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The Ultimate Directory of NY Area Jazz Club, Concert & Event Listings
Interviews with:
Reggie Workman
Steve Tyrell
Chris Botti
Andrew Cyrille
Gerald Wilson & REGGIE WORKMAN
Juilliard Jazz Orchestra, ANDREW CYRILLE
St. Peter’s Church
Steve Davis, Alice December 10
Coltrane, Andrew Hill,
Norman Hedman,
Willie Martinez…

Cafe Carlyle, Carlyle Hotel
December 1–31

Blue Note
December 19–31

Ira Gitler’s Apple Chorus
Jazz Club Profile:
RARE’s Lexington Lounge and
Marjorie Eliot’s Parlor Jazz
Plenty of Reviews of Cool CDs
Including: John Coltrane, Louis Armstrong,
Sonny Stitt, Steve Turre, Myra Melford,
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Jazz Improv’s New York Jazz Guide & Directory
ISSN: 1556-0600
December 2006 - Volume 2, Number 6
Cover Design by Karry Thomas
Cover Photo of Wynton Marsalis by Clay Patrick McBride HOLIDAY GIFT GUIDE
Publisher: Eric Nemeyer
Editor: Winthrop Bedford 12 pages (beginning on page 35)
Advertising Sales & Marketing: Jamie Cosnowsky
Advertising & Marketing Associate: Lashawn Malloy
Circulation: Ellen Kahn, Robin Friedman, Susan Brodsky
Photo Editor: Joe Patitucci 16 Directory of Clubs, Venues, Music and Record
Interns: Kaila Prins, Dimitry Ekshtut
Contributing Artist: Mary Jo Schwalbach Gitler
Stores, Schools & Universities
Contributing Photographers: Eric Nemeyer, Joe Patitucci, E.S. 57 Calendar of Events
Proteus, Herb Snitzer, Ken Weiss. 50 Announcements - Upcoming Events; Regular
Contributing Writers: Dan Adler; Dan Bilawsky; Al Bunshaft; John Engagements; Add’l Club and Venue Schedule
Cizik; Curtis Davenport; Bill Donaldson; Dimitry Ekshtut; Joe Ferrari;
Ken Franckling; Eric Frazier; Robert Gish; Ira Gitler; C.J. Glass; Dr. 56 Noteworthy Performances
Wayne Goins; Clive Griffin; Rick Helzer; Scott Hockenberry; Steve 15 Jazz Brunch
Jankowski; Joe Knipes, Jan Klincewicz; Ron Lyles; Alex Makarov; ON THE COVER: Wynton Marsalis
Harry Maisonette; Margot Elizabeth Meyers; Dave Miele; Mercy Feature begins on page 19 COLUMNS
Monet; Joe Patitucci; Marco Pignataro; Paul Sakion; Jim Santella;
Mark Sherman; Rob Silverman; Annie Simmons; Peter Steinberger; 4 Apple Chorus, by Ira Gitler
Ken Weiss; Will Wyatt; Marshall Zucker. Editorial Policies 49 Latin Beat, by Harry Maisonette
Jazz Improv ® does not accept unsolicited manuscripts. Persons
Advertising Sales wishing to submit a manuscript or transcription are asked to request
Contact Jamie Cosnowsky at 212-889-0853 specific permission from Jazz Improv® prior to submission. All LIVE PERFORMANCE REVIEWS
Jazz Improv® Magazine Main Office
materials sent become the property of E.S. Proteus, Inc. unless 6 Steve Davis at The Kitano; Alice Coltrane at
otherwise agreed to in writing. Opinions expressed in Jazz Improv®
107-A Glenside Avenue, Glenside, PA 19038 USA by contributing writers are their own & do not necessarily express
New Jersey Performing Arts Center; Andrew
Telephone: 215-887-8808; Fax: 215-887-8803 the opinions of Jazz Improv®, E.S. Proteus, Inc. or its affiliates. Hill at Merkin Hall; Norman Hedman; Willie
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Copyright Notice
19 Wynton Marsalis
Advertising in Jazz Improv® Magazine & Copyright © 2006 by E.S. Proteus, Inc. All rights reserved. No part of this 24 Steve Tyrell
Jazz Improv® New York Jazz Guide & Directory publication may be copied, photocopied or duplicated in any form, by any 29 Reggie Workman
Jazz Improv® Magazine provides its advertisers with a unique means without prior written consent from E.S. Proteus, Inc. Copying of
opportunity to reach a highly specialized and committed jazz reader- this publication is in violation of the United States Federal Copyright Law 30 Andrew Cyrille
ship. Please call Jamie Cosnowsky in our Advertising Department at (17 USC 101 et seq.). Violators may be subject to criminal penalties as 31 Chris Botti
212-889-0853 or toll free at 1-866-493-7185 to request a Media Kit. well as liability for substantial monetary damages, including statutory
damages up to $50,000 per infringement, costs and attorneys fees.
63 Louis Armstrong; Cheryl Bentyne; Alan Broad-
Two publications from Jazz Improv ® bent; Linda Bianchi; John Coltrane; Mary Fos-
ter Conklin; Bob DeVos; Alex Garcia’s Afro
Jazz Improv’s ® New York Jazz Guide Mantra; Mark Helias; John Hicks; Hot Club of
MONTHLY - FREE (available FREE in print at 250 locations around NY and via download of PDF file from Detroit; Sean Jones; Barbara Lea & Loren
website. Also available in print by paid subscription, delivered to your home or office). Features interviews, Schoenberg Big Band; Elisabeth Lohninger;
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views, colossal bio-discographical features, reviews of recordings, books and musical products, motivational, Wynton Marsalis by Clay Patrick McBride (cover), and by
Eric Nemeyer (page 2, above); Reggie Workman by Ken
philosophical, articles, over 20 pages devoted to guitar: “The Guitar Pages,” and for those readers who make
Weiss; Chris Botti by Eric Nemeyer; Steve Tyrell
music, a bonus 150-page e-book on the enhanced CD with lead sheets, transcriptions, analyses and more. (courtesy, Steve Tyrell).

