SEP 21–22 SEP 8–13 rEnEE roSnES QuArtEt w/Lewis Nash, Peter Washington & Steve Nelson After Hours: Sarah Manning Quartet (Sep 8) & Helen Sung Trio (Sep 10–12) vAlEriE cAPErS QuintEt w/John Robinson, Earl Williams, Alan Givenson & Mark Marino After Hours: Roberta Piket Trio w/Billy Mintz (Sep 9, Both Sets Sold Out; No After Hours) To Advertise CALL: 215.887.8880 September 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com 37 • Fri 9/4: Jacám Manricks with Barney McAll, Chris Tordini & Tommy Crane at Nublu. 9:00pm. $10 cover. 62 Ave. C. 212-375-1500. www.nublu.net. www.jacammanricks.com • Fri 9/4: Grasella Oliphant 80th Birthday Celebration, Cecil’s Restaurant & Jazz Club, 364 Valley Rd., West Orange, NJ 07052, 973-736-4800, www.cecilsjazzclub.com • Fri 9/4: Robert Mwamba at Ashford & Simpson’s Sugar Bar. 7:00pm. $10 cover. 254 W. 72nd St. 212-579-0222. www.sugarbarnyc.com. www.myspace.com/mwamba920 • Sat 9/5: Dave Schnitter at Fat Cat. 7:00pm. 75 Christopher St. 212-675-6056. www.fatcatmusic.org • Sat 9/5: Theo Hill with Zaid Shukri, Emanuel Harrold & Rome Neal at Nuyorican Poets Café. 9:00pm. $15; $10 for jammin’ musicians. Following by jazz jam and open mic. Complimentary banana puddin’. 236 E. 3rd St. (Bet. B & C Ave.) 212-465-3167. www.nuyorican.org • Sat 9/5: Nicole Henry at Metropolitan Room. 9:45pm. $25 + 2-drink min. 34 W 22nd St. (Bet. 5th & 6th Ave.) 212-2060440. www.metropolitanroom.com. • Sat 9/5: Lakecia Benjamin & Soulsquad at Blue Note. Late Night Groove Series. 12:30am.131 W. 3rd St. 212-4758592. www.bluenotejazz.com • Sun 9/6: Jean-Michel Pilc & The NYU Jazz Faculty Quartet at Blue Note. 12:30pm & 2:30pm. $24.50 includes brunch, show & 1 drink. 131 W. 3rd St. 212-475-8592. www. bluenote.net • Sun 9/6: The Marianne Solivan Trio at North Square. 12:30pm & 2:00pm. No cover or min. Brunch menu served. 103 Waverly Pl @ Macdougal. 212-254-1200. www. northsquarejazz.com • Sun 9/6: Asuka Kakitani Jazz Orchestra at St. Peter’s Church. Jazz Vespers. 5:00pm. 53rd & Lexington. 212-935JSsep09 8/17/09 11:59 AM Page 1 2200. www.saintpeters.org/jazz. www.asukakakitani.com • Sun 9/6, 9/13, 9/20, 9/27: Peter Mazza at La Lanterna Caffe. 8:00pm-11:30pm. $10 cover. 129 MacDougal St. 212-529-5945. www.lalanternacaffe.com. • Sun 9/6, 9/13, 9/20, 9/27: Junior Mance & Hide Tanaka at Café Loup. 6:30pm. No cover. 105 W. 13th St. @ 6th Ave. 212-255-4746. www.juniormance.com • Sun 9/6, 9/13, 9/20, 9/27: Bob Kindred with John Hart & Steve LaSpina at Café Loup. 12:30pm. Sunday brunch from $8.50-$16.50. $5 bar min. 105 W. 13th St. @ 6th Ave. 212-255-4746. • Mon 9/7, 9/14, 9/21, 9/28: Jazz Foundation of America Jam at Local 802 Musician’s Union Building. 7:00pm. Bring your instrument & join New York’s jazz legends. 322 W. 48th St. (Bet. 8th & 9th Ave.) http://jazzfoundation.org • Mon 9/7, 9/14, 9/21, 9/28: Vince Giordano & His Nighthawks Orchestra at Sofia’s Restaurant, Edison Hotel. 3 sets, 8:00pm – 11:00pm. $15 cover, $15 min. “Dancing to the Music of the 1920’s and 1930’s.” 221 W. 46th St. (Bet. Broadway & 8th). 212-719-5799. www. myspace.com/VinceGiordanotheNighthawks • Mon 9/7, 9/14, 9/21, 9/28: Joel Frahm Trio at La Lanterna Caffe. 8:00pm-11:30pm. $10 cover. 129 MacDougal St. 212-529-5945. www.lalanternacaffe.com. • Tues 9/8: Ken Hatfield with Harvie S & Steve Kroon at Fetch. 7:00pm. No cover. 1649 Third Ave. (Bet. 92nd & 93rd St.) 212-289-2700. www.kenhatfield.com. • Tues 9/8: Dave Allen with Dave Liebman & Chris Lightcap at 55 Bar. 10:00pm. 55 Christopher St. 212-9299883. www.55bar.com. • Tues 9/8: Jazz for Curious Listeners at National Jazz Museum in Harlem. 7:00pm. Free. “Cecil Taylor.” 104 E. 126th St., Suite 2C. 212-348-8300. www. jazzmuseuminharlem.org • Tue 9/9: Ted Kooshian Southpaw, 8:30PM, Brooklyn, NY, 718-230-0236 opening for Ed Palermo Big Band w/ Napoleon Murphy Brock. www.kooshmania.com • Wed 9/9: Local 269. Adam Caine, Nick Lyon, Lornzo Sanguedolce, Adam Lane & Lou Grassi @ 8:00pm. Josh Roseman, Mark Giuliana & Todd Sickafoose @ 9:00pm. Persiflage with Matt Steckler, Todd Nuefeld & Jeff Davis @ 10:00pm. Bobby Radcliff & guests @ 11:00pm. $10. Dee-Pop’s Avant Series. 269 E. Houston St. @ Suffolk. • Wed 9/9: Scot Albertson with Daryl Kojak, Cameron Brown, Tony Jefferson, Sue Terry, Laurie Beechman Dinner Theatre 407 W. 42nd St, $15, 212-695-6909, www. scotalbertson.com • Wed 9/9: Eric Hoffman with Ken Hatfield & Gene Torres at Trinity Lower East Side Lutheran Church. 6:00pm. Free. Outdoors in garden, weather permitting. 602 E. 9th St. @ Ave. B (Charlie Parker Pl.) www.kenhatfield.com • Sat 9/10: Grasella Oliphant, Lenox Lounge, 288 Lenox Ave, New York, 288 Lenox Avenue • (above 124th St.), 212-427-0253, www.lenoxlounge.com • Thu 9/10: Sheryl Bailey, Early Show @ the 55 Bar w. The Sheryl Bailey 3, No Cover, 55 Christopher St, www.55bar. com • Thurs 9/10: Jesse Elder at Mercantile Exchange, World Financial Center. 5:00pm. For Monica Shulman’s art show. One North End Ave. www.myspace.com/jesseelder • Thurs 9/10: Barbara Carroll & Paula West at Tribeca Performing Arts Center, Borough of Manhattan Community College. 8:00pm. $35; $32.50 for students. Jack Kleinsinger’s “Highlights in Jazz” series. 199 Chambers St. 212-220-1460. www.tribecapac.org. • Thurs 9/10: Jake Saslow with Matt Clohesy & Tommy TUE SEP 15 AYELET ROSE GOTTLIEB SEXTET LOREN STILLMAN - AVISHAI COHEN - ANAT FORT - GARY WANG - ROLAND SCHNEIDER WED SEP 16 “Jazz Venue of the Year” - ALL ABOUT JAZZ • “Best Jazz Club” - NEW YORK MAGAZINE & CITYSEARCH BENNY REID TUE-THU SEP 1-3 JOEL FRAHM + BRUCE KATZ: RICHARD PADRON - PABLO VERGARA - DAN LOOMIS - KENNY GROHOWSKI THU-SUN SEP 17-20 RICHARD BONA GROUP PROJECT A JAY COLLINS - REGGIE PITTMAN - CHRIS VITARELLO - MARTY BALLOU JEAN-CHRISTOPHE MAILLARD - ETIENNE STADWIJK - OBED CALVAIRE MON SEP 21 �MINGUS� � YS DA ON �M MINGUS DYNASTY MATT WILSON QUARTET JERRY JEMMOTT - LORNE ENTRESS - RALPH ROSEN FRI-SUN SEP 4-6 DR. LONNIE SMITH TRIO TUE & WED SEP 22 & 23 DAVE STRYKER - BILL STEWART ANDREW D’ANGELO - JEFF LEDERER - CHRIS LIGHTCAP MON SEP 7 CLOSED FOR LABOR DAY HOLIDAY THU-SUN SEP 24-27 TUE SEP 8 BARRY HARRIS TRIO YARON HERMAN TRIO RAY DRUMMOND - LEROY WILLIAMS MATT BREWER - GERALD CLEAVER WED SEP 9 JOHN ESCREET PROJECT �MINGUS� �MONDAYS� DAVE BINNEY - AMBROSE AKINMUSIRE - ZACK LOBER - NASHEET WAITS ELDAR DJANGIROV TRIO JOSE ARMANDO GOLA - LUDWIG AFONSO 38 MON SEP 14 MINGUS BIG BAND �MINGUS� �MONDAYS� September 2009 • Jazz Inside™ NY MON SEP 28 MINGUS BIG BAND “TRANSCEND” THE CECIL McBEE BAND �MINGUS� �MONDAYS� TUE & WED SEP 29 & 30 THU-SUN SEP 10-13 �MINGUS� �MONDAYS� �MINGUS� �MONDAYS� NOAH PREMINGER - GEORGE CABLES - VICTOR LEWIS • www.jazzinsidemagazine.com To Advertise CALL: 215.887.8880 • • • • • • • • • • • • • • • • • • Crane at Bar Next Door. 8:00pm & 10:00pm. $12 cover. 129 MacDougal St. 212-529-5945. Thurs 9/10: Sharon L. West, Ron Austin & Gia Williams at Culturarte. 7:00pm. $12. 178th & Audubon. Thu 9/10: Sharon L. West, vocals; Yoshiki Miura, Lou Vega, Masahiro Sakuma, Ian J. Baggette, Ron Austin, www.mightydreamerangels.com or www.culturarteny. com, Anacaona Dominican Theater 178th Street and Audubon Ave, one block east of St. Nicholas Avenue inside Culturarte, NY Thurs 9/10: Clem DeRosa at National Jazz Museum in Harlem. 6:30pm. Free. “Harlem Speaks.” 104 E. 126th St., Suite 2C. 212-348-8300. www.jazzmuseuminharlem.org Fri 9/11: Fred Hersch at the Rubin Museum of Art. 7:00pm. $18 in advance; $20 at door. “Harlem in the Himalayas.” 150 W. 17th St. 212-620-5000. www.rmanyc.org Fri 9/11: Matt Geraghty at Blue Note. Late Night Groove Series. 12:30am.131 W. 3rd St. 212-475-8592. www. bluenotejazz.com Fri 9/11-Sat9/12: Sonny Fortune with David Williams, Steve Johns & Michael Cochrane at Sweet Rhythm. 88 Seventh Ave. S. 212-255-3626. Fri 9/11: The Hearts of Jazz Concert at Ashford & Simpson’s Sugar Bar. 4:00pm-8:00pm. No cover. More than 40 of NYC’s top jazz artists gather to commemorate 9/11, including Dom Minasi, Ratzo B. Harris, Antoinette Montaguek, Gene Perla, Barbara Sfraga, Sean Smith, Rick Stone, Roni Ben-Hur & E.J. Decker.. 254 W. 72nd St. 212-579-0222. www.sugarbarnyc.com. www. septemberconcert.org Fri 9/11: Sex Mob with Steven Bernstein, Briggan Krauss, Tony Scherr & Kenny Wollesen at 55 Bar. 10:00pm. 55 Christopher St. 212-929-9883. www.55bar.com. Sat 9/12: Latin Giants Orchestra, 8:00PM, $20.00 Adults / $10.00 Students & Seniors, York College Performing Arts Center, 94-45 Guy R. Brewer Blvd, 718-262-2840 or online at theatermania.com Wed: 9/12 - Sun 920: Sherrie & DIVA with the great Marlena Shaw at Dizzy’s Club Coca-Cola, Jazz At Lincoln Center, 60th & Vroadway. Sat 9/12: Jesse Elder with Bill Godwin’s The Ink Spots and Tony Middleton at St. Peter’s Church. 6:00pm. $25 donation. “Jazz Meets Popular Music.” 53rd & Lexington. 212-935-2200. www.saintpeters.org/jazz. www.myspace. com/jesseelder Sat 9/12-Sat 11/14: Vocal Jazz Performance Workshop at The Singers Center, instructor Grace Testani. 1:003:00PM. $450; no registration fee. PO Box 229, Cathedral Station. 212-222-6632. www.singerscenter.com. www. gracetestani.com Sat 9/12: OSPAC Jazz Festival, Enrico Granafei; Pam Purvis, Bob Ackerman; Steve Lovell; Dave Stryker; Nat Adderley Jr; Cecil Brook III; Dizzy Gillespie All Stars, Mayra Casales; Oskar Schindler Performing Arts Center, 4 Boland Dr, West Orange, NJ; 973- 669-7385. Sat 9/12: Melvin Spaks at Blue Note. Late Night Groove Series. 12:30am.131 W. 3rd St. 212-475-8592. www. bluenotejazz.com Sun 9/13: Peter Mazza, Selections from “Through My Eyes” in a super-trio, Donny McCaslin and Hans Glawischnig on Bass, Bar Next Door at La Lanterna. Peter also plays there Sunday nights from 8-11:30pm, lalanternaaffe.com Sun 9/13: Sarah James Trio at North Square. 12:30pm & 2:00pm. No cover or min. Brunch menu served. 103 Waverly Pl @ Macdougal. 212-254-1200. northsquarejazz.com Sun 9/13: OSPAC Jazz Festival, Jane Stuart; Bob Devos; Oscar Perez; Vic Juris; Kate Baker; Ali Jackson; New York Voices; Oskar Schindler Performing Arts Center, 4 Boland Dr, West Orange, NJ; 973- 669-7385. Sun 9/13: Gene Ess Quartet with Rodney Jones at Blue To Advertise CALL: 215.887.8880 • • • • Note. 12:30pm & 2:30pm. $24.50 includes brunch, show & 1 drink. 131 W. 3rd St. 212-475-8592. www.bluenote.net Mon 9/14: Jazz for Curious Readers with Ted Panken at National Jazz Museum in Harlem. 7:00pm. Free. 104 E. 126th St., Suite 2C. 212-348-8300. www. jazzmuseuminharlem.org Mon 9/14: VandoJam at The Iguana. 8:00pm. No cover or min. 240 W. 54th St. 212-399-9457. Tues 9/15: Jazz for Curious Listeners at National Jazz Museum in Harlem. 7:00pm. Free. “Rahsaan Roland Kirk.” 104 E. 126th St., Suite 2C. 212-348-8300. www. jazzmuseuminharlem.org Tues 9/15: Ken Hatfield with Hans Glawischnig & Valery sept 1 Ponomarev at Fetch. 7:00pm. No cover. 1649 Third Ave. (Bet. 92nd & 93rd St.) 212-289-2700. www.kenhatfield.com. • Tues 9/15: Sean Wayland with Ronny Cooter, Virna Sanzone, Sean Wayland, Brian Charette, Aki Ishiguro, Luca Benedetti, Jeff Hanley & Henry Cole at 55 Bar. 7:00pm. 55 Christopher St. 212-929-9883. 55bar.com. • Wed 9/16: Local 269. Dom Minasi with Ken Filiano & Jackson Krall @ 8:00pm. Limbic Trio with Percy Jones @ 9:00pm. Radio I-Ching @ 10:00pm. Bobby Radcliff & guests @ 11:00pm. $10. Dee-Pop’s Avant Series. 269 E. Houston St. @ Suffolk. • Wed: 9/16: Benny Reid CD Release Party, Jazz Standard 116 E. 27th St. CD Release, 212-576-2232 GreGorio Uribe biG band sept 3-6 James moody sept 8 John Fedchock new york biG band sept 10-13 nicholas payton band sept 15 sharp 9 sept 16-20 christian mcbride biG band sept 22 Valery ponomareV ‘oUr Father who art blakey’ sept 23 bob albanese sept 24-27 l’imaGe- mike mainieri, steVe Gadd, tony leVin, warren bernhardt, daVid spinoZZa sept 29 karen oberlin & the tedd Firth septet celebrate doris day, the JaZZ sinGer, at 85 sept 30 September 2009 • Jazz Inside™ NY sUsie meissner with special GUest brian lynch • www.jazzinsidemagazine.com 39 • Wed 9/16: Melissa Stylianou at 55 Bar. 7:00pm. 55 Christopher St. 212-929-9883. www.55bar.com. www. melissastylianou.com • Fri 9/18: East West Quintet at Blue Note. Late Night Groove Series. 12:30am.131 W. 3rd St. 212-475-8592. www.bluenotejazz.com • Fri 9/18 - Sat 9/19: Latin Jazz Legacy Series of East Harlem, Steven Kroon, Igor Atalita, Ariel De La Portella, Bryan Carrott, Craig Rivers, Diego Lopez, Sets: 8PM & 10PM, $15.00, Creole, 2167 3rd Ave (118th Street), New York, NY 10035; 212-876-8838 www.creolenyc.com. • Fri 9/18-Sat 9/19: Steve Kroon at Creole Restaurant. 8:00pm & 10:00pm. 2167 Third Ave. @ 118th St. 212-8768838. www.creolenyc.com • Fri 9/18-Sat 9/19: Pete Zimmer Quartet featuring George Garzone at Fat Cat. 10:00pm. 75 Christopher St. 212-6756056. www.fatcatmusic.org. • Sat 9/19: Richie Goods at Blue Note. Late Night Groove Series. 12:30am.131 W. 3rd St. 212-475-8592. www. bluenotejazz.com • Sun 9/20: Roz Corral with Gilad Hekselman & Joe Martin at North Square. 12:30pm & 2:00pm. No cover or min. Brunch menu served. 103 Waverly Pl @ Macdougal. 212254-1200. www.northsquarejazz.com • Sun 9/20: Chico Hamilton with Paul Ramsey, Evan Schwam, Jeremy Carlstedt & Nick Demopoulus at (le) poisson rouge. 9:30pm. $15 advance; $20 day of show. 158 Bleecker St. 212-505-FISH. www.lprnyc.com. www. myspace.com/chicohamilton • Sun 9/20: Juilliard Jazz Brunch: The Sounds of Detroit at Blue Note. 12:30pm & 2:30pm. $24.50 includes brunch, show & 1 drink. 131 W. 3rd St. 212-475-8592. bluenote.net • Tues 9/22: Ken Hatfield with Hans Glawischnig & Jim Clouse at Fetch. 7:00pm. No cover. 1649 Third Ave. (Bet. 92nd & 93rd St.) 212-289-2700. www.kenhatfield.com. • Wed 9/23: Nicole Pasternak with Don Friedman, Ralph Lalama, Bill Moring, Tom Melito, 8pm, 10pm, No Cover, $15 minimum, The Kitano, 66 Park Ave at 38th St, 212-8857119 • Wed 9/23: Local 269. Counterpoint with Kevin Norton, Jesse Stern & Garrett Brown @ 8:00pm. Tripolar with Donny Davis & Kevin Norton @ 9:00pm. Jeff Davis Group @ 10:00pm. Bobby Radcliff & guests @ 11:00pm. $10. Dee-Pop’s Avant Series. 269 E. Houston St. @ Suffolk. • Thurs 9/24: Kelsey Jillette with Tom Abbott, Hiro Honma, Jason Lawrence & Brad Whiteley at 55 Bar. 7:00pm. 55 Christopher St. 212-929-9883. www.55bar.com. www. kelseyjillette.com • Thu 9/24: Willie Martinez La Familia Sextet, 236 E. 3rd St., betw Aves B & C, Thurs., 2 Shows starting @ 9:30 PM, www.nuyorican.org, NuYorican Poets Café. • Thu 9/24: Sheryl Bailey, Early Show @ the 55 Bar w. Jazz Guitars Meet Hendrix featuring Sheryl Bailey and Vic Juris, $10 Cover, No Cover, 55 Christopher St, www.55bar.com • Thurs 9/24: Jason Moran at National Jazz Museum in Harlem. 6:30pm. Free. “”Harlem Speaks.” 104 E. 126th St., Suite 2C. 212-348-8300. www.jazzmuseuminharlem.org • Fri 9/25: Patrick Cornelius at Blue Note. Late Night Groove Series. 12:30am.131 W. 3rd St. 212-475-8592. www.bluenotejazz.com • Fri 9/25 – Sat 9/26: Latin Jazz Legacy Series of East Harlem, Stringbeans Official CD Release Party, Annette A. Aguilar, Rob Thomas, Nicki Denner, Benny Koonyvesky, Sofia Rei Koutsovitis, Jennifer Vincent. Sets: 8PM & 10PM, $15.00, Creole, 2167 3rd Ave (118th Street), New York, NY 10035; 212-876-8838 www.creolenyc.com. • Fri 9/25: David Binney Quartet at the Rubin Museum of Art. 7:00pm. $18 in advance; $20 at door. “Harlem in the Himalayas.” 150 W. 17th St. 212-620-5000. rmanyc.org • Sat 9/26: Brian Lynch & Spheres of Influence at The New York Public Library. Free. The Duke Jazz Series. Bruno Walter Auditorium, 111 Amsterdam Ave. @ 65th St. 212-270-1793. www.nypl.org • Sat 9/26: Judi Silvano, 55 Bar, 55 Christopher St. 212-9299883. www.55bar.com • Sat 9/26: Bobby Sanabria at National Jazz Museum in Harlem. 11:00am. Free. Presenting a screening of new PBC documentary, along with producer and director of “Latin Music U.S.A.” 104 E. 126th St., Suite 2C. 212-3488300. www.jazzmuseuminharlem.org • Sat 9/26: Rasul Siddik & Katy Roberts at 5C Café. 8:00pm. $10 cover. 68 Ave. C. 212-477-5993. www.5ccc. com. www.myspace.com/rasulsiddiknowartet • Sat 9/26: Rachel Pastarnack at Blue Note. Late Night Groove Series. 12:30am.131 W. 3rd St. 212-475-8592. www.bluenotejazz.com • Sun 9/27: Roz Corral/Eddie Monteiro Duo at North Square. 12:30pm & 2:00pm. No cover or min. Brunch menu served. 103 Waverly Pl @ Macdougal. 212-254-1200. www. northsquarejazz.com • Sun 9/27: Ricardo Gallo’s Tierra de Nadie at Blue Note. 12:30pm & 2:30pm. $24.50 includes brunch, show & 1 drink. 131 W. 3rd St. 212-475-8592. www.bluenote.net • Mon 9/28: Barb Jungr at Metropolitan Room. 7:00pm. $25 + 2-drink min. 34 W 22nd St. (Bet. 5th & 6th Ave.) 212206-0440. www.metropolitanroom.com. • Tues 9/29: Jazz for Curious Listeners at National Jazz Museum in Harlem. 7:00pm. “Art Tatum / Django Reinhardt.” 104 E. 126th St., Suite 2C. 212-348-8300. www. jazzmuseuminharlem.org • Tues 9/29: Ken Hatfield with Hans Glawischnig & Eric Hoffman at Fetch. 7:00pm. No cover. 1649 Third Ave. (Bet. 92nd & 93rd St.) 212-289-2700. www.kenhatfield.com. • Tue 9/29: Clifton Anderson, Birdland, 8:30, 11PM, 315 W. 44th St, www.cliftonanderson.net • Tue 9/29: Alex Terrier, CD Release, Puppets, 9pm, 481 5th Ave, Brooklyn, NY, www.Puppetsjazz.com, www. alexterriermusic.com • Tues 9/29: Benjamin Drazen with Jon Davis, Carlo DeRosa & John Davis at 55 Bar. 10:00pm. 55 Christopher St. 212-929-9883. www.55bar.com. • Tues 9/29: Laurie Krauz & Daryl Kojak Octet with Sean Conly, Gene Lewin, Jamie Fox, “Sweet” Sue Terry, Emily Bindiger, Margaret Dorn & Kathryn Raio at BB King’s. 8:00pm. “Tapestry Rewoven: Feel the Earth Move!” A re-imagining of the Carole King classic. $25 cover; $10 min. 237 W. 42nd St. 212-997-4144. www.bbkingblues.com. www.tapestryrewoven.com • Wed 9/30: Local 269. Jahn X Bonfiglio @ 8:00pm. Stephan Gauci, Mike Bisio, Jay Rosen, Kenny Wessel & Jeremy Carlstedt @ 9:00pm. Ben Gerstein, Tony Malaby, Dan Weiss & John Hebert @ 10:00pm. Bobby Radcliff & guests @ 11:00pm. $10. Dee-Pop’s Avant Series. 269 E. Houston St. @ Suffolk. • Wed 9/30: Robert Mwamba at Flute Gramercy. 8:00pm. No cover. 40 E. 20th St. www.flutebar.com. www.myspace. com/mwamba920 • Wed 9/30: Barb Jungr at Metropolitan Room. 7:30pm. $25 + 2-drink min. 34 W 22nd St. (Bet. 5th & 6th Ave.) 212206-0440. www.metropolitanroom.com. • Sun 10/4: Randall Keith Horton, The Duke EllingtonRandall Keith Horton full-length orchestral tone poem, BLACK, BROWN AND BEIGE, for big band, symphony orchestra, steel drums, African drums, soprano and baritone soloists. Rose Theater, Jazz at Lincoln Center, Broadway at 60th St., NYC, www.jazzatlincolncenter.org 40 September 2009 Brooklyn • Tues 9/1: Dan Weiss Ensemble at Le Grand Dakar. 8:30pm & 10:00pm. Free; donations accepted. 285 Grand Ave. (Bet. Clifton & Lafayette) • Jazz Inside™ NY • www.jazzinsidemagazine.com • Wed 9/2: Jessica Lurie Group at Brooklyn Lyceum. 8:00pm & 9:30pm. 227 4th Ave. 866-gowanus. www. brooklynlyceum.com • Wed 9/2, 9/9, 9/16, 9/23, 9/30: Phishbacher at Water Street Restaurant. 7:00pm. No cover. 66 Water St. www. waterstreetrestaurant.com. www.phishbacher.com • Thurs 9/3: Ryan Blotnick with Jeff Williams, Joachim Badenhorst & Perry Wortman at Le Grand Dakar. 8:30pm & 10:00pm. Free; donations accepted. 285 Grand Ave. (Bet. Clifton & Lafayette) • Sun 9/6: Jordan Young at Brooklyn Lyceum. 9:00pm & 10:30pm. 227 4th Ave. 866-gowanus. www. brooklynlyceum.com • Tues 9/8: Ziv Ravitz with Shane Endsley & Garth Stevenson at Le Grand Dakar. 8:30pm & 10:00pm. $5 suggested donation. 285 Grand Ave. (Bet. Clifton & Lafayette) • Wed 9/9: Mike Baggetta Trio at Brooklyn Lyceum. 8:00pm & 9:30pm. 227 4th Ave. 866-gowanus. www. brooklynlyceum.com • Thurs 9/10: James Ilgenfritz at Le Grand Dakar. 8:30pm & 10:00pm. Free; donations accepted. 285 Grand Ave. (Bet. Clifton & Lafayette) • Thurs 9/10: Michael Marcus with John Austria, Rashaan Carter & Jay Rosen at Bargemusic. 8:00pm. $25; $20 senior; $15 student. Fulton Ferry Landing, at the foot of the Brooklyn Bridge. 718-624-2083. www.bargemusic.org. • Fri 9/11: Pete Robbins with Jesse Neuman, Mike Gamble, Thomas Morgan, Eivind Opsvik & Tommy Crane at the Tea Lounge. 9:00pm. $5 suggested donation. 837 Union St., Park Slope. 718-789-2762. www.tealoungeny.com. www.peterobbins.com • Sun 9/13: Adam Kolker at Brooklyn Lyceum. 9:00pm & 10:30pm. 227 4th Ave. 866-gowanus. www. brooklynlyceum.com • Tues 9/15: Justin Wood with Josh Sinton, James Ilgenfritz & Vinnie Sperazza at Le Grand Dakar. 8:30pm & 10:00pm. Free; donations accepted. 285 Grand Ave. (Bet. Clifton & Lafayette) • Wed 9/16: Grupo Los Santos at Brooklyn Lyceum. 8:00pm & 9:30pm. 227 4th Ave. 866-gowanus. www. brooklynlyceum.com • Thurs 9/17: Rasul Siddik & the Now! Artet at Puppet’s Jazz Bar. 9:00pm. 481 5th Ave. 718-499-2622. www. puppetsjazz.com. www.myspace.com/rasulsiddiknowartet • Thurs 9/17: Jorrit Dijkstra with Reuben Radding, Jen Baker & Kier Neuringer at Le Grand Dakar. 8:30pm & 10:00pm. Free; donations accepted. 285 Grand Ave. (Bet. Clifton & Lafayette) • Sun 9/20: Dan Adler, 8pm, Puppets Jazz Bar, 481 5th Ave. Park Slope, Brooklyn, www.puppetsjazz.com • Sun 9/20: Quinson Nachoff at Brooklyn Lyceum. 9:00pm & 10:30pm. 227 4th Ave. 866-gowanus. www. brooklynlyceum.com • Tues 9/22: Wollesonic with Kenny Wollesen, Jodocy, Dalius Naujo & Jennifer Harris at Le Grand Dakar. 8:30pm & 10:00pm. Free; donations accepted. 285 Grand Ave. (Bet. Clifton & Lafayette) • Wed 9/23: Bottomless Cup Jazz Orchestra at Brooklyn Lyceum. 8:00pm & 9:30pm. 227 4th Ave. 866-gowanus. www.brooklynlyceum.com • Thurs 9/24: Bill Lee’s Big Band at Bargemusic. 8:00pm. Fulton Ferry Landing, at the foot of the Brooklyn Bridge. 718-624-2083. www.bargemusic.org. • Thurs 9/24: Jesse Neumann Group at Le Grand Dakar. 8:30pm & 10:00pm. Free; donations accepted. 285 Grand Ave. (Bet. Clifton & Lafayette) • Sun 9/27: Matt McDonald at Brooklyn Lyceum. 9:00pm & 10:30pm. 227 4th Ave. 866-gowanus. www. brooklynlyceum.com To Advertise CALL: 215.887.8880 visitors center: • Sun 9/27: Rob Garcia with Noah Preminger, Dan Tepfer & Chris Lightcap; Daniel Kelly Trio; and Michel Gentile & Tony Romano at Belarusian Church. 2:30pm-6:00pm. $15; $10 students. 401 Atlantic Ave. @ Bond St. www. connectionworks.org • Tues 9/29: Julianne Carney with Ryan Mackstaller, Justin Wood, James Ilgenfritz & John O’Brien at Le Grand Dakar. 8:30pm & 10:00pm. Free; donations accepted. 285 Grand Ave. (Bet. Clifton & Lafayette) • Wed 9/30: Chris Dingman Quartet at Brooklyn Lyceum. 8:00pm & 9:30pm. 227 4th Ave. 866-gowanus. www. brooklynlyceum.com New Jersey • Wed 9/2: Zan Stewart at Shanghai Jazz. 24 Main St., Madison. 973-822-2899. www.shanghaijazz.com. • Thurs 9/3: Matt King Group at Shanghai Jazz. 24 Main St., Madison. 973-822-2899. www.shanghaijazz.com. • Fri 9/4: Herb Woodson Quartet at Shanghai Jazz. 24 Main St., Madison. 973-822-2899. www.shanghaijazz.com. • Sat 9/5: Eddie Monteiro with Len Argese at Shanghai Jazz. 24 Main St., Madison. 973-822-2899. www. shanghaijazz.com. • Thurs 9/10: Morris Nanton Trio at Shanghai Jazz. 24 Main St., Madison. 973-822-2899. www.shanghaijazz.com. • Fri 9/11: Living Colour at Mexicali Live. 9:00pm. $25. 1409 Queen Anne Rd., Teaneck. 201-833-0011. • Fri 9/11: Sarah Partridge Trio at Shanghai Jazz. 24 Main St., Madison. 973-822-2899. www.shanghaijazz.com. • Sat 9/12: Ralph Douglas Quartet at Shanghai Jazz. 24 Main St., Madison. 973-822-2899. www.shanghaijazz.com. • Sun 9/13: Oscar Perez with Stacy Dillard, Greg Glassman, Anthony Perez, Jerome Jennings, Emiliano Valerio & Charenee Wade at OSPAC Jazz Festival, Oskar Schindler Performing Arts Center. 3:00pm. $10. 4 Boland Dr., West Orange. 973-669-7385. www.ospac.org. www.oscarperezmusic.com • Sun 9/13: Laura Hill with Tomoko Ohno at Shanghai Jazz. 24 Main St., Madison. 973-822-2899. www.shanghaijazz. com. • Tues 9/15: Tom Roberts, Susanne Ortner & Charlie Caranicas at Bickford Theatre. 8:00pm. $15 in advance; $18 at door. On Columbia Turnpike @ Normandy Heights Road, east of downtown Morristown. 973-971-3706. www. njjs.org • Tues 9/15: John Zweig with Steve Freeman at Shanghai Jazz. 24 Main St., Madison. 973-822-2899. www. shanghaijazz.com. • Fri 9/18: Jerry Vezza Trio at Shanghai Jazz. 24 Main St., Madison. 973-822-2899. www.shanghaijazz.com. • Sat 9/19: Rasul Saddik/Katy Roberts Quartet at the Miller Branch Public Library. 8:00pm. No cover. 489 Bergen Ave., Jersey City. 201-547-4551. www.myspace. To Advertise CALL: 215.887.8880 w w w. j m i h . o r g THE NATIoNAl JAzz MuSEuM IN HARlEM PRESENTS Harlem Speaks A SPECIAl SERIES HoNoRINg HARlEM HERoES SEP. 10: CLEM DeROSA SEP. 24: Jason Moran Photo courtesy Richard Conde Long Island • Fri 9/4: Living Colour at The Crazy Donkey. 1058 Rt. 110, Farmingdale. www.thecrazydonkey.com • Fri 9/11: Arnie Gruber & Halley Hiatt at Dix Hills Performing Arts Center, Five Towns College. 7:30pm. 305 N. Service Rd., Dix Hills. 631-656-2148. www.DHPAC. org • Sat 9/12: Diane Hoffman Trio at Nick DiAngelo Italian Bistro. 9:00pm. No cover. 152 Park Ave., Long Beach. 516889-3366. www.dianehoffman.com • Sun 9/13: Diane Hoffman with Mike Barnett Trio at Long Beach Jazz Festival. Noon. Long Beach Library, 111 Park Ave., Long Beach. www.dianehoffman.com • Sat 9/19: Diane Hoffman & Jeremy Bacon at Milk & Sugar Café. 8:00pm. 149 W. Main St., Bay Shore. 631969-3655. www.dianehoffman.com Open M-F 10 aM - 4 pM 104 E. 126th Street, #2C, New York, NY 10035 Drummer / Educator Location: The NJMH Visitors Center, 104 E. 126th Street, #2C $18 advance $20 at door Pianist t ime : 6:30 -- 8:30 pm P rice : Free September 11 Fred Hersch (solo piano) September 25 David Binney Quartet saturday panels 11AM – 4PM • free including films, panel discussions and live music Jazz for Curious Listeners Free classes celebrating Harlem and its legacy Tuesdays 7:00 - 8:30 p.m. The NJMIH Visitors Center, 104 E. 126th Street, #2C Attend any individual class. Jazz on Film September 1: Dave Brubeck September 8: Cecil Taylor September 15: Steve lacy September 22: Rahsaan Roland Kirk September 29: Art Tatum / Django Reinhardt 9/26: Latin music U.S.A. Bobby sanabria hosts a screening of the new pBs documentary along with the film's producer and director. nJMH Visitors Center, 104 e. 126th St., #2C Jazz for Curious Readers September 14: Ted Panken 7:00 - 8:30 pm | FRee The nJMH Visitors Center 104 e. 126th Street, #2C the Doctorow family f o u n D at i o n Danny & Sylvia Fine Kaye Foundation Funded in part by Council Member Inez e. Dickens, 9th C.D., Speaker Christine Quinn and the new York City Council September 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com 41 com/rasulsaddiknowartet • Sat 9/19: John Carlini Trio at Shanghai Jazz. 24 Main St., Madison. 973-822-2899. www.shanghaijazz.com. • Wed 9/23: Jeff Barnhart & Anne Barnhart at Ocean County Library. 8:00pm. $13 advance; $15 at door. 101 Washington St., Toms River. 732-255-0500. ocean.edu • Fri 9/25 & Sat 9/26: Winard Harper Group at Shanghai Jazz. 24 Main St., Madison. 973-822-2899. www. shanghaijazz.com. • Mon 9/28: Swingadelic at Maxwell’s. 9:00pm. No cover. 1039 Washington St., Hoboken. 201-653-1703. www. maxwellsnj.com • Tues 9/29-Wed 9/30: John Pizzarelli Quartet with Bucky Pizzarelli at Shanghai Jazz. Seatings @ 6:30pm & 8:30pm. $89 each incl. full-course dinner & show. 24 Main St., Madison. 973-822-2899. www.shanghaijazz.com. …And Beyond • Fri 9/4-Sun 9/6: Tanglewood Jazz Festival with Paquito D’Rivera; John Pizzarelli & Jessica Molaskey with Bucky Pizzarelli, Aaron Weinstein, Kurt Elling & Harry Allen; Regina Carter Quartet; Nnenna Freelon, Harolyn Blackwell & Mike Garson; Kenny Barron & Mulgrew Miller duet with Vanguard Jazz Orchestra; Jon Faddis Quartet with Wallace Roney & Sean Jones; Dave Holland Octet with Chris Potter, Robin Eubanks, Antoinio Hart, Alex Sipiagian, Gary Smulyan, Nate Smith & Steve Nelson. $17-$75; one-day lawn pass $34. 297 West St., Lenox, MA. 888-266-1200. www.tanglewood.org • Wed 9/9: Living Colour at the Fairfield Theatre Company. 7:30pm. $57-$67. 70 Sanford St., Fairfield, CT. 203-2591036. www.fairfieldtheatre.com • Fri 9/11-Sun 9/13: Celebration the Arts Jazz Festival at Delaware Water Gap, PA. With Phil Woods, Calliope, 42 September 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com • • • • • Water Gap Players, Anita Bondi, Vicki Doney Trio, Skip Wilkins Quintet, The Magic Touch, Bob Dorough Ensemble, Alex Gordon Trio, Jaro, David Liebman Group, DIVA Jazz Orchestra, Spencer Reed, Jazz Mass, Chris Parker Quartet, Brian Lynch Project, Evan Gregor Quintet, Bill Goodwin Band, Nellie McKay and Blue Sparks from Hell. 570-424-2210. www.cotajazz.org Fri 9/11: Medeski Martin & Wood at the Fairfield Theatre Company. 8:00pm. $20-$35. 70 Sanford St., Fairfield, CT. 203-259-1036. www.fairfieldtheatre.com Sat 9/12: Sherrie & DIVA at the COTA Festival, Delaware Water Gap, 7:00pm Sat 9/19-Sun 9/20: Lake George Jazz Weekend. Free. Shepard Park, Canada St., Lake George, NY. Sept. 19: Bill Mays Trio, 1:00; Ignacio Berroa Quartet, 2:45; Giacomo Gates. 4:30. Sept. 20: Roland Vasquez Quintet, 1:00; Steve Turre Quintet, 2:45; Diane Moser Band, 4:30pm. Fri 9/25: Branford Marsalis at Ridgefield Playhouse. 8:00pm. $80. 203-438-5795. 80 E. Ridge, Ridgefield, CT. www.ridgefieldplayhouse.org Sat 9/26: Ralph Peterson Trio, Zaccai Curtis, Dezron Douglas, Jazz at the Turning Point Café, Piermont, NY. 25 minutes from NYC, NJ, CT, Westchester, 6pm-7:30pm, 468 Piermont Avenue, Piermont, NY 10968 845-359-1089, To Advertise CALL: 215.887.8880 Charleston Continued from Page 9 fun with it now and I wouldn’t change anything for the world. RC: God that’s a great question. I’m going to cry, that’s so beautiful. First of all, I think you’re so right that the very beginning, I think your DNA, your cellular makeup is formed before the age of six. I’ve JI: If we’re interested in mastery, it is not about mas- sort of sidetracked to the questionsin that I’ve been tering but staying on the path, having long term vi- conscious of how I’ve raised my daughter Emma in sion, and exercising patience – which, anyone who giving her, in giving her those building blocks and has invested eight and ten hours a day practicing has those foundations of making sure she knows that she has the stuff inside of her to do whatever she wants developed to some degree. to do as long as she puts the discipline and focus to RC: It’s about nuances - whether it’s a nuance in it. It’s thought. I try to go into the recording studio rhythm, melody or a nuance of words and poetry. filled with thoughts of love and support for my fellow I’m a poetry freak. I simply can’t get enough of it. I’m musicians and respect. And I find that when I go in just so happy to be able to write and get the words with an abundance of love and respect for them, I get out that I want, get the meaning out that I intend. it back in spades. You know getting my thoughts actually out into the JI: People respond to authenticity and genuineness. world. It’s exhilarating through these songs. At some subconscious level I think we all can see JI: Are there some things that you want to talk about through people façades – eventually! Could you, could you just touch on what your views are image that I haven’t prompted you for? versus identity and that could be both in terms of the music and in terms of people. RC: You’re such a good journalist. You’re good. You’ve got it all together. Actually you know what, RC: Well, I’ll just say what I personally do in order you have exceeded my expectations here. I’m trying to to maintain my own core thing which is I try very think if there’s anything we didn’t get to. We talked hard not to read or watch any media that might about writing. We talked about the music. We talked kind of poison the purity of my work. I try not to about sound, feeling. We talked about Musicophilia get hooked …. there are some new television, slick, and all the facts, the effect of music and thought on slick, slick shows and magazines and sounds … I try Parkinson and Alzheimers and all that stuff, which is to avoid anything that’s slick in my life. I’ll turn off so important. We talked about the future album. We the TV and go read a book. I’ll turn off the radio and talked about Lynn. Yeah, I… go read, and I’ll change the station, turn the dial to RC: Oh, see that goes to the core of my self-doubt. You know I guess again like that Eckhart Tolle thing of shining a light on it. If I shine a light on my indecision, all of a sudden things become clearer for me. It’s like a pin spot. You shine the spotlight on the exact thing that needs work and all of a sudden it really becomes clearer. I have to have to make choices in lyrics. Which direction is the song going to go? I could have 10 different ways that it could go but I focus the light and I suddenly realize this is the only answer. JI: Rondi, I would venture a wild guess that when you were growing up your parents, who were both creative, encouraged you to do whatever it is you wanted to do. How do you use encouragement or motivate others with whom you work? RC: Take care of it. You have to take care of your mind. I don’t watch violent movies. I don’t watch violent TV shows. I can’t, I can’t even watch some of the slicker pop singers. I find it corrupts me. It corrupts my soul. JI: So in wrapping up, is there a phrase or a word of wisdom that you’d like to share that, by which you live your life? RC: My belief is simple. Music has the power to give us hope when nothing else can, and I want to spread that hope in every way possible. OD: That my music has made an impact on someone’s life. That my efforts have inspired someone to OD: I’m living a dream. As a recording musician and composer, I lived in both jazz and classical worlds. Now I get to compose for, perform in and lead and direct my own orchestra! I’m surrounded by creative genius in my best friend and co-founder of all of our initiatives, a fantastic executive director and staff, a dedicated board, a loving-supportive family, and the best musicians anywhere! Who could ask for anything more? To Advertise CALL: 215.887.8880 September 2009 JI: What is the greatest compliment that you can receive as a musician? Shepard Park • Canada Street Lake George • New York rain site: Lake George High School Auditorium JI: Well you have to feed your mind like you feed your body. set and achieve higher standards. Davis Continued from Page 12 thing only for you and the musicians you are sharing the stage with, or are you trying to achieve something JI: What is the most rewarding facet of your life as an artist? outside of that microcosm? OD: To humbly give back! Education is the key! Jazz is more than a musical genre. It is the soundtrack of America and it provides lessons for us all! September 19 & 20 1-6 pm • Free Admission • Jazz Inside™ NY • www.jazzinsidemagazine.com Designed by Gruskin Group™, © 2009 www.gruskingroup.com JI: How do you overcome indecision? something that’s not going to poison you. You know a strong word but… 2009 Lake George Jazz Weekend Saturday, September 19 Bill Mays Inventions Trio Ignacio Berroa Quartet Giacomo Gates Sunday, September 20 Roland Vasquez Quintet Steve Turre Quintet Diane Moser’s Composers Big Band For info: 518.668.2616 www.lakegeorgearts.org presented by Also made possible with generous support from Kenneth and Susan Gruskin 43 T I C K E T S S T I L L A V A I L A B L E ! The Ridgefield Playhouse Great Family Entertainment! 203.438.5795 Part of The Danbury Audi Jazz Series The Ridgefield Playhouse Gala Event Special Guest Alexis Babini Boz Scaggs Sunday, September 13th Gala 5:30 pm Show 8:00 pm Part of The Danbury Audi Jazz Series An Evening of Wine & Jazz Join us in the lobby before the show for a Wine Tasting with Melange Fine Wines & Spirits and hors d’oeuvres from Ancona’s from 7pm – 8pm. 3 time Grammy Winner Branford Marsalis Friday, September 25th at 8:00 pm Quartet Part of The Danbury Audi Jazz Series HerbAlpert & LaniHall Monday, November 2nd at 8:00 pm Signifies the VIP Party Pass, including pre-show reception with possible MEET & GREET, VIP parking, Gold Circle Seating & more! www.ridgefieldplayhouse.org 80 East Ridge • Ridgefield, Connecticut 06877 203.438.5795 44 Eubanks Continued from Page 16 the two trumpet concept. Again I can’t remember the name of the Donald Byrd recording, but they compliment each other very well. Usually trumpet players try to outplay each other losing the subtleties like sound and phrasing that makes trumpet playing individualized. Last is Roy Hargrove’s Of Kindred Souls. It’s a live recording that really opened me up to Roy’s playing. The tunes required him to play with a lot of fire and I love the way he approaches ballads. He developed at such a young age—sometimes it doesn’t seem fair. And to be as young as he is and influence a whole generation of trumpet players is an incredible salute to him. my life, music. It wasn’t long before I was practicing about 5-6 hrs a day instead of studying my accounting. I became totally obsessed. I practiced anytime, everywhere and anywhere I could. I practiced in the bathroom, and in the car on road trips. I transcribed as much as possible to build a vocabulary. One day I called home to check in, and my dad said that my brother Kevin was presented with some jazz achievement award presented by Billy Taylor. My dad was raving about how great Kevin sounded and how he left everyone with their mouths open. I immediately wanted to do the same and switch my major to music. When I threw the idea at my dad, he said “Man, your mother and I invested three years of college in you. I think you ought to finish your degree.” My dad only JI: Can you talk about your college experience, and had to say things once. I completed my requirements how you solidified in your mind that music was your for my B.S. - Bachelor of Science … lets keep it clean - degree in Business Administration. I minored in path, and not business administration? Accounting. I loved math and I think there is a corDE: I can remember distinctively being in college at relation between music and math. A year later I atUniversity of Maryland Eastern Shore (U.M.E.S). tended Temple University as a music major trying to I stopped playing my trumpet for about six years, pick up some more skills before moving to New York doing the non-productive teenager thing. My twin on my musical quest. Now looking at things, I wish I brother was in the band and he was a music major and majored in music from the beginning. That is interan outstanding trombone player. He encouraged me esting because lot of musicians say to me that they to get in the band and back into what was missing in wished that they majored in Business. Jazz Cruises LLC Continued from Page 71 going at the same time. On the Smooth Jazz Cruises, we do it slightly differently. We divide people into half. Half the people go to dinner at six, and then the other half go to the main show and then it flips. But then around 10:30, we have what we’re famous for on that cruise, which is our cruising after dark format. We’ll have a jam session at one place, we’ll have dancing, we’ll have a comedian, we’ll have this, we’ll have that – lots of different activities. Pajama parties, costume parties, for you to go do and you get to pick what you want to do. But that’s after everyone’s had their wonderful dinner and they have seen the main show for the evening. Not only was it packed, these people had the most creative costumes. It was so much fun. Now we do it every year. We have a different theme. I think last year was come as your favorite song. This year is going to be come as your favorite movie. Okay? The really important things that I have learned on these cruises are from the guests. When you look out and you see people from all walks of life, all ethnic backgrounds, 25-30 different countries, and they’re all there because they love this particular kind of music. It really pulls at your heart. You realize that the world, there are ways to join the world up. There really are. Music is the best way. There ain’t a question about it. JI: What have you discovered about human nature, JI: Talk a little bit about some of the inspiring or given all these various experiences? funny or dramatic or whatever conversations that you’ve had with some of the artists who’ve performed ML: Once in a while you run across a passenger who you’re never going to please and you just have to do on the cruises over the years. the best you can. So much of it is about expectations, ML: The greatest compliment that I ever got was meeting expectations. And for the most part, the the first time that we had Herbie Hancock, and he overwhelming part, people want to have a good time. was getting ready to leave because he was only on People want to enjoy themselves. They want to be for a couple of days. He asked me to come into his good to other people. Once in a while somebody will room and he stood up and he told me that he would become a little more self important than perhaps they do any cruise that we would ever do. I can’t tell you need to be. Okay, that’s just part of the gig. But, genhow many guys we had to twist their arms, and now erally, people who like this kind of music, I like them. They say that you can tell something about somebody they’re regulars. My mother will be 80 this year. We’re celebrat- based upon their friends. I think you can tell someing her 80th birthday on the ship and all of these peo- thing about people based upon their music taste. If ple who have been sailing with her for years and years you like jazz, which is improvisational, which is free and years and it is just astonishing to watch that. The flowing, which has very few rules, okay, has from reason why they come back is because they know the get go been an ethnically and rationally diverse that we’re going to give them great music. If we ever – then the odds are you’re going to be a pretty acceptscrew up, it would be because we have forgotten that ing kind of nice person. And that’s who we have on that is the bulk of it. What’s been fun is throwing in the ships. We have people who, they just want to have some really fun kind of non-music stuff. I talked my a good time. They want to listen to music and they mother into including a costume party on the Jazz want to share it with their friends and they want to Continued on Page 45 Cruises. She was sure that nobody would show up. September 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com To Advertise CALL: 215.887.8880 J A C K K L E I N S I N G E R Presents Jazz Cruises LLC Continued from Page 44 share it with other people. And that’s just great. It’s just very exciting to see and if we can in a really small way, up perpetuate that, that’d be great, you know? Highlights In JAZZ N e w Yo r k ' s L o n g e s t R u n n i n g J a z z C o n c e r t S e r i e s *** ML: My favorite performers are David Sanborn, Marcus Miller. I love big band on the Jazz Cruise. I think they are just awesome, really awesome. Thurs. Sept. 10, 2009 - 8 pm Cabaret Jazz JI: What do you do besides cooking to recharge your batteries? ML: I workout almost everyday. I box, I play tennis, I workout with a personal trainer, and I drink wine. Not at the same time. Djangirov Continued from Page 78 ED: Yes, absolutely. That’s a recording I’ve been working on and that will be out sometime in 2010. As of now though, for the rest of 2009, I’m concentrating on touring through a lot of different spots and trying to spread the word and to play as much music as possible. JI: Where do you find the most receptive audience to what you are doing? In NY, people may know the most about jazz and it’s such a fertile place, but it can also be cold for a performer. ED: You know, it’s funny that you mention that. You are right on with your thoughts. I just posted a few things online. If you go to www.facebook.com/ eldar, there are a few videos that I jut posted and a page I started where I put content and video and multimedia things for me to post that I experience from the road and there’s a video that I thought was really good that was made in Vienna at the Vienna Jazz Festival and one of the reasons besides the music that I enjoyed the gig so much was the people. Because they knew about the music and they were excited abut the music. They had a certain positive energy that influenced the music on the stage on that particular day and if it wasn’t for the people, the music wouldn’t sound the same and I thought the performance was very good so I posted a few little things, but definitely, the people put so many things into a performance and I don’t think a lot of people have the power to realize that because they are busy responding on an individual level, they are kind of in their own world, but as a whole, people create a force that’s so powerful. JI: Yeah, collectively ED: Oh my God, it’s a powerful force – together. F i n a l Ye a r * * * Four Great JAZZ Concerts JI: What do you listen to? Barbara Carroll Paula West Thurs. Nov. 12, 2009 - 8 pm Living Jazz Legends Bucky Buddy DeFranco Pizzarelli with with Jay Leonhart John Pizzarelli Joe Cohn Martin Pizzarelli Mickey Roker Ron Odrich Ed Metz, Jr. Thurs. Oct. 8, 2009 - 8 pm Thurs. Dec.10, 2009 - 8 pm From New Orleans... Celebrating The Swing Masters Hot Jazz Evan Christopher Duke Heitger ...To Israel Anat Cohen Ehud Asherie Terry Ken Peplowski Recalls Gibbs Recalls Lionel Subscriptions are only $130 for all four Concerts Tickets for individual concerts may be ordered for: $35.00/students $32.50 Recalls Hampton Charlie Goodman Christian Benny with George Masso - Jackie Williams Johnny Varro - Joe Ascione Freddie Bryant with Derek Smith Nicki Parrott • Alvin Atkinson Produced in association with: BMCC TRIBECA Performing Arts Center Borough of Manhattan Community College 199 Chambers Street Mail Order Form to: Highlights in Jazz, 7 Peter Cooper Rd., New York, NY 10010 Checks payable to: Highlights in Jazz (Enclose a self-addressed stamped envelope) Please send ______ subscription(s) at $130.00 each for the Fall 2009 Season of Highlights in Jazz. JI: What club was that? Please send _____ ticket(s) ($35.00/students $32.50) for each of the following: Sept 10, Concert Oct 8, Concert Nov 12 Concert Dec 10, Concert ED: Porgy and Bess. It’s a wonderful club. NAME Visit our website and subscribe to our quarterly publication to get the complete one hour interview. Stay tuned to our “JazzInsideMagazine” YouTube channel to hear and see interviews and other content. ADDRESS To Advertise CALL: 215.887.8880 CITY September 2009 STATE • Jazz Inside™ NY • www.jazzinsidemagazine.com ZIP 45 Calendar of Events Sept 1 8:30PM SPEAKEASY: STORIES FROM THE BACKROOM Sept 2 8:30PM TOM CHANG GROUP Sept 3 8:30PM RICHARD ROLAND SINGS MARTY PAICH Sept 4 9:00PM LUCIAN BAN’S DARK SKIES AND MEL TORME 10:30PM Sept 5 9:00PM SWALLOW - TALMOR - NUSSBAUM TRIO 10:30PM Sept 6 8:30PM MICHAËL ATTIAS’ SPUN TREE QUARTET Sept 7 8:30PM AMRAM & CO Sept 8 8:30PM MORRISON MOTEL Sept 9 8:30PM SARAH MANNING’S SHATTER THE GLASS/ Sept 10 8:30PM SACRED JAZZ--DEANNA WITKOWSKI & Sept 11 9:00PM FUTURE QUEST: RE-IMAGINING THE MUSIC SEAN NOWELL GROUP BRENDA EARLE 10:30PM OF MEREDITH MONK Sept 12 9:00PM STEPHAN CRUMP’S ROSETTA TRIO Sept 13 8:30PM LUCA CIARLA’S FIDDLER IN THE LOOP Sept 14 8:30PM SERIAL UNDERGROUND Sept 15 8:30PM SPEAKEASY: STORIES FROM THE BACKROOM Sept 16 6:00PM RED HEN PRESS Sept 17 8:30PM PRANA TRIO FEATURING BEN MONDER Sept 18 9:00PM THE RORY STUART QUARTET 10:30PM Sept 19 9:00PM JOHN O’GALLAGHER TRIO: 10:30PM CD RELEASE FOR DIRTY HANDS Sept 20 8:30PM ANDREW GREEN SEXTET: Sept 21 8:30PM RYAN BLOTNICK: Sept 22 6:00PM GRADUATE POETS SERIES Sept 23 6:00PM FLASH FICTION Sept 24 8:30PM MIKE & RUTHY Sept 25 9:00PM JOHN HÉBERT GROUP: Sept 26 9:00PM JOHN HÉBERT GROUP: Sept 27 6:00PM LEAP Sept 28 8:30PM 21ST SCHIZOID MUSIC Sept 29 8:30PM ATTABOY Sept 30 6:00PM POETRY SALAAM CD RELEASE FOR NARROW MARGIN CD RELEASE FOR EVERYTHING FORGETS CD RELEASE FOR BYZANTINE MONKEY CD RELEASE FOR BYZANTINE MONKEY 46 September 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com To Advertise CALL: 215.887.8880 Fulton Ferry Landing, Brooklyn [email protected] (718) 624-2083 www.bargemusic.org bargemusic september jazz calendar: thursdays at 8pm 10 Michael Marcus QuintetLotus symphony! michaeL marcus bb clarinet John austria piano rashaan carter bass Jay rosen drums plus a surprise guest! 