2 December 2006  Jazz Improv ® Magazine’s New York Jazz Guide To Advertise CALL: 212-889-0853

Ira Sullivan, Dave Frishberg & Others
Ira Gitler

I first heard Ira Sullivan in 1949 (when familiar they are to them. This is particularly Both groups exhibited unbridled passion
he was 18) at one of the jazz sessions that Joe true of a live performance. So we heard “My and the individuals transmitted genuine, per-
Segal was first presenting at Roosevelt Col- Attorney Bernie” and “Quality Time,” the sonal voices in an idiom that radiates blues
lege in Chicago. He was playing trumpet, show’s title song. The chemistry also worked. and beauty. Each group displayed original
influenced by the Miles Davis of the recently Jessica and Dave combined on the “Can’t material from within its ranks, and also nod-
released Capitol 78s, that would later be Take You Nowhere” and after Dave did his ded to Joe Henderson—Ugetsu’s interpreta-
dubbed “The Birth of the Cool.,” He was also (and Bob Dorough’s “I’m Hip” and Jessica tion of “Caribbean Fire Dance” and Sonny
playing alto sax with a Sonny Stitt flavor. He answered with Dave’s parody of “I Won’t Clark, Uptown’s rendition of “Blue Minor.”
amazed me and has continued to do so over Dance” entitled “I Won’t Scat.” And she sang See “dese” CDs (and hear ‘em, too):
the years. He became known mostly for his Frishberg’s touching “Heart’s Desire.” Jimmy Heath’s Turn Up the Heath (Planet
tenor saxophone and trumpet, and not only More visitors from the West, this time Arts), the Jimmy Heath Big Band playing his
plays all the reeds, but just about any originals and arrangements with an all
other instrument. At a late hour jam at star array of players. Jimmy is also
a jazz convention, he picked up the featured on a DVD (DanSun) entitled
bass and later sat behind the drums to Brotherly Jazz, along with brothers
keep things going until the wee hours. Percy and Albert “Tootie.” Talking
He made his reputation in Chicago, heads include Herbie Hancock; Jack
but moved to Florida in the ‘70s. Red DeJohnette; and Sonny Rollins, who
Rodney coaxed him into touring in the says, “The Heath Brothers have made
‘80s but for the most part he can only the world a better place. They’re what
be heard in southern Florida. I don’t jazz is all about.”
remember the last time he was in New Meanwhile Rollins’ new label,
York, but any time he is it’s an Doxy. has it’s first release in Sonny,
event—as it was at Dizzy’s Club Coca Please, with a piano-less version of his
Cola in early November. As a front- regular group, adding Bobby Broom
line guest in tenor man Eric Alexan- on guitar.
der’s Quartet, and backed by a smok- How many of you remember
ing rhythm section of Harold Mabern, Charles Mingus’ Music Written For
John Webber and Joe Farnsworth, Monterey 1965 Not Heard...Played in
Sullivan soloed on trumpet, flugel, Its Entirety At UCLA? Issued in a lim-
tenor, soprano and flute. At 75 Ira is ited edition LP some years ago by
still a tower of swing and a fountain of Mingus’ wife, Sue Mingus, in an effort
soul. to thwart bootleggers, it is now avail-
Another welcome visitor, this able as a CD on Sue Mingus Music.
time from the Pacific northwest, Dave Simultaneously, the label has issued
Frishberg arrived in town from Port- The Mingus Big Band in Tokyo from
land to team with vocalist Jessica Mo- 2005.
laskey (John Pizzarelli’s wife and mu- Books: A quick, but enter-
sical collaborator) for a run at Feinstein’s. western Canada, Vancouver, British Columbia taining and enlightening book by Lorraine
Frishberg, supported everything with his no- to be exact. Cory Weeds, proprietor of the Gordon, as told to Larry Singer, Alive at the
nonsense pianism—percussively rhythmic Jazz Cellar club in Vancouver, has a label Village Vanguard: My Life In and Out of Jazz
when it had to be, and expressive at all tem- called Cellar Jazz. Ugetsu, one of the local Time, has been published by Hal Leonard. I
pos. He did many of the songs his public groups he recorded live, made the trip to New don’t think Lorraine told Singer all, but she
wants to hear and revel in, no matter how York and, on Saturday night, November 11, did make one boo-boo: Sir Charles Thompson
appeared at the Fat Cat in Greenwich Village, wrote “Robbins’ Nest,” not Count Basie.
opening for the Uptown Quintet, a New York (Count did record it but Illinois Jacquet had
group that has played at the Cellar and has a the first and definitive version.)
“When a true genius CD out on the Cellar Jazz label. Also new--so new that I haven’t finished
appears in the world, Ugetsu is made up of tenor saxophonist reading it--is Dark Magus: The Jekyll and
you may know him by this sign, Jon Bentley, tenor sax; Bernie Arai, drums; Hyde Life of Miles Davis by Gregory Davis,
that the dunces are all Brad Turner, trumpet; Rod Murray, trombone; (Miles’ son) with Lees Sussman and a fore-
in confederacy against him.” Ross Taggart, piano; and Andre Lachance, word by Clark Terry (Backbeat Books).
bass. The Uptown Quintet is peopled by Ian
Hendrickson-Smith, alto sax; Ryan Kisor,   
- Jonathan Swift trumpet; Spike Wilner, piano; Dave Wong,
bass; and Montez Coleman, drums.
4 December 2006  Jazz Improv ® Magazine’s New York Jazz Guide To Advertise CALL: 212-889-0853
live performance reviews
having a blast himself as he worked to keep the
© Eric Nemeyer

piano from rolling too far away from the pound-
ing it was taking. The tiny Kitano bar rocked and
I couldn’t help but think that this is how this
music was meant to be played! While the band’s
playing was the star of the evening, Wonsey’s
solo was one of the individual highlights of the
night. I’m sure that if you were down below in
the hotel lobby, you would swear there was a
party going on upstairs. As Wonsey’s solo
wound down an excited audience member kept
repeating “hold on baby…. don’t let it go” and I
think all in attendance could identify with that
comment. The energy, the swing, the groove,
was something that I can’t describe, you have to
© Ken Weiss
feel it. You know it when it happens, and it does-
n’t happen at most shows!
The set closed with Herbie Hancock’s “The
Maze,” the highlight of which was the addition
of Roy Hargrove on trumpet. Hargrove’s solo
was in your face, potent, angular, and exciting
and had the crowd whooping encouragement.
DiRubbo then followed with his most fiery solo
of the set. Hargrove moved over to the side and
was now shouting encouragement back to
on piano, Ivan Taylor on bass, Tony Reedus on DiRubbo and then Davis as the band brought the
Steve Davis drums and Roy Hargrove playing trumpet on one song and the set to a close.
Live at The Kitano number. The album was made with similar in-
November 10, 2006 strumentation to this evening, but with a guitar, Alice Coltrane
not a saxophone. This writer prefers the trom- Live at NJ Performing Arts Center
By Al Bunshaft bone, trumpet and sax over the trombone, trum-
October 22, 2006
pet and guitar, but it’s a personal preference.
PERSONNEL: Steve Davis, trombone, Mike Both lineups do justice to this music. The guitar
DiRubbo, alto saxophone; Anthony Wonsey, on the album makes the feeling warmer and By Ken Weiss
piano; Ivan Taylor, bass; Tony Reedus, drums. cozier as opposed to the punch of the three brass
Roy Hargrove joined on trumpet for the final instruments in the live set. Alice Coltrane has rarely performed on a
piece. The set opened with a Wayne Shorter num- public stage over the past 30 years, choosing to
ber, “Marie Antoinette.” Davis and DiRubbo led follow the teachings of Swami Satchdiananda
Hard Bop is a genre which emerged in the the piece out playing the melody in unison and and head an ashram in Agoura, CA, where she is
late 50’s and then the 60’s and was shaped by setting the tone for the tight, swinging set to known as Swamini Turiyasangitanada. At the
artists like Art Blakey, Cannonball Adderley, follow. Davis then took the first solo with Won- urging of her son, saxophonist Ravi Coltrane,
Lee Morgan, Jackie McLean and many others. sey laying in crisp chords as counterpoint to she agreed to appear with a quartet in three cit-
While some of its earliest artists still play ac- Davis’ lead. The solo moved to DiRubbo and ies, her home town of Detroit along with New
tively, sadly most of the originators are now then to Wonsey who both delivered solid solos Jersey and San Francisco.
gone. I am not old enough to have been in those before passing the lead back to Davis. The quin- The New Jersey event took place at the
clubs in the 50’s and 60’s. I can only imagine the tet then brought the piece down to a subtle close. NJPAC, an impressive jewel built into the heart
energy and the feeling as each night something Dexter Gordon’s “Fenja” followed with a re- of downtown Newark. Appearing in a saffron-
new was being created. Well it’s still possible to laxed, swinging opening. Davis played a strong colored sari, the soft-spoken and unassuming
feel that energy because there is a new crop of solo. His playing is very accessible, but not triv- Coltrane led a quartet with son Ravi, drummer
experienced professionals carrying on the tradi- ial. The band clearly enjoyed playing together Jack DeJohnette and bassist Drew Gress, stand-
tion. Many of these artists, like Steve Davis and produced a very warm, balanced sound. ing in for an ailing Charlie Haden. Commencing
whose quintet played on this Friday night at The The next piece was a Davis original called with the traditional Indian song, “Sita Ram,”
Kitano, apprenticed under the hard bop masters “Spirit Waltz.” Reedus opened solo on his drum Alice chose the Wurlitzer organ to make her
as Davis did with Blakey and McLean. set and then the group stated the melody. Davis initial statement while DeJohnette impressively
Importantly though, this was an evening played the first solo followed by DiRubbo as the hammered out insistent beats on electronic tab-
that not only looked back, it also looked forward. piece shifted into an earthy, sensuous groove. las. Ravi entered after 5 minutes to add piercing
These mostly thirty-something year old pros, Just as they wound it down the song built back soprano, bending his knees to summon more
made the music their own yet also preserved the up to a higher intensity and became a platform force.
deeply swinging, R&B influenced roots of hard for Wonsey to take the spotlight. His solo was Alice Coltrane’s composition, “Translinear
bop and kept them fully intact. The Kitano Ho- witty and inventive and slowly built into a tor- Light,” followed, featuring the leader on piano,
tel’s bar is a perfect setting to see jazz and the rent of excitement. Part R&B, part gospel church showcasing her impressive facility on the instru-
room lent a warm, intimate feeling to the set. party, Wonsey walked the keyboard with both ment. A quick left hand delivered a forceful
The Davis Quintet played mostly pieces from his hands playing rhythmically as well as melodi- attack that was invigorating but never sacrificed
most recent album called Update. Tonight’s cally. The excitement was palpable and the the luscious melodies built into her spiritually-
second set had Davis on trombone, with Mike crowd was shouting encouragement as his sheet infused playing. As DeJohnette worked his cym-
DiRubbo on alto saxophone, Anthony Wonsey music tumbled to the floor. Wonsey was clearly bals, showing off a light touch, Ravi blew com-

6 December 2006  Jazz Improv ® Magazine’s New York Jazz Guide To Advertise CALL: 212-889-0853
forting phrases on tenor which were altered and evolving ideas which seem to thrive on growth sticks, and dowel rods, knew exactly how to
presented back to him by his mother. and change. This composition was no different provide the proper musical accompaniment and
After the soothing “Jagadishwar,” bassist and his band mates followed him in mood, style support the different strains of style and sound.
Reggie Workman joined the quartet for John and sound from beginning to end. The earliest While the length of this piece and the degree of
Coltrane’s “Africa,” a nice touch considering he portions of this piece were fast and furious, with abstraction in much of the music might not have
was the bassist on the original recording. He some aggressive sounds coming from John appealed to all, the majority of the audience
opened with a compelling solo bass line and Hebert’s bass and Charles McPherson’s drums. found it to be a stunning performance.
soon Ravi confidently announced the head on his None of the band members was relegated to a Following a brief intermission, Cuscuna
tenor prior to leaving the stage, allowing Alice’s simple timekeeping role and McPherson’s cha- and Hill took the stage to discuss the history of
hypnotic piano offerings more space to flourish. meleon-like abilities to constantly change and Passing Ships. A crude mix of this recording
The two basses worked well together although adapt were remarkable. The drummer provided a was the true culprit that kept it hidden away for
their sound was significantly muffled in the large fractured Latin groove which lead into a bass so long and it was interesting to hear Cuscuna
hall. The quintet crested along on top of De- dominated section of music. The time, which talk about the interest that came from the albums
Johnette’s polyrhythmic beats to create a tran- was slightly obscured at first, took on a more participants, like Lenny White and Howard
scendental state. Workman bowed a wobbly defined role as Hebert’s arco bass playing filled Johnson, as a contributing factor for its eventual
edge into the middle of the song before switch- the room with a certain “Sturm und Drang.” release. Hill, who has strained vocal chords and
ing to slapping and plucking the strings. After a McPherson, shifting between brushes, mallets, difficulty speaking, was happy to add an occa-
drum solo, Ravi returned to embellish the end-
After intermission, the quintet was joined
by a large choir from the ashram and a full or-
chestra. Buoyed by the presence of so many of
her loved ones around her, Alice appeared jubi-
lant on stage. Images of planets, death and heal-
ing were shown on a large overhead screen dur-
ing “Mata.” After “Universe,” the night’s high-
light came with “A Love Supreme Part 1: Ac-
knowledgement.” Up to this point, Ravi had
played the role of the good son, understanding
that his mother’s mission was to spread the love
rather than the fire and brimstone but on this
tune he and the entire band stepped out with an
increased intensity, capping the historic event
with an exclamation point.
Afterwards, mother and son sat down for a
public question and answer session. Alice dis-
cussed her life at the ashram where in addition to
spiritual teaching, community service and feed-
ing the poor are daily occurrences. She said, “I
feel that when people serve without reward, it is
more rewarding.” Ravi spoke of how happy he
was to perform with his mother and stated, “I
just want to congratulate my mother for the
beautiful orchestrations.” The night ended with
the ashram choir coming on stage to sing.