24 To Advertise CALL: 215.887.8880 September 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com BiLL Lee’s Big Band 47 September 2009 Jazz Schedule Friday & Saturday Sept 4 & 5: Benny Powell, TK Blue, Sayuri Goto, Jerome Jennings, Corcoran Holt Sept 11 & 12: Onajie Allen Gumbs, Marcus McLaurine, Vince Ector, Roland Guerrere Sept 18 & 19: Max Lucas’ & Friends 99th Birthday Celebration Weekend Sept 25 & 26: Dave and Ed Jackson Quartet, Dave Gibson 48 September 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com To Advertise CALL: 215.887.8880 1st: Russ Kassoff orchestra with Catherine Dupuis 15th: Tim Armacost Band 22nd: Hillary Gardner Quartet 29th: Ted Curson Quartet To Advertise CALL: 215.887.8880 September 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com 49 Jazz at the Turning Point Cafe Piermont, NY Only 25 minutes from NYC, NJ, CT, Westchester, Orange Food by great new mexican restaurant New day and time SeaSoN oPeNiNg eveNT Saturday September 26 6pm-7:30pm Tri-angular: The Ralph Peterson Trio Ralph Peterson, drums Zaccai Curtis, piano Dezron Douglas, bass 468 Piermont Avenue Piermont, NY 10968 (845) 359-1089 www.turningpointcafe.com 50 September 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com To Advertise CALL: 215.887.8880 Clubs and Venues 55 Bar, 55 Christopher St. (betw 6th & 7th Ave.), 212-929-9883, www.55bar.com 92nd Street Y, 1395 Lexington Ave, New York, NY 10128 212.415.5500, www.92ndsty.org ABC — No Rio, 156 Rivington St. (betw Clinton & Suffolk), 212254-3697, www.abcnorio.org Aaron Davis Hall, City College of NY, Convent Ave., 212-6506900, www.aarondavishall.org Alice Tully Hall, Lincoln Center, Broadway & 65th St., 212-8755050, www.lincolncenter.org/default.asp Allen Room, Lincoln Center, Time Warner Center, Broadway and 60th, 5th floor, 212-258-9800, www.lincolncenter.org/default.asp American Museum of Natural History (Starry Nights), 81st St. & Central Park W., 212-769-5100, www.amnh.org Anyway Café, 34 E. 2nd St., 212-533-3412 or 212-473-5021, www.anywaycafe.com Arthur’s Tavern, 57 Grove St., 212-675-6879 or 917-301-8759, www.arthurstavernnyc.com Arts Maplewood, P.O. Box 383, Maplewood, NJ 07040; 973-3782133, www.artsmaplewood.org Avery Fischer Hall, Lincoln Center, Columbus Ave. & 65th St., 212-875-5030, www.lincolncenter.org Backroom at Freddie’s, 485 Dean St. (at 6th Ave.), Brooklyn, NY, 718-622-7035, www.freddysbackroom.com BAM Café, 30 Lafayette Ave., Brooklyn, NY, 718-636-4100, www.bam.org Bar4, 7 Ave and 15th, Brooklyn NY 11215, 718-832-9800, www.Bar4.net Barbes, 376 9th St. (corner of 6th Ave.), Park Slope, Brooklyn, 718-965-9177, www.barbesbrooklyn.com Barge Music, Fulton Ferry Landing, Brooklyn, 718-624-2083, www.bargemusic.org B.B. King’s Blues Bar, 237 W. 42nd St., 212-997-4144, www.bbkingblues.com Beacon Theatre, 74th St. & Broadway, 212-496-7070 Birdland, 315 W. 44th St., 212-581-3080 Blue Note, 131 W. 3rd St., 212-475-8592, www.bluenotejazz.com/newyork Bluestone Bar & Grill, 117 Columbia St., Brooklyn, NY, 718-4037450, www.bluestonebarngrill.com Blue Water Grill, 31 Union Square West, 212-675-9500 Bodles Opera House, 39 Main St, Chester, NY 10918, www.bodles.com Bourbon Street Bar and Grille, 346 W. 46th St, NY, 10036, 212-245-2030, [email protected], [email protected] Bowery Poetry Club, 308 Bowery (at Bleecker), 212-614-0505, www.bowerypoetry.com BRIC Studio, 647 Fulton St., Brooklyn, NY, Tel: 718-855-7882 x53, Fax: 718-802-9095, www.bricstudio.org Brooklyn Exposure, 1401 Bedford Avenue, Brooklyn, NY 11216, 718-783-8220 Brooklyn Public Library, Grand Army Plaza, 2nd Fl, Brooklyn, NY, 718-230-2100, www.brooklynpubliclibrary.org Cachaça, 35 West 8th St (bet. 5th/6th Aves), 212-388-9099 www.cachacajazz.com Café 111, 111 Court St., Brooklyn, NY, 718-858-2806, www.cafe111online.com Café Bar, 247 Eldridge (Houston, Stanton), 212-505-0955 Café Carlyle, 35 E. 76th St., 212-570-7189, www.thecarlyle.com Café Loup, 105 W. 13th St. (West Village) , between Sixth and Seventh Aves., 212-255-4746 Café St. Bart’s, 109 E. 50th St. (at Park Ave.), 212-888-2664, www.cafestbarts.com Café Steinhof, 422 Seventh Ave. (14th St., Park Slope S.), Brooklyn, NY, 718-369-7776, www.cafesteinhof.com Caffé Buon Gusto, 151 Montague St., Brooklyn, NY, 718-6243838, www.caffebuongustoonline.com Cami Hall, 165 W. 57th, 212-978-3726, www.camihall.com Carnegie Club, 156 W. 56th St., 212-957-9676, www.hospitalityholdings.com Carnegie Hall, 7th Av & 57th, 212-247-7800, www.carnegiehall.org Cecil’s Jazz Club & Restaurant, 364 Valley Rd, West Orange, NJ, Phone: 973-736-4800, www.cecilsjazzclub.com Charley O’s, 713 Eighth Ave., 212-626-7300 The Church-in-the-Gardens, 50 Ascan Ave., Forest Hills, NY, 718-268-6704, www.thechurchinthegardens.org Cleopatra’s Needle, 2485 Broadway (betw 92nd & 93rd), 212-769-6969, www.cleopatrasneedleny.com Cobi’s Place, 158 W. 48th (bet 5th & 6th Av.), 516-922-2010 Community Church of NY, 40 E. 35th St. (betw Park & Madison Ave.), 212-683-4988, www.ccny.org Copeland’s, 547 W. 145th St. (at Bdwy), 212-234-2356 Cornelia Street Café, 29 Cornelia St., 212-989-9319, www. corneliastreetcafe.com Creole Café, 2167 Third Ave (at 118th), 212-876-8838. Crossroads at Garwood, 78 North Ave., Garwood, NJ 07027, 908-232-5666 Cutting Room, 19 W. 24th St, Tel: 212-691-1900, www.thecuttingroomnyc.com Detour, 349 E. 13th St. (betw 1st & 2nd Ave.), 212-533-6212, www.jazzatdetour.com Division Street Grill, 26 North Division Street, Peekskill, NY, 914-739-6380, www.divisionstreetgrill.com Dizzy’s Club Coca Cola, Broadway at 60th St., 5th Floor, 212-2589595, www.jalc.com Dorian’s, 226 W. 79th (betw Bdwy/Amst), 212-595-4350 The Ear Inn, 326 Spring St., NY, 212-226-9060, www.earinn.com eighty-eights, 1467 Main Street, Rahway, NJ, 732-499-7100 El Museo Del Barrio, 1230 Fifth Ave (at 104th St.), Tel: 212-8317272, Fax: 212-831-7927, www.elmuseo.org The Encore, 266 W. 47th St., 212-221-3960, www.theencorenyc.com Enzo’s Jazz at The Jolly Hotel Madison Towers: 22 E 38th St. at Madison Ave. (in the Whaler Bar located in the lobby) Fat Cat, 75 Christopher St. (at &th Ave.), 212-675-7369, www.fatcatjazz.com Feinstein’s at Loew’s Regency, 540 Park Avenue (at 61st Street), NY, 212-339-4095, feinsteinsattheregency.com Firehouse 12, New Haven, CT, 203-785-0468, www.firehouse12.com Five Spot, 459 Myrtle Ave, Brooklyn, NY, Tel: 718-852-0202, Fax: 718-858-8256, www.fivespotsoulfood.com Flushing Town Hall, 137-35 Northern Blvd., Flushing, NY, 718-463-7700 x222, www.flushingtownhall.org Frank’s Cocktail Lounge, 660 Fulton St. (at Lafayette), Brooklyn, NY, 718-625-9339, www.frankscocktaillounge.com Freddy’s Backroom, 485 Dean St., Brooklyn, NY 11217, 718-622-7035 Galapagos, 70 N. 6th St., Brooklyn, NY, 718-782-5188, www.galapagosartspace.com Garage Restaurant and Café, 99 Seventh Ave. (betw 4th and Bleecker), 212-645-0600, www.garagerest.com Gishen Café, 2150 Fifth Ave., 212-283-7699. Glen Rock Inn, (Glen Rock, New Jersey) 222 Rock Road, Glen Rock, NJ 07452, 800-400-2362 The Goat, 21 South Orange Ave. So. Orange, NJ 973-275-9000, www.thegoatcafe.typepad.com Greenwich Village Bistro, 13 Carmine St., 212-206-9777, www.greenwichvillagebistro.com Harlem Tea Room, 1793A Madison Ave., 212-348-3471, www.harlemtearoom.com Helen’s, 169 Eighth Ave. (betw 18th & 19th St.), 212-206-0609, www.helensnyc.com Hopewell Valley Bistro, 15 East Broad St, Hopewell, NJ 08525, 609-466-9889, www.hopewellvalleybistro.com Houston’s, 153 E 53rd St, New York, 10022, 212-888-3828 Il Campanello Ristorante, 136 W. 31st St. (betw 6th and 7th Ave.), 212-695-6111, www.ilcampanelloristorante.com Iridium, 1650 Broadway (below 51st St.), 212-582-2121, www.iridiumjazzclub.com Jazz 966, 966 Fulton St., Brooklyn, NY, 718-638-6910 Jazz at Lincoln Center, 33 W. 60th St., 212-258-9800, www.jalc.org Frederick P. Rose Hall, Broadway at 60th St., 5th Floor Dizzy’s Club Coca-Cola, Reservations: 212-258-9595 Rose Theater, Tickets: 212-721-6500 THE ALLEN ROOM, Tickets: 212-721-6500 Jazz Gallery, 290 Hudson St., Tel: 212-242-1063, Fax: 212-2420491, www.jazzgallery.org The Jazz Spot, 375 Kosciuszko St. (enter at 179 Marcus Garvey Blvd.), Brooklyn, NY, 718-453-7825, www.thejazz.8m.com Jazz Standard, 116 E. 27th St., 212-576-2232, www.jazzstandard.net Jimmy’s, 43 East 7th Street (between 2nd and 3rd Ave), 212-982-3006 Joe’s Pub at the Public Theater, 425 Lafayette St & Astor Pl., 212-539-8778, www.joespub.com John Birks Gillespie Auditorium (see Baha’i Center) Jules Bistro, 65 St. Marks Place, Tel: 212-477-5560, Fax: 212-4200998, www.julesbistro.com Kitano Hotel, 66 Park Ave., 212-885-7000 or 800-548-2666, www.kitano.com The Kitchen, 512 W. 19th St., 212-255-5793 Knickerbocker Bar & Grill, 33 University Pl., 212-228-8490, www.knickerbockerbarandgrill.com The Knitting Factory, 74 Leonard St., Tel: 212-219-3132, www.knittingfactory.com Kush, 191 Chrystie Street, New York , NY, 212-677-7328 L&M Loft, 170 Tillary St. #205, Brooklyn, 718-855-5952. La Lanterna (Next Door at La Lanterna), 129 MacDougal Street, New York, 212-529-5945, www.lalanternarcaffe.com Laila Lounge, 113 N. 7th St. (betw Wythe & Berry), Brooklyn, NY, To Advertise CALL: 215.887.8880 September 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com 718-486-6791, www.lailalounge.com Le Grand Dakar Cafe, 285 Grand Ave, Clinton Hill, Brooklyn, http://nymag.com/listings/restaurant/le-grand-dakar/ Le Madeleine, 403 W. 43rd St. (betw 9th & 10th Ave.), New York, New York, 212-246-2993, www.lemadeleine.com Le Figaro Café, 184 Bleecker (at MacDougal), 212-677-1100 Lenox Lounge, 288 Lenox Ave. (above 124th St.), 212-427-0253, www.lenoxlounge.com Les Gallery Clemente Soto Velez, 107 Suffolk St. (at Rivington St.), 212-260-4080 Lima’s Taste, 122 Christopher St., 212-242-0010 Living Room, 154 Ludlow St. (betw Rivington & Stanton), 212-533-7235, www.livingroomny.com Makor, 35 W. 67th St. (at Columbus Ave.), 212-601-1000, www.makor.org Marie’s Jazz Bar, 51 W. 46th, bet 5th-6th Av, 212-944-7005 Merkin Concert Hall, Kaufman Center, 129 W. 67th St. (betw Broadway & Amsterdam), 212-501-3330, www.ekcc.org/merkin.htm Metropolitan Room, 34 West 22nd Street New York City, NY 10012, 212-206-0440, www.metropolitanroom.com MetroTech Commons, Flatbush & Myrtle Ave., Brooklyn, NY, 718-488-8200 or 718-636-4100 (BAM) Minton’s Playhouse, 210 W. 118th St, (at St. Nicholas Ave.), www. uptownatmintons.com, 212-864-8346 Mirelle’s, 170 Post Ave., Westbury, NY, 516-338-4933 Mixed Notes Café, 333 Elmont Rd., Elmont, NY (Queens area), 516-328-2233, www.mixednotescafe.com Mo-Bay Uptown, 17 W. 125th St., 212-876-9300, www.mobayrestaurant.com Mo Pitkins, 34 Avenue A, New York, NY, 212-777-5660 Montauk Club, 25 Eighth Ave., Brooklyn, NY, 718-638-0800, www.montaukclub.com Museum of the City of New York, 1220 Fifth Ave. (between 103rd & 104th St.), 212-534-1672, www.mcny.org Musicians’ Local 802, 332 W. 48th St., 718-468-7376 or 860-2310663 NAMA, 107 W. 130th. (bet Lenox & 7th Av.), 212-234-2973 Newark Museum, 49 Washington Street, Newark, New Jersey 07102-3176, 973-596-6550, www.newarkmuseum.org New Jersey Performing Arts Center, 1 Center St., Newark, NJ, 07102, 973-642-8989, www.njpac.org New School Performance Space, 55 W. 13th St., 5th Floor (betw 5th & 6th Ave.), 212-229-5896, www.newschool.edu. New School University-Tishman Auditorium, 66 W. 12th St., 1st Floor, Room 106, 212-229-5488, www.newschool.edu New York City Baha’i Center, 53 E. 11th St. (betw Broadway & University), 212-222-5159, www.bahainyc.org Night & Day, 230 Fifth Ave., Brooklyn, NY (at President St.), 718399-2161, www.nightanddayrestaurant.com Night of the Cookers, 767 Fulton St., Brooklyn, NY, Tel: 718-7971197, Fax: 718-797-0975 North Square Lounge, 103 Waverly Pl. (at MacDougal St.), 212-254-1200, www.northsquarejazz.com Nublu, 62 Ave. C (betw 4th & 5th St.), 212-979-9925, www.nublu.net Nuyorican Poet’s Café, 236 E. 3rd St. (betw Ave. B & C), 212-5058183, www.nuyorican.org Oak Room at The Algonquin Hotel, 59 W. 44th St. (betw 5th and 6th Ave.), 212-840-6800, www.thealgonquin.net Orbit, 2257 First Ave. (at 116th St.), 212-348-7818, www.orbiteastharlem.com Orchid , 765 Sixth Ave. (betw 25th & 26th St.), 212-206-9928 Oro Blue, 333 Hudson St. (at Charlton St.), 212-645-8004 Pace Downtown Theatre, 3 Spruce St. (betw Park Row & Gold St.), 212-346-1715 Parlor Entertainment, 555 Edgecomb Ave., 3rd Floor (betw 159 & 160 St.), 212-781-6595, www.parlorentertainment.com Parlor Jazz, 119 Vanderbilt Ave. (betw Myrtle & Park), Brooklyn, NY, 718-855-1981, www.parlorjazz.com Peddie School-Jazz Fridays Series, South Main St. Box A, Hightstown, NJ 08520, 609-490-7500 www.peddie.org/community/Capps/concerts.asp Perch Cafe, Brooklyn Perk’s, 535 Manhattan Ave, New York NY 10027, 212-666-8500 Performance Space 122, 150 First Av., 212-477-5829, www.ps122.org Porter’s, 216 Seventh Ave. (bet 22nd & 23rd), 212-229-2878 Priory Restaurant & Jazz Club: 223 W Market St., Newark, NJ 07103, 973-639-7885 Proper Café, 217-01 Linden Blvd., Queens, NY 11411, 718-3412233, jazz Wednesdays Prospect Park Bandshell, 9th St. & Prospect Park W., Brooklyn, NY, 718-768-0855 Pumpkins, 1448 Nostrand Ave, Brooklyn, 718-284-9086, www.pumpkinsjazz.com 51 Puppets Jazz Bar, 294 5th Ave. at 1st Street, Park Slope, Brooklyn, NY, 718-499-2627, www.PuppetsJazz.com Rare, 416 W. 14 St. (betw 9th Av & Washgtn), 212-675-2220 RARE Jazz at The Lexington Lounge, 303 Lexington Ave (at 38th St.), 212-481-8439 Red Eye Grill, 890 Seventh Ave. (at 56th St.), 212-541-9000, www.redeyegrill.com Richie Cecere’s Restaurant and Supperclub, 2 Erie Street Montclair, NJ 07042, 973.746.7811, www.RICHIECECERE.com River Room, Riverbank State Park, Riverside Drive at 145th Street, 212-491-1500, www.theriverroomofharlem.com Robin’s Nest Restaurant & Bar, 2075 1st Av, 212-316-6170 Rose Center (American Museum of Natural History), 81st St. (Central Park West & Columbus), 212-769-5100, www.amnh.org/rose Rose Hall, 33 W. 60th St., 212-258-9800, www.jalc.org Rosendale Café, 434 Main St., PO Box 436, Rosendale, NY 12472, 845-658-9048, www.rosendalecafe.com Roth’s Westside Steakhouse, 680 Columbus Ave., Tel: 212-2804103, Fax: 212-280-7384, www.rothswestsidesteakhouse.com Ruby Lounge, 186 E. 2nd St., 212-387-9400 Rustik, 471 DeKalb Ave, Brooklyn, NY, 347-406-9700, www. rustikrestaurant.com St. John’s Lutheran Church, 115 Milton St. (betw Manhattan Ave. & Franklin St.), Brooklyn, NY, 718-389-4012 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, www.saintpeters.org Sanctuary, 25 First Ave. (above 1st St), 212-780-9786 Savoy Grill, 60 Park Place, Newark, NJ 07102, 973-286-1700 Schomburg Center, 515 Malcolm X Blvd., 212-491-2200, www.nypl.org/research/sc/sc.html Shades Bar, 720 Monroe St., Hoboken, NJ 07030, 888-374-2337, www.shadesofhoboken.com Shanghai Jazz, 24 Main St., Madison, NJ, 973-822-2899, www.shanghaijazz.com Shelly’s, 104 W. 57th St. (betw 6th & 7th Ave.), 212-245-2422, www.shellysnewyork.com Showman’s, 375 W. 125th St., 212-864-8941 Shrimp Box on City Island, 64 City Island Ave, Bronx, NY, 718885-3200 Sidewalk Café, 94 Ave. A, 212-473-7373 Silvermine Tavern, 194 Perry Ave. Norwalk, CT 06850, 203-8474558, www.silverminetavern.com Sista’s Place, 456 Nostrand Ave. (at Jefferson Ave.), Brooklyn, NY, 718-398-1766, www.sistasplace.org Skippers Plane Street Pub Restaurant & Jazz Club, 304 University Ave. Newark NJ 07102 (Across from Essex County College), 973-733-9300, www.skippersplanestreetpub Slipper Room, 167 Orchard St. (at Stanton St.), 212-253-7246, www.slipperroom.com Small’s, 183 W. 10th St. (at 7th Ave.), 212-929-7565, www.fatcatjazz.com Smith’s Bar, 701 8th Ave, New York, 212-246-3268 Smoke, 2751 Broadway, 212-864-6662, www.smokejazz.com Snug Harbor Cultural Center, 1000 Richmond Terr., Staten Island, NY, 718-448-2500, www.snug-harbor.org Sofia’s Restaurant - Club Cache’ [downstairs], Edison Hotel, 221 W. 46th St. (between Broadway & 8th Ave), 212-719-5799 Solomon’s Porch, 307 Stuyvesant Ave., Brooklyn, NY, 718-919-8001 South Orange Performing Arts Center (SOPAC), One SOPAC Way, South Orange, NJ 07079, www.sopacnow.org, 973-313-2787 South Street Seaport, 207 Front St., 212-748-8600, www.southstseaport.org. 52 Spoken Words Café, 266 4th Av, Brooklyn, 718-596-3923 Stanley H. Kaplan Penthouse, 165 W. 65th St., 10th Floor, 212-721-6500, www.lincolncenter.org Stella Adler Studio, 31 W. 27th St., 3rd Floor, 212-689-0087, www.stellaadler.com The Stone, Ave. C & 2nd St., www.thestonenyc.com Stonewall Bistro, 113 Seventh Ave., 917-661-1335 Sugar Bar, 254 W. 72nd St., 212-579-0222 The Supper Club, 240 W. 47th St., 212-921-1940, www.thesupperclub.com Sweet Rhythm, 88 Seventh Ave. S. (betw Grove & Bleecker), 212-255-3626, www.sweetrhythmny.com Swing 46, 349 W. 46th St.(betw 8th & 9th Ave.), 212-262-9554, www.swing46.com Symphony Space, 2537 Broadway, Tel: 212-864-1414, Fax: 212932-3228, www.symphonyspace.org Table XII, 109 E. 56th St., NY, NY, 212-750-5656 Tea Lounge, 837 Union St. (betw 6th & 7th Ave), Park Slope, Broooklyn, 718-789-2762, www.tealoungeNY.com Terra Blues, 149 Bleecker St. (betw Thompson & LaGuardia), 212-777-7776, www.terrablues.com Theatre Row, 410 W. 42nd, 212-714-2442, www.theatrerow.org Tito Puente’s Restaurant and Cabaret, 64 City Island Avenue, City Island, Bronx, 718-885-3200, www.titopuentesrestaurant.com Tonic, 107 Norfolk St. (betw Delancey & Rivington), Tel: 212-3587501, Fax: 212-358-1237, tonicnyc.com Town Hall, 123 W. 43rd St., 212-997-1003 Triad Theater, 158 W. 72nd St. (betw Broadway & Columbus Ave.), 212-362-2590, www.triadnyc.com Tribeca Performing Arts Center, 199 Chambers Street, 10007, [email protected], www.tribecapac.org Trumpets, 6 Depot Square, Montclair, NJ, 973-744-2600, www. trumpetsjazz.com the turning point cafe, 468 Piermont Ave. Piermont, N.Y. 10968 (845) 359-1089, http://www.turningpointcafe.com/ Village Vanguard, 178 7th Avenue South, 212-255-4037, www.villagevanguard.net Vision Festival, 212-696-6681, [email protected], www.visionfestival.org Watchung Arts Center, 18 Stirling Rd, Watchung, NJ 07069, 908-753-0190, www.watchungarts.org Watercolor Café, 2094 Boston Post Road, Larchmont, NY 10538, 914-834-2213, www.watercolorcafe.net Weill Receital Hall at Carnegie Hall, 57th & 7th Ave, 212-2477800 Williamsburg Music Center, 367 Bedford Avenue, Brooklyn, NY 11211, (718) 384-1654 www.wmcjazz.org Zankel Hall, 881 7th Ave, New York, 212-247-7800 Zebulon, 258 Wythe St., Brooklyn, NY, 11211, 718-218-6934, www.zebuloncafeconcert.com Zinc Bar, 90 W Houston St., 212-477-8337, www.zincbar.com Zuni, 598 9th Ave # 1, New York, NY 10036, 212-765-7626 RECORD STORES Barnes & Noble, 1960 Broadway, at 67th St, 212-595-6859 Colony Music Center, 1619 Broadway. 212-265-2050, www.colonymusic.com Downtown Music Gallery, 342 Bowery (between 2nd & 3rd St), 212-473-0043 J&R Music World, 23 Park Row (across from City Hall Park), 212-238-9000, www,jr.com Jazz Record Center, 236 W. 26th St., Room 804, 212-675-4480, www.jazzrecordcenter.com Norman’s Sound & Vision, 67 Cooper Sq., 212-473-6599 Princeton Record Exchange, 20 South Tulane Street, Princeton, NJ 08542, 609-921-0881, www.prex.com Rainbow Music 2002 Ltd., 130 1st Ave (between 7th & St. Marks Pl.), 212-505-1774 Scotti’s Records, 351 Springfield Ave, Summit, NJ, 07901, 908-277-3893, www.scotticd.com MUSIC STORES Charles Colin Publications, 315 W. 53rd St., 212-581-1480 Jody Jazz, 35 White St., 5th Floor, New York, NY 10013, 212-219-4050, www.jodyjazz.com Manny’s Music, 156 W. 48th St. (betw. 6th and 7th Ave), 212-819-0576, Fax: 212-391-9250, www.mannysmusic.com Drummers World, Inc., 151 W. 46th St., NY, NY 10036, 212-8403057, 212-391-1185, www.drummersworld.com Roberto’s Woodwind & Brass, 149 West 46th St. NY, NY 10036, Tel: 646-366-0240, Fax: 646-366-0242, Repair Shop: 212-3911315; 212-840-7224, www.robertoswoodwind.com Rod Baltimore Intl Woodwind & Brass, 168 W. 48 St. New York, NY 10036, 212-302-5893 September 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com Sam Ash, 160 West 48th St, 212-719-2299, www.samash.com Sadowsky Guitars, 20 Jay St. Brooklyn, NY, 718-422-1123, www.sadowsky.com Steve Maxwell Vintage Drums, 723 7th Ave, 3rd Floor, New York, NY 10019, 212-730-8138, www.maxwelldrums.com SCHOOLS, COLLEGES, CONSERVATORIES 92nd Street Y, 1395 Lexington Ave, New York, NY 10128 212.415.5500; www.92ndsty.org Brooklyn-Queens Conservatory of Music, 42-76 Main St., Flushing, NY, Tel: 718-461-8910, Fax: 718-886-2450 Brooklyn Conservatory of Music, 58 Seventh Ave., Brooklyn, NY, 718-622-3300, www.brooklynconservatory.com Charles Colin Studios, 315 W. 53rd St., 212-581-1480 City College of NY-Jazz Program, 212-650-5411, Columbia University, 2960 Broadway, 10027 Drummers Collective, 541 6th Ave, New York, NY 10011, 212-741-0091, www.thecoll.com Five Towns College, 305 N. Service Rd., 516-424-7000, ext.163, Dix Hills, NY Greenwich House Music School, 46 Barrow St., Tel: 212-2424770, Fax: 212-366-9621, www.greenwichhouse.org Juilliard School of Music, 60 Lincoln Ctr, 212-799-5000 LaGuardia Community College/CUNI, 31-10 Thomson Ave., Long Island City, 718-482-5151 Lincoln Center — Jazz At Lincoln Center, 140 W. 65th St., 10023, 212-258-9816, 212-258-9900 Long Island University — Brooklyn Campus, Dept. of Music, University Plaza, Brooklyn, 718-488-1051, 718-488-1372 Manhattan School of Music, 120 Claremont Ave., 10027, 212-749-2805, 2802, 212-749-3025 New Jersey City University, 2039 Kennedy Blvd., Jersey City, NJ 07305, 888-441-6528 New School, 55 W. 13th St., 212-229-5896, 212-229-8936 New York University-Jazz/Contemporary Music Studies, 35 West 4th St. Room#777, 212-998-5446, 212-995-4043 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 SUNY Purchase, 735 Anderson Hill Rd., Purchase, NY 914-251-6300, 914-251-6314 Turtle Bay Music School, 244 E. 52nd St., New York, NY 10022, 212-753-8811, www.tbms.org William Paterson University Jazz Studies Program, 300 Pompton Rd, Wayne, NJ, 973-720-2320 RADIO WBGO 88.3 FM, 54 Park Pl, Newark, NJ 07102, Tel: 973-6248880, Fax: 973-824-8888, www.wbgo.org WCWP, LIU/C.W. Post Campus WFDU, http://alpha.fdu.edu/wfdu/wfdufm/index2.html WKCR 89.9, Columbia University, 2920 Broadway Mailcode 2612, New York, NY 10027, Listener Line: (212) 8549920, www.columbia.edu/cu/wkcr, [email protected] One Great Song, Hosted by Jay Harris, www.wmnr.org (at 6 on Saturdays, and at www.tribecaradio.net at 11AM Sundays and again on Monday and Thursday nights at 11PM.) PERFORMING GROUPS Westchester Jazz Orchestra, Emily Tabin, Exec. Director, PO Box 506, Chappaqua, NY 10514, 914-861-9100, www.westjazzorch.org ADDITIONAL JAZZ RESOURCES Big Apple Jazz, www.bigapplejazz.com, 718-606-8442, gordon@ bigapplejazz.com Louis Armstrong House, 34-56 107th St, Corona, NY 11368, 718-997-3670, www.satchmo.net Institute of Jazz Studies, John Cotton Dana Library, RutgersUniv, 185 University Av, Newark, NJ, 07102, 973-353-5595 Jazzmobile, Inc., 154 W. 126th St., 10027, 212-866-4900, www.jazzmobile.org Jazz Museum in Harlem, 104 E. 126th St., 212-348-8300, www.jazzmuseuminharlem.org Jazz Foundation of America, 322 W. 48th St. 10036, 212-245-3999, www.jazzfoundation.org New Jersey Jazz Society, 1-800-303-NJJS, www.njjs.org New York Blues & Jazz Society, www.NYBluesandJazz.org Rubin Museum, 150 W. 17th St, New York, NY, 212-620-5000 ex 344, www.rmanyc.org. To Advertise CALL: 215.887.8880 Hendrix Continued from Page 18 some methods that you found extremely useful to achieving your goals? FH: In order to become an improvising musician or jazz soloist, there are a number of devices that one requires in order to achieve this goal—ear-training, in depth theoretical harmonic knowledge of the piano, numerous scales & chords in all twelve keys, riffs & rhythmic motifs, and a proficient amount of technique, along with a great tone to support the usage of these other devices. All of that will help you to develop into a great soloist. The next thing that you must do is find a list of players that you consider to be great improvisers. Listen to these artists repetitiously until you can physically “sing” the passages that they play. Once you’re able to sing what is being played, transfer that information to your instrument. Then, once you can play it, go back and write it down on manuscript paper. Then the next part of your study should become mental practice/analyzing what’s being played. Check out the 1st note or the 1st phrase that is played and phrases preceding the 1st initial phrase. Check out the soloist’s usage of “space” in between phrases. Check out how the rhythm section is functioning and interacting behind the soloist. Check out articulations, eighth-note patterns, double-time patterns, and intervallic leaps. A great soloist is always listening and looking beyond the “nine dots”. And he or she has to be a quick witted thinker, not an analytical one. But singing what you practice is the key. It will help you develop your ideas as an improviser. JI: As an artist, your state of mind and ability to dig deep is important. Outside of playing, what do you do to re-center and find peace of mind? What do you do to break through all of the surface stress in our contemporary world? Or perhaps, you feel that angst is good for music? FH: Outside of playing, in order for me to have peace of mind everyday, sometimes I like to sit in silence. Sometimes I go for a walk in the park, workout in the gym, hang out with good friends, or just sit home and watch movies. Stress is no good for anyone but daily struggles are good for a player because it helps develop character. That character will then begin to develop maturity. Maturity will give you something to talk about. Then you can tell a story when you play. FH: As a musician, my role in society is to have an open mind towards someone else’s pain, problems, or struggles and try to uplift them spiritually through my playing—try to reach them emotionally; try to help them forget about a bad day or remind them of the day getting better and better. We as musicians have to try to make them want to come back to hear more. We have to pass on the knowledge to people that want to know more about what it is that we do. That’s my responsibility and our responsibility as musicians in our society. JI: What’s the greatest compliment that you can receive as a musician? FH: Someone asking you to play their funeral long before they’re on their death bed. Or someone saying, “You’re the baddest cat in the world.” JI: What’s the most rewarding facet of your life as an artist? JI: As a musician, what do you feel your role or responsibility is in our society? Is what you do something only for you and the musicians you are sharing the stage with, or are you trying to achieve something outside of that microcosm? FH: The biggest reward in my life is that I can wake up the next day to play music all over again. I can jump on a new path or trail and see where it will take me. Whether it’s long or short, easy or hard, I’m going to walk away with something. Bonilla Continued from Page 19 my ability to achieve those goals. I’m also very fortunate to have a wonderful wife, daughter and close friends, with whom I spend much time with. They help keep me grounded and provide strength and support for me to fearlessly look forward. I personally don’t believe I have to suffer to create a more profound type of art. I’ve always been more effective and efficient being a happy and positive individual. JI: What is the greatest compliment that you can receive as a musician? LB: My compositions come from a variety of sources. Sometimes, as in “Elis”, the song keeps coming back to me and it’s a matter of dictation. Other times, it comes from a methodical approach - whether it be via new melody or reharmonization of an existing tune. Sometimes it’s as simple as playing around at the piano and catching a melody or harmonic progression. Regardless of how it ends up on paper, its roots as well as the process are organic ones. Mossman Continued from Page 20 powerful your ability is to make things happen, like designing a building or starting a school. Wanting to write a 90 minute piece, for example, is one thing, but making it happen can be transformational in terms of organizing your vision, musical skills, time management and leadership when it comes to getting the piece rehearsed and performed well. MM: Arranging, for me is kind of like preparing a meal for a group of invited guests. I take into account who they are and what is going to be satisfying for that group, including, of course, myself! The process starts with asking myself or my client what would make a successful outcome - another Tony Robbins technique, asking the right questions! - for everyone involved. These questions include: Who is going to perform this and what do they do best? Who is going to hear this and what do they expect - so I can either satisfy or tease expectations? What do I want to say? How do I want people to feel during the performance? Is this for instructional purposes, or do I just kick butt and leave people wondering what hit them? Is this for dancers? My wife Mayte taught me many painful lessons about this. I did a clinic on this called Arranging 123 for Hal Leonard at an IAJE conference. There is a free handout that explains this process in detail and I’ll share it with anyone who writes me at my Queens College email – michael. [email protected]. After all the questions have answers, I usually am able to hear much of the music in my head already. Then it is just a matter of transcribing what I hear. That’s why I teach my composition students to transcribe, or, in fact, learn to speak the language of music – understanding what you hear completely. Of course, much of what I “hear” is based on things I have already heard, just as our bodies are made of things we ate. So it’s a good idea to maintain a healthy diet of good music for lessons and inspiration. But to understand and enjoy, not just tap toes and remain outside looking in. The rest is technique, which you can learn in school, either studying or teaching others and explaining what you are doing, by transcribing, but mostly by writing! I was lucky to have studied with Don Sebesky, a real thinking person’s arranger. He could ask questions others would not even know about to ask. To Advertise CALL: 215.887.8880 September 2009 JI: Can you talk about the process of arranging for you? How do you approach this task? LB: “Hey, man. You sound like....YOU!” JI: Can you talk about your process of composing? Is it something you can do like clockwork, or do you wait for inspiration to hit? Do you do a little at a time, or have waves of clarity? • Jazz Inside™ NY • www.jazzinsidemagazine.com JI: What events current or upcoming are you excited about in your musical life? MM: I am most excited about the group I have with my wife, called Timba Tango. It is a small group of musicians and dancers, like a micro ballet with both music and choreography mixing different musical styles with jazz. These include Latin jazz, tango, modern dance, folkloric Afro-Cuban styles and much more. It is a challenge to work with dancers and improvising musicians at the same time! I am currently finishing a movie score I am very excited about for an animated film called “Chico y Rita” by director Fernando Trueba (Calle 54, Too Much and Belle Epoch, which won an Academy Award). The animations are done by Estudios Mariscal and are incredible. The main theme is by Bebo Valdez, father of Chucho and one of the greatest innovators in the history of Afro-Cuban Jazz. Working with such creative and enthusiastic people is a real thrill. JI: What is it about musical improvisation that you find so valuable? What does it offer to you, your band-mates, and the listeners? What motivates you and drives you forward? Continued on Page 54 53 Mossman Continued from Page 53 MM: Improvisation is the mother of progress. You find yourself in a situation and you manage to make something good happen. Sometime you use things you know, sometimes you find something new, and sometimes you just mix things up to see where they will lead. The best part, though, to me is that you can do this with other people and that leads to some very funny and sometimes deep conversations. For me, at this point, playing the trumpet with a really great band is just pure pleasure, more than anything else in Rapp Continued from Page 22 tion called the The Song Project. Every month we arrange, record and give away a free song. The awesome thing is we’re recording parts when we’re thousands of miles apart and yet the tracks sound completely organic as if we were recording in the same room. The instrumentation is flugelhorn and guitar - it’s very exposed and is simply gorgeous orchestration. Plus, it gives us the opportunity to give back to our fans and supporters. Another project I’m thoroughly excited about is the upcoming “Braden-Rapp: The Strayhorn Project.” A couple of months ago, Don Braden, myself, Gerald Clayton and Sachal Vasandani - all artists under Gail Boyd Artist Management - along with bassist Rene Hart and drummer Greg Gonzales, went into NOLA Recording Studios in New York and created a record of contemporary arrangements of the music of Billy Strayhorn. It was produced by Billy Terrell, known for his work with singer Tony DeSare. Man, these are some of the hippest arrangements of Strayhorn I’ve heard in a long time! And the group had an immediate synergy. Keep your eye out for Braden-Rapp - it’s one killer record and an awesome cast of musicians forming an incredible performing, working band. Nicholas Payton, Irvin Mayfield, Christian Scott, and so many others. I wasn’t even aware of Louis Armstrong or jazz music at all until I was around 18 years old. I was a regular kid and grew up in a loving, middle-class family in South Carolina, was raised by my Mother and visited Dad on the weekends. I got along with most everyone, got good grades, and played basketball and Nintendo religiously. Speaking of religion, I loved playing the descant parts in the hymnbooks at church on Sundays. That is the “frilly” part that weaves in and out and above the regular melody being sung by the choir. Perhaps that was my appetizer for improvisation and the catalyst to exploring music in general. Also, I really liked seeing people get happy and enjoy my efforts on the trumpet on Sunday mornings. I do remember a very emotional moment when I was a little kid. I’m not sure how old I was, maybe eight or nine. My sister took piano lessons for a short time and she was practicing a piece, I was later told, about a “choo-choo train” climbing up a hill. There was this low, rumbling bass line to it that seemed to repeat over and over again. I was sitting under the piano, right under all those rumbling low notes. For whatever reason, it hit me and it hit me hard. I was completely taken away by those notes. I jumped out of there and ran to my room crying. I remember my sister and Mom being confused and I was too young to know why I was crying and I can only guess why now. Something in those musical vibrations hit me and had a very real effect on me. Even now as I think about it, I feel something move inside me. Fast forward through a few times of quitting music and just after high school to where my good friend Jason Ridenhour, currently a great bassist in Charleston, South Carolina, introduced me to the sounds of Miles Davis and John Coltrane. Enough said. I was hooked. Ellis on there too and a great recordings of some of the songs we played while I was studying at the University of New Orlenas. Wynton’s tone is stunning and his mastery of the trumpet is utterly inspiring. (4) Roy Hargrove - Parker’s Mood. Brilliant playing in a trio setting. Superb example of hard-bop playing from one of the most soulful trumpeters of our time. Roy’s sense of melody and the blues is thoroughly enriching. (5) Herbie Hancock - Empyrean Isles. This was one of the first jazz records I really dug into. Freddie Hubbard’s playing is full of fire, aggressiveness and is unabashed. Technically, the trumpet playing is out of this world and the band has a killer, killer vibe. JI: What is it about musical improvisation that you find so valuable? What does it offer to you, your band-mates, and the listeners? What motivates you and drives you forward? MR: Improvisation is the embodiment of freedom and peace. It is, in essence, what we all strive to achieve through governments, laws, religions, diets, fads and the like. All great artists in some form or another present those ideals of freedom and peace in paintings, poetry, music, sculpture and more. For brief moments, a group of guys can come together in total agreement and with passionate intensity create a uniform experience through individual and original contributions - diverse palettes forming a singular and welcoming experience. It’s powerful and quite frankly, fun. Improvisation also offers never-ending journeys, unexpected and exciting twists and turns on familiar tunes or original melodies. It also provides a fantastic outlet to express your feelings. What about improvisation motivates me? It’s always new well, ideally, it’s always new. Every time you play you have the occasion to loose yourself in the moment and inspire yourself, your band, the audience or all of the above. Creating inspiration is truly awesome and improvisation allows that opportunity. JI: What are your top five desert island TRUMPET records that you couldn’t possibly