Andrew Hill
Trio and Nonet
Live at Merkin Concert Hall
November 14, 2006

By Dan Bilawsky

The story behind Andrew Hill’s Passing
Ships, like the music on the recording, is intrigu-
ing and absorbing. This stellar album, recorded
in the late 1960’s and not released until 2003,
came to light through a strange series of circum-
stances. Michael Cuscuna, who is largely re-
sponsible for this release seeing the light of day,
was on hand at the Kaufman Center’s Merkin
Concert Hall for the first, and thus far only, per-
formance of this music. This album, while only
having a three year life span in the public eye,
has already attained the highest praise from crit-
ics and the debut performance attracted an en-
thusiastic audience of appreciative fans. Hill’s
trio opened the concert with a lengthy piece that
clocked in at about 30 minutes. Much of Hill’s
work is built on abstract harmonies and ever-
To Advertise CALL: 212-889-0853 Jazz Improv ® Magazine’s New York Jazz Guide  December 2006 7
them even before I got into Latin.” Barretto went
on to become one of the most sought-after
congueros in jazz, recording with Red Garland,
Lou Donaldson, Gene Ammons, Sonny Stitt,
Cannonball Adderley, and many others.
Fittingly, the opening of this homage to Ray
Barretto was entrusted to none other than the
great Machito Afro-Cuban Big Band, which for
the last 30 years has been under the direction of
Mario Grillo, Machito’s son. Mario, an accom-
plished band leader and timbalero-percussionist
in his own right, has carried on the rich legacy
that his father left. Composer and arranger Mario
Bauza has left in Grillo’s capable hands the Ma-
chito/Bauza book, thought to be one of the most
extensive and complete examples of Afro-Cuban
and Latin music available. With compositions
stretching from the late 1930’s up to present day,
this was practically one of Ray Barretto’s text-
books. True to form, the Machito Orchestra lived
up to its legacy. I wanted to get up and dance
from their first tune, the always enjoyable and
infectious “Ba Ba Ra Ba Tiri.” This was fol-
lowed by the Latin jazz classic “Sambia,” with
an arrangement by Mario Bauza that continues
to stand the test of time. A steady Eddie
Montalvo holding time on congas could do no
Photo of Andrew Hill by Jimmy Katz (Courtesy Blue Note Records) wrong. Just listening to this classic orchestra
took one back to the home of Latin music, The
sional comment or response and these two piano for one encore and this coda to the concert, Palladium. While horns blared through velvety
friends clearly enjoyed presenting these tales in somber in mood compared to the jubilance that sax lines, the rhythm section swayed with preci-
front of an audience. The brief conversational ran through much of the Passing Ships material, sion as tight as the drums they were playing,
element of the evening’s concert served as the gave the audience a glimpse into another side of building to a crescendo with “Que Bonito es
introduction for the music that everybody was Hill’s musical persona. The Kaufman Center Puerto Rico” and another gem, “Cuban Fantasy,”
waiting to hear. The nonet, with Howard John- should be commended for their role in bringing as the Machito Orchestra set the stage for the
son and Hill being the only alumnus from the this performance, as part of the “Reissue: Classic musical banquet that was to come.
recording, took the stage and started things off Recordings Live” series, to life. It was an eve- This project, originally conceived by Ray
with “Noon Tide.” While the first few minutes ning that few in attendance are likely to forget! Barretto and producer/photographer Harry Se-
were marked by a bit of hesitation, due in small pulveda, had as its objective a reunion of the
part to their lack of acclimation to Hill’s con- many musicians who have passed through the
ducting style, the band began to really gel when A Tribute to “Mr. Hard Hands” ranks, configurations, and metamorphoses of
the trumpets took over. Ron Horton, who relayed
many of Hill’s ideas to rest of the band, and
Ray Barretto Barretto’s various bands. Beginning in 1961
with his work for Riverside Records, Ray was
Kenyon Harold did a superb job as they tore Live at the Lehman Center for considered to have impeccable taste in selecting
through the catchy militaristic trumpet riff that the Performing Arts, Lehman College the right musicians, arrangements, and more
lights up the latter half of this song. J.D. Parran’s June 2-3, 2006 importantly, the right material. He was indeed an
alto flute work helped to create the warm texture innovator and visionary constantly ahead of his
that permeates the recorded version of this par- By Harry Maisonette time.
ticular piece. The performance of “Sideways” The stage was set for the first performance,
was driven by McPherson’s strong swing pulse Ray Barretto picked up his first conga drum a ripping interpretation of “Guarare” featuring
and Parran’s tenor saxophone soloing. at a young age and never looked back. Back singer Ray de la Paz with Ralph Irizzary on tim-
“Plantation Bag” mixes the exotic sounds that then, listening to jazz programs at night and his bales, long-time alumni Gil Lopez on piano, and
are typical of Hill’s work with a certain Donald mother’s Machito records during the day, he Carlito Soto on bongos, bell and coro. The Ray
Byrd-esque funkiness. These qualities make the would beat anything he could get his hands on. Barretto fans at Lehman Center went wild. This
song one of the best pieces on the album and it Barretto’s percussive journey began while sta- number had all the elements – a great introduc-
translated equally well to the stage. Curtis tioned with the Army in Germany, jamming with tion followed by flowing vocals, horns that pull
Fowlkes used his plunger mute to great effect at other servicemen and emulating the Godfather of you in and a percussion break that sets you free,
the outset of the song and Mark Taylor contrib- the conga, Chano Pozo. Upon his return to New with a piano vamp for a hook that’s so infectious
uted some highly aggressive and appealing solo- York he purchased an old Mexican drum, and you just let yourself be swept up in the groove.
ing on french horn. The musicians were all nod- thus was a conguero born. Jam sessions being De la Paz then settled things down dramatically
ding their heads to the beat and the enthusiasm scarce, he made his way down to Harlem on with the tune “Propio Dolar” and picked it back
was contagious. The instrumentation of the en- 125th Street, to Minton’s and the Apollo Bar, up with a guaguancó by T. Curet Alonso, “Vale
semble, featuring a brass quintet, one woodwind meeting and jamming with such luminaries as mas que un Guaguancó,” beautifully arranged to
and rhythm section, allowed for a large variety Roy Haynes, Max Roach, Sonny Stitt, and Char- end the segment. The musical director on stage
of settings and Hill, who shifted roles from con- lie “Bird” Parker. The latter asked Barretto to was Oscar Hernandez, Barretto’s pianist/
ductor to piano player throughout the evening, remain on stage. As Ray would tell the story, arranger from 1976 into the 80’s, and occupying
did a fine job with balancing the sound from “Parker put his hand on my shoulder and said, Barretto’s chair was none other than “The Great-
moment to moment and piece to piece. A slower ‘You stay.’” He remained for two weeks of ini- est Conguero on the Planet,” Giovani Hidalgo.
rendition of the title track, marked by a far tiation by fire. It was in this hotbed of creativity Hidalgo played with “less is more” sensibility
greater degree of rhythmic freedom, brought that Barretto culled his understanding of jazz but kicked it up a notch when needed. He was
things to a close. Hill graciously returned to the music. As he later said, “I got involved with spurred on by a horn section which included
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trombonist Jimmy Bosch, with his “in-your- Ray’s classic hits and some went on to make
face” urban grit style, and Roberto Rodriquez Jr., history themselves.
son of the late Cuban trumpeter and long-time They began with a number about a conniv-
first trumpet for Barretto, Roberto Rodriquez, Sr. ing woman, “Quitate La Mascara,” that em-
The next segment featured a new configura- ployed a great arrangement and swung so hard
tion. With his smooth delivery, vocalist Tito everybody was singing along. The always enter-
Allan seems, like a fine wine, to only get better taining featured vocalist Adalberto Santiago was
with age. While Allan only recorded one album a joy to watch, listen, and learn from – a true
with Ray and went on to make his impact in the singer. Second up was the classic “Cocinando,”
Latin genre, he will always be remembered for a beautifully written arrangement easily up there
“Indestructible,” which he here performed with with some of the best Latin jazz charts ever writ-
Hernandez on piano and Jimmy Delgado on ten. Horn solos open up this tune as Ray Bar-
timbales, another young alumnus of the Ray retto’s son Chris joined in on tenor sax, showing
Barretto school. The arrangement spoke of lost great promise and undoubtedly making a very
dreams and broken bands only to come out on proud man out of his father.
top again, as Ray Barretto always did, shot out Now it was the drums’ time to talk – and con-
of the gate at breakneck speed and gained mo- verse they did! The percussionists traded fours in
mentum without ever letting go. A very spiritual classic Barretto style. You almost expected to
number, “Hijo de Obatala,” featured a very tasty see Barretto lift his red congas and bang them on
piano solo from Hernandez followed by Giovano stage passionately like so many times before.
Hidalgo’s rapid-fire conga solo. Playing on four “Alma Con Alma,” a heart-tugging bolero and
congas, Hidalgo’s hands were a blur of activity – one of singer Adalberto Santiago’s signature
a tribute to Ray Barretto from the School of songs with Barretto, showed that this cat still has
Changuito of Havana, Cuba. chops after all these years. Chris Barretto added
At this point, the Lehman Center was just just the right touch on saxophone. “La Hi-
one big Barrettofest coming to a boil. The joint pocresia y la Falsedad,” a slow moving cha-cha,
was jumpin’ and it was time for one last change served as a valid testament to the hypocrisy and
in the Ray Barretto configuration. Featuring the falseness in life and the business of music that
quintessential Ray Barretto band from the late Ray Barretto knew all to well. Now it was time
60’s to the early 70’s – Louie Cruz, a pianist/ to pull out all the stops and bring this evening to
arranger now residing in Florida, the great Andy a boiling point. Beginning with “Pelota,” another
Gonzalez on bass, John “Dandy” Rodriquez on Barretto standard, Andy Gonzalez laid down the
bongos and bell, and the legendary timbalero bass line in a 2/3 Rhumba fashion with the per-
Orestes Vilato – these cats recorded many of cussion section and piano following suit. A vocal