live without, and please state why? The leader doesn’t have to be a trumpeter, but please choose albums based on the role of the trumpet. MR: I did not grow out of a musical family or musical environment like most artists – the Marsalises, MR: (1) Terence Blanchard - Any and all of his records. If I had to pick just one, it would be impossible. Terence is my favorite trumpeter,composer and bandleaders. His tone, articulation, dynamic range, expressiveness, vibe, command of the trumpet and so much more is out of this world. He plays with passion, soul and intensity. (2) Miles Davis - Kind of Blue. Sonically, I love the sound of the record - the mix, the EQ - it’s warm and deep. All of the solos are extremely melodic and it’s a brilliant example of leadership on the part of Miles. (3) Wynton Marsalis - Marsalis Family: A Jazz Celebration. Again, with Wynton, pretty much any of his records, but with this one I get a little of Branford and 54 September 2009 JI: What was it that initially inspired you to play this music? How did it all start? • Jazz Inside™ NY • www.jazzinsidemagazine.com music. Writing is great, but playing is just that – playing! It also keeps one humble, because you have to do it on the spot and that means practicing. JI: When you first embarked on the sophisticated journey of becoming an improvising musician, or a jazz musician who plays over changes, what were some methods that you found extremely useful to achieving your goals? MR: It has only been recently that I’ve started to find interest in and have fun with specific jazz exercises or patterns. I never wanted to sound like any of the other students who were learning all the same licks. There’s a wealth of books, videos, play-alongs and more and so many musicians become extremely good at learning and playing them. But as clean, fiery and perfect as they may sound and initially might even come off as impressive, it’s becoming increasingly rare to hear an original voice. I’d so much rather hear an original sound on one note than some cookie-cutter musician burning up memorized patterns, ideas, licks, etc. I stuck to my thing and played and played and played and figured out what I liked to hear on chords, how I liked to make musical lines ascend and descend or what tensions and releases naturally fell into place for me. That approach can take much longer and can hinder you in the beginning, but when your focus is on your own art and not someone else’s, in the end, you’ll have found yourself. Nowadays, I’ll randomly find a YouTube video of someone demonstrating a lick or I’ll come across a pattern I like and practice it. But I’ll practice it more for understanding the overall harmonic structure and feel rather than intentionally learning a set lick to use in my own improvisations. JI: As an artist, your state of mind and ability to dig deep is important. What do you do to recharge your batteries? MR: Golf. I love golf. I’m completely addicted and love it. But it may not be the best sport to find peace of mind; it’s quite the opposite actually. But it does provide a steady stream of angst, so I’m going to have to say angst is definitely good. Raw emotion is fuel Continued on Page 55 To Advertise CALL: 215.887.8880 Rapp Continued from Page 54 and can provide great excitement in a musical performance. I enjoy drinking a nice glass of wine or a fine scotch and hanging with friends. Or just chilling and losing myself in a good movie. JI: As a musician, what do you feel your role or responsibility is in our society? MR: I try to work with charities as much as possible. I’m constantly reaching out to various organizations from children in need to animal rights and offering my Rodriguez Continued from Page 24 sister, a father or mother, etc. When I’m not practicing or trying to write some music, I love playing with my little niece and nephew. They make me forget the stress of the world when I make them laugh. I also think that life experiences act as an important role in the creative process. Without happiness, sadness, heartbreaks, and the rest of it, we as artists would have nothing to express. JI: As a musician, what do you feel your role or re- music and performances in an effort to help. There’s JI: What is the most rewarding facet of your life as so much healing needed in our world and music and an artist? entertainment play a vital role in it. As a musician, it is essential that I do my best to reach out to as many MR: The rewards are many. To be able to write a people as possible and do what I can to inspire in them composition and have a listener “get it” is divine. To a greater sense of tolerance, gratitude, activism, peace, be able to play an instrument and move someone to humility, intelligence, etc. To invigorate those more smile is incredible. To travel the world, meet thousoulful aspects in people is definitely my goal. sands of different people and experience so many different cultures is awesome. To posses a talent that can JI: What is the greatest compliment that you can re- be an added attraction to a charity and help save the ceive as a musician? life of a once abused animal or to bring a moment of joy to a family whose child is battling cancer is beMR: A commendation from a fellow musician. yond words. The rewards are many. sponsibility is in our society? Is what you do some- the process thus far. thing only for you and the musicians you are sharing the stage with, or are you trying to achieve something JI: What is the greatest compliment that you can reoutside of that microcosm? ceive as a musician? MR: I love playing music. I believe people want to come out and escape from their everyday lives to hear some music. Every time I perform I try to give 100% honesty and heart to the audience. I’m trying to be the best that I can be in expressing my self to the fullest. This is a life long journey and I’ve been enjoying MR: The greatest compliment for me was when someone came up to me after a performance with Charlie Haden’s Liberation Music Orchestra and said that they were moved to tears. That made me feel really good because I think that’s what all artists try to do – evoke emotion. Gluck Continued from Page 77 the world more just and fair. Music has the ability noise, there’s a way that the numinous quality of mutask to return the many gifts we have been given by to help remind people of their own humanity. Thus, sic is a great relief. I try to take my ability to transmit –ºothers, living and dead. Thus, it is our task to make playing is not just something we do, but something my experience in this way as a serious obligation. we give to the world. But the world doesn’t need more cookie cutter music, but only that which we can each uniquely offer. Also, we live in a time when our society’s economy and social structure displays a surprisingly low concern about music and the arts. Our livelihoods and the creative environments we require depend upon our putting out our best thinking and sometimes organizing to improve the nature of the world we live in. I try to be influential through my college teaching. I seek to contextualize the ideas and skills I want to transmit within a broader context. I also hope to convey the idea that self-reflection and social concerns are central to being a responsible and well-rounded creative artist. My goal is to translate whatever it is that I care about most at any given moment into musical expression. Music is one of the ways we have to translate our deepest concerns and best thinking in a manner that is non-verbal. This presents a paradox – how can one convey ideas without semantic content? How is it possible to communicate through means that are mysterious and subtle? Living in a world of constant information, much of it simply Advertise Here Have you always wanted to write reviews of jazz performances & recordings? Jazz Inside™ Magazine Jazz Inside™ NY Jazz Inside™ Online Please respond ONLY via e-mail: [email protected] To Advertise CALL: 215.887.8880 “Historically, risk takers are people who shatter the illusion of knowledge. They are willing to try something that everyone thinks is outrageous or stupid.” —Dan Boorstin, Former Librarian of Congress September 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com Reserve by the 15th of the Month 215-887-8880 jazz@jazzinside magazine.com 55 Education Sourcebook Continued from Page 96 Syracuse University Department of Music Joe Riposo 200 Crouse College Syracuse, NY 13244-1010 315-443-2191 [email protected] www.vpa.syr.edu Faculty: Joe Riposo Temple University Terell Stafford Esther Boyer College of Music and Dance 2001 N 13th Street Philadelphia, PA 19122 (215) 204-8036, [email protected] www.temple.edu/music Admissions: [email protected] Bachelor Degrees: B.M. in Jazz Instrumental Performance, Jazz Vocal Performance, Jazz Arranging and Composition, Music Education with a Jazz Component, Music Therapy with a Jazz Component Faculty: Jeremy Barker, Bruce Barth, Luis Bonilla, Don Collins, Alison Crockett, Louis DeLise, Craig Ebner, Steve Fidyk, Ed Flanagan, Tom Giacabetti, Erik Johnson, Greg Kettinger, Tom Lawton, Dan Monaghan, Carl Mottola, Mike Natale, Dick Oatts, Madison Rast, Arcenia Rosal, Ben Schachter, Jaleel Shaw, Terell Stafford The College of Saint Rose Paul Evoskevich 432 Western Avenue Albany, NY 12203 (518) 454-5195 [email protected] www.strose.edu Bachelor Degrees: B.S. in Music Industry and Music Education Graduate Degrees: M.A. in Music Technology, M.S. in Ed. in Music Education Faculty: Paul Evoskevich, Robert Hansbrough, Joseph Eppink, Yvonne Chavez Hansbrough, Susan Harwood, Dennis A. Johnston, Young Kim, Michael Levi, Marry Anne Nelson, Bruce Roter, Barbara Wild Hartt School at University of Hartford 200 Bloomsfield Avenue West Hartford, CT 06117-1599 (860) 768-4465, [email protected] www.hartford.edu/hartt Bachelor Degrees: Instrumental Performance and Vocal Performance Master Degrees: Instrumental Performance and Vocal Performance Faculty: Nancy Anderson, Rogerio Boccato, Christopher Casey, Steve Davis, Richard Goldstein, Jimmy Greene, Eddie Henderson, Randolf B. Johnston, Jr., Andy LaVerne, René McLean, Eric McPherson, Shawnn Monteiro, Nat Reeves, Edward Rozie, Gabor Viragh, Peter Woodard 1295 Storrs Road, Unit 1012 Department of Music Storrs, CT 6269 860-486-0670 [email protected] www.jazz.uconn.edu Admissions: Deb Trahan (860) 486-3731 Bachelor Degrees: B.A. Jazz Studies Emphasis Faculty: Earl MacDonald, Kenny Davis, John Mastroianni, Bill Reynolds 320 South Broad Street Philadelphia, PA 19102 (215) 717-6342 [email protected], www.uarts.edu Admissions: (215) 717-6030 Bachelor Degrees: Bachelor of Music in Jazz Studies Graduate Degrees: Master of Music in Jazz Studies, Master of Arts in Teaching in Music Faculty: Includes Marc Dicciani, Chris Farr, John Fedchock, Rick Van Horn, Gerald Veasley, and many more University of Maine Richard Nelson 46 University Drive Augusta, ME 04330-9410 207-621-3274 [email protected] www.uma.maine.edu Faculty: Russ Lombardi, William Moseley, Richard Nelson, Chuck Winfield Weill Music Institute at Carnegie Hall 881 7th Avenue New York, NY 10019 (212) 903-9741, [email protected] University of Maryland Chris Vadala Clarice Smith Performing Arts Center College Park, MD 20742 301-405-5519 [email protected] www.music.umd.edu Admissions: (301) 405-5031 Faculty: Tom Baldwin, Gerard Kunkel, Jon Ozment, Ben Patterson, Leigh Pilzer, Chuck Redd, Chris Vadala Univ. of Massachusetts—Amherst Jeff Holmes Department of Music—Jazz Studies FAC 263 Amherst, MA 01003 413-545-6046 [email protected] umass.edu/music/ Marilyn Kushick—Publicity: [email protected] Bachelor Degrees: B.M and B.A. in Jazz Performance plus Performance, Music Education, History, Theory, or Composition Graduate Degrees: Jazz Composition & Arranging plus History, Composition, Music Education, Performance, Conducting, or Theory Faculty: Jeffrey Holmes, David Sporny, T. Dennis Brown, Willie Hill, Catherine Jensen-Hole, Robert Ferrier, Arturo O’Farrill, Eugene Uman, Robert Gullotti, David Berkman University of Rhode Island Professor Joe Parillo Music Department 105 Upper College Road Kingston, RI 2881 (401) 874-2765, [email protected], www.uri.edu Admissions: (401) 874-7100 Bachelor Degrees: B.A. in Jazz Studies Faculty: Joe Parillo, Eric Hofbauer, John Monllos, Eric Platz, David Zinno Towson University Music Department Dave Ballou 8000 York Road Towson, MD 21252-0001 (410) 704-2839 [email protected], www.towson.edu/music Admissions: 410-704-2836 - Ad Sales: 410-704-3375 Faculty: Jeffrey Antoniuk, David Ballou, Michael Decker, Steve Herberman, James McFalls, Timothy Murphy, Jeremy Ragsdale, Jeff Reed University of Southern Maine Chris Oberholtzer School of Music 37 College Avenue Gorham, ME 4038 (207) 780-5126 [email protected] www.usm.maine.edu/music Admissions: (207) 780-5670 Faculty: Trent Ryan Austin, Les Harris, Jr., Chris Humphrey, Chris Oberholtzer, Michelle Snow, Thomas Snow, Bill Street, Bronek Suchanek, Gary Wittner University of Connecticut Earl MacDonald University of the Arts Marc Dicciani 56 September 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com West Chester University Dr. John Vilella School of Music Swope Hall West Chester, PA 19383 (610) 436-2495, [email protected] www.wcupa.edu/cvpa Western Connecticut State University Dr. Dan Goble 181 White Street Department of Music, Western Connecticut State Univ Danbury, CT 6810 203-837-8354, [email protected] www.wcsu.edu/music Admissions: (203) 837-9000 Faculty: Jamie Begian, Andrew Beals, Chris DeAngelis, Chris Morrison, David Ruffels, Dave Scott, Jeff Siegel, Peter Tomlinson Williams College Andy Jaffe Bernhard Music Center 54 Chapin Hall Drive Williamstown, MA 1267 413-597-4049, [email protected], music.williams.edu Admissions: (413) 597-2211 Faculty: Freddie Bryant, Jeff Holmes, Andrew Jaffe, Erik Lawrence, Conor Meehan, Teri Roiger NATIONAL Amarillo College PO Box 447 Amarillo, TX 79178 www.actx.edu/~music Faculty: Dr. James Raucher, Dr. Jim Laughlin American Conservatory of Music Dr. Mary Ellen Newsom 252 Wildwood Road Hammond, IN 46324 (219) 931-6000, www.americanconservatory.edu American River College Dyne Eifertsen 4700 College Oak Drive Sacramento, CA 95841 (916) 484-8261 [email protected] www.arc.losrios.edu/~music Bachelor Degrees: A.A. in Jazz Studies Faculty: Dyne Eifertsen, Joe Gilman, Art LaPierre, Jacosa Limitau Arizona State University Michael Kocour School of Music PO Box 870405 Tempe, AZ 85287 480-965-5069 To Advertise CALL: 215.887.8880 Auburn University Music Department 101 Goodwin Hall Auburn, AL 36830-5420 (334) 844-4165 [email protected] http://media.cla.auburn.edu/music/ Admissions: (334) 844-6425 Faculty: Ramon Vasquez [email protected] Augusta State University Dr. Robert Foster 2500 Walton Way Augusta, GA 30904 (706) 737-1453 [email protected] www.aug.edu/music/ Admissions: (706) 737-1632 Bachelor Degrees: B.A. or B.M in Performance; B.M. in Music Education Faculty: Linda Banister, Richard Brasco, Robert Foster Augustana College Steve Grismore 639 38th Street Rock Island, IL 61201 (309) 794-7233 [email protected] www.augustana.edu Faculty: Joseph Ott, Steve Grismore Baker University J.D. Parr 406 8th Street Baldwin City, KS 66006 (785) 594-4507 www.bakeru.edu Bachelor Degrees: B.A., B.S., or B.M.ed. Faculty: John Buehler, J.D. Parr Bloom School of Jazz David Bloom 218 S. Wabash Avenue #600 Chicago, IL 60604-2444 312-957-9300 [email protected] www.bloomschoolofjazz.com Bowling Green State University Jeff Halsey College of Musical Arts Ridge and Willard Street Bowling Green, OH 43403 (419) 372-8148 [email protected] www.bgsu.edu/colleges/music Bachelor Degrees: Music Education, Music Performance, Music Composition, Jazz Studies, World Music, and Music History Graduate Degrees: Guitar Performance, Jazz Studies Faculty: Chris Buzzelli, Jeff Halsey Brevard College Steve Wilson 400 North Broad St. Brevard, NC 28712 [email protected] www.brevard.edu Admissions: (828) 883-8292 Bachelor Degrees: B.A. in Jazz Studies, Performance, or Composition Faculty: Steve Wilson To Advertise CALL: 215.887.8880 Brubeck Institute, University of the Pacific Steve Anderson 3601 Pacific Ave Stockton, CA 95211 (209) 946-3970 [email protected] www.brubeckinstitute.org janice 946-2415, University of the Pacific Conservatory of Music Patrick Langham 3601 Pacific Ave Stockton, CA 95211 (209) 946-3970 [email protected] www.pacific.edu Faculty: Patrick Langham (saxophone, director of jazz studies) Degrees Offered: Bachelor of Arts in Jazz Studies, B.M in Music Education California Institute of the Arts David Roitstein 24700 McBean Parkway Valencia, CA 91355 661-255-1050, [email protected] www.calarts.edu THE JUILLIARD SCHOOL | JOSEPH W. POLISI, President Jazz Bassist, alumnus, and Juilliard Jazz Artistin-Residence Christian McBride performs with student Eddie Barbash, on alto sax. Photo: Hiroyuki Ito www.music.asu.edu/jazz Bachelor Degrees: B.M. in Jazz Performance Graduate Degrees: M.M. in Music Education (Jazz Emphasis) Faculty: Michael Kocour, Dom Moio, Justin Brotman, Sam Pilafian, Clarke Rigsby, Bryon Ruth, Mark Sunkett Juilliard Jazz Carl Allen Artistic Director Laurie A. Carter Executive Director Benny Golson Artistic Consultant Jazz Performance Education Christian McBride Artist in Residence Bachelor of Music Master of Music Artist Diploma Benny Green Visiting Artist Saxophone Ron Blake Joe Temperley � Curriculum Tailored to Each Student’s Need � Perform, Tour, Participate in Master Classes � Extraordinary Faculty & Top Guest Artists Trombone Steve Turre Trumpet Eddie Henderson Christian Jaudes Joseph Wilder Apply by December 1, 2009 Guitar Rodney Jones All applicants must meet Juilliard’s jazz audition requirements. B.M. requires high school diploma or equivalent Piano Kenny Barron Frank Kimbrough M.M. requires bachelor of music Artist Diploma (a post-graduate, tuition-free program) requires college degree or extensive experience Drums Carl Allen Billy Drummond Kenny Washington Auditions in New York, February 26 – March 5, 2010 Send Applications and Pre-Screen Recording to: Juilliard Admissions, 60 Lincoln Center Plaza, New York, NY 10023 (212) 799-5000 Bass Ron Carter David Grossman Ben Wolfe September 2009 • Jazz Inside™ NY www.juilliard.edu/jazz • www.jazzinsidemagazine.com 57 Bachelor Degrees: B.FA in Jazz Studies, Graduate Degrees: M.FA in Jazz Studies Faculty: Charlie Haden, David Roitstein, Joe LaBarbera, Darek Oles, Larry Koonse, Wadada Leo Smith, Vinny Golia, Paul Novros, Miroslav Tadic, Aaron Serfaty, John Fumo California State University, Northridge Gary Pratt 18111 Nordhoff Street Northridge, CA 91330-8314 (818) 677-2743, [email protected], www.csun.edu Bachelor Degrees: B.M. in Jazz Studies Faculty: Matt Harris, Gregg Bissonette, Matt Falker, Robert Hurst, Alex Iles, Don Kasper, Rob Lockart, John Pisano, Bobby Shew California State University at Bakersfield Doug Davis 9001 Stockdale Highway Bakersfield, CA 93311 (661) 654-3093, [email protected], www.csub.comAdmissions: (661) 664-3036 Faculty: Doug Davis, Jim Scully California State University at Fullerton Chuck Tumlinson 800 North State College Fullerton, CA 92834 (714) 278-5523 [email protected] www.fullerton.edu Bachelor Degrees: B.M. in Jazz/Commercial Music Emphasis, Instrumental Graduate Degrees: M.M. in Instrumental Performance, M.M. in Composition Faculty: Chuck Tumlinson, Bill Cunliffe, Laura Harrison, Jeff Ellwood, Ron Escheté, Luther Hughes, Paul Kreibich, Andrew Martin, Mark Massey, Charles Sharp California State University East Bay Dave Eshelman Music Department 25800 Carlos Bee Blvd Hayward, CA 94542 (510) 885-3735 class.csueastbay.edu/music Faculty: Johannes Wallmann, Dann Zinn California State University at Los Angeles Dr. Jeffery Benedict Department of Music 5151 State University Drive Los Angeles, CA 90032 (323) 343-4060 [email protected] www.calstatela.edu Admissions: (323) 343-3901 Bachelor Degrees: B.A. or B.M. Graduate Degrees: M.A. or M.M. Faculty: Jeff Benedict, Paul De Castro, James Newton, Deborah Holland Sacramento, CA 95819-6015 (916) 278-5155 [email protected] www.csus.edu/music Admissions: (916) 278-6011 Bachelor Degrees: B.M. in Jazz Studies, Applied Performance, Composition, or Music Education Graduate Degrees: M.M. in Performance, Conducting, Composition, Music Education, or Music History and Literature Faculty: Julia Dollison, Aaron Garner, Steve Homan, Rick Lotter, Kerry Marsh, Mike McMullen, Gerry Pineda, Steve Roach, Matt Robinson, Phil Tulga Central Missouri State University Dr. David Aaberg Dept. of Music—HUD 118 PO Box 800 Warrensburg, MO 64093 (660) 543-4909 [email protected] www.ucmo.edu/music Faculty: David Aaberg Chicago College of Performing Arts at Roosevelt University Heather McCowen 430 S. Michigan Avenue Chicago, IL 60605 (312) 341-3789 [email protected] ccpa.roosevelt.edu Jerry Prophet / Jazz Studies - Dept. Paul Wertico / Contact after June 1st. Fiscal Yr. End of July Bachelor Degrees: B.M. Faculty: Includes Jerry DiMuzio, Carey Deadman, Steve Berry, Neal Alger, Rob Amster, Ruben Alvarez, Phil Gratteau, Jo Ann Daugherty, Jackie Allen Chicago Jazz Ensemble Kat Ryan Columbia College 600 South Michigan Avenue Chicago, IL 60605 312-344-6269 www.chijazz.com [email protected] Assistant Department Chair: Mary Blinn [email protected] Faculty: Jon Faddis, Artistic Director; Scott Hall, Education Director College of the Mainland Sparky Koerner 1200 Amburn Road Texas City, TX 77591 (409) 938-1211 [email protected] www.com.edu Admissions: Kelly Musick, Registrar: (409) 938-1211 ext. 496 or [email protected] Degrees: Associate of Arts (206) 726-5031 [email protected] www.cornish.edu Admissions: [email protected] / Sarah Burgess - Admin. #1 Beth Fleenor Bachelor Degrees: B.M. Faculty: Includes Kent Devereaux, Chuck Deardorf, Randy Halberstadt, Jim Knapp, Jovino Santos Neto, Margie Pos, Julian Priester Cuyahoga Community College Steve Enos 2900 Comm. College Avenue Cyrus Cleveland, OH 44115 (216) 987-4256 [email protected] www.tri-c.edu Faculty: Steve Enos, Ernie Krivda, Joe Hunter, Lee Bush, Bryan Thomas, Demetrius Steinmetz, Rob Ticherich, Ray Porrello, Jackie Warren DePaul University Bob Lark 804 W. Belden Ave Chicago, IL 60614 (773) 325-4397 [email protected] http://music.depaul.edu [email protected] Bachelor Degrees: Jazz Studies, Performance, Composition, Music Education Graduate Degrees: Jazz Performance, Jazz Composition, Music Education, Performance Faculty: Timothy Coffman, Mark Colby, Kirk Garrison, Bob Lark, Thomas Matta, Larry Novak, Bob Palmieri, Ron Perrillo, Bob Rummage, Kelly Sill, Bradley Williams Duke University John V. Brown 105 Mary Duke Viddle Music Building Durham, NC 27208 (919) 660-3385 [email protected] www.duke.edu Admissions: (919) 660-3300 Faculty: John V. Brown [email protected] 919-660-3385 East Carolina University Carroll V. Dashiell, Jr. School of Music Fletcher Music Center Greenville, NC 27858-4353 (252) 328-6240 [email protected] www.ecu.edu/music/jazz Admissions: (252) 328-6851 Faculty: Jeffrey Bair, Carroll Dashiell, Ernest Turner Columbia College of Chicago Scott Hall 600 South Michigan Ave. Chicago, IL 60605 (312) 344-6322 [email protected], www.colum.edu/Academics/Music/about/ Jazz_Faculty.php Faculty: Dan Anderson, Bill Boris, Frank Dawson, Diane Delin, Richard Dunscomb, Jon Faddis, Scott Hall, Tom Hipskind, Audrey Morrison, Duane Thamm, Peter Saxe, Barry Winograd Elmhurst College Doug Beach Jazz Studies 190 Prospect Avenue Elmhurst, IL 60126 (630) 617-3518 [email protected] B.M. in Jazz Studies, jazz studies minor, b music business, music ed http://public.elmhurst.edu/music/1299562.html Faculty: Doug Beach, California State University Sacramento Steve Roach 6000 J. Street Sacramento Cornish College of Arts Chuck Deardorf 1000 Lenora Street Seattle, WA 98121 Elon University Jon Metzger Music Department Campus Box 2800 58 September 2009 California State University, Monterey Bay Richard Bains 100 Campus Center, Bldg 30 Seaside, CA 93955 (831) 582-4085 [email protected] http://music.csumb.edu/site/x3510.xml Admissions: 831-582-5111 Paul Contos, Ray Drummond - PT Faculty Bachelor Degrees: B.A. in Music Faculty: Richard Bains, Paulette Gissendanner, Paul Contos, James Ferguson • Jazz Inside™ NY • www.jazzinsidemagazine.com To Advertise CALL: 215.887.8880 Elon, NC 27244 (336) 278-5683 [email protected] www.elon.edu/jazz Bachelor Degrees: Music Performance, Music Education, Music Faculty: Jon Metzger, Dr. Stephen A. Futrell, Virginia NovineWhittaker, Dr. Thomas Erdmann, Dr. Matthew Buckmaster Florida International University Mike Orta School of Music 11200 SW 8th Street, WPAC 12 Miami, FL 33199 (305) 348-1414, [email protected], www.music.fiu.edu Faculty: Mike Orta, Sam Lussier, Gary Campbell, Errol Rackipov, Nicky Orta, Arturo Sandoval Florida State University Leon Anderson, Jr. College of Music Florida State University Tallahassee, FL 32306-1180 (850) 644-1048 [email protected] www.music.fsu.edu Music Admissions: [email protected] / 850.644.6102 Bachelor Degrees: B.A. in Jazz Studies Graduate Degrees: M.M. in Jazz Studies Faculty: Leon Anderson, Jr., Brian Gaber, Rodney Jordan, William Kennedy, Paul McKee, William Peterson, Marcus Roberts, Scotty Barnhart Fresno City College Michael Dana Jazz Studies 1101 E. University Avenue Fresno, CA 93741 (559) 442-4600, [email protected] www.fresnocitycollege.edu Faculty: Julie Dana, Michael Dana, Gary Deeter, Dale Engstrom, Larry Honda, Olga Quercia Indiana University Dr. David Baker School of Music 1201 E. 3rd St. Bloomington, IN 47405 818-855-1583 [email protected] www.music.indiana.edu Pat Harbison; Admissions: [email protected] Faculty: David Baker, Luke Gillespie, Patrick Harbison, Steve Houghton, Brent Wallarab, Thomas Walsh (812) 855-9846 Left message Jackson State University Dr. Russell Thomas Music Dept, Box 17055 Jackson, MS 39217 601-979-2574, [email protected] www.jsums.edu/jsumusic Admissions: (601) 979-2100 or [email protected] Bach. Degrees: B.M.E. or B.M.; Grad Degr: M.M.E, M.M. Faculty: Russell Thomas, Dowell Taylor, David Ware University of Louisville School of Music Jamey Aebersold Jazz Studies Program Louisville, KY 40292 Mike Tracy [email protected] (502) 852-1623, www.louisville.edu/music/jazz Admissions: Toni Robinson (502) 852-6032 or gomusic@ louisville.edu Bachelor Degrees: B.A. w/ Jazz Emphasis, B.M Jazz Perfromance, M.M Jazz Performance, M.M Jazz Composition and arranging Faculty: Ansyn Banks, Jim Connerley, Chris Fitzgerald, John To Advertise CALL: 215.887.8880 LaBarbera, Jason Tiemann, Jerry Tolson, Mike Tracy, Craig Wagner, Tyrone Wheeler JazzSchool Susan Muscarella 2087 Addison St. Berkeley, CA 94704 510-845-5373 [email protected] www.jazzschool.com Admissions: (510) 845-5373 Faculty: Laurie Antonioli, Bill Aron, Joe Bagale, Wil Blades, Sheldon Brown, Andre Bush, Jeremy Cohen, Christy Dana, Wayne Wallace, Jazzschool.com [email protected] [email protected] L.A. Music Academy Joe Pocaro, Ralph Humphrey, Tierney Sutton, Jerry Watts, Tariqh Akoni 370 S. Fair Oaks Avenue Pasadena, CA 91105 (626) 568-8850 [email protected] www.lamusicacademy.edu Faculty: Includes Ralph Humphrey, Joe Porcaro, Dave Beyer, Tariqh Akoni, Tierney Sutton, Jerry Watts, Jr. Loyola University John Mahoney Music Department 6363 St. Charles Avenue Box 8 New Orleans, LA 70118 (504) 865-2164 [email protected] www.music.loyno.edu Faculty: John Mahoney McNally Smith College of Music Dr. Mike Bogle 19 Exchange Street East Saint Paul, MN 55101 (651) 291-0177, [email protected] www.mcnallysmith.edu Bachelor Degrees: B.M. in Performance Michigan State University Rodney Whitaker Jazz Studies Program 102 Music Building East Lansing, MI 48824-1318 (517) 432-2194 [email protected] www.music.msu.edu Admissions: (517) 355-2140 Bachelor Degrees: Composition and Music Theory, Jazz Studies, Performance, Music Therapy, Music Education, Music Graduate Degrees: Performance, Musicology, Theory, Composition, Conducting, or Education Doctoral Degrees: Performance, Composition, Conducting, or Education Faculty: Wess Anderson, Derrick Gardner, Randy Gelispie, Joe Gloss, Diego Rivera, Rick Roe, Rodney Whitaker, Sunny Wilkinson Middle Tennessee State University Department of Music Don Aliquo 2620 Dorset Street Murfreesboro, TN 37130 615-904-8362 [email protected] frank.mtsu.edu/~music Bachelor Degrees: B.M. in Jazz Studies September 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com Master Degrees: M.A. in Jazz Studies Faculty: Don Aliquo, Jamey Simmons, Tom Giampietro, Shawn Purcell, Pat Coil, Jim Ferguson, Dr. David Loucky, Lalo Davila, Rich Adams, Socrates Garcia Millikin University Randall Reyman 1184 W. Main Street Decatur, IL 62522 (217) 424-6319 [email protected] www.millikin.edu/music Faculty: Andrew Burtschi, Brian Justison, Manley Mallard, Randy Reyman, John Stafford II, Stephen Widenhofer Morehead State University Dr. Gordon Towell 120 Baird Music Hall Morehead, KY 40351 (606) 783-2198, [email protected] www.moreheadstate.edu/music Admissions: (606) 783-2000 or [email protected] Bachelor Degrees: B.M. in Jazz Performance; B.M.E. Graduate Degrees: M.M., M.M.E. Faculty: Glenn Ginn, Steven Snyder, Gordon Towell Mount Hood Community College Susie Jones 26000 S.E. Stark Street Gresham, OR 97030 (503) 491-7158 [email protected] www.mhcc.edu Faculty: Susie Jones Musician’s Institute Steve Lunn 1655 McCadden Place Hollywood, CA 90028 (800) 255-PLAY [email protected] www.mi.edu Bachelor Degrees: Bachelor of Music North Carolina Central University Department of Music Ira Wiggins P.O. Box 19406 Durham, NC 27707 919-530-7214 [email protected] www.nccu.edu/music Admissions: Contact Jocelyn Foy at (919) 530-6218 Bachelor Degrees: B.M. in Jazz Performance, B.A. in Music Education, Music Liberal Arts, Sacred Music, and Music Industry Faculty: Ira Wiggins, Ed Paolantonio, Thomas Taylor, Robert Trowers, Lenora Helm, Arnold George, Baron Tymas, LeRoy Barley, Brian Horton, Branford Marsalis, Joey Calderazzo North Central College Jack Mouse 30 N. Brainard Street Naperville, IL 60540 (630) 637-5984 [email protected] www.noctrl.edu Admissions: (630) 637-5800 Faculty: Philip A. Ewell, Eugene T. Mouse, Barbara S. Vanderwall, Ramona M. Wis, Jeordano S. Martinez, Linda Ogden Hagen, Lawrence G. Van Oyen Northern Arizona University Joel DiBartalo Flagstaff, AZ 86011 (928) 523-3496 [email protected] www.cal.nau.edu/music Faculty: Joel DiBartalo 59 Northern Illinois University Ron Carter School of Music Dekalb, IL 60178 (815) 753-0643 [email protected] www.niu.edu/music Admissions: (815) 753-0446 or [email protected] Faculty: Ronald Carter, Robert Chappell, Art Davis, Tom Garling, Fareed Haque, Richard Holly, Willie Pickens, Kelly Sill, Rodrigo Villanueva Northwestern University School of Music 711 Elgin Road Evanston, IL 60208-1200 (847) 491-3141, [email protected] music.northwestern.edu Faculty: Daniel J. Farris, Victor Goines, Paul Wertico San Diego State University Bill Yeager School of Music and Dance 5500 Campanile Drive San Diego, CA 921182-7908 (619) 594-4680, [email protected] www.jazz.sdsu.edu Faculty: Bill Yeager, Rick Helzer, Richard Thompson, Lori Bell, Bob Ross, Gilbert Castellanos, Kevin Delgado, John Flood, Mike Holguin, Scott Kyle, Bob Magnusson, John Rekevics, John Wilds San Francisco State University School of Music and Dance Dee Spencer 1600 Holloway Avenue San Francisco, CA 94132 (415) 338-1431 [email protected] http://musicdance.sfsu.edu/ Undergrad Admissions: (415) 338-2037 San Jose State University Aaron Lington One Washington Square San Jose, CA 95192-0095 (408) 924-4673, [email protected] www.music.sjsu.edu Bachelor Degrees: B.A. in Jazz Studies, Studio Arts, and General Studies; B.M. in Music in Composition, Performance, and Music Education Virginia Groce-Roberts, Joe Hodge, Jeff Lewis, Aaron Lington, John Shifflett, Frank Sumares, Rick Vandivier, Wayne Wallace Shenandoah Conservatory 1460 University Drive Winchester, VA 22601 http://www.su.edu/conservatory/index.cfm Bachelor Degrees: B.M. in Jazz Studies, Commercial Music, Music Therapy, Music Education, and Performance; B.S. in Arts Management Faculty: C. Brian Kidd Sonoma State University Mel Graves 1801 East Cotati Avenue Rohnert Park, CA 94928 (707) 664-2134 [email protected] www.sonoma.edu Admissions: Mary Rogers (707) 664-2324 Alan Kleinschmidt: [email protected] Faculty: Mel Graves, Bob Afifi Carbondale, IL 62901 (618) 453-5812 [email protected] www.siu.edu/~music/ensembles/fac_jazztet.html Admissions Contact: Karen Clayton (618) 453-7316; Department of Music: (618) 536-8742 Faculty: Robert Allison, Philip Brown, Ron Coulter, Richard Kelley, Timothy Pitchford Southern Illinois University at Edwardsville Brett Stamps Department of Music Box 1771 SUIE Edwardsville, IL 62026-3705 (618) 650-2026 [email protected] www.siue.edu/music Faculty: Brett Stamps, Reggie Thomas Stanford Jazz Workshop & Festival PO Box 20454 Stanford, CA 94309 (650) 856-4155 [email protected] Jim Nadel, Director www.stanfordjazz.org Texas A&M University, Kingsville Dr. Paul Hageman Music Department, MSC 174 Kingsville, TX 78363 (361) 593-2806, [email protected] www.tamuk.edu/music Bachelor Degrees: B.M. with Teacher Certification, B.M. in Music Performance Master Degrees: M.M. in Music Education Faculty: Dr. Paul Hageman, James Warth Texas Christian University Curt Wilson TCU Box 297500 Fort Worth, TX 76129 817-257-6625, [email protected] www.music.tcu.edu Admissions: (817) 257-7602 or [email protected] Faculty: Curt Wilson, Thomas Burchill, Joey Carter, Joseph Eckert, Paul Rennick, Paul Unger, Brian West Texas State University—San Marcos Freddie Mendoza 601 University Drive San Marcos, TX 78666 (512) 245-1462, [email protected] www.txstate.edu/jazzstudies Bachelor Degrees: Performance Degree in Jazz Studies Graduate Degrees: Performance Degree in Jazz Studies Faculty: Dr. Keith Winking, Freddie Mendoza, Hank Hehmsoth, Butch Miles, David Dawson, Morris Nelms Texas Tech University Paul English School of Music Box 42033 Lubbock, TX 79409-2033 (806) 742-2270, [email protected] www.depts.ttu.edu/music Admissions: (806) 742-2270 Faculty: Jason Berg, Paul English, Ian Rollins Southern Illinois University at Carbondale Philip Brown SIU School of Music Mail Code 4302 Oberlin Conservatory of Music at Oberlin College Wendell Logan 39 W. College Street Oberlin, OH 44074-1576 (440) 775-8238, [email protected] www.oberlin.edu/con Bachelor Degrees: Majors in Jazz Performance and Jazz Composition 60 September 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com Faculty: Gary Bartz, Marcus Belgrave, Peter Dominguez, Robin Eubanks, Bob Ferrazza, Billy Hart, Wendell Logan, Dan Wall. Thelonious Monk Institute of Jazz Loyola University New Orleans 6363 St. Charles Avenue New Orleans, LA 70118 Phone: (504) 865-2100 FAX: (504) 865-2500 Email: [email protected] University of Akron Jack Schantz School of Music Gozzetta Hall Akron, OH 44325-1002 (330) 972-6910, [email protected] www.uakron.edu/music Admissions: (330) 972-7100 Faculty: Joe Augustine, Robert Fraser, Dean Newton, Bob McKee, Jack Schantz, Rich Shanklin, Tim Powell University of Alabama—School of Music Chris Kozak P.O. Box 870366 Tuscaloosa, AL 35487 205-348-6333 [email protected], www.jazz.ua.edu Admissions Contact: Tonia Hicks (205) 348-7112 or thicks@ music.ua.edu Bachelor Degrees: B.M. in Jazz Studies Graduate Degrees: M.M. in Arranging Faculty: Chris Kozak, Jonathan Noffsinger, Mark Lanter, Tom Wolfe University of Arizona Jeff Haskell School of Music UA College of Fine Arts Tucson, AZ 85721 (520) 621-1341 [email protected] http://web.cfa.arizona.edu/music University of Central Oklahoma Brian Gorrell School of Music 100 North University Drive Edmond, OK 73034 405-359-7989 [email protected] www.ucojazzlab.com Grad Admissions: Brian Gorrell Faculty: Lee Rucker, Brian Gorrell, Danny Vaughan, Kent Kidwell, Jeff Kidwell, David Hardman, Clint Rohr, James Klages University of Cincinnati Rick VanMatre College-Conservatory of Music Cincinnati, OH 45221 (513) 556-9447 [email protected] www.ccm.uc.edu/jazz Conservatory Admissions: (513) 556-5463; [email protected] Faculty: Chris Berg, Philip DeGreg, Marc Fields, Art Gore, Bill Gwynne, Kim Pensyl, Paul Piller, James E. Smith, Rick VanMatre, John Von Ohlen University of Colorado at Boulder Dr. John Davis, College of Music Campus Box 301 Boulder, CO 80309-0301 303-492-8810 [email protected] www.colorado.edu/music Admissions: (303) 492-6352 Bachelor Degrees: Certificate in Jazz Studies Graduate Degrees: M.M. in Jazz Performance and Pedagogy, To Advertise CALL: 215.887.8880 D.M.A. in Jazz Studies Faculty: Dave Corbus, John Davis, Paul Erhard, Brad Goode, John Gunther, Allen Hermann, Jeff Jenkins, Tom Myer, Paul Romaine, Terry Sawchuk, Mark Simon, Douglas Walter, Keith Waters University of Denver Malcolm Lynn Baker Lamont School of Music 2344 East Iliff Avenue Denver, CO 80208 (303) 871-6997 [email protected] www.du.edu/lamont Admissions: Jerrod Price (303) 871-6973 Bachelor Degrees: B.M. in Jazz Studies – Performance, Jazz Studies – Composition and Arranging, Commercial Music – Performance, Commercial Music – Composition and Arranging, Commercial Music – Technology Graduate Degrees: M.M in Performance – Jazz Emphasis and Composition – Jazz Emphasis Faculty: Malcolm Lynn Baker, Arthur Bouton, Eric Gunnison, David Hanson, Alan Hood, Alan Joseph, Tom Ball, Mike Marlier, Marc Sabatella, Ken Walker, Donna Wickham University of Houston Noe Marmolejo Moores School of Music Houston, TX 77204-4893 (713) 743-3191 [email protected] www.music.uh.edu Faculty: Joel Fulgham, David Klingensmith, Noe Marmolejo, Woody Witt, Mike Wheeler University of Idaho Paul Wertico Lionel Hampton School of Music Box 444015 Moscow, ID 83844-4015 [email protected] www.class.uidaho.edu/music Music Admissions: [email protected] Faculty: Alan Gemberling, Vern Sielert, Ian Sinclair, Daniel Bukvich, Vanessa Sielert University of Illinois Chip McNeil College of Fine and Applied Arts 2136 Music Building 1114 W. Nevada Street Urbana, IL 61801 (217) 333-9703, [email protected], www.music.uiuc.edu Bachelor Degrees: Jazz and Improvisational Music Performance, Composing/Arranging Graduate Degrees: Masters in Jazz and Improvisational Music Performance Faculty: Ron S. Bridgewater, Tito Carrillo, Lawrence Gray, Dana Hall, Joan B. Hickey, Charles McNeill, James Pugh, John Stephens, Glenn Wilson University of Illinois at Chicago Orbert Davis Department of Performing Art/MC/255 1040 W. Harrison Chicago, IL 60607-7130 (312) 996-2977, www.uic.edu Admissions: (312) 996-2977 Faculty: Ernie Adams, Ari Brown, Orbert Davis, Nicole Mitchell, Stewart Miller, Zvonmir Tot, University of Kansas Dan Gailey Department of Music & Dance 452 Murphy Hall Lawrence, KS 66047 (785) 864-3436, [email protected], www.ku.edu Admissions: (785) 864-3911 Faculty: Dan Gailey To Advertise CALL: 215.887.8880 University of Kentucky Miles Osland School of Music 105 Fine Arts Building Lexington, KY 40506-0022 (859) 257-8173 [email protected] www.uky.edu/finearts/music Admissions: (859) 257-1808 Bachelor Degrees: Bachelor of Arts, Bachelor of Music Graduate Degrees: Master of Arts, Master of Music Faculty: Raleigh Dailey, Miles Osland, Lisa Osland University of Louisville Louisville, KY 40292 (502) 852-6032 Mike Tracy School of Music Jamey Aebersold Jazz Studies Program [email protected] www.louisville.edu/music/jazz Admissions: (502) 852-1623 Faculty: Ansyn Banks, Jim Connerley, Chris Fitzgerald, John LaBarbera, Jason Tiemann, Jerry Tolson, Mike Tracy, Craig Wagner, Tyrone Wheeler University of Memphis Dr. Jack Cooper Jazz & Studio Music Department 129 Music Building Memphis, TN 38152 (901) 678-2541 [email protected] music.memphis.edu Admissions: (901) 678-3766 Bachelor Degrees: B.M. in Composition, Jazz & Studio Performance, Jazz & Studio Composition/Arranging, Music Business, Music Education, Music History, Performance, and Recording Technology Graduate Degrees: Master of Music, Composition, Conducting, Jazz & Studio Music, Music Education, Musicology, OrffSchulwerk, Pedagogy, Piano, Strings, Suzuki Strings, Performance, Applied, and Collaborative Piano Faculty: Joyce Cobb, Jack Cooper, Tim Goodwin, Chip Henderson, Chris Parker, Gerald Stephens University of Miami Frost School of Music Whitney Sidener P.O. Box 248165 Coral Gables, FL 33124-7610 305-284-5813 [email protected], www.music.miami.edu Admissions: (305) 284-2241 or [email protected] Director of Admissions: Catherine J. Tanner Faculty: Rainier Davies, Randall Dollahon, Christopher Whiteman, Jason Furman, Stephen Rucker, John Yarling, Douglas Bickel, Whitney Sidener, Gary Keller, Gregory Gisbert, Alexander Norris, Dante Luciani, Timothy Brent, Rachel Lebon, Lisanne Lyons, Juan Secada, Nicole Yarling 4949 Cherry Street Kansas City, MO 64110-2229 (816) 235-2900, [email protected] www.umkc.edu/conservatory Bachelor Degrees: B.M. in Jazz & Studio Music; B.A. with Jazz Concentration Graduate Degrees: M.A. with Jazz Concentration Faculty: Doug Auwarter, Rod Fleeman, Stan Kessler, Michael Pagan, Al Pearson, Gerald Spaits, Dan Thomas, Bobby Watson, Bram Wijnands, Roger Wilder University of Nevada, Las Vegas Dave Loeb Department of Music 4505 Maryland Parkway Las Vegas, NV 89154-5025 702-895-3739, [email protected] music.unlv.edu Bachelor Degrees: Bachelor of Music with a Concentration in Jazz Studies Graduate Degrees: Master of Music with a Jazz Studies emphasis Faculty: David Loeb, Bruce Paulson, Tom Warrington, Jobelle Yonely University of New Orleans Edward Petersen Jazz Studies, Music Department Lakefront Campus New Orleans, LA 70148 504-280-6381 [email protected] music.uno.edu Admissions: (504) 280-1124 Faculty: Victor Atkins, Steve Masakowski, Ed Petersen, Brian Seeger, Leah Chase-Kamata, Evan Christopher, Thomas Fisher, Roland Guerin, Henry Mackie, Irvin Mayfield, Brent Rose, Matt Rhody, Cindy Scott University of North Carolina - Greensboro Chad Eby P.O. Box 26167 Greensboro, NC 27402-6167 336-334-3237 [email protected], www.uncg.edu/mus Admissions: (336) 334-5243 Bachelor Degrees: Bachelor of Music Faculty: Chad Eby, Wycliffe Gordon, Steve Haines, Mark Mazzatenta, John Salmon, Tom Taylor University of North Carolina - Charlotte Will Campbell Department of Music 9201 University City Boulevard Charlotte, NC 28223 (704) 687-4469 [email protected] music.uncc.edu Admissions: (704) 687-2213 Faculty: Will Campbell, Noel Freidline University of Michigan School of Music Ed Sarath 1100 Baits Drive Ann Arbor, MI 48109-2085 734-764-0583, [email protected] www.music.umich.edu, [email protected] Faculty: Geri Allen, Andrew Bishop, Michael Gould, Marion Hayden, Robert Hurst, Mark Kirschenmann, Edwin Levy, William Lucas, Ellen Rowe, Edward W. Sarath, Richard Stoelzel, Martha Travers, Dennis Wilson University of North Carolina - Wilmington Frank Bongiorno 601 South College Road Wilmington, NC 28403-3297 (910) 962-3390 [email protected] http://www.uncwil.edu/music Admissions: (910) 962-3243 Bachelor Degrees: Bachelor of Music in Performance (Jazz, Instrumental) Faculty: Steve Bailey, Frank Bongiorno, Joe Chambers, Robert A. Russell, Jerald Shynett, Andy Whittington University of Missouri - Kansas City Prof. Bobby Watson Conservatory of Music and Dance University of North Florida J.B. Scott 4567 St. John’s Bluff Road South September 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com 61 Jacksonville, FL 32224-2645 904-646-2960 [email protected] www.unf.edu/coas/music Bachelor Degrees: B.M. in Jazz Performance/Arranging and Music; B.A. in Music Faculty: Bunky Green, Lynne Arriale, Marc Dickman, Danny Gottlieb, Dennis Marks, J.B. Scott University of North Texas Darla Mayes PO Box 305040 Denton, TX 76203 940-565-3743 [email protected] www.music.unt.edu/jazz Bachelor Degrees: Bachelor of Music Graduate Degrees: Master of Music Faculty: Neil Slater, Tony Baker, Rosana Eckert, Dan Haerle, Fred Hamilton, Stefan Karlsson, Brad Leali, John Murphy, James Riggs, Paris Rutherford, Jay Saunders, Lynn Seaton, Ed Soph, Mike Steinel, Steve Wiest University of Northern Colorado Dave Stamps 501 20th Street Box 28 Greeley, CO 80639 (970) 351-2577 [email protected] www.uncjazz.com Bachelor of Music – Jazz Instrumental Emphasis Master of Music – Jazz Instrumental Emphasis; Secondary Emphasis in Jazz Pedagogy at the Doctorate Level Faculty: Dana Landry, Dave Stamps, Kevin Whalen, Erik Applegate, Gray Barrier, Robert Murray, James Vaughn University of Northern Iowa Chris Merz School of Music 110 Russell Hall Cedar Falls, IA 50614-0246 (319) 273-3077 [email protected] www.uni.edu/jazzstudies Admissions: Alan Schmitz (319) 273-7180 or schmidt@uni. edu Bachelor Degrees: Bachelor of Arts and Bachelor of Music Graduate Degrees: Master of Arts in Music and Master in Music Faculty: Chris Merz, Robert Washut, Bob Dunn, David Dunn University of South Carolina Bert Ligon Office of Music Studies Columbia. SC 29208 803-777-4335, [email protected] www.music.sc.edu Dean’s Office: (803) 777-4336 Faculty: Sonia Jacobsen, Kevin Jones, Bert Ligon University of South Florida - School of Music Prof. Jack Wilkins School of Music, FAH 110 4202 E. Fowler Avenue Tampa, FL 33620 (813) 974-2311, [email protected] music.arts.usf.edu/jazz/ Admissions: (813) 974-2311 B.M. in Jazz Composition and Jazz Performance M.M. in Jazz Composition and Jazz Performance Faculty: Chuck Owen, Jack Wilkins, Tom Brantley, Jay Coble, Per Danielsson Steve Davis, Valerie Gillespie, Mark Neuenschwander, LaRue Nickelson, David Stamps 840 West 34th Street Los Angeles, CA 90089-0851 (213) 740-3119 [email protected] www.usc.edu Bachelor Degrees: Bachelor of Music and Bachelor of Arts in Performance Graduate Degrees: Master of Music, Doctor of Musical Arts, and Graduate Certificate Faculty: Includes David Arnay, Gilbert Castellanos, Ndugu Chancler, John Clayton, Peter Erskine, Anne Farnsworth, Russell Ferrante, Angel Figueroa, Bruce Forman, Jason Goldman, Kathleen Grace, Alphonso Johnson, Kristin Korb, Thom David Mason, Ron McCurdy, Roy McCurdy, and many more Wayne State University Christopher Collins Department of Music 4841 Cass Avenue Suite 1321 Detroit, MI 48202 (313) 577-1780 [email protected] music.wayne.edu Admissions: (313) 577-1800 Bachelor Degrees: B.M. in Jazz Studies Graduate Degrees: M.M. in Jazz Performance Faculty: Steve Carryer, Christopher Collins, Ronald Kischuk, Russell Miller, Clifford Monear, Robert Pipho, Daniel Pliskow, Ernest Rogers, James Ryan, David Taylor University of Texas at Austin Jeff Hellmer Department of Music Austin, TX 78712 512-471-0744 [email protected], www.music.utexas.edu B.M. in Jazz Performance and Jazz Composition D.M.A. with Jazz Emphasis in Jazz Performance, Comp Faculty: Dennis Dotson, John Fremgen, Jeff Hellmer, John Mills, David Neubert, Glenn Richter, Mark Sarisky, Brannen Temple, Mitch Watkins, Ronald Westray Webster University Paul DeMarinis 470 East Lockwood Avenue St. Louis, MO 63119 (314) 968-7039, [email protected] www.webster.edu Admissions: Niel DeVasto 314-968-6989 B.M. in Jazz Performance, Jazz/Music Technology, Composition, Performance (Voice, Keyboard, Guitar, Instrumental), and Music Education; B.A. in Music; Certificate in Music Entrepreneurship M.M. in Jazz Studies (Performance or Composition Emphasis), Orchestral Performance, Voice, Keyboard, Guitar, Composition, Music Education, and Church Music; M.A. in Music with Emphasis in Pedagogy, Conducting, Music History, and Theory University of Toledo Gunnar Mossblad Department of Music MS605 Toledo, OH 43606 (419) 530-4738 [email protected] www.utoledo.edu Admissions: (419) 530-8700 Bachelor Degrees: Bachelor of Music in Jazz; Bachelor of Arts with a Jazz Emphasis; Jazz Minor Graduate Degrees: Master of Music in Performance – Jazz Track Faculty: Mark Byerley, Norman Damschroder, Bradley Felt, Jon Hendricks, Gunnar Mossblad, Jay Weik, Timothy Whalen University of the Pacific Patrick Langham Pacific Conservatory of Music 3601 Pacific Avenue Stockton, CA 95211 (209) 946-3222, [email protected] www.pacific.edu/conservatory Admissions: (209) 946-2211 Faculty: Patrick Langham, Michael Zisman University of Tennessee Mark Boling School of Music, Room 211 1741 Volunteer Boulevard Knoxville, TN 37996-2600 (865) 974-3241, [email protected], www.music.utk.edu/jazz Bachelor Degrees: B.M. in Jazz & Studio Music Graduate Degrees: M.M. in Jazz & Studio Music Faculty: Mark Boling, Donald Brown, Keith Brown, Harold Holloway, Vance Thompson University of Southern California Ron McCurdy Thornton School of Music Washburn University Craig Treinen 1700 SW College Topeka, KS 66621 (785) 231-1010, [email protected] www.washburn.edu/cas/music Bachelor Degrees: Bachelor of Music Education and Bachelor of Music Performance Graduate Degrees: Master of Arts Faculty: Craig Treinen 62 September 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com Western Carolina University Pavel Wlosok Music Department 253 Coulter Building Cullowhee, NC 28723 (828) 227-3261, [email protected] music.wcu.edu Western Michigan University Tom Knific 1903 W. Michigan Avenue Kalamazoo, MI 49008 269-387-4710, [email protected] www.wmich.edu/jazzstudies Faculty: Tom Knific, John Campos, Scott Cowan, Keith Hall, Trent Kynaston, Robert Ricci, Diana Spradling, Stephen Zegree Youngstown State University Kent Engelhardt 1 University Plaza Youngstown, OH 44555 (330) 941-3636, [email protected], www.ysu.edu Bachelor Degrees: B.M. in Performance with a Jazz Emphasis or Recording Emphasis, Performance, Education, Theory/Composition, and Music History Graduate Degrees: M.M. in Jazz Studies, Performance, Theory, Education, and Music History Faculty: Kent Engelhardt, David Morgan, Daniel Murphy, Glenn Schaft “To be nobody but yourself in a world which is doing its best, night and day, to make you everybody else, means to fight the hardest battle which any human being can fight; And never stop fighting.” —e.e. cummings To Advertise CALL: 215.887.8880 Live Performance Reviews Jazz in July has become a landmark event in the jazz life of New York City. Bill Charlap, who assumed the role of Artistic Director from Dick Hyman five years ago, once again planned an eclectic program of mainstream jazz for the six concert program. Things got off to a somewhat mixed start with the July 21 concert, Sondheim & Styne, a celebration of the music of two great composers for the Broadway stage, Stephen Sondheim and Jule Styne. The sextet of Bill Charlap, Brian Lynch, Jon Gordon, Jimmy Greene, Peter Washington and Kenny Washington got things off in a winning way digging into the Renee Rosnes arrangement of Sondheim’s “Old Friends,” with Kurt Elling eventually lending some vocal support. The Sondheim and Elling combination continued as he assayed “You Must Meet My Wife,” “Another Hundred People” and “Not While I’m Around” with various combinations of instrumental accompaniment. The music of Styne finally arrived with Charlap and the two Washingtons exploring “Some People,” words by Sondheim, with Elling. Another selection from Gypsy, “Small World” ended Elling’s contributions to the opening set. Charlap quoted Styne as saying that he strives to produce songs that are “melodically simple and harmonically attractive.” To illustrate this, Charlap sat down at the piano and played an elegant version of “Just in Time.” The sextet with Rosnes in the piano chair closed the first half of the program playing “On the Dot,” a boppish tune based on “Just in Time,” composed and arranged by Lynch. This proved to be the vehicle that really opened things up for the soloists, and suddenly brought the concert to life. A peppy take by the trio, with Charlap at the keyboard, of “Uptown, Downtown” from Sondheim’s Follies gave promise of a more exciting second set. Gordon’s soprano sax, however, took all of the beauty out of the lovely “Night Waltz” from A Little Night Music. The sextet gave a spirited reading of “It’s You or No One,” before Elling reemerged. He sang “Dance Only with Me,” with sole backing from Charlap, before he finally seemed to really connect with the material on “Sorry-Grateful,” capturing the ambivalence of this haunting song from Company. All hands were on stage for the closer, “Make Someone Happy.” This evening never took off, and for me it was mostly due to the vocalizing of Elling. He did not seem comfortable with the songs assigned to him, remaining too remote from the emotional content of some excellent lyrics. When he sang “Make Someone Happy,” he did not sound happy, and that was indicative of where things seemed to go awry on this occasion. The next evening proved to be the antithesis of the prior one. A Helluva Town: New York Jazz brought attention to songs about New York City and the strong presence that jazz has had in this town. Charlap and the rhythm section of Bucky Pizza- relli, Jay Leonhart and Lewis Nash got things off to a rollicking start with an effervescent take on “New York, New York” from On the Town. Vocalist Sandy Stewart and Ken Peplowski were added for two songs about famous New York streets, “42nd Street” and “Lullaby of Broadway.” Stewart is a wonderful reader of lyrics, and gave each of the songs a special glow. Thelonious Monk was a New Yorker for most of his life, and was an important presence on the city’s jazz scene. He spent some time playing on one of the legendary streets in jazz history, one that he memorialized with his bop classic “52nd Street Theme,” and it was wonderfully played by Byron Stripling, Wess Anderson and the trio. Another jazz portrait of the city was up next with John Coltrane’s “Central Park West.” Charlap’s solo version of Scott Joplin’s “Wall Street Rag” was followed by the closer, “Drop Me Off in Harlem,” rendered by the sextet with Stripling handling the vocal chores. Ken Peplowski brought on his tenor sax to join Barbara Carroll and the rhythm section for “How About You,” with an effective vocal from Carroll, to open the second half. Carroll and Leonhart then gave a haunting performance of another song from On the Town, “Lonely Town,” giving Leonhart an opportunity to demonstrate his impressive arco bass skills. Carroll finished her segment with Dave Frishberg’s wonderful paean to the Big Apple, “Do You Miss New York?” Many tunes that came to prominence during the Bebop Era, a jazz movement that emerged from New York City, were based on the chord changes of “I Got Rhythm,” composed by a true New Yorker, George Gershwin. It was a fitting selection for this evening’s program, and was played by the septet. Leonhart is not only a superb bassist, but also a hip and wry creator of original songs that suit his unique vocal talents. His “Move the Car” humorously depicts one of the concerns of a resident of Manhattan who owns an automobile. As the evening approached its climax, Stewart returned for a languid reading of “Autumn in New York.” All hands were on deck for the ostensible closer, “Broadway.” As this selection motored briskly on, a surprise guest emerged from the wings in the person of Tony Bennett, who added the lyrics to this swinger, one that he recorded with the Count Basie Orchestra. With Bennett on the scene, an encore was just about obligatory, and it took the form of Bennett, Charlap and the rhythm section giving out with the quintessential New York City song “Manhattan.” This was an evening of good spirits and wonderful music that truly captured the flavor of Manhattan in music. Pianos were the focus of the following concert. Piano Jam: With Respect to Oscar was ostensibly a tribute to the legendary pianist Oscar Peterson. What took place was a concert featuring four superb jazz pianists, Bill Charlap, Mulgrew Miller, Eric Scott Reed and Renee Rosnes floating on and off of the stage, playing in various settings with the assistance of trumpeter Nicholas Payton, tenor saxophonist Grant Stewart, guitarist Randy Napoleon, bassist Pe- To Advertise CALL: 215.887.8880 September 2009 CAUGHT IN THE ACT Jazz In July Kaufman Concert Hall 92nd Street Y, New York City • Jazz Inside™ NY • www.jazzinsidemagazine.com ter Washington and drummer Kenny Washington. The connection to Peterson rested in the players mostly playing in formats that Peterson used, and playing songs written by or associated with him. The musicians were all first rate, and the playing was at a consistently high level from all involved. The problem for me is that it was a bit like watching a series of one act plays. When watching most jazz performances, it is usually apparent that as the evening progresses, the players seem to become looser, and more spontaneous in their playing. They know that there are likely to be points in their performance when they reach artistic and creative peaks, and they let that happen during the natural flow of the sets. In this format, you often get the feeling that just as the players are getting into a comfort zone, they are gone, and somebody else is taking their place. There seems to be pressure on each of them, most likely internally created, to grab their moments in the spotlight, and play everything that they know in one or two selections. It gives the audience the opportunity to see a lot of talent in one concert, but it rarely gives the performers and the audience sufficient opportunities to really connect. The concert on Monday July 27 was The Gerry Mulligan Songbook. Charlap elected to have a four horn front line of Gary Smulyan, Jerry Dodgion, Harry Allen and Jeremy Pelt, enabling him to present the Mulligan material in several settings, several of which replicated formats that Mulligan used during his eclectic career. He also chose to share the piano chair with another Mulligan alumnus, Ted Rosenthal. Also on the band were Peter Washington on bass and Kenny Washington on drums. The concert opened with all players except Rosenthal on stage for a swinging Harry Allen arrangement of “Five Brothers” one that gave all of the horns and Charlap opportunities to hip the crowd to their solo chops. The recreation of the pianoless Mulligan quartet with Smulyan and Pelt taking on the roles of Mulligan and Chet Baker was quite tentative, and failed to capture either the uniqueness of that group’s sound, nor the quality of the wonderful “Line for Lyons.” The moments when the piano was the center of attention proved to be highlights of the concert. Charlap played a later Mulligan composition “Curtains” in a trio format, and took the piece through a multi-mood exploration that was masterful. He also gave a solo look at Mulligan’s “Noblesse,” a piece inspired by the compositions of Ray Noble. Charlap and Rosenthal teamed up for a playful excursion with “Walkin’ Shoes.” Smulyan was a curious choice to play baritone sax on a Mulligan-themed evening. He is one of the premier baritone players on the current scene, but his tone has a much harder edge than Mulligan’s, and his musical attack is more aggressive and less swinging than was the case with Mulligan. Once one adjusted to this difference, and accepted Smulyan on his own terms, his presence in this context became easier to understand. His “Lonesome Boulevard,” with Rosenthal and the Washingtons, was full of emo63 tion. When he joined Allen on the front line with the Charlap rhythm section for “A Ballad,” a tune that was recorded on a date done by Mulligan and Stan Getz, Smulyan went in his own direction, while Allen captured much of the Getz flavor in his playing. The selections with the full front line,” Bark for Barksdale,” “Red Door,” Festive Minor,” and “Rocker,” the last of which served as the closer, provided lots of sparks and compelling solos. Some of the reservations that I felt during the piano concert were also present during this concert. The fact of its being a concert dedicated strictly to compositions penned by Gerry Mulligan helped to make the program feel more coherent than the piano event. The commentary of Charlap, who was a member of Mulligan’s quartet for several years, was incisive, providing insight that also proved to be a unifying element. On Tuesday July 28, a schedule conflict precluded my being able to attend It’s Jazz Charlie Brown: The Music of Vince Guaraldi. The most consistently exciting concert of the series was the final one, Saxophone Summit. It brought together two veteran giants, Phil Woods on alto sax and Jimmy Heath on tenor sax with three wonderful younger players, Harry Allen and Jimmy Greene on tenor sax, and Steve Wilson on flute, alto and soprano saxes. Charlap, bassist Ray Drummond and drummer Lewis Nash provided the rhythm. To open the concert, the whole cast roared through Allen’s arrangement of “I Never Knew” as if they had already been on stage for several numbers. This was one of three numbers on which all participated, the others being the closers for each set, Charlie Parker’s “Ornithology” and Sonny Stitt’s The Eternal Triangle.” Each of these numbers proved to be exciting, as these cats seemed to really dig each other’s playing. It is always a thrill to hear Woods and Heath. These gentlemen are Hall of Famers. When Woods joined the rhythm section for Benny Carter’s “Summer Serenade,” he showed that he is a masterful ballad player. Heath, who became known as “Little Bird” when he first came on the scene, also showed off his ballad chops on “Green Dolphin Street.” The two joined forces for a rousing “Hot House.” The one number that joined Heath and Greene on the front line was a Renee Rosnes original titled “Jimmy Up and Jimmy Down,” a kind of Monkish reflection on the realities of the difference in stature between the diminutive Heath, and Greene, one tall cat. Another fine pairing was the alto of Wilson and the tenor of Allen on “The Opener,” a Bill Potts tune that has been wonderfully recorded by Al Cohn. Each of these players had a great solo turn. Wilson picked up his flute to join Charlap for a hauntingly ethereal take on Ellington’s “Warm Valley.” Allen showed why he is recognized as one of the ballad masters as he was backed by the trio on a lovely reading of “Someone to Watch Over Me.” This concert, while it did have constantly revolving personnel, took off immediately, and maintained a high level throughout. It was a most satisfying conclusion to a series that continues to draw large and enthusiastic audiences. Over the past several years, I have seen The Tierney Sutton Band several times, and never cease to be amazed at their cohesion and creativity. Now in their fifteenth year of collaboration, vocalist Tierney Sutton, pianist Christian Jacob, bassist Kevin Axt and drummer Ray Brinker are a lot more than a vocalist with a backing trio. They have an organic feeling that you usually find only in instrumental groups. Yes, Sutton is out front as the nominal center of attention, and as the spokesperson, but at the end of an evening of listening to them, you cannot isolate her vocalizing from the intricate complimentary work of the three fabulous musicians who are part of the this team without shortchanging what they have achieved. For their five days at The Iridium, Sutton assured the audience that they would be changing the set list throughout the engagement, giving repeat attendees a fresh show each time. On Thursday evening August 20, each of their two sets was completely different, and equally stimulating to the ears of those present. They drew the selections for this evening from five of their eight albums, plus one from a guest appearance that Sutton made on an album under the leadership of Jacob. Since most of the albums have had a theme, this gave the programs for the two sets a lot of diversity. They leaned most heavily on songs from their last three albums, I’m with the Band, recorded at Birdland, On the Other Side, the highly acclaimed collection that explored the theme of happiness from many angles, and their current release, Desire, an exploration of the romantic and material aspects of relationships, and the effects that these have on desire. They also visited more briefly, Dancing in the Dark, inspired by the vocal artistry of Frank Sinatra, Something Cool, their third album, and Styne & Mine Jacob’s salute to composer Jule Styne. One constant in the arrangements throughout their book, is the unique way in which they reconceive songs. With few exceptions, you are hearing songs that are familiar to you, but in ways that you have never heard them by any other artists. According to Sutton, each arrangement is a group effort, with one of them kicking things off with the idea for a song, and a concept that becomes refined by a lot of give and take among the members of the band. Even though they finally arrive at a set arrangement, their performances have a spontaneity that results from the subtle evolution that takes place with the continued playing of each selection. This factor plus the commitment of each of the musicians to the music makes each song sound fresh, no matter how many times you have heard them performed by the band on previous occasions. Sutton has a flexible voice that often goes to surprising places. At times it has lovely purity, and at others it jolts you with a harsher and sometimes more nasal sound, but whatever the sound, it always feels appropriate to the moment. She includes a lot of 64 September 2009 Tierney Sutton The Iridium, New York, NY August 19-23, 2009 By Joe Lang • Jazz Inside™ NY • www.jazzinsidemagazine.com wordless vocalizing, but she does not scat, rather adds vocal colors in the way that an instrumentalist does. While there is a lot of musical adventurism taking place in her singing, she still maintains contact with the essence of the lyrics. When she sings a ballad like “I Fall in Love Too Easily” or “If I Loved You,” with directness, she infuses the lyrics with deep emotion and understanding. Her physical beauty, gestures and facial expressions add a dimension to her in live performances that is missing on her recordings, and this is not meant to slight her fine recorded output. The cats playing the other instruments are important elements in making The Tierney Sutton Band so special. Jacob has an imagination and facility that places him in the front rank of jazz pianists. Like most outstanding jazz musicians, he seems to hear things a bit differently than most others, and is able to translate his unique conceptions into a series of moments of musical magic. Axt and Brinker often create a tension in the arrangements that is exhilarating for the listener. Axt is extremely facile, and provides a pulse to each number that keeps you constantly engaged. Brinker is a painter of sonic canvases, explosive at times, and delicate at others, that provide the backdrop for the creativity of his partners. Then there are the songs. Both sets contained eleven selections, with a three song medley included in each. Early in the first set, they played three selections from My Fair Lady, “Wouldn’t It Be Loverly,” “I’ve Grown Accustomed to His Face” and “Show Me,” with a clever wordless interpolation of the hip tune “Better Than Anything” finding its way into the mix. The second set ended with an Irving Berlin medley consisting of “Let’s Face the Music and Dance,” “Cheek to Cheek” and “Blue Skies,” each of which received a reading that made you see them in a new light. Their take on “Reflections,” a lovely composition by Duke Ellington with lyrics by Marjorie Houseman and Milt Raskin was memorable. The juxtaposition of an intense “Sometimes I’m Happy,” where Jacob sat out while Axt and Brinker joined Sutton to create the kind of musical tension alluded to earlier, with the following straight ahead version of “If I Loved You” by Sutton and Jacob perfectly demonstrated the eclecticism of the band. As might be expected from a band with a recent release, they included six of the eleven selections from Desire during the evening’s proceedings. During the first set they performed two highly contrasting songs, the delicate Dave Frishberg/Alan Broadbent song “Heart’s Desire,” with the sole accompaniment of Jacob, and the sultry “Whatever Lola Wants.” They broke up these selections with a breakneck “’S Wonderful,” performed by Sutton, Axt and Brinker as they did it on their live Birdland disc. This set concluded with a passionate “It’s All Right With Me,” and a somewhat mystical reading of “It’s Only a Paper Moon” that was prefaced by a reading from a Bahá’i prayer. “Love Me or Leave Me” and “My Heart Belongs to Daddy” were performed in the second set. The Tierney Sutton Band demands a lot from the imagination and intelligence of their audiences. In return, they provide a scintillating evening of song, nicely enhanced by Sutton’s often witty and always engaging commentary. To Advertise CALL: 215.887.8880 Noteworthy Performances Les Paul 1915–2009 Iridium Honors Les Paul www.lespaulonline.com w/John Colianni, Lou Pallo, Nicki Parrott & Special Guests Iridium Jazz Club: Mon 9/7, 9/14, 9/21, 9/28 The Overtone Quartet: www.daveholland.com Dave Holland, Chris Potter, Jason Moran, Eric Harland The Blue Note: Tues 9/8 – Sun 9/13 Legendary guitar virtuoso, recording artist and studio pioneer Les Paul died on August 13 at the age of 94. He has been playing Monday nights at Iridium for years, and they will be paying tribute to him every Monday of the month. His regular trio band-mates will host the tribute along with guitarist Lou Pallo and an array of special guests to be announced. Donations can be made to the Les Paul Foundation: 236 West 30th Street, 7th Floor, New York, NY, 10001. Bass master Dave Holland, once a sideman to Thelonious Monk and Miles Davis, has a knack for swooping up the greatest players of the younger generation and making them his bandmates. This latest group of his, The Overtone Quartet, features tenor lion Chris Potter, piano icon Jason Moran, and the incredible Eric Harland on drums. Make your reservations quick because many of these sets will surely sell out. Michael Marcus Quintet: www.michaelmarcusjazz.com Lotus Symphony Barge Music: Thurs 9/10 Grassella Oliphant Trio After a long hiatus from being a professional musician, that If you’ve never been aboard this floating venue, now is the time. Recently, this superb boat/concert hall, highly regarded for its classical concerts, has begun featuring jazz. Clarinetist Michael Marcus will be joined by pianist John Austria, bassist Rahsaan Carter, Jay Rosen on drums and a surprise guest! Marcus has been an active member of the NYC Jazz Scene for over 25 years who has played with artists ranging from blues god Albert King the drum master Billy Higgins. lasted almost four decades, during which Grasella Oliphant raised his family, he is now back on the scene, playing with the same fire that he had in his youth. Oliphant released two albums for Atlantic records in the 60’s, entitled The Grass Roots, and The Grass is Greener. Both have recently been re-released. Eldar Djangirov Trio www.eldarjazz.com Jazz Standard: Thurs 9/10 – Sun 9/13 Harlem in the Himalayas: Fred Hersch Rubin Museum of Art: Fri 9/11 www.marianmcpartland.com www.fredhersch.com The Harlem in the Himalayas series at the Rubin Museum of Art requires that the performer look through the museum and find a work of art that inspires them, and then to compose something with that work of art acting as their muse. Performers are not allowed to use any amplification is the beautiful all wood performance space. Sitting in there, you feel like you are inside a giant guitar. It is a multi-disciplinary affair as you will also here from art experts about the piece that Fred chose. Credit: RJ Capak Eldar will be celebrating the release of his fourth Sony Masterworks album, Virtue—a CD that shows a prodigious talent continuing to grow into his seemingly limitless abilities. The 22 year-old’s new release features exciting and modern compositions with lots of odd meter work and plenty of groove, in large part due to the work of bassist Armando Gola, who plays electric throughout the record. Eldar was on the Marian McPartland Show by 11, and a Grammy Nominee by 20. Marian McPartland & Friends Dizzy’s Club: Tues 9/15 Double Feature: Ryan Blotnick / w ww.ryanblotnick.com Ben Monder & Bill McHenry Duo www.benmonder.com Cornelia Street Café: Mon 9/21 At 8:30PM catch contemporary jazz guitarist Ryan Blotnick’s CD release party for “Everything Forgets.” He will be joined by Ben Monder and Bill McHenry, who will then do a duo set at 10PM. Blotnick and Monder are two of the most acclaimed NYC guitarists performing today, and McHenry’s is known for his very distinctive voice on the tenor saxophone. This is their first duo performance since they recorded “Bloom” ten years ago. McPartland is a legendary English jazz pianist, composer, writer and the host of Marian McPartland’s Piano Jazz on National Public Radio. Her “friends,” or guests that she invites onto her famous radio show are some of the most iconic players on the scene, so chances are you will be seeing some incredible people join her for this one night only performance. Matt Wilson Quartet www.mattwilsonjazz.com Jazz Standard: Tues 9/22 – Wed 9/23 Nicole Pasternak Quintet The Kitano: Wed 9/23 You will be sure to see Jazz Inside Staff at this one. Matt Wilson and Co. have just released “That’s Gonna Leave a Mark,” the MWQ’s first CD since 2003, and it is off the hook! Wilson, sax players Andrew D’Angelo (who just beat a battle with cancer), Jeff Lederer, and bassist Chris Lightcap present a mixture of originals and not so standard covers like “Why Can’t We Be Friends,” with their very unique delivery that can be described as ecstatically fun and funky, yet primitive and profound. For this engagement at the cozy and comfortable Kitano hotel jazz bar, acclaimed jazz singer Nicole Pasternak will be joined by Ralph LaLama on tenor, Don Friedman on piano, Bill Moring on bass and Tom Melito on drums. “Pasternak has developed an enthusiastic audience with her honest, straight-ahead style, and equal energy for swing songs, bebop, ballads and Latin jazz. She also kicks in writing music and lyrics.” To Advertise CALL: 215.887.8880 www.lenoxlounge.com Lenox Lounge: Thurs 9/10 September 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com www.nicolepasternak.com 65 Fall Preview Performing Arts Centers and Jazz Concert Series By Joe Lang saxophonists Zoot Sims and Al Cohn, trumpeter Joe Newman, guitarist Bucky Pizzarelli, bassist Dr. Lyn Christie and drummer Bobby Rosengarden. As would become a tradition in the ensuing Highlights in Jazz series, Kleinsinger had a few special guests Jack Kleinsinger’s added to the roster of players, guitarist Gene BertonHighlights In Jazz cini and clarinetist Phil Bodner. A rave review from Back in 1973, Jack Kleinsinger was a lawyer by day, John S. Wilson of The New York Times put Kleinsand an avid jazz fan at night. He was one of those inger on the map, and he launched what was to becats who spent a lot of time in the cornucopia of jazz come the longest running series of jazz concerts in clubs that were present on the New York City jazz New York City. scene. Like most of those who frequented the clubs, This year Highlights in Jazz (www.highlighthe became friendly with many of the musicians who sinjazz.org) is celebrating its 37th, and, unfortuplayed in them. One evening, he went to see Zoot nately, final season. The slowdown in the economy Sims and Bucky Pizzarelli, and was encouraged by has caught up with Kleinsinger, and he has decided them to do something productive with his enthusithat it is time to end what has been a bedrock of the asm for the music like buying into a club or putting New York City mainstream jazz scene. He is going on some concerts. out with a big bang, as the fall series indicates. There The seed was planted, and Kleinsinger apare four monthly concerts scheduled for the second proached the Theater de Lys about producing a jazz concert on a Monday night when their regularly Thursday of each month at TRIBECA Performing scheduled dramatic offerings were dark. They agreed, Arts Center. Opening the series on September 10 will be and he booked the theatre for two nights. On the first evening, he presented a program that included tenor a program titled Cabaret Jazz that will feature As we enter the autumn of 2009, there are ample opportunities for those in the New York/New Jersey area to feast on a lot of terrific jazz at a variety of venues. PAMELA LUSS with HOUSTON PERSON SWEET and SAXY, NEW ALBUM AND CD RELEASE EVENT Sweet and Saxy, produced by and featuring Houston Person, to be released on September 29, 2009 by Savant/HighNote Records. Pre-orders are available now at online-stores. For more information, visit www.pamelaluss.com. On her fourth album for Savant/HighNote Records, Pamela joins forces with the veteran sax man and producer, for a fast moving set of ballads, blues, and scintillating swingers. Houston Person (tenor saxophone), John di Martino (piano), James Chirillo (guitar), Ray Drummond (bass), & Willie Jones III (drums) The CD RELEASE EVENT will be at THE JAZZ STANDARD (116 East 27th, between Lexington and Park Ave) on Wednesday, Oct 28th (7:30pm & 9:30pm) Reservations Required- 212-576-2232. “...Luss’s vocal instrument is beautiful, cooing and intense, with a kind of steely tenderness.” —Cadence magazine 66 September 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com pianist/vocalist Barbara Carroll and vocalist Paula West with their bands. Hot Jazz from New Orleans to Israel will be the theme of the October 8 concert. Among the featured performers will be clarinetists Evan Christopher and Anat Cohen, trumpeter Duke Heitger, trombonist George Masso, pianists Ehud Asherie and Johnny Varro, and drummers Jackie Williams and Joe Ascione. Living Jazz Legends will be the focus on November 12, with clarinetist Buddy DeFranco fronting a group that includes fellow clarinetist Ron Odrich, guitarist Joe Cohn, bassist Jay Leonhart and drummer Ed Metz Jr., and guitarist Bucky Pizzarelli headlining with support from his sons, guitarist/vocalist John and bassist Martin, plus drummer Mickey Roker. This will mark the 30th appearances at Highlights in Jazz by Pizzarelli and Leonhart, more than any other musicians who have participated in the series. Concluding the fall series will be a program called Celebrating the Swing Masters. Clarinetist Ken Peplowski, vibraphonist terry Gibbs and guitarist Freddie Bryant will lead groups paying tribute to Benny Goodman, Lionel Hampton and Charlie Christian respectively. Following the tradition mentioned earlier, there will be surprise guests joining in at each of these events. Kleinsinger will be continuing his final year with an additional four concerts in the spring. If this is to be the final season, a certainty unless some unexpected sponsor suddenly comes forward, it sounds like Highlights in Jazz and Jack Kleinsinger will be ending things with a lot of great music. Tribeca Performing Arts Center The TRIBECA Performing Arts Center (www. tribecapac.org) at the Borough of Manhattan Community College will present a three concert series, Monk in Motion, on December 5, 12 and 19 featuring the top three finishers in the Thelonious Monk International Jazz Competition. The 2009 competition will focus on bass players. Jazz At Lincoln Center Jazz at Lincoln Center (jalc.org) has an exciting lineup of concerts scheduled in both the Rose Theater and the Allen Room. Among the programs in the Rose Theater are Ornette Coleman on September 26, The Ladies of Duke Ellington on October 1517, Soul Jazz of the ‘60s on October 22-24, Wynton Marsalis on October 29-31, Mary Lou Williams Centennial on November 13-15, and Red Hot Holiday Stomp on December 10-12. The Allen Room will feature Monty Alexander: Harlem-Kingston Express on October 2-3, Dianne reeves on October 30-31, Maceo Parker on November 13-14, and Kim Burrell on December 11-12. Of course, there is always great jazz every night at Dizzy’s Club Coca-Cola, the other venue at JALC. To Advertise CALL: 215.887.8880 Carnegie Hall There will be two ongoing jazz series at Carnegie Hall (www.carnegiehall.org), Shape of Jazz and Just Jazz: The Joyce Wien Series. The first concert in the former series, Terrence Blanchard will be given in Zankel Hall on October 28, with the others in this series taking place in the spring. Just Jazz will present two fall concerts, Esperanza Spaulding on October 28, and Hiromi, Kenny Barron and Roger Kellaway on December 3. Both performances will take place in Zankel Hall. Miller Theatre org). Their fall schedule includes several attractive jazz offerings. Paquito D’Rivera appears on October 31, the Spanish Harlem Orchestra and the Tito Puente, Jr. Orchestra are there on November 1, the all star trio of Keith Jarrett, Gary Peacock and Jack DeJohnette bring their music to NJPAC on November 20, and on December 5, the Branford Marsalis Quartet and the Maria Schneider Jazz Orchestra will share the stage. SOPAC – South Orange Performing Arts Center The Miller Theatre Jazz Series (www.millertheatre. com) at Columbia University is presenting five concerts, with the Cyrus Chestnut Trio on October 9, the Marty Ehrlich Rites Quartet on October 24, and A Christmas Journey with Eric Reed on December 11. There will be two additional concerts in February, The Carla Cook Quintet on the 12th, and the Damien Sneed Gospel Express on the 26th. Reduced price tickets are available in subscription packages. The South Orange Performing Arts center (www. sopacnow.org) will present The Manhattan Transfer for two concerts on December 6, and Dianne Reeves for a holiday concert on December 20. To Advertise CALL: 215.887.8880 September 2009 Bickford Theatre Jazz at the Bickford Theatre is a popular series at the Morris Museum (www.morrismuseum.org/static/ bickford), celebrating its 10th Anniversary this season. The Fall schedule includes pianist Tom Roberts Dix Hills Performing Arts Center, on September 15, String of Pearls on October 5, tromLong Island bonist Dan Barrett on October 19, the Midiri-BarnOn Long Island, The Dix Hills Performing Arts hart Trio on November 2, Fete Manouche, a DjangoCenter (www.dhpac.org) at the Five Towns College style group with Dan Levinson, on November 16, will be presenting several jazz concerts. They include and pianist Rossano Sportiello on December 7. Arnie Gruber: Tribute to Neal Sedaka & Marvin A sister series takes place at the Ocean County Hamlish on September 11, Tribute to Latin Jazz Library in Toms River (732-255-0500). There are with the Steve Kroon Sextet on October 16, Tribute four concerts scheduled with Ivory and Gold (Jeff to Bill Evans with pianist Gerard D’Angelo on Octoand Anne Barnhart) on September 23, Dan Barrett ber 30, Jazz for Kids Workshop with Cat da Silva on and Friends on October 14, Kevin Dorn’s Traditional November 15, An Evening of Jazz with the FTC Jazz Jazz Collective on November 18, and the Warren VaOrchestra and the Vocal Jazz Ensemble, and Guiché Trio on December 16. tar Extravaganza: Salute to Guitar Legends Johnny Ramapo College (www.ramapo.edu/berriecenSmith, Al Viola and Tal Farlow on December 11. ter) is the site of the Jazz at the Berrie Center series. They will present A Night of Salsa! With Larry Harlow New Jersey and the Latin Legends Band on October 10, Swingin’ Cape May Jazz Festival the Great American Songbook with the Rachel Price Twice each year, the Cape May Jazz Festival (www. Quartet on October 24, and It’s Christmas Time! capemayjazz.com) attracts thousands of attendees to with the John Pizzarelli Quartet on December 10. this charming village at the southern end of the JerThere is an active college jazz scene in New Jersey Shore. On November 6-8, the 32nd event in this sey with jazz studies programs at Rutgers University series will be A Tribute to Count Basie. Performances in New Brunswick (www.rutgers.edu), William Pattake place at a variety of venues. Among the featured erson University in Wayne (www.wpunj.edu), New performers during this three-day jazz celebration are Jersey City University in Jersey City (www.njcu. Houston person, Richie Cole, Ravi Coltrane, Denise edu), Rowan University in Glassboro (www.rowan. Thimes, Barbara King and Teddy Royal. edu), and Princeton University in Princeton (www. Another staple in the world of New Jersey jazz princeton.edu). William Paterson University has a is the annual Giants of Jazz concert in South Orange Jazz Room Series with Mulgrew Miller and Friends (www.southorange.org/TheBairdArts). Each year, on October 4, Ben Allison on October 11, The Carl the Friends of the Arts in South Orange salute a jazz Allen-Rodney Whitaker Project on October 18, Paul master at this concert. This is the tenth year for the event, and the honoree will be pianist Barry Harris. Meyer’s World on a String Quintet on October 25, voAmong the parade of jazz greats who will be hon- calist Carrie Jackson on November 1, and Frank Wess oring Harris will be Dr. Billy Taylor, Hank Jones, on November 8. On Monday, October 8, New Jersey Benny Powell, Frank Wess, and many, many more. City University will host a concert featuring saxoThe South Orange Middle School auditorium is al- phone legend James Moody. There is a lot of other ways packed to overflowing for this popular concert. concert activity at each of these schools. With all of these concerts coming along, there are a variety of styles and venues available to please New Jersey Performing the tastes of all jazz enthusiasts in the New York MetArts Center One of the gems on the Newark cultural scene is the ropolitan area. In addition, there is plenty of music to New Jersey Performing Arts Center (www.njpac. enjoy nightly at the many jazz clubs around town. • Jazz Inside™ NY • www.jazzinsidemagazine.com 67 Around Town Two Hot Days of Cool Quintessential Jazz 7th Annual Jazz Festival Oskar Schindler Performing Arts Center Saturday and Sunday, September 12 and 13 Credit: Eric Nemeyer The Oskar Schindler Performing Arts Center (OSPAC) announces that the Seventh Annual Jazz Festival will be held on September 12 & 13 at the spectacular OSPAC Amphitheater at Crystal Lake, 4 Boland Drive, West Orange. This event is $10 for adults and $5 for seniors. Children are free. Admission is taken at the entrance. For the seventh consecutive year, the Oskar Schindler Performing Arts Center will present an entire weekend of world-class jazz entertainment emceed by WBGO’s Gary Walker, in an open-air setting, complete with international food vendors, artisans and crafts, health spa center, and entertainment and activities for children. This weekend will also include “Paint the Music” led by Nitza Horner, teaching artist and freelance educator affiliated with the Metropolitan Museum of Art, where patrons will paint what they hear. “The OSPAC Jazz Festival has grown in seven years to be the most talked about jazz event in the area,” said internationally renowned jazz singer and OSPAC’s Executive Director, Kate Baker. “And this year’s event will be more spectacular than ever. Our lineup of artists is an international mix of quintessential jazz stylists and modern and cultural jazz interpreters.” “What makes this venue special is not only the beautiful surroundings where you can stroll around the lake, but the superb sound that you can hear from every location,” said guitarist Vic Juris. Dave Stryker 68 Rene Rosnes This year’s stellar lineup includes: GRAMMY® Award-winning New York Voices, Dizzy Gillespie All-Stars featuring John Lee and special guests; A Tribute to Antonio Carlos Jobim with Vic Juris, Kate Baker, Nilson Matta, Mauricio Zottarelli, Café, and Steve Wilson; Dave Stryker and the West Orange AllStars featuring Billy Hart and Steve Slagle, OSPAC Jazz Workshop Big Band, Cecil Brooks III and Hot D.O.G. featuring Matt Chertkoff, Ali Jackson Trio with Aaron Goldberg and Carlos Henriquez, Nat Adderley, Jr. Trio, Mayra Casales Latin Band with Cuban drummer Francois Zayas, Enrico Granafei, Pam Purvis and the Bob Ackerman Quartet, vocalist Steve Lovell, Bob Devos Organ Trio featuring vocalist Kevin Burke, and Oscar Perez Nuevo Comienzo. Latin Giants Orchestra brings Tito Puente’s All Star Orchestra back together again – September 12 at CUNY York The Latin Jazz Giants will appear at the CUNY York Perforing Arts Center on September 12, 2009 at 8PM and 10PM., 94 - 20 Guy R. Brewer Blvd, Jamaica, NY. The LJG are led by John ‘Dandy’ Rodriguez, directed by Jose Madera with Mitch Frohman each of whom have spent over 25 years working beside Tito Puente. The focus of the band driven by the dedication to keeping the sound of the 40’s and 50’s Palladium era music thriving and moving forward. The orchestra has successfully kept the sound of the Big 3 (Machito, Tito Rodriguez and Tito Puente) alive and well, while allowing for its progression by working with new musical concepts. Formerly the Tito Puente Orchestra, this incredible ensemble under their new name Latin Giants Orchestra, is comprised of an array of creative, experienced musicians. Transcending boundaries, September 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com the passion of this ensemble’s big band sound and hot Latin rhythms beckons all to the dance floor. Sep 12, 2009, from 08:00 PM to 10:00 PM, CUNY York Perfoming Arts Center, 718-262-3750, www.york.cuny.edu, $20.00 Adults $10.00 Students & Seniors. 