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chorus and riffing trumpet appeared in the back- of this brother team, and urged the band along.
ground, leading to a percussion and horn break As they broke into a funky mambo jazz, flutist
that set the pace for lead vocals and a timbale Craig Rivers took a tasty solo, followed by
solo. The master, Orestes Vilato, who’s poly- Alexei on vibes showcasing his tune. This is a
rhythmic, eclectic yet tipico style at such a blaz- cat that definitely has his clave together. A
ing tempo could well serve as the encyclopedia Latin-piano vamp followed, introducing us to
for timbales, incited the crowd to its feet. Hedman on congas. His riffs, slaps and rolls
The closing selection for the evening was grooved in the pocket and made for a smoking
“Que viva la musica” (Long Live the Music), tune. “Walk in the Moonlight,” a piece written
Latin music’s national anthem. Composed by by Hedman in a bolera jazz groove with flute
Barretto and Roberto Rodriquez, this masterful and sax blowing the harmonious rhythm, took
piece began with an Afro-Cuban call on trumpet, the tempo down. A segue into a slow guaracha
as if to say, “Come one, come all and join my and back to bolero provided ample space for the
jam.” A thunderous roll heralded the call and its vibes and piano to lay down flowing textured
ensuing response. Here Giovani took a conga solos, meeting again for the melody to cap off
solo that made hair stand on end, deploying all this relaxing and beautiful arrangement. Hedman
that he had in his vast arsenal. The piece ended and the members of Tropique set the pace per-
as it began, with the call of the trumpet and vo- fectly, constantly mindful of their audience
cals chanting, “Que viva la musica,” wherever it while moving from one chart to the other. In
may be. return, an eclectic crowd of all ages and back-
From the musicians to the selections per- grounds applauded in all the right places. On
formed and the words being expressed about this “Cutting Loose,” bassist Ron Monroe and Hed-
musical giant, A Tribute to “Mr. Hard Hands” man on congas laid down funky rhythms before
proved to be an excellent production, executed the rest of the group joined in to create a mé-
with great thought and care to the Ray Barretto lange of Latin soul, jazz, and Caribbean funk
legacy. A huge five stars to Harry Sepulveda, highlighting the piano and vibes. This, I learned
Leah Grammatica, and the entire production later, is what separates and defines Norman Hed-
team, as well as Brandy and Chris Barretto for man’s Tropique – his ability and willingness to
their beautiful and inspiring words. Que viva la incorporate different rhythms, genres and cul-
musica, que viva Ray Barretto. tures into his music.
The last selection of the evening was the
self-titled “Hed-Theme,” inspired by Hedman’s
Norman Hedman & Tropique travels, observations and daily rituals of living.
Live at the American Museum The chart began with shades of the “I Love
of Natural History Lucy” theme, something Hedman remembers as
October 6, 2006 one of his first personal experiences that has
remained with him. The band heated up on this
By Harry Maisonette one as Norman laid down that Latin tumbao,
followed by Willie Martinez – one of the hottest
Walking in the brisk fall New York air and drummers on the scene today – on timbales. This
entering “Starry Nights” at the Natural History lead into a ripping piano solo by Misha Tsiganov
Museum, all the stars were aligned in the Nor- that flowed like a rhumba, transitioning into a
man Hedman universe. The Rose Center Conser- fiery sax solo courtesy of Roger Byam while
vatory, cavernous in scope, seemed to transport Monroe laid down the foundation and kept it
one back to the Palladium or the St. George, going. As for the percussion, Martinez led the
where Latin and Latin jazz music first held way. Demonstrating his funkiness and dexterity
court. The stars of this universe were Tito on timbales, rolls, flams, rimshots, and various
Puente, Eddie Palmieri, Ray Barretto and Joe combinations thereof erupted out of the drums,
Cuba to name but a few. As soon as you walked all placed perfectly on the 2-3 clave. The band
into this huge ballroom, you could feel the puls- was bounding along to a heavy descarga finish.
ing of the bass and the pounding ring of the per- As Hedman’s turn came to put his tag on the
cussion. Ah, I was home again courtesy of Nor- chart, he exemplified a command of the rhumba
man Hedman and Tropique. And they were tak- with a round of slaps and beats before riffing in a
ing flight on a tune called “Flight of the Spirit,” cohesive and exhilarating flurry reminiscent of
a piece in 6/8 reminiscent of the Tito/Mongo/ his early mentor, Mongo Santamaria. The mark
Bobo groove. It proved to be a perfect vehicle of a true drummer, Hedman made the drum talk
for this setting. Smooth, flowing, clean and tight,
the transformation was complete. I was in Latin
jazz and Latin soul heaven. The band’s funky “If the American people
solos showed off this wonderful unit’s cohesive- ever allow private banks to control
ness and polish, signaling what was yet to come. the issue of their currency, first by
Hedman is a Renaissance Man if ever there inflation and then by deflation, the banks
was one: musician, composer, producer, and and corporations that will grow up around
scholar; a hands-on-player who makes his own them will deprive the people of all property
percussion instruments. With a polished attitude until their children wake up homeless
yet humble demeanor, Hedman allows you read- on the continent their
ily into his universe and says, “Welcome and fathers conquered.”
enjoy the ride.” The next selection up was
“Rundadar Dance,” written by vibraphonist
Alexei Tsiganov. The percussion at first traded - Thomas Jefferson
licks with pianist Misha Tsiganov, the other half
10 December 2006  Jazz Improv ® Magazine’s New York Jazz Guide To Advertise CALL: 212-889-0853
in his own unique musical language.
Norman Hedman & Tropique are a unit
whose time has come. His ability to fuse differ-
ent genres – Latin jazz, R&B, Latin soul –makes
for an exciting yet unique style. If you run across
this exciting group, don’t pass it up. Stay and
enjoy the ride; you won’t regret it.