5th Annual Diet Coke Women In Jazz Festival Diet Coke and Jazz at Lincoln Center, the notfor-profit arts organization dedicated to inspiring and growing audiences for jazz hosts the 5th Annual Diet Coke Women in Jazz Festival at Dizzy’s Club Coca-Cola. The festival, spanning nearly a month, celebrates the great contributions women performers have made to jazz music. The festival will feature nightly performances by some of the most influential women in jazz today as well as up-and-coming artists September 7 through October 5, 2009. The festival is held at Dizzy’s Club Coca-Cola located in the home of Jazz at Lincoln Center, Frederick P. Rose Hall, Broadway at 60th St, 5th floor. The schedule includes: Monday, September 7 – UPSTARTS!, Amina Figarova Quintet; TuesdaySunday, September 8-13: Rene Rosnes Quartet w/ Lewis Nash, Peter Washington & Special Guest; Monday, September 14 – Special Presentation, Elana James & The Hot Club of Cowtown; Tuesday, September 15: Marian McPartland & Friends; Wednesday-Sunday, September 16-20: Marlena Shaw w/ Sherrie Maricle & The DIVA Jazz Orchestra; Monday-Tuesday, September 21-22 – Special Presentation: Valerie Capers Quintet; Wednesday-Sunday, September 23-27: Carmen Lundy Quintet w/ Special Guest Bobby Watson – 7:30pm & 9:30pm only; Monday, September 18 – Special Presentation: Evi Siamanda Sings Mimis Plessas; Wednesday-Sunday, September 29-October 4: Karrin Allyson & Nancy To Advertise CALL: 215.887.8880 King – 7:30pm & 9:30pm only; Monday, October 5 around the time of his debut album Findings, which the saxophonist cites as a highly creative period for – Special Presentation: Nikki Yanofsky Dizzy’s Club Coca-Cola, 5th floor, Frederick P. him. “Half the songs on Escaping Shadows were writRose Hall, Home of Jazz at Lincoln Center, on Broad- ten before the first record came out,” he says. “For way at 60th Street, New York City. Cover charge for example, I had hopes that the tune “Escaping Shadweekly headliners is $30 Tuesday-Thursday and Sun- ows” would make it on to Findings, but there wasn’t day; $35 Friday and Saturday; $20 Monday; $10 After enough time in the studio to record it. It turned out Hours. Student rates are: $15 headliners, $10 Monday for the best because I restructured it, building in new elements and making it stronger.” and $5 After Hours. The food and beverage minimum Reid recorded Escaping Shadows with his own is in effect for all sets: $10 at the tables, $5 at the bar. group to build upon the rapport the members develCall (212) 258-9595 or visit www.jalc.org. oped while working on the road together for the past two years. “We are a family. We’ve developed a way to work on my compositions and grooves.” Members of Benny Reid CD on Concord the group include guitarist Richard Padrón, word- Release at Jazz Standard, less vocalist Jeff Taylor and percussionist Ryan Fitch, all of whom also played on Reid’s debut album. In adSeptember 16 dition, Reid recruited pianist Pablo Vergara, bassist Daniel Loomis and drummer Kenny Grohowski. Concord Jazz releases Escaping Shadows, the Yet Reid’s alto takes the melodic lead on the sophomore album from alto saxophonist and band- tunes. He says, “I want to create the most beautiful leader Benny Reid – who will be appearing at the melodies I possibly can.” That’s especially the case on Jazz Standard for a release party on September 16. the sublime tune, “The Most Beautiful Girl I Ever On his new release, 28-year-old Reid reveals the next Knew,” which is dedicated to his sister who passed vital step in his maturation as an adventurous artist away when Reid was 13. “She inspired me,” he says. “I and an ambitious composer. The album features nine wrote this in college in a practice room. It was a very originals and one cover song. emotional experience for me. I escaped into the muProduced by Reid and Chris Dunn, Escaping sic after her death, knowing that I would honor her Shadows spotlights Reid and his band as embark- with it someday.” He also adds, “I’ve always found my ing on a passionate, largely upbeat and lyrical jour- musical voice the truest way to express my feelings; ney. The album includes pieces that were written it’s easier for me to pick up the saxophone and express Stay posted for the New Release of: Behind the Smile Mulgrew Miller, Bill Easley, Kenny Washington, Peter Washington. With original music by Antoinette Montague & songs by Sam Jones, William “Smokey” Robinson, Duke Ellington, Big Bill Broonzy. myself creatively through my horn, than it is through my speaking voice. I feel that I can find the heart of my soul when I play. I try to create the most moving melodies possible that represent my influences. My sister is my most dominant influence, and I strive to achieve some sort of musical comparison to her with every song I write.” A graduate of the prestigious music program at Indiana University, Reid grew up in a musical household where he was exposed to a variety of styles. From his New Jersey home, he would often go to New York to catch such musicians as Sonny Rollins and Phil Woods and even participate in jams at the Blue Note and Smalls. An early mentor was Buddy Rich’s alto saxophonist Andy Fusco, and Reid began writing music when he was 14. While his musical interests ran the gamut from the brass-infused pop band Chicago to the King of Pop Michael Jackson, guitarist Pat Metheny was his biggest influence. “I remember as a child being in my father’s arms while he danced around the house to Metheny music,” Reid says. “He was Pat’s biggest fan. So I soaked that influence and it hit me hard as I started to compose.” Escaping Shadows ends with the title track, which opens with a slow and extended introduction before buoying with highly textured energy. Reid says the tune represents growth. “I’m trying to come into my own,” he says. “So I am escaping the shadows of my influences and finding myself. I’m still evolving as a player and a composer. That’s what Escaping Shadows is all about. I’m on the way.” Thu. September 3rd AmericAn muSeum of folk Art w/Bill Wurtzel and the Jazz Icons Featuring Antoinette Montague Celebrating the Jazz Quilt • 6 –7:30pm After Celebration at: o’neAlS red bAr 50 West 65th St, NYC • 212-787-4663 8:30 –11:30pm Thu. november 5tH tHe kitAno 66 Park Avenue at 38tth Street, NYC 212-885-7119 Check website for updates Sat. november 7tH JAzz veSperS at St. Albans Congregational Church St Albans, Queens • 6 –7:30 pm Montague Antoinette For Bookings: Call 203-820-8819 or E-mail: [email protected] www.antoinettemontague.com Ad design: Danita Albert • Photo: Andrew Lepley To Advertise CALL: 215.887.8880 September 2009 *Also Check out our new website! • Jazz Inside™ NY • www.jazzinsidemagazine.com 69 Interview Michael Lazaroff – Jazz Cruises LLC By Eric Nemeyer JI: How did your fascination with jazz and how that developed first of all. ML: My father was a really top notch amateur saxophone player, played all the time at home. He used to play those Music Minus One albums, remember those? JI: Sure. ML: I was a drummer so I might play a little bit. I wound up more in the concert band than in a jazz band, but really loved music. JI: That was out in St. Louis? ML: Yes. What was interesting was that my mother was in the travel business, and her second husband also really liked jazz and that’s when she got involved with jazz cruises. This was almost 30 years ago. She became the largest seller of cabins to the point where they really became to rely upon her. So in 1999, when they dropped the program, mom at age 70, decided that she was going to be the first person ever to charter a full ship to do this thing. I started helping her with that and it was an instant success, and then we started with the Smooth Jazz Cruises and then the Playboy Jazz Cruise and things like that, North Sea Jazz Cruise, and it has just been a format that has worked for us and it really fits the cruising. You know what a Venn diagram is? JI: No. ML: Okay, a Venn diagram – it’s like concentric circles. If you take a circle and that is the population of everybody who loves jazz, and then you take a circle of everybody who is a likely cruiser, that little intersection, there’s going to be a little intersection, and that’s our market. And, there is a market. Jazz tends to be a little more high end, a little bit older, a little more whatever, and it really fits the cruise concepts and that’s how we’ve really tailored all of our programming and all of our marketing. It’s an adult cruise. We get rid of all of the crazy cruise stuff and you can clean that up. We get rid of all of the standard, lowest common denominator cruise activities. When a regular cruise does activities, they don’t know who’s going to come on board. We know who’s going to come on board. We’re going to have 2,000 music lovers who love jazz and so we change the music, which is in the public areas. We change all the events. Everything is around the music, okay? And the highest level of performers and the highest levels of performances. We’re very careful to make sure that the sound and the rooms and everything work perfectly for our guests. We want the greatest experience because all the other stuff is there. We have a beautiful ship, great food, great service, tremendous in70 teraction between the guests and the artists. I mean, they get to see these people for a week. They get to see them in ways that they don’t see them otherwise. The other thing, which is cool, is the artist themselves. Typically, if you go to a concert or an event, the artists have to worry about where they’re going to be the next day and the plane, and this, and then that, and the guests have to worry about where they park their car, and if there’s a babysitter, and what they’ll have to do. Well, on a ship, none of that’s true. One of my favorite lines is all you have to do at the end of the night is find your way back to a cabin – doesn’t even have to be your cabin, just a cabin. It really creates a very relaxed atmosphere. And because these guys are on the ship for the whole week, they mix and match in ways that could never happen. You couldn’t afford to have a concert the way we have these cruises with all these artists and the way they mix and match. I remember that on one of our Smooth Jazz Cruises, at one point in time, on the stage was David Sanborn, Marcus Miller, Arturo Sandoval, Dave Koz … I forgot who else. But those guys have never played together before, and they will never play together again. It was an amazing event. Those are the kinds of things that happen on the cruise environment because the artists get paid well. But there’s also a little bit of vacation element to it. They bring their spouses and their spouses love it because the spouses don’t get to go on the road with them. The other thing that the artists have found is that it’s a great hookup situation for them with other artists. I can’t tell you how many projects have come out of these guys being on the ship together. They hook-up for tours. Probably the most interesting line ever was Kirk Whalum www.jazzcruisesllc.com September 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com told me, “You get the best performances that we do all year.” I said, “Why?” He said, “Because we never perform in front of our colleagues and nobody wants to be the weak link.” So there is that element going on too. But it’s all about the guests. From the time we started, we cherish our guests. We want them to come back and back, and they do. 60% of all of our guests are people that have cruised with us before and we want them to have the greatest vacation, the greatest experience. We want them to walk off that ship just thinking they had the best time ever. They usually do because again, they vote with their check books. They vote with their feet. They come back. I am greatly appreciative and I take very seriously of the trust that these people give us because they now book our cruise because it’s us and every single cruise, I have a meeting with all the artists before the ship sails, and I tell them the same thing, same thing every time. There’s 1,800, 1,900, 2,000, whatever the right number of people on this ship who have taken a week out of their lives and a bunch of money out of their bank account to have a good time and because we are promising them a great vacation and we’re going to provide that for them. There is no stone unturned. We believe in the highest quality of everything that we do. We believe in service, we take care of people. We want this to be special and it is special. The other thing is, it’s a whole lot of fun and that’s the best part. You know, somebody said the other day that if you love what you do but then you never work a day in your life. Well, for the past five, six, seven, eight years, that’s how my life has been. It has been wonderful. JI: So how often is the shuffle board court used on your cruises? ML: [laughs] For shuffle board? Never. But for dancing, quite often. Those are the kinds of things that we get rid of. We don’t have any of that nonsense. JI: Is the personnel and the cuisine the same as on the non-jazz cruises? ML: Yes and no. We’re able to massage it. We go on a cruise the week before to get the cruise ship ready. I can tell you that the wine lists are better. We have certain events, food events that are different. We definitely kick it up a notch. JI: The last time we spoke you were talking about your interest in cooking, and becoming a chef. Was this something that began as an outgrowth of your experience on the cruises? ML: No, that began when I was a kid. I used to watch cooking shows long before there was the Food Network. On public television they have the The Galloping Gourmet and that guy from Seattle, the Frugal Gourmet. I used to watch Julia Child and I used to cook as a kid. To Advertise CALL: 215.887.8880 “They say that you can tell something about somebody based upon their friends. I think you can tell something about people based upon their music taste. If you like jazz, which is improvisational, which is free flowing, which has very few rules, okay, has from the get go been an ethnically and rationally diverse - then the odds are you’re going to be a pretty accepting kind of nice person.” ML: People don’t realize how many elements have to come into play to make the cruise work. None of it is brain surgery, but it is like a mosaic. It’s a whole bunch of little things that have to be there in order for there to be a picture. Getting artists signed, getting them to the ship, rehearsing, getting all of the programs ready, getting all of our equipment on board, getting ready for the shows, working out the performance schedules – just all of that. Then doing the same thing for 1,800, 1,900 guests. For 7 days, we serve 3 meals a day and do how many shows for 7 days, for 1,800 people. It’s a lot JI: You were talking about the week that you spent then you do what feels right. What feels right? What and it’s all about details. You’re at sea, you’re on a ship. developing your skills as a chef with Italian cuisine. I tastes right? Marcus Miller once told me the most You’ve got limited resources and you have limited cawould just love to hear you talk a little bit about your important thing is – do you have something to say? pability. That’s why we go on the ship the week bepasta experience and how you made fresh pasta again. Do you have something worthy to say when you play fore to get everything ready. I don’t understand how your instrument? Cooking is the same way. In other anybody does any kind of charter by walking on the ML: Well I went to the Culinary Institute of Amer- words, if you have something here is this something ship at the same time as they do with their passengers. ica for a week and it was Italian cooking boot camp. I that has layers of flavors and texture and is right, or That is just astonishing to me. It’s just a tremendous learned how to make homemade pasta and all kinds are you just making something to eat? There really amount of detail and we spend lots of time creating of sauces and things like that. Every other week on is a real difference between cooking and just mak- lots of charts and lots of schedules because we choSaturday morning, I go up to the Italian section of ing something to eat. But just like jazz, it is fun to reograph that cruise from the time the guests walk on St. Louis called the Hill, and I buy all my provisions. be surprised. It is fun to hear something new, to do that ship, until they walk off that ship. I will make sauce every other Saturday and make something new. It’s fun to share. Jazz is a real sharing thing, the way the artists share and that’s what food a big pot, freeze them in bags, and use them. Then JI: How many events are going on simultaneously? is. You share with people and kind of work together. on Sunday’s I make pasta. I happen to really like my It’s all about living a good quality life. sauce. At this time of the year, it is particularly fun ML: It really depends upon the cruise. On the Jazz because you can really use really good fresh tomatoes JI: What have been some of the challenges that Cruise, which is our straight ahead Jazz Cruise, that and they’re in season here in the Midwest and it re- you’ve experienced in developing the jazz cruises, or is done festival style. We will have five and seven sets ally makes it special, really special. I love cooking. I actually on any particular cruise? Continued on Page 44 cook all the time and I cook for other people and my kids. That’s just when I’m done working and when I’m done working out. I’ll go home and I’ll open up a Northern Manhattan has gotten bottle of wine, pour myself a glass and I’ll cook somejazzed up!! Every other Thursday thing, listen to some good music and all life is good. In Association with MightyDreamer Angel JI: It sounds like it. You mentioned that there may be an outlet for you to express your culinary expertise on ship. Presents: MightyDreamer Angel Jazz Series ML: Oh, I’m going to do a cooking exhibition on the ship. There ain’t a question about that. I don’t know what it will be. I haven’t decided yet. You’re limited because of the presentation areas. I might do a scalloped dish with bacon and raisins and dried cherries and nuts and stuff. It has a little flare to it. You kind of flambé the pans. So I can set the ship on fire – always a good thing to do. To Advertise CALL: 215.887.8880 on vocals, keys and percussion on guitar on bass on drums Nori Naraoka Jensi Florentino on bass on percussion Also appearing on vocals Ron Austin and Gia Williams Next Show: September 10th, 2009 Anacaona Dominican Theater - inside Culturarte, NY 260 Audubon Avenue, 1 block east of 178th Street and St. Nicholas Avenue JI: Now, the essence of jazz is about improvisation and preparing a meal can embody some of those same kinds of elements. Do you have some comments about that? ML: Well, absolutely. I mean, my daughter is going to La Cordon Bleu to be a pastry chef okay – and that’s more chemistry. Decorating, there’s a lot of things there, but you have to follow the recipe. Cooking is like jazz. There are some basics. There are the standards and there are some basic elements to it, but Sharon L. West Yoshiki Miura Ian J. Baggette Masahiro Sakuma 11 powerhouse bi-weekly Thursday performances continue JI: And enough space in the lifeboats until they get the flames put down? ML: Exactly right, exactly right. experience a superior level of jazz performances by NY top jazz professionals from around the country in Washington Heights. PURCHASE YOUR TICKETS ONLINE TODAY AND SAVE 10% Use discount code: TAINA www.culturarteny.com www.mightydreamerangels.com For full list of weekly events visit www.culturarteny.com September 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com Lead Vocalist Sharon L. West 71 Interview Nicole Pasternak By Eric Nemeyer JI: Can you talk about some of the things that are currently happening in your career that you are excited about? a so-called battleground state. At first it was kind of unnerving, knocking on peoples’ doors, but I ended up feeling really grateful that I stuck my neck out, introducing myself to perfect strangers and doing my NP: I have always loved to travel, airlines notwith- part to put a positive face on positive change. Also, I standing, and luckily more and more I’ve been in- have done volunteer work for “Songs of Love,” an orvited to perform in other areas of the country. I love ganization where we write and record personalized, getting out there and meeting new people and trying one-of-a-kind songs for children facing life-threatnew situations. I also really love getting the chance to ening illnesses. That puts music in a most powerful tour a bit with my husband [tenor saxophonist Ralph place, for me. Beyond that, spending time with famLalama]. I’m sure you understand how lucky and ily and friends keeps life in balance, along with the special an experience that is, to share life as a “jazz pursuit of my spiritual life. couple.” Last fall we had an awesome time in Tennessee. This summer we are heading out to Michigan to JI: Who are some of the influential artists with tour. I love this country and during these tough times whom you have performed that have created deespecially it’s meaningful to reach out and connect mands and challenges for you, therefore influencing with people in such a personal way, through jazz. JI: In addition to your involvement in music, what other activities help provide balance and fulfillment in your life? “You can immediately tell when someone is just saying something to say something, versus saying something because they feel honestly moved to do so.” NP: I am an avid current events and world events follower; this helps me keep perspective on my life – your development, perspective, life understandings, staying aware of what’s going on around the world. I and personal growth? How have they done so? also volunteer. I worked for the Obama campaign, in NP: Two people and experiences come to mind. First, Ralph Lalama. I had the opportunity to perform at Jazz at Lincoln Center – Dizzy’s Club Coca-Cola, for the Women in Jazz festival last September. Ralph encouraged me to do it with his chord-less trio, “Bop Juice”: Ralph on tenor, Pat O’Leary on bass and Clifford Barbaro on drums. Most people associate a vocalist with a piano or guitar, so not only was I stepping out of my comfort zone I was concerned about the listeners, too, whether it would be too stark a sound for them, not vis-à-vis the musicians but as a context for a singer. Anyway, we worked out some arrangements that included some not-so-easy parts for me to learn, for example Hank Mobley’s solo on “Remember” and Kenny Dorham’s “Short Story”, where I had to learn the trumpet part. There’s this one harmonic interval in the coda that I had to study for days before I finally got it in my ear, thanks also to Ralph’s encouragement. We had five nights in a row – I’d never worked anywhere for five nights straight. I felt like I journeyed a thousand miles between the first night and the last, and that really grew me as a singer. It was daunting, but in the end I’m grateful that Ralph pushed me to do it. He’s had the greatest influence on me. Second, John Harbison. Late last summer I received a last minute call from my friend, trombonist Tom Artin, to step in for another singer at his friends’ chamber music festival in Token Creek, Wisconsin. This was to be with the world-renowned, Pulitzer Prize-winning American classical composer, John Harbison and his wife, Rosemary Harbison, a concert violinist. Later I learned that this is their old family farm where they go annually to hold their festival and where in recent years they’ve added a jazz component. The next morning I was on a plane and straight to rehearsals with a quintet that included Harbison himself at the piano. 72 September 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com We would do three concerts in two days. I had to be fairly specific with my parts and stick to the pre-set program, while still stretching it out a bit. Everything worked out, fortunately, and the musicians and the people could not have been nicer. It was something, to be suddenly immersed in their musical world. At one point during my stay I was invited to a rehearsal of a work by Harbison for classical voice and piano, a work that was obviously challenging. As I sat cross-legged on the floor near the composer, following the score and observing as he perfected the minutia of it – I witnessed the astounding ability of these two young artists and Harbison’s level of composition. I felt dwarfed by the enormity of such music and a composer of such magnitude – yet so down-to-earth – with whom I was singing jazz just the night before and would again, that evening. Stepping outside the rehearsal barn into the sunlight on their Wisconsin farm, I was physically moved to tears. It was like an energy field; a humbling, life-changing experience. JI: What are your top five desert island vocal albums, and please state why. NP: You said vocal albums; many of my favorite vocal albums are the ones where a voice is paired with an instrumentalist. I love that sound. Think Ella Fitzgerald & Louis Armstrong, Rahsaan Roland Kirk & Al Hibbler, Houston Person & Etta Jones, even Chet Baker and his own horn! Well, if I have to narrow it down to just five: (1) Astrud Gilberto & Stanley Turrentine, Gilberto with Turrentine. Classic CTI sound, circa 1971. I wore through two LPs of this record; just love their sound together and apart. Memorized the whole thing and cannot imagine being tired of hearing it, ever. Arranged by Eumir Deodato – it’s stellar. I love the Brazilian sound combined with that fat, funky, Pittsburgh sound. (2) Billie Holiday & Lester Young, “Complete Recordings.” I’ll never stop learning To Advertise CALL: 215.887.8880 “No, America, no jazz”. from Billie Holiday. I’d want her sound near me, forever too. And again, the sax and the voice so perfectly combine in pure jazz feeling, I’d like to sing and strive for that sound ideal, on my desert island. (3) John Coltrane and Johnny Hartman. A perfect mirroring of horn and voice, thought and feeling. Totally moving. Hartman’s voice is like an angel and Coltrane’s voice is god-like. (4) Jody Sandhaus, A Fine Spring Morning. Jody is one of my nearest, dearest friends and I would always want to be able to hear her voice; I’m in awe of it, and it always touches my heart. (5) James Brown, “Greatest Hits,” especially the stuff with Maceo Parker. I love the energy and physicality of his voice and music, and I imagine I’d be sharing this desert island with someone who would dig it, too, if you know what I mean! I got to have James Brown!! JI: Self consciousness can be the enemy of creativity, and it takes the most strength for a singer to diffuse it. If you’ve experienced that kind of performance anxiety or nervousness in your career, what helped you and how did/do you overcome it? NP: If you’re talking about live performance creativity, i.e., phrasing, improvising, etc., I try to overcome that by focusing my ears on what’s going on with the music in the moment because my instincts take over if I’m really listening, instead of thinking ahead of something I know will “work.” Another thing that helps me is to focus my attention on individuals in the audience. That helps me connect and get over the jitters. If I can’t see the audience, I just try to tell myself to not take myself seriously – the music is what matters, not me. If it’s recording in the studio, I haven’t figured a way out of that one yet. I thrive on live performance, but recording wigs me out. I just don’t do it often enough to have mastered it. JI: What were some of your early influences and turning points that solidified your desire to follow this life path as an artist? NP: Music was always in our house, thanks to my mom, dad and others. I came from seven children; I don’t recall anybody telling us what we should be when we grew up. I think having older brothers involved in music made me feel like it was just as normal to be a musician as anything else and I looked up to them. I admired that they could write their own songs and wondered what it would be like to write something of my own. I loved all kinds of music and absorbed it like a sponge; and I loved people. So once I did get going in music it just felt good to do it. I would say that’s what solidified my desire, that it just felt good to do it. Later on, the encouragement of others sustained me. It was a turning point when I finally began writing my own music and lyrics, because I felt a different and higher sense of purpose, to actually contribute something original. Other turning points have been moments when I felt down about myself but that often precedes a growing/learning phase, and over time you realize that that’s just part of the process. NP: My folks made sure we had a piano in the house. I didn’t get lessons but my older siblings must have rubbed off on me because I do remember playing piano and reading sheet music as a kid. Then in third grade I was given a scholarship to study classical violin. I pursued that for years but had to give it up after an accident that affected my hand. I played and sang in high school jazz band and other bands outside school; some guitar, mandolin, keyboard, but mostly singing. Had I known I would be involved in music professionally as a singer, I might have pursued an education. In my twenties I did study voice for a brief while. But ultimately, I received my training on the bandstand. That’s where I developed my skills – thanks to all those musicians. The steps I took to get to where I am now were to just take all the gigs I could, listen to all the music I could – especially live music – and learn tons of songs. JI: What advice do you have for young singers who are looking to develop their own voice and the ability to do this professionally? NP: I say it’s okay to imitate your favorites, early on. This gets you singing and gives you a foothold and a repertoire. Learn as many melodies and lyrics as you can stuff into your brain – make lists and check them off, one by one. In terms of developing your own voice, I was given some wise advice when I was young. A great teacher, Charlotte Anthony, listened to me sing several times without comment. Then one day she instructed me carefully to, “Say the line first, and then sing it.” I don’t remember what tune it was, but that simple step really helped me connect with my very own voice. When I said the words first and sang them next, I remember I hit this one note and burst into tears. That was the spot to aim for, she said. “Even people who are tone deaf can tell when you are faking it.” So my advice is to strive for emotional honesty, and people will hear it and be drawn to you. Lastly, if you want to do this professionally, learn to ignore the critics and respect the musicians. JI: What is it about jazz that draws you to it? There are so many styles of singing – why jazz? NP: It’s just the most comfortable way for me. You can never grow tired of it. You never grow too old for it. There’s always a new day and a new way. JI: What is the most rewarding facet of your life as an artist? NP: Being embraced by musicians and people, being welcomed into their lives because of what I am able to bring as an individual to the music. JI: What is the greatest compliment that a listener can give you? JI: Could you talk about your musical background? What steps did you take to get where you are now? What were your studies like? How did you develop your skills? NP: A compliment that comes from the heart, which is truly sincere and gives a feeling beyond words. It usually happens because something emotional is sparked between us through the music. You can immediately tell when someone is just saying something to say something, versus saying something because they feel honestly moved to do so. To Advertise CALL: 215.887.8880 September 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com — Art Blakey FOREIGN MUSICIANS IN AMERICA: THE ARTISTS VISA Victoria M. Ingber Art Blakey would not be an example of a jazz Musician with the minimal level of success necessary to be eligible for an Artist Visa. For any foreigner interested in working in the US, certain strategies dictated by the US Immigration Service will result in an Artist Visa. The requirements for this type of visa, also known as the O-1 Visa are as follows: Foreign Musician will need at least 3 of the following: • CDS and demos; • Performances at prestigious venues; • Letters of recommendation written by experts in the field; • Performances as lead in groups; • Published announcements of gigs; • Material published about foreign musician in magazines, newspapers, internet, etc; • Membership in exclusive music organizations; • Articles written by the foreign musician-in books, magazines, and newspapers, etc; • Awards, certificates, honors, prizes; and / or • High yearly income. US Orchestra, Symphony, Music Group, Representative, Agent or Manager will be needed to: • Sign all forms and petitions; • Provide Tax ID Number or Social Security #; • Provide basic information, such as address, email, phone numbers, etc. Beside those who are entering due to their excellence in the music field, there are musicians entitled to enter the US to work if they can be considered “culturally unique”, such as Yoruban jazz musicians from West Africa. Bear in mind that many books and articles on the subject are very long and written in crazy legalese. Immigration law can be understood best by a musician when tailored to the needs of the musician. When done correctly, the results are amazing. Victoria Ingber is an immigration attorney specializing in the arts for over 25 years. In addition to being an expert in the field of the transfer of foreign talent to the US, Mrs. Ingber is a voting member of NewYork Artists Equity Association, Inc. and the recipient of the 2003 National Leadership Award presented by the Presidential Committee for Women in Business. For questions: 212-686-3838; [email protected]. 73 Interview Randall Keith Horton By Eric Nemeyer JI: Could you discuss your association with Duke Ellington and how that evolved? RKH: The association began with a calling. What led up to that calling was simply my family’s great appreciation for Mr. Ellington’s cultural importance and genius. That was deeply embedded in Boston community where I was born and raised, and in the entire country in the ‘40s and 50s. The calling came in the spring of 1964. It was in the form of a light, somewhat like a laser beam, that came from above, went deep into me, and told me, “Go to San Francisco and study music”. I was in the audience at Grace Cathedral a year later when he premiered his first Sacred Concert. Whenever he visited the Bay Area after that, we communicated, in some way, right up until he invited me to compose and conduct music for his orchestra at an outdoor concert at Disneyland, in 1973. He put me on his “team” shortly thereafter. He passed away the next year. It was his sister, Ruth, who guided me for many years in the evolution of that calling. JI: Tell us about how you developed your composing and arranging skills and some of your background. RKH: Shortly after arriving in San Francisco, I studied privately with Wynn Westover, in Sausalito. He had his own method of teaching inner hearing, music theory through sight singing, and, especially, music dictation and notation. Singing in Boston’s best doo wop vocal groups had helped my ear form early on. I had been taught basic jazz comping by the late Weldon Irvine at Hampton Institute, but after Westover, and through the help of conductor Paul Freeman, orchestral conducting and efforts to write for R&B groups were my first experiences as a developing arranger. Conducting was my greater strength through the years, especially in church music. which we will present on October 18th at the historic Riverside Church. Mercer was the straw boss in his father’s orchestra when I was in it, briefly, after the Disneyland experience. He assigned me to create the full-length concerto grosso orchestration of Duke’s Black, Brown and Beige, which will receive its New York City premiere on October 4, at Rose Theater at Jazz at Lincoln Center. We will also premiere Carman Moore’s Gospel Fuse, and Kirke Mechem’s Songs of the Slave, which is the suite from his opera, John Brown. JI: Talk about some of the words of wisdom you’ve JI: Could you talk about the upcoming perfor- received or conversations that you’ve had with menmances you are leading at Jazz at Lincoln Center and tors or artists in your life who have made a significant at Riverside Church? impact on your perspectives about life, art etc. Slave, in its New York Premiere. Selfless, Agape Love is what creates wisdom in our lives and relationships. JI: What have you discovered about human nature in your artistic and business pursuits? RKH: We all have the same needs. JI: Because you are in a position of leadership as a conductor, composer, how do you use encouragement or otherwise motivate musicians with whom you work or hire? RKH: I receive great rewards from helping others to reach their full potential. That’s why I teach media at Brooklyn College. It gets me away from music; helps me to help young adults who are starting out in life. RKH: Simply put, these concerts represent the RKH: Eric, I can only say that my life in Christ is all As regards music, it can become a trap if you let it. My two sides of the Ellington family with whom I have of the wisdom that I know and need. He is my Lord greatest recent sadness is the death of Michael Jackworked: Ruth Ellington was my mentor for two and savior. It’s really the pastors, the nuns, priests and son, with whom I worked in 1974. He and his family decades. We shared very similar religious beliefs, rabbis, and especially the Pentecostal family through were wonderful to know. Because I am a minister at through which she helped me to understand what whom I came to know the Lord, that any wisdom I am heart, I’d have to say that it is the love of God that I really had happened when Duke chose me as his blessed with has informed my life. My mentor, Kirke try to bring to all of my relationships, including to composing and conducting assistant in 1973. She Mechem, has been the greatest influence on my life as musicians. Worship and service are my core motivaappointed me to lead her brother’s Sacred Music, a musician. That is why we are presenting Songs of the tions. Whenever [Duke] visited the Bay Area after that, we communicated, in some way, right up until he invited me to compose and conduct music for his orchestra at an outdoor concert at Disneyland, in 1973. He put me on his ‘team’ shortly thereafter.” 74 September 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com JI: How do you stay balanced—as an artist, as an individual in contemporary society in the face the stress and sensory overload that surrounds us? RKH: His name is Jesus. Her name is Andrea. Having a peaceful home is of infinite worth. To Advertise CALL: 215.887.8880 Interview James Moody By Bill Donaldson “The point of it wasn’t getting recognition. I don’t feel like, ‘Oh, it’s about time and all of that stuff.’ I mean, I appreciate receiving it, period. I know a lot of musicians who should receive it too. You know what? I do what I do. Whoever likes my music, likes it.” he had Cecil Payne and Ernie Henry. It was a wonderful band. Being young and dumb, I didn’t know the enormity of what was going on – which was good. If I had known, I probably would have fainted. JI: Didn’t you go to Europe with Dizzy? JI: You’ve said that not a day goes by that you don’t think about Dizzy Gillespie. You first heard him in Greensboro, North Carolina? JM: Dizzy was there with his big band, and I was in the Air Corps. We went to hear his band. Dizzy said that when he got back to New York, he was going to disband and start a new band. Dave Burns and I told him that we were going to be discharged. So he said, “Come and try out for the band.” I didn’t make his band the first time I tried out for it because Walter Fuller said I didn’t play loud enough. JI: How did you finally get into his band? JM: I went back to Newark, which is only nine miles from New York, and I had a little gig playing there on the weekends. When I came home one day, my mother pointed under the sheet she was ironing, and I saw a telegram there. It said, “You start with us tonight. Dave Burns.” I started at the Spotlight on 52nd Street. When I joined Dizzy’s band, Monk was the piano player, Kenny Clarke was the drummer, Ray Brown played bass, Milt Jackson was on vibes, and To Advertise CALL: 215.887.8880 told Jon Faddis, “You mark my words. Ten years from now, people will be saying that there were twenty-five people in the hospital when he passed.” The funny thing about it was that I had a gig at Pace University the next night after Dizzy had passed. And the name of Dizzy’s nurse was Donna Pace. My next gig was at the jazz club in Washington D.C., Blues Alley. What happened was, I played that night, got up early the next morning and caught a plane to New York for the funeral service. Then I returned to D.C. in time to play the next night. I don’t know I did it. Jon Faddis had to go to Texas for a gig. He didn’t want to go, but I told him that he had to go because Diz would have wanted him to do it, you know. JM: I went to Europe with Dizzy’s quintet. The first time that I went anywhere in Europe, other than Paris, was with him. JI: You received the Jazz Master Award several years ago. JI: And you replaced Leo Wright in Dizzy’s band after JM: The point of it wasn’t getting recognition. I don’t your organ trio with Mickey feel like, “Oh, it’s about time and all of that stuff.” I Tucker and Eddie Gladden mean, I appreciate receiving it, period. I know a lot of disbanded. musicians who should receive it too. You know what? I do what I do. Whoever likes my music, likes it. I JM: Yes. I stayed with the just do the best I can. I appreciate anything that is quintet for eight years. I went bestowed upon me. all over the world with him. We did a tour of Africa just before I was married. We went to Morocco, Zaire and the Congo. Then I went to Johannesburg on my own. The only countries I haven’t seen are mainland China and India. JI: And you married Linda in 1989. JM: Yeah, man. That was really nice. Dizzy was my best man. JI: So you continued to perform with Dizzy until he passed away. JM: Oh, yes. No matter what came up, Diz always said, “Get Moody. Get Moody.” And I was with Dizzy when he passed. It was me, Jon Faddis, John Motley, Jacques Muyal and his son. Five of us were there when he passed in the hospital in Englewood, New Jersey. I www.JamesMoody.com Hear Moody at The Iridium, September 3-6, 2009 New CD: 4A - on IPO records September 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com 75 Interview OSPAC Jazz Festival – Kate Baker, Producer By Eric Nemeyer JI: Could you tell us about the origin of the OSPAC Jazz Festival - the ideas, people and collaborations that brought it to life? JI: Can you share some of the most memorable moments you’ve experienced at the festival during its seven years of performances? there have been so many. Ok OSPAC: I was inspired to do the Jazz Festival after coming back from a tour in Italy and the vibe was so very special. l thought wouldn’t that be great to get the same feel here in our backyard. So we had great people who wanted to give back to the community Renee Rosnes, Vic Juris, Jon Faddis, Cecil Brooks, Dave Stryker, and others. The mayor of West Orange Mayor John McKeon has also been very supportive to make this happen. The volunteer end is also real important. We have had Chris Drucker from day one and he is the stage manager. OSPAC: Sheila Jordan for me was one. She has so much grace and is so free when she sings that she just touches your soul. The OSPAC big band led by Don Braden, watching kids of all ethnic backgrounds, economic backgrounds and actual musical ability come together to perform with such heart. That just does it for me and they also sound great. The music is the common denominator that keeps it all together and it goes so far beyond the music. Don’s inspiration and great arrangements, well you can’t beat that also. the climate for it, the NJSCA Grant which we usu- Eliane Elias, Paquito d’ Rivera, when Romero and JI: What have been your criteria for assembling the ally get, got cut. Thank God we still have TD Bank. Vic Juris played together, Joe Lovano and Dave Lieblineups - given many of the artists on the lineup over So we are hanging in there. Next year, I am optimis- man, Cecil Brooks band, Dave Stryker with the West tic will be better financially. the years reside in the general area of the festival? Orange All Stars...... Allen Harris, Kevin Mahogany, Renee Rosnes and Jon Faddis .... I could go on and OSPAC: It is not only a festival but it is also com- JI: What are the challenges that you have experi- on and I am sure I have missed out on some great munity minded. There are so many great musicians enced and overcome over the years in developing and ones. They all are so very special everyone in my eyes right in our own backyard because of the proximity building the festival? is a headliner! The other special moments happened to New York. So we did not have to go very far to with Paint the Music, we had adults coming over and get amazing world class talent. As far as criteria, it is OSPAC: Well we have a good team in place and are thanking us for the first time they felt free to paint. basically people that we love what they do. Each band blessed with people that are really talented in all ar- There were no rules or judgment just pure creativity, brings its own uniqueness to the festival and that is eas and that want to see it succeed. Leah Grammatica a positive environment and freedom to express your what makes it special. We only do jazz. Sometimes - getting her involved was the best thing we ever did. self! Magic than happens! festivals say jazz and frankly there is a lot of pop. We She has so much experience not only in PR but in Jazz and Latin jazz, and her passion just makes me want JI: Talk about some of the words of wisdom you’ve stay with jazz and Brazilian and Latin jazz. to work really hard. And frankly having publications received or conversations that you’ve had with some JI: Talk about what it’s like for you to create and or- like yours come to the event, write about it, and love of the artists - whether they have appeared at the fesganize the festival - plans, timelines, call, contracts, it makes us better. You know the festival is kind of tival or not - who have made an impact on your own and other activities -- and all in between your own like a child that starts to grow up. You don’t know music, life and career. where the turns are going to be, but at least you know pursuits as a jazz vocalist. that there are going to be those, and it’s all in the re- OSPAC: Norman Simons: I’d say he has made one OSPAC: OK, the question even makes me over- covery – kind of like jazz. You learn to improvise. of the biggest influences as an artist. He showed me whelmed! [laughs]. I can produce. I was trained achow to really listen to the music and tell the story. tually when I was in my 20’s and I lost my voice and JI: Could you talk about the setting and layout for His insight through his experiences and his way of worked for the Amnesty International World tour the festival and how it is unique? getting to the heart of the music have really effected - the first ever to go around the world. We would prome. Vic Juris: Playing with Vic for all these years. His duce concerts in each country. I worked under Bill OSPAC: This is where we are really blessed. The site harmony is so advanced that you always are listening Graham and learned how to work under pressure and over looks the lake and you can hear the music no and it forces you to stay in the moment. I don’t know not to stop until the task is complete. It is kind of matter where you sit. From the hill gives a beautiful if he remembers this but one time I was in music like singing - the audience doesn’t care how you got breeze where there is a September 11th memorial and school getting everyone’s opinion under the planet there, just that you do. But you better be able to de- you can see everything. The amphitheatre itself is a and we were doing a gig and he turned to me when I liver, they get that. Well, after working on that tour wonderful building. One of our big improvements is was trying out what I had learned and said “just sing any other producing is a cake walk. I am a Gemini so the sound. It is really great. The festival is surrounded like your self ”. Those simple words have stayed with I am used to wearing two different hats! It’s all in the also by vendors and crafters. We also have some- me. For me, I have learned to be inspired through my “timing” as they say. It is hard sometimes, like I am thing very unique called “Paint the Music” by Nitza infuences, but keep my own authenticity and whatstill trying to get up my website!!!! But I try not to let Horner. It is a great program where the audience gets ever that is it’s OK. I have been really blessed to work to participate and paint what they hear or sculpt to with great players. the music suffer as that is always my first love! the music. It is different experience than other festiJI: What kinds of responsibilities do you have and vals because of this kind of interaction. In between JI: Anything I haven’t prompted you about that you’d activities do you undertake to generate sponsorships acts we bring the art on stage and the performers get like to share about OSPAC or your own activities? to see what their work looks like. Then we hang it all and get grants to fund the festival? around the facility and it is quite beautiful. We also OSPAC: My first CD will be coming out in SeptemOSPAC: This year was really really hard due to the have a health section where you could get a massage ber with the Richie Cole and Alto Madness Orcheseconomy. So normally we do a Gala but this was not or reiki or buy some beautiful jewelry. tra. 76 September 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com To Advertise CALL: 215.887.8880 Interview Bob Gluck By Gary Heimbauer JI: Can you talk about some of your professional highlights at the current time, what you are up to, and what is coming in the future that you are excited about? BG: I have two current projects, one brand new. The first is my acoustic piano trio with bassist Michael Bisio and drummer Dean Sharp, a fabulous and dynamic rhythm section. We began playing together two years ago, with the goal of performing music by Ornette Coleman and Keith Jarrett’s 1970s American Quartet. It has morphed into a highly improvisatory, exploratory band mostly playing my own recent compositions. The second project is an electric and electronic band with guitarist John Myers and, from a distance, sound designer and synthesizer player Patrick Gleeson. I met Pat while working on a book I’m writing about Herbie Hancock’s early 1970s “Mwandishi” band, of which he was a member. Since Pat has been unable to travel to gigs on the East Coast, where John and I live, he’s been performing live on his own studio and recording it. I’ve been bringing into our live performances, programmed in a manner that is usually unpredictable and sparking adaptive improvisational responses on our end. The plan is for him to solo again over edited recordings of the performances. So far, it’s been a really wonderful and exciting experience and I look forward to a time when we can all play together in the same place at the same time! JI: What steps have you taken to get from the beginning to the present, as an improvising pianist? What would you recommend someone looking to take the same path do to assure success? BG: I grew up as a pianist, but stopped playing for many years. I’m now in my fifth year of my second life as a pianist. What’s different now is that I’m more relaxed and confident and I’ve learned that while I can spend intense periods of time practicing and rehearsing, sometimes the most useful way for my playing to develop is to go for a walk in the woods or take a couple days away from the piano. I have never attempted to overtly copy anybody else’s approach of playing and thus my own approach is quite eclectic. Nor have I developed my jazz playing in a particularly systematic manner, although I have had years of formal training in other musical worlds. I have been involved with electronic music for much of my life, which leads me to pay close attention to sonority and tone color. This background also encourages me to take a broad view of musical structure, viewing it in terms of gestures and shapes, and I tend to experiment a lot, often not repeating something I’ve already done. JI: When and why did you begin playing music? BG: I began playing the recorder at age six and gravitated to the piano because there was one in my parent’s apartment. I immediately began to play what now would be called free improvisation and composed music to accompany the family dramas around me. After a few months, my parents set me up with a piano teacher who, at the end of my first year, thought it best for me to attend a conservatory. I attended the Julliard Preparatory Division - now called Pre-College - for most of my childhood, until I left at the end of tenth grade, having heard Jimi Hendrix and Frank Zappa, feeding my urge to break out and return to my roots playing more freely. JI: What are your top five desert island PIANO recordings, and please state why. BG: Those recordings would include Herbie Hancock’s 1972 ‘Crossings’, music that has become part of my repertoire. I would certainly include one recording each by Bud Powell, Thelonious Monk, and Bill Evans. And if I have to limit the number to five, the last would probably be either a recording of piano music by the late Japanese composer Toru Takemitsu, Charles Ives’ Concord Sonata, Debussy Images, or one of Keith Jarrett’s 1970s recordings on Impulse. “Improvising requires attentive listening to one’s fellow musicians, to one’s intuition, and to what’s around. These are important skills to develop as a human being. The worlds within ourselves and around us, are constantly changing, and learning to respond flexibly and creatively is an act of improvisation.” To Advertise CALL: 215.887.8880 September 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com JI: What do you do to neutralize the stress of contemporary life? BG: I am not the most relaxed person but I find that stress does not enhance my playing. I think, though, that my playing benefits the most by living a full life, being engaged in the world, its politics and social concerns, the people around me, and listening very broadly to music. Most recently, I have found that meditating and chanting have helped my music grow and develop. JI: What is it about musical improvisation that you find so valuable? What does it offer to you, your bandmates, and the listeners? What about improvisational music motivates you and drives you forward? BG: While I trained as a classical pianist, my first memories of playing are of freely improvising. I sometimes describe having attended conservatory as a reeducation camp for free improvisers. Improvisation was not valued in any way. That experience – and I am grateful for the technical resources it helped me develop - has most definitely pointed to me the importance of improvisation. Every musician should be able to improvise, and not just in an idiomatic way. I am inherently an improvisational person in all ways and I find that my playing is influenced by everything in my environment. Improvising requires attentive listening to one’s fellow musicians, to one’s intuition, and to what’s around. These are important skills to develop as a human being. The worlds within ourselves and around us, are constantly changing, and learning to respond flexibly and creatively is an act of improvisation. Improvising as a musician only mirrors those processes and I find that it gives me life and connects me with all things – not the least my band mates! JI: As a musician, what do you feel your role or responsibility is in our society? BG: I believe strongly that we should consider it our Continued on Page 55 77 Interview Eldar Djangirov By Gary Heimbauer At only 22 years old, Kyrgyzstan born prodigy pianist Eldar Djangirov has already released four albums on Sony Records – his latest, “Virtue,” came out in late August. Fresh off a tour, Eldar spoke with us over the phone from his NYC home. After talking about his itinerary for the tour, we began the conversation with the topic of travel. Eldar will be performing at the Jazz Standard Thursday 9/10 through Sunday 9/13.This is a short segment of our one hour interview. The rest will be published in an upcoming issue of Jazz Inside Magazine – our quarterly publication available in book stores nationwide and by subscription. mando Gola on bass and Ludwig Afonso on drums. We’ve been touring together for quite a while right now and we started first playing this music – even before we went into the studio we started to implement a lot of these tunes through rehearsals and live playing, letting them take a certain shape and evolution before we hit the studio and I think that was an especially smart move on our part to play this music because we got to a certain point where we were so comfortable with the music. There was a certain healthy state of evolution – it wasn’t like, here, we’ll learn the tune and now we’re gonna play it like this, “There are certain guidelines that exist to bridge a certain vision that all the musicians have and all these musicians, depending on the priorities that you have, it is a very strict way of making music. Then you have all this freedom within this certain vision that you’re doing which I think makes it distinctive…” JI: Since you began your career as a teenager, you’ve probably travelled the world a few times already. When did you start travelling as a musician and how has it affected you? because six months later, the tune will sound completely different and better than the record. So we avoided that and we went and explored the tunes before we recorded and I still feel like the way we play them today has definitely evolved even from the ED: I started travelling as a musician when I was 18 recording. So it just keeps evolving and we keep lookor 19 – somewhere around there. To be travelling and ing for different things to say through the tune as we playing to as many people who are willing to listen to explore the tune. But I’m definitely happy with what the music, that’s a good feeling. When it’s a good gig we captured on the record. and a good crowd, it’s one of those things that feels like an amazing experience every time. One of the JI: Yeah, right. I listen to a lot of albums that have so things that I’m very excited about right now that is many great names on them and I’ll be so excited to happening in my life is the release of this new record, throw it in my CD player, and then I realized that it’s Virtue, which is going to be released on August 25. just an all star band playing material that they never I’m particularly excited about this because I feel like played together before so it comes off kind of stiff this record is something that I’ve been building for even though the musicians are amazing as individuand searching for and trying to achieve for a few years als. So it’s great that you did that. now and I think it carefully represents a certain version of the music and a certain version of the vision ED: Well, the group chemistry is so amazing because that I’m the most proud of, and that particular vision aside from the music, just the friendship that I have is almost like a culmination of the many things I’ve with Armando is so great. He lives like two blocks been exposed to and a culmination of the things I’ve away from me and we play music and we‘re always been reaching for to express myself through which thinking about music in a similar way, so the prikind of opens up and blossoms on this record. orities of the musicians, especially in this music, jazz, when there’s so much music made in the moment, JI: Yeah, I listened to it twice this morning and it there are certain guidelines that exist to bridge a cerblew my mind to be honest with you. tain vision that all the musicians have and all these musicians, depending on the priorities that you have, ED: Thank you very much. it is a very strict way of making music. Then you have all this freedom within this certain vision that you’re JI: There was so much rhythmic excitement in it – so doing which I think makes it distinctive, you know? many different turns and bends rhythmically. “The Exorcist” was one of my favorites. I had to listen to JI: I love the funky electric bass throughout the alit twice to figure out what was happening. It came bum. Does he play acoustic at all on this material? off all very organic as complex as it is. I think it goes Maybe on some of the ballads like “Estate”? from 10/4 to 11/4, is that right? ED: Yeah, on the road he switches between both. ED: Yeah, you got it – 21. There’s that whole phrase When we play swing tunes, he plays acoustic and in 21 but that’s the A section. It all works very well when we play more of my music, he switches to elecwith this particular band I’m working with – Ar- tric, so he uses all kinds of different colors. 78 September 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com JI: How does Virtue compare to some of your previous recordings? ED: Well I think one of the most important things to me is, especially with the music – so much of the music and the personal development, especially for someone my age. I’m a young guy and there are so many things that I want to explore and a lot of the things for example on this record, I wouldn’t be afraid to say it, it’s been a learning curve of many things that I learned in the past and things that I learned that were intrinsically attracted to me and things that weren’t intrinsically attracted to me. And the more I could differentiate between those things, the more I could pinpoint something where I feel like when I listen to this record, this is a record that I feel carefully represents me and that’s kind of where I think I started kind of describing this record. It marks a certain development where it’s relevant to the time that we live in and we are living in 2009 and it’s a very strange and interesting world and a strange time in this interesting world so there’s a lot of things within the music – a certain social element, of the things that I experience because at the end of the day, music is supposed to be a direct experience of the musician. JI: Sure – a reflection. ED: Exactly – yeah, so it’s a reflection of not only myself but the things that I’ve matured to and I’ve been exposed to and the things that I realize in the world, and many of these things are unspoken and many of those things are expressed clearly in the music. JI: What are your plans for the remainder of 2009? I remember I got an invitation from Don Lucoff to a live taping of a solo recording at Hammerstein Ballroom? Continued on Page 45 To Advertise CALL: 215.887.8880 Jazz Education Sourcebook HOW TO SUBMIT SCHOOL PROGRAM LISTINGS: Jazz Inside’s Jazz Education Sourcebook and Program Guide includes schools, programs and contact information and more. This section is designed to provide information for career-oriented students, hobbyists, musicians, fans and anyone wanting to continue and expand their education about improvisation, composing, arranging, performing, the history of jazz, the artists, recordings and more. Schools may contact : [email protected] to submit listings. ADVERTISING FOR ARTISTS, CLINICIANS, SCHOOLS: HURRY! Make Sure Your Ad Is In The Jazz Education Sourcebook Contact Eric Nemeyer, 347-637-0054 or 215-887-8880, or e-mail to [email protected] to advertise in the Jazz Education Sourcebook and Program Guide. To Advertise CALL: 215.887.8880 September 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com 79 City College of New York – Scott Reeves, Director C.W. Post – T.K. Blue, Director Five Towns College – Peter Rogine, Director Juilliard – Carl Allen, Director Manhattan School of Music – Justin DiCioccio, Director New Jersey City State University – Ed Joffe, Director Purchase College – Todd Coolman, Director City College of New York Queens College – Michael Mossman, Director Rutgers University – Conrad Herwig San Diego State University – Rick Helzer, Director University of Louisville – Mike Tracy USC Thornton School of Music – Bob Mintzer Western Michigan State Univ – Tom Knific William Paterson University – Dr. David Demsey their careers, including a thorough grounding in the common practice vocabulary of bebop and exposure to more modern styles, as well as Brazilian and AfroCuban music. CCNY: Developing technical ability is fairly straight forward, but the inspired musician knows how to go beyond their technique and ‘say something.’ This is the true importance of music. It is not about becoming famous, but creating a message that can inspire JI: What are some of the distinguishing characterisJI: How do you enlighten students about bridging and help heal this troubled world. While we do not tics of your jazz program? the gap between the academic environment and the advocate any religion (although members of our CCNY: We have a great full-time faculty—John real world where competition, earning a living and faculty are Christian, Buddhist, Jewish and secular Patitucci, Dan Carillo, Mike Holober, Suzanne other things impact artistic pursuits? humanists), students should look within to discover Pittson, Ray Gallon and myself. We have low tuition a spiritual or universal truth in their music. Books ($2300 for in-state, $4980 for out-of-state, full-time CCNY: Many of our courses, such as Repertoire & such as the “Inner Game of Music” and Kenny Wersemester tuition). Students study privately on their Performance Practices class and diverse ensembles, ner’s “Effortless Mastery” address such topics. instruments from among a long list of great New are geared towards providing them with the tools they will need to be successful, including developing JI: What are some of the challenges that students are York City pros. We have a friendly, supportive atmosphere sight-reading abilities, a knowledge of tunes, a strong facing and how does your program help them overwithout cut-throat competition. Our student body sense of “groove” and ensemble playing. All of our come and grow from these? is older (many returning professionals) and a diverse jazz faculty are working professionals and we share international mixture (European, South American, our experiences (both good and bad) with our stu- CCNY: There seems to be less and less work and Israeli, Japanese, Korean, African). We are right in dents to elevate their understanding about the ’gig- more and more musicians in New York. The city is Manhattan in a revitalized area of Hamilton Heights ging’ world. Many of our students network and find a great place to learn how to play (perhaps the best gigs around New York and beyond. Sometimes the on 140th St., with subway access to all the great jazz faculty will hire our better students to play in their in the world), but is not an easy place to live or earn clubs. We have a caring faculty and a high faculty/ own bands. We also encourage students to pursue money. Only those who really want to play this music student ratio and we have an historic, beautiful camteaching, and our education courses and Masters because of their love and commitment should make pus with practice rooms open 24/7. Program prepare them for both public school and this sacrifice. At City College of New York, we help them grow both as musicians and human beings and university teaching positions. JI: What qualities must students have to succeed in there is a student community of support that often your program, and eventually in their careers? JI: What concepts, philosophies, quotes, books, au- continues throughout their career. thors, speakers - outside of and beyond jazz or muCCNY: Willingness to practice and study hard, an sic - would you suggest students learn and embrace JI: If there is one idea that sums up the concept and ability to go beyond their own ego and open themto broaden themselves and build character, integrity, benefits of your program, could you share that with selves up to the experiences of their professors and ethics. (These are concepts that might be periph- us? the high level of musicianship inherent in New York eral to making music but if one’s life comes out in City. one’s music, than these underlying traits might play CCNY: You can get a quality jazz education in Manhattan for a fraction of the cost of similar schools. a role.) JI: What is your foundational concept for motivating and inspiring students? Scott Reeves, Associate Professor, BFA Supervisor CCNY: Most of our students come to us hungry to learn how to be great performers and writers. Many have left successful careers and family in their own countries and sacrificed much to come to New York. We feel a great responsibility to these students to give them the practical tools they need to be successful in 80 “Developing technical ability is fairly straight forward, but the inspired musician knows how to go beyond their technique and ‘say something.’ This is the true importance of music. It is not about becoming famous, but creating a message that can inspire and help heal this troubled world.” – Scott Reeves September 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com To Advertise CALL: 215.887.8880 Manhattan School of Music Jazz Arts Robert Sirota, President msm Jazz oN Jazzheads New releases Justin DiCioccio, Conductor Dave Liebman, Soloist PORGY & BESS make your mark LIVE Manhattan School of Music Jazz Orchestra www.jazzheads.com JH1165 Justin DiCioccio, Assistant Dean / Chair Jazz Arts Program www.Jazzheads.com Manhattan School of Music does not discriminate on the basis of sex, race, religion, sexual orientation, color or national or ethnic origin, parental or marital status, and age or disability in the recruitment or admission of its students, and in the administration of its educational programs, financial assistance programs, and student activities. It is an Equal Opportunity Employer. Brian Hatton INFormaTIoN Remy LeBoeuf on alto saxophone and Jonathan Barnes on trumpet Office of Admission and Financial Aid Manhattan School of Music 120 Claremont Avenue New York, New York 10027 212 749 2802 ext 2 [email protected] www.msmNyc.edu C.W. Post T.K. Blue, Director of Jazz Studies JI: What are some of the distinguishing characteristics of your jazz program? C.W POST: I have been the Director of Jazz Studies at C.W Post since September of 2007. I think some of the distinguishing characteristics of our program is the opportunity to perform at the world-class Tilles Performing Arts Center located on campus. We also perform in some of the top places in NYC (Iridium, Sunday Dec. 20, 2009 at 6pm) as well as tour internationally with a jazz tour planned for July of 2010 on the Cote d’Azur in Southern France. We also have top notch artists doing clinics with our students such as James Moody and Bobby McFerrin. JI: What qualities must students have to succeed in your program, and eventually in their careers? can Presence In Europe.” Also “2,000 Seasons” and “The Healers” by Ayi Kwei Armah, “Ancient Future” by Wayne Chandler, “12 Years A Slave” by Solomon Northup, “Daughters Of Africa” edited by Margaret Busby, and “Music Is My Mistress” by Duke Ellington. The messages contained in these books embrace the human spirit and its need to create beautiful visions of life. JI: What concepts, philosophies, quotes, books, authors, speakers - outside of and beyond jazz or music - would you suggest students learn and embrace to broaden themselves and build character, integrity, ethics. (These are concepts that might be peripheral to making music but if one’s life comes out in one’s music, than these underlying traits might play a role.) FTC: I always suggest a healthy life style which includes health foods, supplements (yes- wheat grass, etc.), meditation, stretching, yoga and some cardiovascular work. Books I like to suggest to serious students are The Art Spirit by Robert Henri, My Life C.W POST: Many of the challenges that your stu- in Art by Stanislavski, The Spiritual in Art by Kanddents face today are probably related to finances. You insky, The Letters of Vincent Van Gogh and Chomsky have to be very creative to find the funds necessary on Mis-Education by Noam Chomsky. To my mature for you to continue on your educational endeavors. male students I highly recommend The Rag and Bone Sometime grant funding can be a huge help. I would Shop (a poetry anthology examining the many facets also recommend learning a new foreign language. of a man’s life, edited by Robert Bly). The World is Learning a new language opens up exciting doors of Sound by Joachim-Ernst Berendt should open a mupossibilities. I lived in Paris, France for much of the sician’s ears to modern and eclectic music as would 1980’s and learning French helped me tremendously. Music of the Whole Earth by Dr. David Reck. JI: What are some of the challenges that students are facing and how does your program help them overcome and grow from these? JI: What are some of the challenges that students are facing and how does your program help them overcome and grow from these? Five Towns College Peter Rogine, Professor C.W POST: Students should demonstrate a very strong work ethic and practice regimen. The whole can only be as strong as the sum of its parts! They also have to be open to learn other styles outside of jazz. JI: What are some of the distinguishing characteristics of your jazz program? JI: What is your foundational concept for motivating and inspiring students? FTC: Some of the challenges our students face are driven by economic factors. Trying to work too many hours- even carrying a private student load takes away from intensive study time blocks. Gigging with a group that conducts intensive and long rehearsals interferes with what is necessary to have a clear mind to study and practice consistently. FTC: All the D.M.A. programs at Five Towns College include instrumental C.W POST: I try to play with my bands as much as performance, big band arpossible and I don’t hold back. Every free minute I ranging, composition and Juilliard have is spent in my office practicing. Students see this conducting research and Carl Allen, Artistic Director of Jazz Studies first hand and it is definitely inspiring to them. Plus scholarship on jazz and related topics, as well as study they are able to come and check me out performing JI: What are some of the of the newest developments in the world of electronic in NYC. I see their growth as well so we inspire each distinguishing characmusic programs. other. teristics of your jazz program? JI: What qualities must students have to succeed in JI: How do you enlighten students about bridging your program, and eventually in their careers? the gap between the academic environment and the JUILLIARD: Some of real world where competition, earning a living and the things that make The FTC: A successful music student needs consistent other things impact artistic pursuits? Juilliard Jazz program discipline, time-management skills, excellent instand out is that it is destruction, a clear mind and good stamina. C.W POST: Obviously, a great way to bridge this gap signed to address not only is to first arrange to stay at home or with a loved one. jazz music from a historiTry to keep your over-head down. Plus, keep diversified JI: What is your foundational concept for motivat- cal and conceptual perspective but it also addresses and always your paper ready when needed. Sometimes ing and inspiring students? where the music and the musicians are now from a you may have to work at something else while pursu- FTC: I believe that music itself is inspiring, especially fundamentally sound platform. This is represented listening to live professional performances. Nurturing ing a dream. It’s all good. Never give up the dream! in our programming from concerts and tours to the students and having an understanding of the many guest artists that we bring in addition to our faculty JI: What concepts, philosophies, quotes, books, au- difficulties college students encounter is something all who are all very experienced and well traveled musithors, speakers - outside of and beyond jazz or music the professors at Five Towns College demonstrate con- cians. - would you suggest students learn and embrace to sistently in their interactions with the student body. broaden themselves and build character, integrity, All the professors at our school are full time profes- JI: What qualities must students have to succeed in ethics. (These are concepts that might be peripheral to sional musicians. Many tell true stories of what really your program, and eventually in their careers? making music but if one’s life comes out in one’s music, goes on in the field—”the good, the bad and the ugly.” We often speak with students about the “blue collar JUILLIARD: We work very hard to help develop than these underlying traits might play a role.) musician” doing all types of gigs and the rewards and our students to not only be great, productive students C.W POST: Anything by Dr. Ivan Van Sertima problems of doing that versus only performing in the but productive and responsible professional musiwho recently passed away—especially “Early Afri- most optimum artistic situations. cians. What is required of our students is also to be 82 September 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com To Advertise CALL: 215.887.8880 conscience of the fact that we are a team and everyone has a role to play. With a program the size of ours everyone must know how important he or she is and the role that they play in the overall success of what we do. This manifests itself in the students’ preparation for rehearsals, lessons and performances as well as other factors that would make one successful as a professional musician. JI: What is your foundational concept for motivating and inspiring students? JUILLIARD: One of the principles that we teach is that “success is when preparation meets opportunity”. We show them the results of consistent hard work. When a student sees that not only are their peers working hard, but also the faculty, to become better musicians while practicing what we are teaching them, they are inspired to do well. JI: How do you enlighten students about bridging the gap between the academic environment and the real world where competition, earning a living and other things impact artistic pursuits? JUILLIARD: We invite a number of guest artists to work with our students from music contractors, producers, managers, booking agents, publicists and others to interact with our students and give them a real world perspective on what is relative now to the aspiring artist. As the business continues to change we have to constantly meet the student where they are with the pertinent information to help them in their individual endeavors. JI: What are some of the challenges that students are facing and how does your program help them overcome and grow from these? JUILLIARD: I think one of the major challenges that most artist face is how to become employable. As a student you’re always juggling the balance between being a student and an aspiring musician on the scene. In the preparation process we work on music that we feel is relevant for the musician to perform in a variety of musical settings in a jazz context. Sometimes the challenge is getting the student to understand the value of the idioms that we concentrate on but as a musician you never know what you’ll be asked to do. That’s why we have this principle that “success is when preparation meets opportunity.” I’m a firm believer that if one does what they are supposed to consistently and works hard the opportunities will come. The issue then is being prepared. JI: If there is one idea that sums up the concept and benefits of your program, could you share that with us? JUILLIARD: The best way to sum up what we are about is that we strive to prepare our students to be the best musicians that they can be by being as prepared as possible. I think that there are numerous benefits to our program but one major factor is how involved our faculty is in the development of the students. We also create opportunities for our students who have interaction with many of today’s greatest jazz musicians by way of master classes, workshops and performances. Our mantra is “moving forward with a sense of tradition”. “One of the principles that we teach is that ‘success is when preparation meets opportunity’. We show them the results of consistent hard work. When a student sees that not only are their peers working hard, but also the faculty, to become better musicians while practicing what we are teaching them, they are inspired to do well.” – Carl Allen To Advertise CALL: 215.887.8880 September 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com 83 Manhattan school of music the downside, that there is no record industry as it used to be. We have to look at the new opportunities that the technology is bringing forth. It’s really up to your own imagination and creativity – to use these MANHATTAN: We technologies to enhance what you are trying to do. I are trying to develop the think the two most important areas we need to deal complete artist-musician with are (1) audience development and (2) the job – as a performer, writer, market. What can we do to build an audience? Jazz and pedagogue. All of our is not the popular music of the day so it is not tuneful students are educated in in the sense of the tunes people dance and party to. It that three-fold manner. is fine art music now. And, it’s not going to go away or These are the three areas change. We can’t say “if people were dancing to our that we as jazz musicians music, we’d be fine.” That’s not the way it is anymore, are involved in – and the it has gone a different direction whether you like it or program or concept is de- not. It’ll never go back to what it was. So you have to signed to prepare students for that – to become the figure out ways to bring this music to people so that complete artist. There is so much talk about the job they can deal with it. market. We’re graduating the highest level of students JI: Agreed. There is ample supply, but without dewho have ever played this music. Meanwhile, we seem mand that corresponds to, or what would be even to have the lowest numbers of job opportunities – better, exceeds the available supply. whether it is performance, writing or teaching – that ever has been. The way our program is different is that MANHATTAN: We need to figure out what we we take this three-fold approach. The playing is where can do to create a larger audience so that there are we learn about the art. But we all do some kind of more jobs. Education is number one – educating the writing, and we all do some kind of teaching. Writing audience and outreach programs. But it hasn’t been could be anything from writing tunes, arrangements, working that well. So maybe what we’re doing is not orchestrations, or possibly writing for journals, maga- quite the right direction. zines, websites or whatever. We all do some kind of writing or combine those writing elements. We all do JI: There is no shortage of creativity, and no shortage some teaching. Some of us teach privately. Some of us of artists and musicians constantly creating or trying teach at institutions. We’re all doing those three things to be creative. There’s no shortage of players. We need at all times. That makes you the complete musician – more people to appreciate what’s there. each of the areas reinforces the others, and you’re able to make a living. When I’m asked, “Can you make MANHATTAN: That’s what has to be addressed. a living in music? Can you make a living in jazz?” I How do you do that? It’s not fair to present to the say, “Yes.” I don’t hesitate at all. I know that people novice jazz audience, music that is complex and sowho are successful – that’s what they do. There are phisticated. They just can’t deal with it, or undertimes when you’re playing more and writing or teach- stand it. A lot of this goes back to the lack of music ing less. There are times like now, where playing has education in the schools. And, the media is run by kind of dried up – and you might be teaching more, people who have never had music education. The or writing. I’m not saying that these three areas are bulk of the people controlling the media don’t know broken down neatly into one-third for performance, about fine art music. All they know about is popuone-third for teaching and one-third for writing. By lar music – the music they grew up with on the radoing all three, we are able to become artists without dio. That is their motto. It goes back to music in the bastardizing principles and still make a living. That’s schools, the absence of music education there. We’ve our philosophy at the Manhattan School of Music for done outreach programs in schools – but I’m not sure our undergraduate program, graduate program and how well it is working. The concept over many years has been that with the big bands and school proDMA, Doctorate of Music program. grams, and students exposed to the music, that there JI: What qualities do you believe students need to would be an audience for the music, even though the succeed in the school’s program and eventually in majority of them will not become professional musicians. That hasn’t happened though. They’re not their careers? listening to jazz. I brought this up at the final [now MANHATTAN: Obviously, you have to be the best defunct] IAJE [International Association of Jazz Justin DiCioccio, Assistant Dean, Jazz Division musician you possibly can be. But, you still have to have a grasp of the business aspects, of how to network, the internet, how you present yourself. You have to know how to carry yourself. You have to know how to market yourself. You need to know the importance of having a good website. You need to know how to talk to managers and bookers and club owners, and record executives, if they exist anymore. What is happening with the latest technology and how does it enhance what I’m doing – instead of looking at it from 84 Education] conference for two hours – talking about stuff that didn’t mean anything. I said, “We’re graduating the highest level of playing, the largest numbers from conservatories, universities and jazz programs throughout the United States and the world. But there are no jobs, and there’s no audience. What are we doing about that?” They were more worried about how many people were joining the IAJE [organization], and how many discounted rates they could get by bringing 50 people into the fold. I think we should be worried about the direction of the music. MANHATTAN: The business. The audience. The bigger, more global issues impacting jazz and its future. JI: What is your perspective about motivating students? MANHATTAN: It’s spirit. If what they’re doing is fun, then they want to be a part of it. If it feels good you want to be a part – whether it’s playing the music, participating in the music doing a workshop with students who know nothing about the music, but you’re getting them involved … outreach programs. They don’t have to know anything about the music. But if people are having a good time, and have a smile on their face, and its fun, they want to be a part of it, and that’s how they remember it. I think that so much of the time, we turn them off. We get so serious about what we’re doing – treating them like they don’t know anything – as opposed to turning it into some kind of fun. Then it becomes something people want to be part of. JI: Could you sum up the unique benefits of Manhattan School of Music’s program? MANHATTAN: Our students come out prepared as the finest musicians coming out of schools, and prepared to face the world, have a career and life in music. We educate them to have a life and career in music. It is through the best education we can give them. It’s not just about being the best player. Being the best player that you could possibly be doesn’t guarantee anything. It is the total concept – the complete artist-musician. JI: Anything else you want to add? MANHATTAN: Today’s culture rejects complexity, nuance and detail! Simplification, ignorance, lack of awareness and accepting standards of the lowest common denominator has become the weight of the majority! Don’t be a follower! “…we take this three-fold approach … playing … writing … teaching... We’re all doing those three things at all times. That makes you the complete musician – each of the areas reinforces the others, and you’re able to make a living …. Obviously, you have to be the best musician you possibly can be. But, you still have to have a grasp of the business aspects…” – Justin DiCioccio September 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com To Advertise CALL: 215.887.8880 New Jersey City State University Ed Joffe, Director JI: What are some of the things that you have done to build the jazz program during your tenure? EJ: Our program has been successful because of the excellence of the adjunct teaching faculty and the quality of our jazz majors. Our instructors are all active, vibrant musicians who are committed educators. For them, it’s not just another gig that puts food on the table, but a way of life that is deeply connected to the music. Most of the jazz faculty has taught at NJCU for over ten years and several from the moment, eighteen years ago, when I was asked to reconstruct the program. In addition, I bring numerous, well-established guest artists every year to perform with and for the students in concerts and masterclass formats; run a High School Jazz Festival; have all of the big bands and combos perform in jazz clubs each semester; perform in local schools and on radio; and record CD’s which include student compositions and arrangements. “Simply, we tell them the truth! We make it quite clear that this is an industry that is consolidating and downsizing and that the opportunities for any musician these days are less than a decade or several decades ago. Therefore, it is essential that they succeed in every discipline they study – English writing, business, sociology, foreign languages, history, mathematics, education courses, etc.” – Ed Joffe as they pursue their studies. These characteristics are required to succeed in any career and need to be emphasized as soon as a student enters the university. JI: What is your foundational concept for motivating and inspiring students? EJ: We try to convey to them a sense of excellence by exposing them to the great artists through recordings, live performances, and relevant periodical writings. Exposing talented and motivated individuals to great music, from the musical worlds of jazz, classical, Latin, rock, pop, and world music, results in an increased awareness of the levels of expertise expected in the music industry. While not everyone has the same innate talent for music-making, every student has the ability to work hard and discover his or her potential. tion;, teach privately or in a school system; and play stylistically correct in multiple musical environments. Most importantly, they must be able to write in a coherent and intelligent manner since grant writing may be the means for their survival. JI: What concepts, philosophies, quotes, books, authors, speakers–outside of and beyond jazz or music–would you suggest students learn and embrace to broaden themselves and build character, integrity, ethics? EJ: The finest musicians I have met in my career are learned individuals. They are interested in many disciplines beyond music and the arts, particularly politics. Until this past presidential election, students have been somewhat apathetic in recent decades with regard to the political and social machinations of our JI: What are some of the distinguishing characterisJI: How does your jazz program motivate and inspire elected officials. I hope that Barack Obama’s ability tics of your program? to connect with young people is the beginning of a students? movement where students are more actively involved EJ: We try to present to the students a well-rounded EJ: In addition to the numerous guest artists we bring in the decision making process that affects our sorepertoire of musical offerings each semester in their to the university every year to play with and for our ciety, regardless of anyone’s political affiliations. To various performing ensembles. The music they perstudents, we have faculty recitals every semester and that end, reading political commentary in the paper form mirrors the diverse styles they in encounter in our faculty frequently performs with our students in and in books while tuning into radio and television jazz history, jazz compositional styles, and jazz arclub performances, on-campus performances, and on discussions is essential. Also, I encourage them to inranging courses. In addition to working on big band their recitals. Our faculty also accompanies our stu- vestigate all cultural aspects available to them since music by Ellington, Thad Jones, Bob Mintzer, Ma- dents on their final exam juries. This type of hands– they are so close to New York City. This includes goria Schneider, Frank Foster, Gordon Goodwin, etc., on approach is something we have stressed from the ing to museums, Lincoln Center and Carnegie Hall they will also be expected to perform the music of inception of the program eighteen years ago, and events, musical theater and plays, and restaurants Fletcher Henderson/Benny Goodman, Jimmy Lunc- it works! serving foods of diverse nationalities. Finally, I use eford, Benny Moten, Artie Shaw, Eddie Sauter, Clare analogies to sports heroes in order to emphasize the Fischer, Bob Brookmeyer, Al Cohn, and Frank Sina- JI: How do you enlighten students about bridging need to constantly work at refining one’s craft. As a tra, among many others. This is certainly not typical the gap between the academic environment and the society, we are constantly made aware of every aspect of the majority of jazz programs today and I feel that rest of the world where competition, earning a living, of an athlete’s training regimen that leads to success students are missing a vital part of the jazz experience and other things impact artistic pursuits? in an athletic endeavor. We accept this process rouby not being exposed to these other dynamic voices. tinely when it is applied to sports. However, our stuOur combos are equally diverse in that each group EJ: Simply, we tell them the truth! We make it quite dents are not as aware of the extreme dedication that has a specific focus. Each small group is devoted to clear that this is an industry that is consolidating and is required of musicians if one wants to achieve at exploring either a particular style - Bop, Swing, Dix- downsizing and that the opportunities for any musi- the highest level. One quote I like to employ is from ieland, Brazilian, Afro-Cuban – or a composer. This cian these days are less than a decade or several decades former New Jersey Senator and basketball great Bill semester they are Thelonious Monk, The Brecker ago. Therefore, it is essential that they succeed in ev- Bradley who recalled in his book, The Value Of The Brothers, Clare Fischer, etc. Every jazz major will ery discipline they study—English writing, business, Game, that as a youngster he was given the following play in both a large and small ensemble each semester sociology, foreign languages, history, mathematics, words of advice: “If you’re not practicing, someone, and those groups perform at a jazz club and an on- education courses, etc. I require our undergraduate somewhere is. When the two of you meet [compete campus concert each semester. jazz majors to take Computer Music and Survey of for the same job], that person will win.” Music Business courses as part of their degree curricuJI: What qualities must students have to succeed in lum and encourage them to enroll in business courses. JI: What are some of the challenges that students are your program, and eventually in their careers? It is apparent that the jazz musician of today and the facing and how does your program help them overfuture is one who will be able to compose and arrange come and grow from these? EJ: They must be passionate about making and study- his or her own music; know about creating one’s own ing music, all styles of music, not just jazz. They will website; be facile with computer notation programs; EJ: Given the uncertainty that exists in the current need to exhibit seriousness, humility, and integrity know how to establish and run their own corpora- job market, our job is to help each student find that 86 September 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com To Advertise CALL: 215.887.8880 talents that will enable them to be employable. While one wants to encourage each student as much as possible, the reality is that the job market will only accept so many Joe Lovano’s and Chris Potter’s. What about the hundreds of very talented tenor saxophonists - or for that matter, those talented players of every instrument - studying at fine university and college programs and hoping for an American-Idol like break? What happens to them after graduation? That is why it is crucial that every jazz/music educator be honest with their students, try to find their unique abilities, and help them connect in some way to the industry. If a performing career doesn’t evolve, what’s wrong with a fine jazz performer finding work as a teacher, a repair technician, a recording engineer, an artist manager, a radio DJ, etc? Isn’t it better to make use of one’s musical gifts to earn a living rather than to work outside of the music industry? At NJCU, I believe we service the individual student with this reality in mind. Purchase College Todd Coolman, Director of Jazz Studies Queens College Michael Mossman, Associate Professor JI: What are some of the distinguishing characteristics of your jazz program? JI: What are some of the distinguishing characteristics of your jazz program? PURCHASE: There are several characteristics, taken in aggregate, that make the Purchase College Jazz Studies Program somewhat unique and worthy of consideration by anyone wishing to pursue a career as a performing jazz artist. Below, I have listed those that come to mind first, in no particular order. Anyone reading this that may be interested or have further questions is encouraged first to visit our Website at: www.purchase.edu/music/jazz and if quesJI: While creativity within jazz is as vibrant as ever, tions remain, email me directly at: todd.coolman@ there is a greater supply of artists and products than purchase.edu. there is demand. What ideas do you have about turnSome of these characteristics are small class ing this around to brighten the future on the busi- size and much individual attention and contact time ness and career side for aspiring artists? with faculty; a world-class faculty who are not only prominent in the performance field, but also demonEJ: As stated above, the educator has a greater re- strate a strong commitment to teaching, to students, sponsibility as a mentor to one’s students today given and to our Jazz Studies Program. All listed faculty the state of the economy and the jazz job market in are on campus teaching with great regularity. We are particular. Every jazz major should be involved in a less expensive than nearly all other similar programs coop educational program where they work as interns nationally. All teaching, including private lessons, in some aspect of the music industry in their junior takes place on campus during normally scheduled year. In this way, they are exposed to the real world hours and the curriculum is faithfully delivered—no while still students and might give them options for “smoke and mirrors.” We also have excellent facilithe future, especially as it concerns continued study ties including 65 practice rooms with grand pianos, in graduate school. While making this a requirement several ensemble rehearsal suites, recording facilities, in any degree program is difficult, given the abunand an adjacent world renowned Performing Arts dance of credits mandated by certifying agencies and Center that presents scores of world-class artists anthe universities proper, I have seen the benefits of this nually. The music building is open to music students approach with many of my students at NJCU. from 7:00AM until 2:00AM (19 hours per day), seven days a week—ample time and space for pracJI: What are the direct benefits that students entice and rehearsal. We are also located on a beautiful, rolled in your program can expect to experience? wooded campus, just 40 minutes from Manhattan and we take full advantage of New York City withEJ: I believe that our students in the jazz degree proout being distracted by it. We have a safe, clean, and grams at NJCU are fortunate to have instructors peaceful environment in which to concentrate upon who are more than just great players and educators, but also concerned people who relish the role of men- your important work. We have conservatory level toring their students. Since we are a relatively small training within a Liberal Arts College. The atmoprogram, every student knows every jazz teacher, sphere among our students is non-competitive, posiand visa versa. There is no disconnect and that, along tive, and nurturing. There are plenty of opportunities with a reality-based curriculum, is a great benefit to to do paying gigs on and off campus, and opportunities to perform in famous New York City jazz venues all involved. such as Dizzy’s Club Coca Cola, Birdland, Smoke, JI: If there is one idea that sums up the concept and and Smalls. Lastly, all core curriculum (classes) are benefits of your program, could you share that with jazz related and structured to impart the real skills an aspiring jazz performing artist must have. us? QUEENS: The Queens College Jazz Program was begun by some special people—Jimmy Heath, Donald Byrd and the late Sir Roland Hanna, with kudos to Howard Brofsky for his vision. The Queens College music department has always been very strong, but jazz was a tough sell 25 years ago. There was never any excess hype in the program and it was set up for professional musicians who are working. Everyone teaching at the Aaron Copland School is active and successful professionally. We are part of the City University of New York, which means students come from all over the world to be in NYC and to study at a very reasonable tuition cost. Many distinguished pros have come here to study, including Conrad Herwig, David Berkman, Antonio Hart, Arturo O’Farrill Jr., Jeb Patton, and George Colligan, both for a Masters degree and to work on composition and arranging, which are very popular here. We also have an enduring connection with Louis Armstrong as Queens College is the home of the Armstrong House and Archive. EJ: We hope our students leave us with a respect and understanding for the accomplishments of the artists who have been responsible for creating the jazz art form and have been given the necessary tools required to reach their potential and develop an individual voice. To Advertise CALL: 215.887.8880 JI: What qualities must students have to succeed in your program, and eventually in their careers? QUEENS: Our most successful students are selfstarters. They come with a purpose and get all they can from the experience. They don’t just attend classes. They go out into the NY scene and play, start bands, look for places to play and come to class loaded with good questions. JI: What is your foundational concept for motivating and inspiring students? QUEENS: We constantly remind students (and ourselves) how fortunate we are to be making a living making the music we love. Also, students share their music in class as we perform their charts and assignments in class and ensembles. So what they do get heard by their peers. Very motivating! JI: How do you enlighten students about bridging the gap between the academic environment and the real world where competition, earning a living and other things impact artistic pursuits? “The biggest challenge is to find their voices as musicians and as artists. Once they figure out what they want to say, then they can go after the tools they need to say it. Another challenge is to stay in the game until things work out.” – Michael Mossman September 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com 87 “Every student is treated as a creative individual and is taught to identify and broaden this talent in a non-linear way by seasoned professional educator/performers. Styles are taught as a vehicle to creativity and their unique qualities are identified, emphasized, and nurtured.” – Conrad Herwig QUEENS: We don’t really have a divide between school and the “real world” as most of our students are already playing and teaching. More than bridge the gap, we try to help students steer a better course. This involves business savvy, emphasis on refined skills and professionalism. A mantra in our Music Business class is that “making career decisions based on immediate financial need rarely leads to good artistic results.” So we teach students to plan their careers based on their passions and abilities and to learn to manage their finances. Rutgers University Conrad Herwig, Professor JI: What are some of the distinguishing characteristics of your jazz program? face time between student and teacher. This intimate setting combined with the incredible academic diversity of a large university keeps students motivated and inspired in Jazz Studies and a multiplicity of elective disciplines. JI: How do you enlighten students about bridging the gap between the academic environment and the real world where competition, earning a living and other things impact artistic pursuits? RUTGERS: Jazz studies students at Rutgers perform both on campus and in major jazz clubs and venues in the New York City area like the Blue Note, Cecil’s Jazz Club, and Symphony Space. Many of these performances are with guest artists like Eddie Palmieri, Frank Sinatra Jr., and Paquito D’Rivera, as well as distinguished alumni like Terell Stafford, “Kuumba” Frank Lacy, Michael Phillip Mossman, Sean Jones, and the Jazz Faculty. Rutgers students perform in the Greater New Jersey area at schools, community centers, alternative theaters, and public events in a variety of styles from big band to salsa. This empowers them as performers and future educators. RUTGERS: The Jazz Program at the Mason Gross School of the Arts, Rutgers, the State University of New Jersey, is unique. JI: What concepts, philosophies, quotes, books, auRutgers is a leading rethors, speakers - outside of and beyond jazz or musearch university (consistently ranked in the top 50 JI: What concepts, philosophies, quotes, books, ausic - would you suggest students learn and embrace academically) within 45 minutes of New York City. thors, speakers - outside of and beyond jazz or muto broaden themselves and build character, integrity, This proximity to the “Big Apple” has afforded access sic - would you suggest students learn and embrace ethics. (These are concepts that might be peripheral to to a world-class Jazz Faculty comprised of some of the making music but if one’s life comes out in one’s mu- brightest and most accomplished jazz educators on to broaden themselves and build character, integrity, ethics. (These are concepts that might be peripheral sic, then these underlying traits might play a role.) the scene today—Stanley Cowell (piano), Ralph Bo- to making music but if one’s life comes out in one’s wen (sax), Conrad Herwig (trombone), Victor Lewis music, than these underlying traits might play a role) QUEENS: You bet ethics play a role! Very few peo- (drums), Vic Juris (guitar), Mike Richmond (bass), ple make it in this business without someone’s help. and Jim Rotondi (trumpet) who have all performed RUTGERS: An incredible array of artists, musiSo being a quality person is essential, beyond just and recorded with an array of the greatest legends in cians, writers, scientists, and public figures visit and one’s musicianship. We do recommend many differ- jazz and popular music, like Miles Davis, Frank Silecture at Rutgers on a weekly basis. A short list of ent extra-musical resources to students. These include natra, Joe Henderson, Max Roach, JJ Johnson, Tito these figures would be Amiri Baraka, Faith Ringself-help coaches (Anthony Robbins, Steven Covey, Puente, Eddie Palmieri, and a host of others. gold, Oliver Sacks, and Hillary Clinton, among Napoleon Hill, etc.) and personal counseling, when many, many others. requested. Our most powerful example, however, is JI: What qualities must students have to succeed in for students to meet Jimmy Heath, a great musician, your program, and eventually in their careers? JI: What are some of the challenges that students are but a towering human being! facing and how does your program help them overRUTGERS: Students must be able to work within come and grow from these? JI: What are some of the challenges that students are the structure of a university jazz program, while at facing and how does your program help them over- the same time independently integrating the skills RUTGERS: The 21st century world is complex and and materials presented. The creative process as pre- constantly evolving for young jazz musicians. The come and grow from these? sented at Rutgers consists of investigating and iden- ability to perform and improvise in different styles QUEENS: The biggest challenge is to find their tifying role model jazz performers and composer/ar- is of critical importance. Jazz students at Rutgers rangers. Through intensive listening, transcription, are exposed to large ensemble performance, small voices as musicians and as artists. Once they figure analysis, and practice, the role model styles are imi- ensemble performance, improvisation, applied jazz out what they want to say, then they can go after the tated and synthesized to form a unique musical per- lessons with master improvisers, jazz styles, jazz tools they need to say it. Another challenge is to stay spective for each student. This perspective informs keyboard, and jazz composition and arranging. This in the game until things work out. This is where prothe student’s improvisation, writing, and group per- comprehensive program with master teachers who are fessionalism and the ability to work are crucial. We formances with guidance and supervision from the themselves performers and arrangers gives students place benchmarks on certain essential skills so our Jazz Faculty. a framework with which they can grow and learn graduates can function as players, arrangers, teachers throughout their entire musical lives. Rutgers alumni and producers. JI: What is your foundational concept for motivat- like Terell Stafford (dir. Jazz Studies Temple Univ.), ing and inspiring students? Terrence Blanchard (Trpt. Artist and film composer w/ Spike Lee), Michael Phillip Mossman (dir, Jazz RUTGERS: At Rutgers we believe that students Studies Queens College, CUNY), Sean Jones (trpt. are motivated through example. Each of our faculty Lincoln Center Jazz Orch., Prof. Duquesne Univ.), members is a highly skilled performer and educator Brad Leali (Saxophone Prof. University of North QUEENS: We teach the skills we ourselves have on the New York and International scene. Enroll- Texas), and literally hundreds of others are performneeded to prosper professionally and we do it at the ment is limited to approximately 50 students so that ing and teaching all over the world, and their record there is a large amount of individual attention and speaks for itself. right price in the right place. JI: If there is one idea that sums up the concept and benefits of your program, could you share that with us? 88 September 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com To Advertise CALL: 215.887.8880 JI: If there is one idea that sums up the concept and benefits of your program, could you share that with us? “We are in a world that doesn’t often take the time to come out and hear live music. Students have to be realistic and have clear goals about their art form and how to make a life for themselves and include this music. It is also about being a versatile musician and person so one can work in any musical situation and be a good reliable person to hire and work with.” – Terell Stafford RUTGERS: Every student is treated as a creative individual and is taught to identify and broaden this talent in a non-linear way by seasoned professional educator/ performers. Styles are taught as a vehicle to creativity and their unique qualities are identified, emphasized, and nurtured. Students are exposed to performance opportunities, which season them to handle the pres- SDSU: One of the most important things I personsure of the New York and World Jazz stage. ally try to ask most, if not all our students, is what got them into jazz. Almost universally, they tell me they fell in love with it because the first time they San Diego State University heard the music of a particular jazz artist, it literally Rick Helzer, Associate Director changed their lives. At SDSU we are committed to of Jazz Studies nurturing and advancing that passion for the music. JI: What are some of the distinguishing characteristics of your jazz program? Temple University Terell Stafford, Director SDSU: The diversity of professional experience, muJI: What are some of the sic interests and educational backgrounds and phidistinguishing characlosophies that the full time and studio faculty bring teristics of your jazz proto the table represents one of the core strengths of the gram? jazz studies program at SDSU. Through the unified vision of the faculty we provide for our students a TEMPLE: We have an wide range of educational opportunities in jazz perincredible faculty culmiformance, from Ellington to John Zorn and beyond. nating from the PhiladelAdditionally we offer an intensive four-semester phia and New York areas. study of jazz theory and its creative application, along There are a total of sevenwith two semesters of jazz arranging and compositeen ensembles of various tion and two semesters of jazz history. styles and sizes. Primary faculty members teach all JI: What qualities must students have to succeed in private lessons and students can choose the teacher your program and, eventually, in their careers? they desire to study with. SDSU: Passion, perseverance, sacrifice and striving for excellence, along with a dedication to finding an individual voice, are foremost for a student to succeed in our program. Even though ours is a jazz studies performance program, our educational philosophy has a clearly articulated expectation that our students be literate. By definition, this is an inclusive musical literacy, given the innumerable hybrids that constitute contemporary and improvised music. It has been my personal experience and observation that jazz musicians are some of the most literate and adaptable in the professional music world and this most certainly includes graduates of our program. JI: What qualities must students have to succeed in your program, and eventually in their careers? JI: What are some of the challenges that students are facing and how does your program help them overcome and grow from these? TEMPLE: We are in a world that doesn’t often take the time to come out and hear live music. Students have to be realistic and have clear goals about their art form and how to make a life for themselves and include this music. It is also about being a versatile musician and person so one can work in any musical situation and be a good reliable person to hire and work with. JI: If there is one idea that sums up the concept and benefits of your program, could you share that with us? TEMPLE: Camaraderie!! Temple is a breeding ground of teaching, learning, sharing and friendship. Faculty and students share mutual respect and trust for one another, which elevate the aforementioned qualities. University of Louisville Mike Tracy, Director JI: What are some of the distinguishing characteristics of your jazz program? TEMPLE: Students must possess a strong desire to learn and have an attitude of humility. UofL: The Jazz Studies Program at the University of Louisville is a young program which has accomplished what other more established ones aspire to attain. BeJI: What is your foundational concept for motivating young, our degrees and course offerings are focused ing and inspiring students? toward the needs of today’s student. Named for master educator and publisher Jamey Aebersold, UofL has TEMPLE: We encourage all faculty members to maintain an active performing career, which gives been the home of the Jamey Aebersold Summer Jazz the students an opportunity to see their teachers “in Workshop for more than thirty years. Our program action.” Faculty members also bring back stories and was modeled on the concept of where all students are experiences from the road/performances that are in- encouraged to grow as improvisers in all ensembles, large and small, and in lessons and related jazz classes. JI: What is your foundational concept for motivat- spiring and motivational. Students not only study with a distinguished faculty ing and inspiring students? JI: How do you enlighten students about bridging but have worked closely and played alongside such the gap between the academic environment and the jazz masters as Dave Brubeck, Elvin Jones, Michael real world where competition, earning a living and Brecker, Ray Brown, Billy Taylor, Wynton Marsalis, Paquito D’Rivera, Slide other things impact artistic pursuits? Hampton, McCoy Tyner, and many more. Visit“Self-respect is the fruit of discipline; TEMPLE: Different local clubs welcome the Temple ing in 2009/2010 will be Toots Theilmanns, Kenny the sense of dignity grows with the students and provide a professional atmosphere and Werner, and Houston Person to name a few. Interability to say no to oneself.” experience for the students to get out and put their national relationships are also an integral part of the acquired academic knowledge to work. Students also program with exchanges currently in places with team together and attend professional venues in Phil- schools and institutions in Argentina, Australia, —Abraham J. Heschel adelphia and New York to hear many accomplished Brazil, England, Poland and Russia with initiatives being developed in Ecuador. In addition, the IASJ jazz musicians perform. To Advertise CALL: 215.887.8880 September 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com 89 16th Annual Meeting was hosted by Jazz Studies with more than one hundred jazz educators from throughout the world attending on our campus. JI: What qualities must students have to succeed in your program, and eventually in their careers? UofL: Students must be willing to seek the best within themselves, to work with others from within and outside of the United States, interested in learning about music and themselves through improvisation, and to welcome diverse experiences. JI: What is your foundational concept for motivating and inspiring students? UofL: Our goal is to offer all of our students, jazz majors and others, opportunities that challenge them to build upon what they know and to embrace new experiences that will enable them to be better musicians and people of the world. We seek students, faculty, and guest artists/educators who can offer different perspectives from which all will benefit. Studying jazz composition with John La Barbera, an improvisation master class with Jamey Aebersold, or playing alongside Stanley Turrentine or Percy Heath can be inspiring as well as visiting a foreign country and playing with musicians from another culture. JI: How do you enlighten students about bridging the gap between the academic environment and the real world where competition, earning a living and other things impact artistic pursuits? Effortless Mastery, any book by Jerry Coker, Barry USC Thornton School Green’s Inner Game of Music and the Last Lecture Bob Mintzer, Director by Randy Pausch. These are some of my favorite sugJI: What are some of the gestions that help encourage students to reflect on distinguishing characthemselves and their actions. There are of course teristics of your jazz promany excellent books on the jazz masters and other gram? historical perspectives as well as books on other philosophies suited for the curious student. USC: The jazz program at JI: What are some of the challenges that students are facing and how does your program help them overcome and grow from these? UofL:The biggest challenge is obviously our current economic climate. One could go on about the lack of any number of things beginning with paying performance opportunities; however, this is nothing really new to a jazz musician whether in 1939, 1969, or in 2009. The challenges are great and that is why we encourage our students to be as diverse as possible. We offer a BA with an Emphasis in Jazz which has a component which requires the student to study other disciplines. A music minor is currently being considered. Each of these options offers the student options outside of the traditional music degree. I don’t think any student enters a jazz program with the idea of being rich. I believe they are looking to be rich musically which can open doors to countless opportunities. Many of our jazz students are now working in the sciences, as lawyers, in the music industry, or in the medical community. Why? How? I believe it is because of the discipline and flexibility learned when one studies the craft of improvisation. It truly opens ones mind like no other area of study. You study in a singular setting but also work with others in an ensemble. You are asked to be a leader when improvising yet also learn to play a supportive role when accompanying or in an ensemble. Few if any degrees offered in the typical university setting provide such training or challenges. It is our goal to enable our students to meet these challenges and more through the craft of improvisation and looking within. UofL: In addition to John La Barbera’s music industry course, our Jazz-in-the-Schools program regularly performs educational concerts in various schools throughout the area while other students take leadership roles in the classroom and in community outreach. Groups are encouraged to work within the Louisville music community, many having regular music jobs in addition to one time engagements. During our weekly jazz area master class, speakers who are outstanding jazz musicians but who also have traditional “day” jobs such as lawyers, public defenders, social workers, medical doctors as well as active professionals from the worldwide jazz community speak and share their experiences. Student groups JI: If there is one idea that sums up the concept and also record frequently in various combinations, often benefits of your program, could you share that with us? with their counterparts from other countries. JI: What concepts, philosophies, quotes, books, authors, speakers - outside of and beyond jazz or music - would you suggest students learn and embrace to broaden themselves and build character, integrity, ethics? (These are concepts that might be peripheral to making music but if one’s life comes out in their music, than these underlying traits might impact the music.) UofL: Answers to this question will depend upon the individual and teacher/musical guide. For example, I recommend such books as Kenny Werner’s UofL: I think our byline “Jamey Aebersold Jazz Studies Program: Serious About America’s Music JAZZ!” aptly describes our program. For too long jazz was considered by many to be inappropriate for serious study. We all know that way of thinking is folly. We are serious about using jazz to reach the individual. To help them better understand themselves and to open doors to other forms of music. To use our music, jazz, to bring people and cultures together. Studying jazz and improvisation is exciting and never ending. 