Willie Martinez
La Familia Sextet
Live at Lenox Lounge, Harlem

By Ron Scott

Pulsating Latin music boiling in jazz isn’t
usually on the menu at the Lenox Lounge but
recently drummer/percussionist/vocalist Willie
Martinez ignited a sparkling blaze to the Harlem
club (in New York City) with his La Familia
Although La Familia is only two years old,
they have earned international status performing
a brand of music that Martinez likes to describe
as “New York style Latin jazz.” The sextet in-
cluded his regulars Misha Tsiganov, piano; Jen-
nifer Vincent, bass; Renato Thoms, percussion;
J. Walter Hawkes, trombone; Max Schweiger,
baritone saxophone & flute. It’s difficult to be-
lieve that such a tight knit band has been work-
ing together for only two years. Their timing is
perfect and their improvisational solos had eve-
ryone’s feet moving to the hypnotic beats of
boiling Latin rhythms dancing in jazz melodies.
This is the same working band that also recorded
their latest CD “Family.” For his blazing week-
end engagement Martinez called on the services tinez’s music propels audiences to instant move- Palmieri, Tito Puente and Tito Rodriguez. He
of Venezuelan conga player Roberto Quintero. ment in the jazz tradition with fierce Latin over- started in Johnny Colon’s popular Latin band in
“I have always liked the Lenox Lounge, it’s tones. Martinez slowed down the pace with the 70’s and played all the local spots including
small and intimate, and has a great piano,” says “Plazo Traicioneros” a ballad composed by Luis the Garden of Roses in the Bronx, Club Broad-
Martinez. “I was really psyched about perform- Marquetti with arrangements by La Familia Sex- way, a now defunct Latin dance hall on the up-
ances and the audience was definitely open to tet. The drummer steps out as a smooth balladeer per West Side of Manhattan that always had
the jazz with a twist of Latin music.” He origi- on this one. The song is sweet but although its lines down the block in its hay day. Another spot
nally played the club as a sideman with saxo- not sung in English one can tell something is not where Martinez kept dancers on their feet until
phonist TK Blue’s band. Although this was his right in this love affair. As Martinez later ex- the wee hours was the Corso, located on the
first appearance with his own group it surely plained to me it’s about a man expressing his eastside of Manhattan. As Salsa began a down-
won’t be his last at the club if the audience’s love for his lady but she doesn’t return his senti- ward swing in the mid 1990s Martinez made the
loud response was any indication of how much ments leading him to believe her heart belongs to transition to Latin jazz. In that short span of time
they enjoyed his set. another. The sadness comes in because unfortu- he has played with such notables as Charlie
La Familia opened the first set with “And nately, he is right. Palmieri, George Cables, Chico and Arturo
Make it Snappy,” a Martinez original recorded This song demonstrated that Martinez is a O’Farrill, Bebo Valdes, Arthur Blythe, Carlos
on the “Family” CD. The entire band was mean multi-talented musician, who plays a mean drum “Patato” Valdez, and Norman Hedman’s
on this up-tempo swinger that reminded me of and has vocal talent to match. It was Louis Arm- Tropique, where he serves as musical director.
those days when “Salsa” music ruled the dance strong who stated, “you have to do more than Regardless of what Martinez plays you can
clubs of the Bronx and Manhattan. The tune just play and instrument.” “Say Hey Ray” was be sure there will always be fiery horns, and
kicked off with the horn section setting a swing- another up-tempo tune that was heavy on brass burning drums the heart of Latin music. “As a
ing pace as Schweiger took the lead on his bari- with undertones of congas and Martinez out child I dreamed of the day I’d lead my own
tone sax opening the door for a piano explosion front showing off on the drums hot and blazing group. The great orchestras of Tito Rodriguez,
by Tsiganov, followed by hot trombone rhythms, are the words that come to mind. “I wrote this Tito Puente and Machito were what I aspired
interceded by a conga serge with Quintero jam- tune for trumpeter Ray Vega,” said Martinez. to,” noted Martinez. “The Fania All-Stars were
ming away. And that was just the first tune of “During the few years that I was with him we my heroes and Tipica ‘73 was the epitome of
the evening! toured Europe and recorded together. I have what a great Latin band should be.” Visit his
“When I think of melodies I get a sense of great respect for Ray.” website at
what the lyrics would sound like if there were Having recorded with Hilton Ruiz, he
lyrics “And Make it Snappy” was the perfect played a few of the pianist’s original composi- Gerald Wilson
title,” stated Martinez. tions. “This engagement was dedicated to both With the Juilliard Jazz Orchestra Live
Pianist Hilton Ruiz wrote the next song Hilton and Ray Barretto, two great musicians at Dizzy’s Club Coca Cola
“Home Cookin’” and the name cookin’ describes who recently passed,” said Martinez. November 3, 2006
it all. Once again the band took off to destina- A native of Brooklyn, New York Martinez
tions only traveled by adventurous musicians was a part of the East Harlem and Bronx Salsa
and an audience looking for musical thrills. Mar- scene following the trail of Eddie and Charlie By Steve Jankowski
To Advertise CALL: 212-889-0853 Jazz Improv Magazine’s New York Jazz Guide  December 2006 11
in the C minor territory. From the stylistic point
I have a new role model. His name is Ge- of view, you could put “Dorian” in modern big
rald Wilson. He is 86 years old and he appears as band jazz category as it moves aggressively
pleased and excited to be the front man for a big between two tonal centers at a fast-paced tempo.
band as he was back in the 1960’s when I first The highlight in this arrangement was soloist
heard him on an album entitled “Orchestra Por- Sean Jones who, as I understood it, is also a
traits.” He recalls the smallest details in his anec- Juilliard alum and teacher. Sean stood on the far
dotes, still teaches at UCLA where he won the end of the student trumpet section I couldn’t help
“Best Teacher award last year. Before working but notice the four student members of the trum-
with the Bruins, he taught for 35 years at Cal pet section staring in wide-eyed appreciation as
State. And these recognized efforts to educate their teacher moved through octaves and ideas
and inspire have proven to be as important as his that can be only described as daunting by critics
musical legacy. He continues to be a precise and intimidating by students. Sean displayed
conductor, an engaging raconteur, and one of our astonishing confidence when playing in the up-
last connections to the band leaders and musi- per register, as he went from one screeching note
cians who brought the big band idea to life in the to another without pressing a lot of valves. Call
1930’s and 40’s. When I’m 86, I hope I can still it slurring in the stratosphere. He also inherited
remember my name. Dizzy’s lungs because time and time again he
Considering his considerable teaching back- gave us extended phrases in all ranges of the
ground, it is, therefore, extremely appropriate he instrument. Tommy Gardner on tenor also con-
would take a weekend and lead the Juilliard Jazz tributed a gradually building series of lines until
Orchestra. I’m sure the teachers of these young he reached the screeching, reed snapping area
musicians gave their students and in-depth brief- where harmonics live. We ultimately got the big
ing about contributions of the man out front with finish that never fails to yield enthusiastic ap-
a ball of white hair. They certainly played as if plause.
they understood. Next came “Romance,” which was commis-
Gerald got things started with a blues ar- sioned to celebrate the 40th Anniversary of the
rangement he wrote while also playing trumpet Monterey Jazz Festival. It reveals the romantic
for Count Basie circa 1948. The Count wanted side of Gerald Wilson and also serves as a solo
an arrangement that started very soft, gave a lot vehicle for soprano saxophonist Victor Goines
of the guys in the band room to stretch out and who is also a professor at Juilliard and the leader
concluded with a big, Jimmie Lunceford-like of this band. “Romance” begins with a series of
shout chorus. The Count figured he chose the whole note voicings accented by octaves on the
right person to write this arrangement since the piano. With the lights of the West Side sparkling
first band Gerald worked with was Lunceford’s behind the bandstand at Dizzy’s, the bittersweet
Band—in 1938. Gerald was 18 at the time! I sound and style of “Romance” created a sleek
imagine the Count was very happy with the fin- vision of New York after midnight complete
ished product. with wet pave pavements and sad shadows. Vic-
Unfortunately, I didn’t hear the title of this tor’s sensitive sound on soprano sax enhanced
first piece, but in its early choruses, the staccato and enriched the haunting, moody nature of the
lead line played by reeds and horns in unison piece. One can almost see the characters of this
conveyed a harmonic construction that just “Romance” slow dancing as he moved effort-
might have been little ahead of its time in 1948. lessly from one melodic idea to another.
One can hear the beginnings of the surprising, “Blues for Yunya” was written by Gerald
slightly off center Gerald Wilson style, a style for his daughter her cat. It’s a jazz waltz and
that draws you in and suggests you should listen being the respected educator he is Gerald at-
a little more closely despite the fact the tune has tempted to give us the general basics on the jazz
a basic 12-bar blues structure you’ve heard interpretation of ¾ time. In delivering his ra-
many, many times before. In keeping with the tional for this digression, he offered a quote from
Count’s request for solo space, a number of stu- Fats Waller who once said, “It’s good to know
dents got a chance to show what they can do. what you’re playing.” I suppose that holds true
Pete Mazo on guitar, reed players Pat Secarus for listening as well. Pianist Eric Reed joined the
and Cheryl Cassidy and Chris Crenshaw on band for this one, and again we got to hear an-
trombone, who, by the way, used a plunger to other jazz virtuoso/Juilliard mentor. A strong,
such a excellent effect I thought we had momen- supple technique along with bop and post-bop
tarily stepped into a time machine, all demon- influences create the stylistic foundation for Eric
strated strong instrumental and improvisational who energetically combined inventive lines with
skills. To compliment their youthful exuberance, chord voicing that touch on the blue heritage.
they gave us some definitely worth-the-trip Sean Jones returns and he doesn’t merely play a
ideas, and an early understanding of the steps solo, he attacks this opportunity with passion and
one must take to build a listenable solo. Miyako power, particularly during a pseudo “Flight of
on piano did an admirable Basie interpretation. the Bumble Bee” sequence played an octave
and delivered some genuinely funny and coy higher than written. Sean doesn’t wait for you to
remarks in the Count’s sparse style. “Dorian” sit back and take notice, he reaches out and grabs
was the next selection, and if you happen to you with his dominating sound making sure you
listen to “Pure Jazz” on Sirius you will recognize understand waltz time can have a more fiery
this tune as one played at least twice every day. nature than one typically expects. Student tenor
Gerald gently reminds us we’re talking about saxophonist Tommy Gardner hangs right there
“Dorian” as it applies to a mode in music. And with the pros. He has a deceptively smooth
while Mr. Pitch and I have had our disagree- sound which can gradually turn more traditional,
ments, this one, for what it’s worth, sure sounds melodically straight ahead ideas into cascading
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phrases of dissonant tonalities that put us smack Sonny Payne in his blood and Basie fans will
dab in the present. First in Eric is last out with know exactly what I’m talking about and why.
octaves on piano that create a song of their own This young man assumes the pilot’s role with a
before everything comes to a close. great deal of self assurance. The good news he
Gerald told us it was Duke Ellington who also knows he’s not a drum soloist accompanied
requested a new arrangement of “Perdido” and it by 16 other people. At some point during the 4th
is easily the best version of the song I’ve ever or 5 the number you suddenly realize why this
heard. With reeds doing the melody and trom- group of young musicians sounds as rock solid
bones doing the hits on the upbeat, “Perdido” as a professional band. The reason is in the back
starts swinging hard right from the upper left behind the piano. He’s the guy holding the sticks
hand corner of page one. Eric Reed leads the in his hands.
way in with several smart and inventive choruses This was a satisfying and educational eve-
until Joe Temperly, another first rate musician ning for many reasons. First, it’s great to see
and Juilliard teacher takes charge on baritone musicians under the age of 25 digging into and
sax. With a tone as deep and rich as a cup of appreciating the jazz heritage Gerald Wilson
Colombian coffee, Joe delivers his choruses with represents. For me, it was my first time seeing
a glossy kind of sophistication, a technical and Gerald Wilson, a bandleader I’ve admired for
creative approach that always seems to fit well over 40 years. And then there’s Wilson himself
with anything written for or by Ellington. Gerald who has passed the requirements for “living
really also shows his stuff as conductor as he legend” and now lives in a realm where people
accurately accents the horn hits with a raised use the word “treasure” to describe his work and
right hand and a short wave of the wrist much his life.
like the way he’s done it for the past 60 years.
It’s obvious Gerald Wilson never forgets a story John Pizzarelli & Bucky Pizzarelli
or misses a beat. Highlights in Jazz
By now, we all know that any of Miles at Tribeca Performing Arts Center
Davis’ tunes written pre-Bitches Brew and espe- October 19, 2006
cially those played and recorded by one of his
quintets or sextets in the 50’s and 60’s can be
excellent sources of material for larger groups. By Dimitry Ekshtut
These tunes are often so simple yet so deep and
rich there’s always enough harmonic material to The Tribeca Performing Arts Center hosted
build a big band arrangement. As Gerald points John Pizzarelli’s swinging quartet on October
out to us “Milestones” is tricky because instead 19th as part of its Highlights in Jazz subscription
of the typical 36 bar structure this tune is 40 series. Pizzarelli is to jazz guitar what Harry
bars. So you’d better be able to count. You Connick, Jr. has become to jazz piano – a tal-
should also be a pro when attempting to play at ented, marketable musician with a pretty face
the tempo Gerald sets down. If you are familiar and voice unafraid of popular appeal. And like
with the melody, imagine it being punched out Connick, Pizzarelli exudes a kind of charisma
by airtight, hard-edged section work. We are that the jazz world has all but forgotten about.
also treated to another astonishing solo by Sean His two sets – one with his quartet and another
Jones on Trumpet in which he demonstrates an with his father, renowned rhythm guitarist
acute sense of dynamics as he enters cautiously, Bucky Pizzarelli – served as a fitting reminder of
letting us hear his softer more personal alter ego, why America fell in love with jazz in the first
until finally inviting the nasty cat back in and place.
pushing the envelope in terms of volume and A consummate entertainer, John Pizzarelli
range. zipped through standard fare like “Pick Yourself
“Milestones” concluded the evening. And Up” and “Jamboree Jones” with boundless en-
while several of the student musicians and solo- ergy. A smattering of George Shearing tunes
ists were mentioned during the performance exposed the playful side of Pizzarelli’s boyish
although one who wasn’t deserves to be. His tenor, while “If Dreams Come True” and “Ain’t
name is James Jennings and he’s the drummer. I Good To You” showcased the band’s quick
Let us just say, for the record, there is some attack, crisp time, and ability to produce concise
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John Pizzarelli
Live at Tribeca Performing Arts Center
October 19, 2006