90 September 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com the USC Thornton School of Music consists of some of the most creative and world renowned faculty of any jazz program—Peter Erskine, Russell Ferrante, Alan Pasqua, Vince Mendoza, Bill Watrous, Ndugu Chancellor, Roy McCurdy, Bob Shepard, Alphonso Johnson and myself. Aside from the fact that the program is based in Los Angeles, and gives students access to the L.A. jazz and arts scene, the school offers first rate access to world-class academic courses, a renowned classical music program, a comprehensive film scoring school, and a faculty that is on the scene and working in the arts. One can get a jazz education and also develop skills outside of jazz that will help in the endeavor of sustaining a career in the arts. JI: What qualities must students have to succeed in your program, and eventually in their careers? USC: Students are of course expected to be focused, hard working, and able to contribute their own personal spin to the work we do at USC. We encourage all students to be performers, composers, arrangers, band members, team players, band leaders, and instigators. Composition as a vehicle for playing is an integral part of the curriculum at USC. In terms of what students will succeed in their careers, it will generally be the ones who work harder than everybody else, are thorough in their studies, go after playing opportunities with a vengeance, have a positive outlook, are team players, and use composition as a tool to create playing situations. JI: What is your foundational concept for motivating and inspiring students? USC: We try to provide inspiring information that will give students the vocabulary and skills to be performing artists. We hang and play with the students, cite important examples of jazz greatness in our teaching, bring in visiting jazz artists, provide all kinds of playing opportunities, and encourage students to find pathways that express their own particular vision. JI: How do you enlighten students about bridging the gap between the academic environment and the real world where competition, earning a living and other things impact artistic pursuits? USC: USC is a fairly competitive school. You have to have a good GPA and have compelling skills to get in. Once enrolled in the program, students are expected to To Advertise CALL: 215.887.8880 Mike Mainieri Mike Mainieri is available for master classes/clinics/workshops. Mike’s career spans 6 decades in the educational field with as a performing artist, composer, small ensembles & big bands. arranger, bandleader, producer and President of his own record See Mike’s complete bio label, NYC Records Inc. and discography at www.mikemainieri.com As bandleader of Steps Ahead for 30 years, he is still active touring PRIvAte leSSoNS with the seminal group, which in at Mike’s studio are also itself has been a workshop in available for intermediate progress. At last count, more and advanced students. than 40 musicians have performed with the Steps Ahead. He has held BooKINGS: master classes, clinics & lectures email: [email protected] worldwide and performed Phone: 212-496-1625 Make Music Your Life! We Offer Over 30 Degree Programs! Become a performer, music teacher, artist manager, musical director, audio engineer or producer. Enrollment Week for New & Transfer Students August 17 - 24 10 am - 4 pm Classes start August 31 631.656.2110 We're located 35 miles from New York City 305 N. Service Road Dix Hills, New York 11746 www.ftc.edu A U D I O R E C O R D I N G T E C H N O LO G Y • B R O A D C A S T I N G • B U S I N E S S • F I L M / V I D E O • J O U R N A L I S M • E L E M E N TA R Y T E A C H E R E D U C AT I O N MUSIC TEACHER EDUCATION • MUSIC BUSINESS • MUSIC PERFORMANCE • MASS COMMUNICATION • THEATRE ARTS To Advertise CALL: 215.887.8880 September 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com 91 perform at a high level and carry themselves in a professional manor (being on time, being prepared, being on the team). The fact that literally every faculty member is a working musician on the scene gives students access to information that is essential in knowing how to sustain a career in music. If a student is working hard and playing great the word will travel fast. the students to deal with a publicist, management, and all of those stage requirements that can’t be taught in a class room. On the undergraduate level, we have a European classical requirement. We feel this develops essential skills, and makes the jazz studies students some of the hardest working people on campus. We have an enviable equity in vocal and instrumental jazz. The singers are held at a really high JI: What concepts, philosophies, quotes, books, au- standard, whose results are very stimulating. The colthors, speakers - outside of and beyond jazz or music laborations between instrumentalists and singers, I - would you suggest students learn and embrace to think, are remarkable. And finally, we truly try to broaden themselves and build character, integrity, support students way beyond the norm—including ethics? (These are concepts that might be peripheral grants for touring and recording, even for summer to making music but if one’s life comes out in one’s study. The loyalty factor is quite high, and we tend to music, than these underlying traits might play a role.) build life long relationships for that reason. USC: USC boasts several award-winning composition teachers in the classical department, the opportunity to play in a symphony orchestra, chamber group, play for student and sometimes professional film scoring sessions, study music business, music technology, popular music, and so many other subjects outside of jazz. It is all pertinent and, at the end of the day, applicable to being a jazz musician and a well-rounded human being. JI: What qualities must students have to succeed in your program, and eventually in their careers? 92 September 2009 tours, recordings, where the student is truly in charge of many or most aspects of successfully pulling off the event—with guidance and some safety net of course. We guide students towards appropriate grant applications, and professional connections. Although previously happening on the graduate level, we are instituting a series of entrepreneurial workshops for all students, to assist in this. It will include guests from the recording, internet, arts administration, philanthropic foundation and pure business worlds. Personally, I made my last CD, Lines of Influence entirely with students and alumni—it has been a tremendous experience. And I have also been including students on professional tours when appropriate, with much success—kind of putting my professional money where my educational mouth is. JI: What concepts, philosophies, quotes, books, authors, speakers - outside of and beyond jazz or music WMU: Number one, they have to be hard working. - would you suggest students learn and embrace to Because of the size and structure, it is impossible for broaden themselves and build character, integrity, students to “hide,” or slip through the cracks. We ethics? (These are concepts that might be peripheral work hard to make sure all students have a plethora to making music but if one’s life comes out in one’s of opportunities and responsibilities. Teaching stu- music, than these underlying traits might play a role.) dios are closely monitored for size, so everyone that gets in, truly has to step up to the plate. Number WMU: Some of these will play out in the previous two, they have to be good people. We make a big deal answer, in terms of the relationship of the arts and the Western Michigan State University about that even as early as at auditions. It is not only community, arts and education, and the role of jazz Tom Knific, professor enough to be able to perform well enough at the gig in American culture. I like what Kurt Elling tells stu- what ever it is. Our students are—how shall I say dents in this regard—if you want to have something JI: What are some of the this—strongly encouraged to learn how to make any to say, you have to build up an interior life. I strongly distinguishing charac- scene better by their behavior and attitude. They need encourage the liberal arts view of knowing what the teristics of your jazz pro- to learn that there will always be somebody that per- human condition has produced on some scale and how gram? forms as well or better, somewhere. However, bring- things connect—writers, filmmakers, artists, people ing a winning personality and presence to the situa- who have successfully created. And I strongly encourWMU: One has to tion, along with the musical goods, can go a long way age travel, international if at all possible. I suppose the think back, about how to ensuring viability. One of our alumni, drummer trait of having a bigger view, an open view, not just of a program started in Keith Hall, who is now on the faculty, reminds stu- the arts, but of society, societies, should encourage the Kalamazoo, Michigan, dents that on tour, the stage time may be two hours most open making of art—seeing possibilities. nearly twenty years ago, or less. How do you handle yourself the other 22? attracted the talent and JI: What are some of the challenges that students are produced the results to bring home well over 100 JI: What is your foundational concept for motivat- facing and how does your program help them overDown Beat Student Music Awards in that time. ing and inspiring students? come and grow from these? And like every other successful endeavor, it’s about the people. What distinguishes the program is that WMU: Firstly, the vast and profound body of work WMU: Challenges recently have included the finanit is extremely hands on. It’s produced by a remark- and artists that have created our jazz legacy provides cial in a way I have not seen before. Fortunately, we ably dedicated, professionally active faculty, who endless inspiration. Secondly, our faculty members have a favorable in-state rate which we strongly enseem to never run out of energy or ideas. Students get are all extremely busy in the profession, and bring courage students to take advantage of by establishing that they will be treated as individuals, developed as their own inspiration, and professional aspirations residency. My colleagues and I are personally involved individuals, nurtured and motivated as individuals. to the table—then add a continual flow of the right in raising scholarship funds for students. AcademiAs such, we produce a divergence of styles under the guests in the right context. For instance, Stefon cally, the balance of keeping up with and adding the musical umbrella called jazz. And quality is always Harris just completed a four year residency through new, musically and technically, while figuring out the first item on the agenda. We were one of the early Fontana Chamber Arts. It is hard to imagine more what can be made less of the focus, as there are so programs to integrate essential touring artists into enthusiasm or positive spirit. Ultimately, if the un- many hours in a day is a challenge. I refer to the entire our faculty. Billy Hart just celebrated 16 years as an conditional love for the music exists within the university curriculum. That is a work in progress but artist in residence. At that time, academia seemed to teacher, it can’t help but inspire the student. is aided by individually counseling students on course have a hard time imagining the open ended schedselection and prioritization. The greatest challenge is uling required to pull this kind of relationship off. JI: How do you enlighten students about bridging of course opportunities after graduation. My very genIt made a major impact in terms of early credibility, the gap between the academic environment and the eral rule which obviously does not fit all cases is to get and creativity. The WMU Jazz Studies program has real world where competition, earning a living and the undergrads into the best grad school, and the grad a world class jazz club partner, The Union Cabaret other things impact artistic pursuits? students employed. I take this very seriously. and Grill, which provides well over 100 nights of contracted performances a year for students, faculty WMU: One approach is by narrowing the gap. The JI: If there is one idea that sums up the concept and and alumni. This not only provides our university Union Jazz Club, mentioned earlier, is part of that benefits of your program, could you share that with jazz community with valuable work, but it requires equation. We also try to support student projects, us? • Jazz Inside™ NY • www.jazzinsidemagazine.com To Advertise CALL: 215.887.8880 “Later, there is a certain ‘deer in headlights’ effect when students become seniors and realize they are about to experience reality. That needs our assurance that: (1) they’ll never feel like they’re completely ready; (2) what they’ve learned here is a lifelong project; and (3) that they need to go back to the basics to focus on qualities that will help them get work: being versatile, being ready to play in varying musical situations, ready to say ‘yes’ to anything and everything at first, and look forward to the luxury of turning down gigs later.” – Dr. David Demsey WMU: That the program attempts to develop the whole student—building on their strengths, and shoring up less developed areas, and artistically encouraging the student to develop a voice. I ask myself everyday, “Is this where I would want to send my children to school?” And I act accordingly. Both of my sons have attended WMU. William Paterson University Dr. David Demsey – Coordinator of Jazz Studies, Curator, Living Jazz Archives, Professor of Music JI: What are some of the distinguishing characteristics of your jazz program? WILLIAM PATERSON UNIVERSITY: Those that set William Paterson apart are: the intensity of a New York jazz program, based on a campus that is a 300-acre nature preserve, 18 miles from Manhattan; veteran faculty that are top New York professionals; 24 small jazz groups as well as Jazz Orchestra, Latin Jazz Ensemble and Jazz Vocal Workshop; plenty of performance and writing opportunities; small classes and lots of close contact with faculty. JI: What qualities must students have to succeed in your program, and eventually in their careers? WPU: As musicians, they need to have command on their instruments or voice, including a strong sound, some considerable harmonic vocabulary, and ability to fit into a variety of musical styles. We’re also looking for students who are equally developed as people, ready to personally fit into various diverse situations, play with other musicians who play differently than they do, to engage with one another and be open to new ideas and concepts, both traditional and modern. actually Jazz Styles and Analysis; ear-training classes focus on transcription and harmonic/form recognition; improvisation classes require students to demonstrate studied concepts on their instruments; all ensembles have performance venues and a full schedule that includes live gigs, critiques and studio sessions. To Advertise CALL: 215.887.8880 JI: What concepts, philosophies, quotes, books, authors, speakers - outside of and beyond jazz or music - would you suggest students learn and embrace to broaden themselves and build character, integrity, ethics. (These are concepts that might be peripheral to making music but if one’s life comes out in one’s music, than these underlying traits might play a role) WPU: Because a lot of our scholarship money is based on academic achievement, we recruit students JI: How do you enlighten students about bridging who are bright as well as talented, who want to take the gap between the academic environment and the challenging non-music courses. Many of our stureal world where competition, earning a living and dents are in the Honors Program, taking courses in other things impact artistic pursuits? the Philosophy or World History area, making their major relevant to other academic areas. Each student WPU: We show students how the faculty is bridging finds their own path in terms of making these conthat gap between the campus and the realities of the nections, but the program encourages that along Jazzand Inside 1 8/6/2009 3:47with PM thePage 1 performance emphasis. world being a ad:Layout musician in American culture. Ca- Academic Programs � B.S. in Music Industry, with concentrations in commercial music, music business, and music technology JAZZ AT SAINT ROSE When you study Jazz at The College of Saint Rose... You become a member of the first college jazz ensemble ever invited to perform at the Newport Jazz Festival � B.S. and M.S. in Music Education You can perform and attend master classes with jazz greats such as Frank Foster, Byron Stripling, Mark Vinci, Bob Mintzer, and Bill Cunliffe. � B.A. in Music � Minor in Jazz Performance Music Industry majors intern at sites including the Albany Symphony Orchestra, Cotton Hill Recording Studios, Polygram Records and SONY/ CBS Records � Qualified applicants who demonstrate superior music performance through an audition may be eligible for Music Talent Scholarships. Our campus, located in Albany, N.Y., has the personal feeling of a small town neighborhood with the amenities of a vibrant cultural and economic center only a few blocks away. JI: What is your foundational concept for motivating and inspiring students? WPU: The foundation of the program is to focus everything on performing: the ‘jazz history’ classes are reer advice and topics are a thread that runs through most or all of the classes, showing students how jazz musicians have built and maintained careers through history including the pitfalls that have occurred; and main concentration on the New York scene. Our own alumni are involved in this, coming back to campus as guests on our Midday series to meet with students and let them know how our successful grads are starting to build that career. If a student is accepted into the jazz program, combined four-year majors are available in Jazz/Music Education, Jazz/ Music Management, and Jazz/Audio Recording. The College of Saint Rose For more information: 1-800-637-8556 September 2009 • Jazz Inside™ NY • www.strose.edu/music www.jazzinsidemagazine.com 93 JI: What are some of the challenges that students are Brooklyn-Queens Conservatory of Music— facing and how does your program help them over- Queens Campus Kenneth Murphy come and grow from these? WPU: Early challenges include adjustment to the New York area, realizing that there are many others who can do things they cannot, that they’re simply not as good as they may have thought they were some call it ‘Paterson shock,’ but this is true I’m sure with all New York City programs. Students’ ears grow much faster than their technique, causing them to realize more vividly than they ever have what they cannot do. This takes constant faculty monitoring and counseling as students become aware of this; faculty have to be there to help them find solutions to the new issues. Later, there is a certain ‘deer in headlights’ effect when students become seniors and realize they are about to experience reality. That needs our assurance that: (1) they’ll never feel like they’re completely ready; (2) what they’ve learned here is a lifelong project; and (3) that they need to go back to the basics to focus on qualities that will help them get work: being versatile, being ready to play in varying musical situations, ready to say ‘yes’ to anything and everything at first, and look forward to the luxury of turning down gigs later. JI: If there is one idea that sums up the concept and benefits of your program, could you share that with us? WPU: The main concept is ‘musical reality,’ teaching and learning based as closely as possible on the realities and demands of the music and the music world. This comes not only from the faculty, but is also transmitted from older students, from alumni. When the program is working, students learn as much or more from one another than they do from the faculty. LOCAL 92nd Street Y 1395 Lexington Avenue New York, NY 10128 212.415.5500 Programs include Jazz Keyboard, Jazz Combos and Jazz Workshops. The annual Jazz In July Summer Program includes an array of performances by internationally renowned artists ASCAP (American Society of Composers, Authors, & Publishers) Frances Richard One Lincoln Plaza New York, NY 10023 212-621-6327 [email protected] www.ascap.com 42-76 Main Street Flushing, NY 11355 718-461-8910 www.bqcm.org Charles Colin Studios 315 West 53rd Street New York NY 10019 212-581-1480 [email protected] www.charlescolin.com Greenwich House Music School, 46 Barrow St., Tel: 212-242-4770, Fax: 212-366-9621, www. greenwichhouse.org City College of New York—Jazz Program Scott Reeves Music Department 138th St. & Covent Avenue New York, NY 10031 [email protected] www.ccny.cuny.edu Bachelor Degrees: B.FA in Jazz, Classical, Music Technology, or Jazz Education; B.A. in Music or Music Education Faculty: Includes Daniel Carillo, Alison Deane, David Del Tredici, Ray Gallon, Barbara Hanning, Michael Holober, Stephen Jablonsky, Chadwick Jenkins, Paul Kozel Columbia University—Center for Jazz Studies Professor George Lewis 2960 Broadway, MC 1812 - 621 Dodge Hall New York, NY 10027 212-851-1633, [email protected] www.jazz.columbia.edu, Admissions: (212) 854-2522 Faculty: Ann Douglas, Brent Edwards, Farah Jasmine Griffin, George Lewis, Robert O’Meally, John Szwed, Christopher Washburne CUNY York College 94-20 Guy R Brewer Blvd Jamaica, NY 11451 Tom Zlabinger Department of Music http://york.cuny.edu 718-262-2000 C.W. Post University T.K. Blue Department of Music 720 Northern Boulevard Brookville, NY 11548-1300 (516) 299-2930 [email protected] www.liu.edu/~svpa/music Faculty: T.K. Blue, Andy Fusco, Richard Iacona, Mark Marino, John Ray, Ron Stanton, Earl Williams Drummers Collective 541 6th Ave, New York, NY 10011, 212-741-0091, www.thecoll.com Brooklyn-Queens Conservatory of Music— Brooklyn Campus Earl McIntyre 58 7th Avenue Brooklyn, NY 11217 718-622-3300 [email protected] www.bqcm.org Five Towns College 305 N. Service Road Dix Hills, New York 11746 Admissions: 631-656-2110 Web Site: www.ftc.edu E-Mail: [email protected] Five Towns College music department offers one of the finest Jazz/Commercial music programs in New York State. At the graduate level, Five Towns College offers a program in Jazz/ Commerical Music leading to the Master of Music (M.M.) with concentrations in performance, composition/arranging, music history and music technology. In addition a Doctor of Musical Arts (D.M.A.) degree is also offered. Concentrations offered at 94 September 2009 • Jazz Inside™ NY the doctoral level include music education, performance, music history, literature and composition/songwriting. The program is designed to meet the needs of professional musicians, audio recording engineers, music business executives, multimedia specialists, and active professionals working in the music industry, music education, or a music related field. Graduate courses are scheduled for the late afternoon or early evening for the convenience of working professionals. For more information, contact an Admissions Representative at 631-656-3129. Financial aid and scholarships are available. • www.jazzinsidemagazine.com Hunter College of CUNY Ryan Keberle Department of Music 695 Park Avenue New York, NY 10021 212-771-5020 [email protected] www.hunter.cuny.edu/~music Faculty: Ryan Keberle, Priscilla Owens Jazz At Lincoln Center 60th & Broadway New York, NY http://jalc.org/jazzED/ Jazz At Lincoln Center produces 20 education programs and resources that fall within four audience categories Students and Teachers, Kids and Families, Adults and Online Learners. Jazz For Young People Concerts, Middle School Jazz Academy, Essentially Ellington High School Jazz band Program, Band Director Academy, Workshops, Clinics. JALC Education programs reach over 50,000 participants each year through direct instruction and another 30,000 indirectly with curricula and print music library. Jazzmobile Robin Bell-Stevens, CEO 154 W. 127th Street, Second Floor New York, NY 10027 212-866-4900 http://jazzmobile.org Jazzmobile, Inc. is a not-for-profit 501(c)(3) art and culture organization. The organization, founded by Billy Taylor, and now celebrating its 45th Anniversary is a pioneering organization in Jazz Education and mobile jazz concerts. For more information about educational activities and performances, visit the website - http://jazzmobile.org Juilliard Institute for Jazz Studies Carl Allen 60 Lincoln Center Plaza, Rm. 222 New York, NY 10023-6590 212-799-5000 [email protected] www.juilliard.edu Carl Allen’s Assistant - Artistic Director of Juilliard Jazz Studies Bachelor Degrees: Jazz Studies Graduate Degrees: Master of Music, Jazz Studies, Artist Diploma – pre-professional curriculum in the Juilliard Institute for Jazz Studies (a collaboration with Jazz at Lincoln Center) Faculty: Includes Carl Allen, Kenny Barron, Ron Blake, Kendall Durelle Briggs, George Colligan, Xavier Davis, Richard DeRosa, Billy Drummond, Ray Drummond, Mark Gould, David Grossman, Eddie Henderson, Ted Nash, Ben Wolfe LaGuardia Community College CUN I, 31-10 Thomson Ave., Long Island City, 718-482-5151 Long Island University Bob Aquino Department of Music, 1 University Plaza To Advertise CALL: 215.887.8880 Brooklyn, NY 11201 718-488-1668, [email protected] www.liu.edu/brooklyn/music Admissions Contact: Bob Aquino Bachelor Degrees: B.FA and B.A. Faculty: Eddie Allen, Freddie Bryant, Jack Wilkins, Cliff Korman, Dwayne Broadnax, Vince Cherico, Sam Newsome, Carlo DeRosa, Gloria Cooper, Bob Aquino Long Island University—Brooklyn Campus Sam Newsome Brooklyn Campus 1 University Plaza Brooklyn, NY 11201-5372 (718) 488-1000, [email protected] www.liu.edum www.samnewsome.com Faculty: Eddie Allen, Freddie Bryant, Jack Wilkins, Cliff Korman, Dwayne Broadnax, Vince Cherico, Sam Newsome, Carlo DeRosa, Gloria Cooper, Bob Aquino Lucy Moses School 129 West 67th Street New York, NY 10023 Tel: 212-501-3360 Fax: 212-874-7865 [email protected] www.kaufman-center.org/lucy-moses-school Programs include lessons, classes, workshops and ensembles for children and adults. Manhattan School of Music Justin DiCioccio 120 Claremont Avenue New York, NY 10027 212-749-2802, [email protected] www.msmnyc.edu Faculty: Includes Jay Anderson, Michael Abene, Justin DiCioccio, Bobby Sanabria, Jaime Baum, Rodney Jones, Samir Chatterjee, Kenny Barron, David Liebman, Luis Bonilla, Cecil Bridgewater, Jospeh Locke, John Blake, Theo Bleckmann New Jersey City University Ed Joffe 2039 Kennedy Boulevard Jersey City, NJ 7305 201-200-3091 [email protected] www.njcu.edu Bachelor Degrees: B.M. in Performance (Jazz & Classical), B.A. in Music, Music Education, or Music Business Graduate Degrees: M.M. in Performance (Jazz & Classical), Multiple Woodwind Performance, or Music Education Faculty: Ed Joffe, Bud Burridge, Andy Eulau, Anita Brown, Allen Farnham, Earl Gardner, Tim Horner, Dr. Edward Joffe, Bill Kirchner, Joe Magnarelli, Bob Malach, Pete McGuinness, Paul Meyers, Joe Mosello, Pablo Rodriguez, Mark Sherman, Arnold Jay Smith, Jim Snidero, Roseanna Vitro, Joel Weiskopf New School Jazz & Contemporary Music Program Martin Mueller 55 W. 13th Street New York, NY 10011 212-229-5896 [email protected], www.jazz.newschool.edu Teri Lucas is Ext. 4589 [email protected] Faculty: Includes Ahmed Abdullah, Junko Arita, Daniel Beliavsky, Jay Bianchi, Ben Bierman, Jane Ira Bloom, Richard Boukas, Joanne Brackeen, Cecil Bridgewater, Brian Camelio, Steve Cardenas, Jeff Carney, Joe Chambers, Haim Cotton, Alexis Cuadrado, Andrew Cyrille, Gerard D’Angelo, Armen Donelian, Mario Escalera, Ray Gallon, Hal Galper, George Garzone, Dave Glasser, Dan Greenblatt, Chico Hamilton, and many more Dr. David Schroeder 35 West 4th Street Room # 980 Suite # 777 New York, NY 10012 212-998-5446, [email protected] www.education.nyu.edu/music.jazz Chair of Department of Music: Dr. Lawrence Ferrara Bachelor Degrees: B.M. in Music Performance and Jazz Studies Graduate Degrees: M.A. and Ph.D. in Music Performance and Jazz Studies Faculty: Includes Dr. Dave Schroeder, Bruce Arnold, Donald Friedman, Memo Acevedo, George Garzone, Gabriel Alegria, Robin Eubanks, Ron McClure, Stefon Harris, and many more Purchase College—Jazz Institute Purchase College, SUNY Todd Coolman 735 Anderson Hill Road Purchase, NY 10577 914-251-6716 [email protected] www.purchase.edu/music Bachelor Degrees: B.M. in Performance—Jazz Studies Graduate Degrees: M.M. in Performance—Jazz Studies; Performer Certificate; Artist’s Diploma Faculty: Includes Eric Alexander, Jon Faddis, John Fedchock, Doug Munro, Charles Blenzig, Todd Coolman, Richie Morales, Ted Piltzecker, Wilson Corniel, Jr., Arturo O’Farrill Queens College—Copland School of Music Michael Mossman Flushing, NY 11367 718-997-3823 [email protected] www.qc.edu/music, Admissions: (718) 997-5200 Graduate Degrees: M.M. in Jazz Performance and Jazz Composition Faculty: David Berkman, Paul Bollenbeck, Vince Cherico, Gene Jackson, Pablo Aslan, Ron Carter, Leon Dorsey, Antonio Hart, Luis Bonilla, Steve Turre, Mark Feldman, Theo Bleckman, Richard Harper Sheila Jordan, J. D. Walter, Michael Mossman. Rutgers University at New Brunswick Stanley Cowell 100 Clifton Avenue New Brunswick, NJ 08903-0270 732-932-9302, [email protected] www.musicweb.rutgers.edu Bachelor Degrees: Bachelor of Music Master Degrees: Master of Music Faculty: Ralph Bowen, Stanley Cowell, William Fielder, Conrad Herwig, Vic Juris, Victor Lewis, Mike Richmond Turtle Bay Music School 244 E. 52nd St. New York, NY 10022, 212-753-8811 www.tbms.org New York University Jazz/Contemporary Music Studies William Paterson University David Demsey 300 Pompton Road Wayne, NJ 7470 973-720-2268 [email protected], www.wpunj.edu B.M. in Jazz Studies and Performance, Sound Engineering Arts/ Jazz Concentration, Music Management/Jazz Concentration and Music Education/Jazz Concentration M.M. in Jazz Studies, Concentrations in Perf, Arranging Faculty: Includes David Demsey, Vincent Herring, Rich Perry, Nancy Marano, Gene Bertoncini, Paul Meyers, Armen Donelian, Harold Mabern, Mulgrew Miller, Janet Reeves, James Weidman, Steve LaSpina, Marcus McLaurine, Horacee Arnold, Bill Goodwin, Kevin Norton, Cecil Bridgewater, Richard DeRosa, Jim McNeely, Clark Terry. To Advertise CALL: 215.887.8880 September 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com Weill Music Institute at Carnegie Hall 881 7th Avenue New York, NY 10019 212-903-9741 www.weillmusicinstitute.org REGIONAL New York, New Jersey, Pennsylvania, Connecticut, Massachusetts, New England and Mid-Atlantic Berklee College of Music Nick Balkin 1140 Boylston St. Boston, MA 2215 (617) 747-2222 Bachelor Degrees: Music Education, Film Scoring, Songwriting, Performance, Music Production & Engineering, Music Synthesis, Music Business/Management, Music Therapy, Contemporary Writing & Production, Composition, Professional Music, Jazz Composition, dual major options Manhattan School of Music 2009-1010 Jazz Concert Calendar Highlights—Preview Fall 2009 Friday, October 9 Focus: The Music of Eddie Sauter, with Joe Lovano, soloist Borden Hall, MSM Jazz Philharmonic Orchestra, Justin DiCioccio, Conductor Eddie Sauter: Focus, Robert Graettinger/Stan Kenton: City of Glass Thursday, Oct. 22 BDN The Music of Clare Fischer, Bill Potts: The Jazz Soul of Porgy and Bess MSM Concert Jazz Band, Justin DiCioccio, Conductor Friday, Oct. 23 BDN Ray Santos - A Life in Latin Music A tribute to a living master, the definitive arranger of big band Afro-Cuban music MSM Afro Cuban Jazz Orchestra Bobby Sanabria, Director Tuesday, November 3 BDN Sketches of Spain MSM Jazz Orchestra, Justin DiCioccio, Conductor, Artist-in Residence Dave Liebman, soloist Gil Evans: Sketches of Spain Spring 2010 Friday, Feb. 12- Feb.14 Charles Mingus Festival & Second Annual High School Band Competition Master classes, workshops, concerts and jam sessions culminating in the Second Annual Charles Mingus High School Jazz Band Competition Wed. March 24 BDN MSM Jazz Philharmonic Orchestra, Justin DiCioccio, Conductor featuring vocalist Jane Monheit Wed. April 21 ML Chamber Jazz Ensemble: Michael Patterson & Friends with Gene Bertoncini, guitar, and Sara Caswell, violin Manhattan School of Music 120 Claremont Avenue New York, NY 10027-4698 www.msmnyc.edu 95 Faculty: Includes Bill Pierce and Walter Beasley, saxophone;, JoAnne Brackeen, piano; Kenwood Dennard, drums; Kevin Mahogany, voice; Mick Goodrick, guitar; Phil Wilson, trombone. The College of Saint Rose Paul Evoskevich 432 Western Avenue Albany, NY 12203 (518) 454-5195 [email protected] www.strose.edu Bachelor Degrees: B.S. in Music Industry and Music Education Graduate Degrees: M.A. in Music Technology, M.S. in Ed. in Music Education Faculty: Paul Evoskevich, Robert Hansbrough, Joseph Eppink, Yvonne Chavez Hansbrough, Susan Harwood, Dennis A. Johnston, Young Kim, Michael Levi, Marry Anne Nelson, Bruce Roter, Barbara Wild Duquesne University Michael Tomaro Mary Pappert School of Music 600 Forbes Avenue Pittsburgh, PA 15282 [email protected] www.duq.edu Faculty: Ronald Bickel, Joe Dallas, Jim Guerra, Sean Jones, Tony Mowod, Brian Stahurski, Michael Tomaro, John Wilson East Stroudsburg University Betsy Buzzelli-Clarke Music Department 200 Prospect Street East Stroudsburg, PA 18301 (570) 422-3052, [email protected] www.esu.edu Admissions: (570) 422-3211 Faculty: Robert Miller, Patrick Dorian, Terry Flatt, James Maroney, Otis French, Elizabeth Buzzelli-Clarke Eastman School of Music Harold Danko 26 Gibbs Street Rochester, NY 14604 585-274-1449 [email protected] www.rochester.edu/eastman/jazz Admissions: Dr. Adrian Daly, [email protected] Department Secretary: Sheryle Charles [email protected]; Ext. 1440 Bachelor Degrees: Jazz Studies and Contemporary Media Graduate Degrees: M.M. in Jazz Studies and Contemporary Media Faculty: Jeff Campbell, Harold Danko, Bill Dobbins, Clay Jenkins, Mark Kellogg, Ramon Ricker, Dave Rivello, Bob Sneider, Dariusz Terefenko, Rich Thompson, Walt Weiskopf Fairfield University Brian Torff 1073 N. Benson Road Fairfield, CT 06824 (203) 254-4000, [email protected], www.fairfield.edu Undergraduate Adm. (203) 254-4100 Faculty: Orin Grossman, Laura Nash, Brian Torff Hartford Conservatory Walter Gwardyak 834 Asylum Avenue Hartford, CT 6105 (860) 246-2588 [email protected] www.hartfordconservatory.org Admissions: (860) 246-2588 Bachelor Degrees: Accredited Arts Diploma Faculty: Dave Dana, Bob DePalma, Giacomo Gates, Jay Wood Howard University Jazz Studies College of Arts and Sciences, Jazz Studies 2400 6th St NW Washington, DC 20059 (202) 806-7097 [email protected] www.coas.howard.edu/music/index.html Admissions: (202) 806-7082 Bachelor Degrees: B.M. in Jazz Studies, Music Business – Jazz, Music Education, Composition, Music History, Music Therapy, Music Business Graduate Degrees: Master of Music, Master of Music Education Ithaca College James J. Whalen Center for Music 3322 Ithaca College Ithaca, NY 14850-7240 607-274-3366 www.ithaca.edu/music Music Admissions Director—Thomas Kline [email protected] Bachelor Degrees: B.M. in Jazz Studies Faculty: Lauri Robinson-Keegan, Michael Titlebaum, Louise / mygatt Lehigh University Bill Warfield Music Department, Zoellner Arts Center 420 East Packer Avenue Bethlehem, PA (610) 758-5192, [email protected], www.lehigh.edu/~inmsc/ Admissions: (610) 758-3839 Faculty: Dave Riekenberg, Bill Warfield Moravian College Neil Wetzel Moravian College Music Department 1200 Main Street Bethlehem, PA 18018 610-861-1650, [email protected], www.moravian.edu/music Admissions: (610) 861-1300 Bachelor Degrees: B.M. in Performance (Jazz or Classical), Music Education, Composition, or Sacred Music; B.A. in Music or Elementary Education Faculty: Dan DeChellis, Anthony Gairo, Alan Gaumer, Byron Landham, Lou Lanza, Steven Mathiesen, Gary Rismiller, Pal Rostock, David Roth, Dr. Neil Wetzel, Peter Smyser. Fredonia College, SUNY Bruce Johnstone Mason Hall, School of Music Fredonia, NY 14063 (716) 673-4640 [email protected] www.fredonia.edu Admissions: (716) 673-3251 Faculty: Bruce Johnstone, John Bacon, Harry Jacobson, Linda Phillips New England Conservatory Ken Schaphorst 290 Huntington Avenue Boston, MA 2115 (617) 585-1388 [email protected] www.newenglandconservatory.edu Bachelor Degree: B.M. or Undergraduate Diploma in Jazz Performance, Jazz Composition, or Contemporary Improvisation Graduate Degrees: M.M., Graduate Diploma, D.M.A., or Artist Diploma in Jazz Performance, Jazz Composition, or Contemporary Improvisation Faculty: Includes Charlie Banacos, Jerry Bergonzi, Ran Blake, Fred Buda, Frank Carlberg, Gary Chaffee, Anthony Coleman, Sa Davis, Dominique Eade, Robin Eubanks, George Garzone, 96 September 2009 • Jazz Inside NY ™ • www.jazzinsidemagazine.com Billy Hart, Andre Hayward, Jon Hazilla, Jerry Leake, John Lockwood, Cecil McBee Orange County Community College Chris Parker 115 South Street Middletown, NY 12771 (845) 341-4791, [email protected] www.sunyorange.edu Admissions: Vinny Cazzetta, 845-341-4726 Faculty: Chris Parker, Hilarie Clark-Moore, Stanley Curtis, Christa Damaris, Peter Galipeau, Vivian Graziano, David Miele, Dana Perna, Steve Raleigh, Levern Rollins-Haynes, Kevin Scott Peabody Institute at Johns Hopkins University Gary Thomas, Director of Jazz Studies 1 East Mt. Vernon Place Baltimore, MD 21202-2397 410-659-8100, [email protected] www.peabody.jhu.edu Bachelor Degrees: B.M. in Jazz Performance in Trumpet, Percussion, Double Bass, Saxophone, Flute, Piano, Guitar, Voice Faculty: Nasar Abadey, Paul Bollenback, Jay Clayton, Michael Formanek, Donvonté McCoy, Timothy Murphy, Gary Thomas Princeton University Department of Music Anthony Branker Woolworth Center Musical Studies Princeton, NJ 08544-1007 609-258-2219 [email protected] www.princeton.edu/~puje Bachelor Degrees: B.A. in Music; Certificate in Musical Performance (Jazz) Graduate Degrees: M.A. & Ph.D. in Composition and Musicology Faculty: Anthony Branker, Ralph Bowen, Michael Cochrane, Bruce Arnold, Brian Glassman, John Arrucci Rowan University Dennis DiBlasio 201 Mullica Road Glassboro, NJ 08071 (856) 256-4651 [email protected] www.rowan.edu/music Admissions: (856) 256-4200 or [email protected] Faculty: Dennis DiBlasio, Douglas Mapp, George Genna, Tom Giacabetti, Eddie Gomez, John Guida, Tony Miceli, Jim Miller, Joe Morello, George Rabbai, Robert Rawlins, Anthony Salicandro, Tom Traub, Ed Vezinho SUNY Binghamton Michael Carbone Music Department PO Box 6000 Binghamton, NY 13902 (607) 777-2627 [email protected] www.music.binghamton.edu Undergrad Admissions: (607) 777-2171 Faculty: Michael Carbone SUNY Potsdam Bret Zvacek Crane School of Music SUNY Potsdam 44 Pierrepont Avenue Potsdam, NY 13676 (315) 267-2423 [email protected] www.potsdam.edu/crane Admissions: (315) 267-2775 Bachelor Degrees: B.A. in Music; Minor in Jazz Studies Faculty: Bret Zvacek Continued on Page 56 To Advertise CALL: 215.887.8880 410 S. Michigan Ave. Ste 802 Chicago, IL. 60605 • 312-360-9881 723 7th Ave. • 3rd Floor New York, NY. 10019 • 212-730-8138 Steve’s cell: 630-865-6849 www.maxwelldrums.com Our Manhattan shop is located at 723 7th Ave. 3rd floor. We’re right at the corner of 7th avenue and 48th street, which is known as “music row” in Manhattan. Our NYC manager is Jess Birch and he and Steve will both be at the shop. Steve is in the Chicago store on Saturdays. intage and ur v m o y dru specia om li s t us NEW: Effective April 1, Willie Martinez joins our staff heading up our new repair department. Willie is the best in the business and his name is known all over Manhattan. Repair shop is open, so come on down and let us help you with your gear. Our new shOp includes: craviOttO: World’s largest selection of Craviotto one-ply snares and drum sets vintage: Extensive inventory of high end vintage snare drums, sets and cymbals MuseuM: A showcase for some of the rarest and historic sets and snares. gretsch: USA Custom drums in bebop sizes made famous by the 60s era jazz greats and including our Gretsch Vintage Tribute kits available only through us. True vintage build out with rail consolette and even burgundy sparkle among other colors. cyMbals: Istanbul, Bosphorus, Zildjian, Old As, Old Ks, Dream and our own Turkish made Session cymbals · All of the great sticks, heads, hardware, bags, etc that we offer. At our Manhattan store (all items are available for sale): · Gene Krupa’s late 30s radio King snare drum · Rare Slingerland black beauty snare drum. One of only 12 known. · Rare Gretsch cadillac nitron green 50s era 3 ply kit practice space: Our NY store has drum set practice available for rent on an hourly basis. Call 212730-8138 for details! teaching studiO: Ron Tierno has relocated his long standing teaching studio to our shop. Call Ron directly at 646-831-2083 for lesson information and visit his site at www.nydrumlessons.com new! We now have our brand new vintage style Rail Consolette tom holder assembly in stock. Check it out on the website and in our stores. (chic): sat: 10–4 (nyc): Mon-sat: 11–7 stOre hOurs: Other hours by appointment sun: closed Manager: Jess birch ts MANHATTAN and CHICAGO Our Manhattan location is only a short distance from where Frank Ippolito had his great shop, which was where Steve studied with Papa Jo Jones back in the early 70s and where he got his first glimpse of the beauty of custom drums from Al Duffy, who was truly the first custom drum builder and a mainstay at Frank’s shop. We’re proud to be in Manhattan and we hope to carry on the tradition of the great shops like Frank’s. c Steve Maxwell vintage and CuStoM druMS WORLD’S FINEST JAZZ CLUB & RESTAURANT 1 3 1 W. 3 R D S T N Y C 2 1 2 - 4 7 5 - 8 5 9 2 W W W. B L U E N O T E J A Z Z . C O M KENNY WERNER QUINTET THE OVERTONE QUARTET SEPTEMBER 1 - 6 SEPTEMBER 8 - 13 MANHATTAN TRANSFER PAQUITO D'RIVERA ENSEMBLE FT. RANDY BRECKER, DAVID SANCHEZ SCOTT COLLEY & ANTONIO SANCHEZ SEPTEMBER 15 - 20 FT. DAVE HOLLAND, CHRIS POTTER JASON MORAN & ERIC HARLAND PLUS EDMAR CASTANEDA TRIO SEPTEMBER 22 - 27 CONRAD HERWIG FT. EDDIE PALMIERI & RANDY BRECKER THE LATIN SIDE OF MILES DAVIS & JOHN COLTRANE SEPTEMBER 29 - OCTOBER 4 L AT E N I G H T G R O OV E S E R I E S S U N DAY J A Z Z B R U N C H JEAN-MICHEL PILC & THE NYUJAZZ FACULTY QT SUN, SEPT 6 GENE ESS DOUBLE GUITAR QT WITH RODNEY JONES SUN, SEPT 13 SOUL CYCLE FRI, SEPT 4 LAKECIA BENJAMIN & SOULSQUAD SAT, SEPT 5 MATT GERAGHTY FRI, SEPT 11 JUILLIARD JAZZ BRUNCH: THE SOUND OF DETROIT SUN, SEPT 20 MELVIN SPARKS SAT, SEPT 12 RICARDO GALLO'S TIERRA DE NADIE SUN, SEPT 27 EAST WEST QUINTET FRI, SEPT 18 RICHIE GOODS SAT, SEPT 19 RACHEL Z MON, SEPT 7 PATRICK CORNELIUS FRI, SEPT 25 MICHAEL KAESHAMMER MON, SEPT 14 RACHEL PASTARNACK SAT, SEPT 26 KENDRA ROSS MON, SEPT 21 JUDITH OWEN MON, SEPT 28 M O N DAYS AT T H E B L U E N O T E ® AMERICANEXPRESS GOLD CARDPREFERREDSEATING