voice capable of surprising highs. Leonhart’s
next composition, envisioning “coming through
Customs having everything you shouldn’t have,”
was as uproariously funny as it was musically
ambitious. The duo’s playing served only to
accent Leonhart’s tongue-in-cheek songwriting.
Leonhart played while singing the melody,
Gordon took a turn at the piano and even scatted
in a high falsetto – all complimenting lyrics
about the wild, exotic animals found on a pas-
senger as he is trying to board an airplane. Their
take on “Lester Leaps In” provided the hilarious
yet strikingly musical high point of the evening,
as Gordon and Leonhart sang each others’ parts
while mimicking the act of playing each others’
instruments. Leonhart’s lyricized version of
Eddie Harris’ “Freedom Jazz Dance,” with
Gordon circular breathing on the didgeridoo,
closed out this remarkable set.
Pizzarelli returned with his father for a final
series of guitar duets. They know each others’
playing intimately, probably better than anyone
else, and have a terrific chemistry on stage. Their
performance of “Body and Soul” exhibited the
kind of light-hearted humor that had peppered
the whole evening. On a great arrangement of
“In a Mellow Tone,” John and Bucky engaged in
a riveting chord soloing duet. Displaying an
effortless swing through the most intricate of
chordal passages, Bucky adroitly carries the
mantle for his generation of great rhythm guitar
players. In between songs, John told anecdotes
about growing up on the stage with his legendary
father, using his great dry humor and impersona-
tions of Bucky to drive the stories home. The
Pizzarellis came to play, but perhaps most im-
portantly, they came to have fun.
For a long time jazz music was like this. It
was serious stuff, of course, but there was plenty
of room for shenanigans. Dizzy Gillespie, for
instance, was a notorious prankster known to his
fellow bandmates as much for his sense of hu-
mor on the bandstand as for his electrifying play-
ing. In the big band era, Basie and Ellington
made people laugh and smile nearly as much as
they made them dance or tap their feet. Comedy
has in fact always been an integral part of the
music and the musicians that played it, having
gone a long way in preserving the dignity, indi-
yet meaningful improvisatory statements. comedy for the benefit of an audience, though viduality, and independence of musicians who
The most striking thing about John Pizza- more often than not the humor comes at the ex- used it as a coping mechanism for the pervasive
relli is not his guitar playing or singing, both of pense of father Bucky. racism that they encountered throughout much of
which are competent though by no means revo- The laughs continued into the second set, jazz’s history. It is when artists begin to take
lutionary, but something else altogether. It’s his which featured the ingenious duet of bassist Jay themselves too seriously, putting their music
attitude – his swagger – permeating through his Leonhart and trombonist Wycliffe Gordon. above such playful derision, that they lose their
music, elevating it from the mundane to the truly These jesters delivered great music with wit and ability to connect with an audience. Such an
exceptional. He understands and remembers panache, even outdoing Pizzarelli. An inventive artist lacks a sense of humility and will endear
what has been lost on the majority of his con- though mild-mannered run through “Alone To- himself to nobody. Fortunately, none of the mu-
temporaries – whatever else happens, music has gether” displayed the surprisingly vast array of sicians at this concert need fear succumbing to
to entertain and delight an audience, and this timbres the duo could produce. Leonhart, doing these vanities.
cannot occur if a musician takes himself too his best George Benson imitation, sang along
seriously. With Pizzarelli, the performance is with his walking bass lines while Gordon intro-   
one long stand-up routine, each song serving as duced the melody with an immaculate tone that
the punch-line to a joke or some other good- had the pristine, milky consistency of white ala-
natured ribbing. Pizzarelli is not afraid to put baster. For Leonhart’s “Rhythm on My Mind,”
himself on the receiving end of this musical Gordon sang the melody with a well-groomed
14 December 2006  Jazz Improv ® Magazine’s New York Jazz Guide To Advertise CALL: 212-889-0853
Jazz Brunch
131 West 3rd Street , NYC • 212-475-8592 •
KENNY WERNER & THE DEC 3 He expresses a kind of beauty and depth rarely
heard...his tone is simply awesome” - NY Daily News
BOB KINDRED, Tenor Saxophone
feat. SAYURI GOTO & TK BLUE Brunch menu from $8.50-$16.50 Bar minimum $5
Sunday 12:30—3:30 pm
105 West 13th Street GA
GRADY TATE QUINTET DEC 31 Reservations: 212-255-4746 RA

B.B. KINGS—Gospel Brunch THE IRIDIUM—Jazz Brunch
SUNDAYS ONLY 12:30am—2:30 pm SUNDAYS ONLY 12:00 pm—3:30 pm
Featuring the World Famous Harlem Gospel Choir
237 West 42 Street (Midtown)
99 7th Avenue South (Times Sq. area)
Reservations: 212-582-2121
A Jazz Brunch Buffet
Reservations: 212-997-4144 in the Heart of Manhattan
THE GARAGE—Jazz Brunch
CAFÉ LOUP—French SAT. & SUN. 12:00 pm—4:00 pm
SUNDAYS ONLY 12:30 pm—3:30 pm
105 West 13th Street (Chelsea)
99 7th Avenue South (West Village)
Reservations: 212-645-0600
Reservations: 212-255-4746 Barry Levitt’s Jazz Workshop
CITY CRAB—Jazz Brunch JULES BISTRO—Jazz (French Restaurant) & Brunch!
SUNDAYS ONLY SAT. & SUN. 10:00 am—4:30 pm
235 Park Avenue South (at 19th Street) 65 Saint Marks Place (Bet. 1st/2nd—East Village) 12:00—3:30pm
Reservations: 212-529-3800 Reservations: 212-477-5560 ONLY
COPELANDS—Gospel Brunch RARE BAR & GRILL—Jazz Brunch
SUNDAYS ONLY 12:00pm to 4:00 pm SAT. & SUN. 1:00 pm—5:00 pm
549 W 145th St (Harlem) 228 Bleeker Street (Bet. 6th Ave & Carmine St.) 1650 Broadway at 51st Street
Reservations: 212-234-2356 Reservations: 212-691-7273 212-582-2121 •
COTTON CLUB—Gospel Brunch
666 W 145th St (Harlem)
Reservations: 212-663-7980
CREOLE—Jazz & Gospel Brunch
SUNDAYS ONLY 11:30 pm—5:00 pm
2167 Third Avenue (Harlem)
Reservations: 212-876-8838
LENOX LOUNGE—Jazz & Gospel
SUNDAYS ONLY 11:00 am—3:00 pm
288 Lenox Ave (above 124th St. in Harlem)
Reservations: 212-427-0253

MoBAY UPTOWN—Gospel Brunch
SUNDAYS ONLY 11:00am—5:00 pm
17 W. 125th Street (Harlem)
Reservations: 212-876-9300

SUNDAYS ONLY 12:30pm to 3:00 pm
103 Waverly Place (Corner Waverly & MacDougal)
Reservations: 212-254-1200

Thank You!
We appreciate your support in making Jazz
Improv’s® New York Jazz Guide the most
widely read and largest circulation jazz
monthly publication, at the crossroads of the
jazz world. We wish you a healthy, happy,
prosperous and peaceful New Year.
Eric Nemeyer, Publisher
Jamie Cosnowsky
Director of Marketing, & Advertising

To Advertise CALL: 212-889-0853 Jazz Improv ® Magazine’s New York Jazz Guide  December 2006 15
107 West, 107th & Broadway, NY, City Café, 987 Stewart Avenue, Garden City, Long Island Joe’s Pub at the Public Theater, 425 Lafayette St & Astor
1050 Lounge, 735 Tenth Ave., Tel: 212-445-0149, Fax: 212- (Exit M3W Off Meadowbrook Pkwy.) 516-222-1421. Pl., Tel: 212-539-8778,
765-4478, The Church-in-the-Gardens, 50 Ascan Ave., Forest Hills, John Birks Gillespie Auditorium (see Baha’i Center)
191 Restaurant, 191 Orchard St. (near Houston), Tel: 212- NY, Tel: 718-268-6704, Jules Bistro, 65 St. Marks Place, Tel: 212-477-5560, Fax:
982-4770. Cleopatra’s Needle, 2485 Broadway (betw 92nd & 93rd), Tel: 212-420-0998,
55 Bar, 55 Christopher St. (betw 6th & 7th Ave.), Tel: 212- 212-769-6969, Kavehaz, 37 W. 26th St., Tel: 212-343-0612, Fax: 212-343-
929-9883, Cobi’s Place, 158 W. 48th (bet 5th & 6th Av.), 516-922-2010. 0612,
92nd Street Y, 1395 Lexington Ave, New York, NY 10128 Community Church of NY, 40 E. 35th St. (betw Park & Kitano Hotel, 66 Park Ave., Tel: 212-885-7000 or 800-548-
212.415.5500; Madison Ave.), 212-683-4988, 2666,
ABC - No Rio, 156 Rivington St. (betw Clinton & Suffolk), Copeland’s, 547 W. 145th St. (at Bdwy), 212-234-2356. The Kitchen, 512 W. 19th St., Tel: 212-255-5793.
Tel: 212-254-3697, Cornelia Street Café, 29 Cornelia St., 212-989-9319, Knickerbocker Bar & Grill, 33 University Pl., Tel: 212-228-
Aaron Davis Hall, City College of NY, Convent Ave., Tel: 8490,
212-650-6900, Cornerstone Café & Bistro, 25 New Street, Metuchen, NJ The Knitting Factory, 74 Leonard St., Tel: 212-219-3132,
Alice Tully Hall, Lincoln Center, Broadway & 65th St., Tel: 08840; Tel: 732-549-5306;
212-875-5050, Creole Café, 2167 Third Ave (at 118th), 212-876-8838. Kush, 191 Chrystie Street, New York , NY, 212-677-7328
Allen Room, Lincoln Center, Time Warner Center, Broadway The Cupping Room, 359 W. Broadway (betw. Broome & L&M Loft, 170 Tillary St. #205, Brooklyn, 718-855-5952.
and 60th, 5th floor, Tel: 212-258-9800, Grand St.), Tel: 212-925-2898. La Belle Epoque, 827 Broadway (at 12th St.), 212-254-6436. Cutting Room, 19 W. 24th St, Tel: 212-691-1900, La Lanterna (Next Door at La Lanterna), 129 MacDougal
American Museum of Natural History (Starry Nights), 81st Street, New York, 212-529-5945;
St. & Central Park W., Tel: 212-769-5100, Danny’s Grand Sea Palace, 346-348 W. 46th St., 212-265- Laila Lounge, 113 N. 7th St. (betw Wythe & Berry), Brook-
Anyway Café, 34 E. 2nd St., Tel: 212-533-3412 or 212-473- 8130 or 212-265-8133, Fax: 212-664-7952, lyn, NY, Tel: 718-486-6791,
5021, Le Madeleine, 403 W. 43rd St. (betw 9th & 10th Ave.), New
Armour Hall (Wave Hill Cultural Center), 675 W. 252nd St., Detour, 349 E. 13th St. (betw 1st & 2nd Ave.), Tel: 212-533- York, New York, Tel: 212-246-2993,
Bronx, NY, Tel: 718-403-7450. 6212, Le Figaro Café, 184 Bleecker (at MacDougal): 212-677-1100
Arthur’s Tavern, 57 Grove St., Tel: 212-675-6879 or 917- Dizzy’s Club Coca Cola, Broadway at 60th St., 5th Floor, Tel: Le Jazz au Bar, 41 E. 58th St., (betw Madison & Park Ave.),
301-8759 212-258-9595, Tel: 212-308-9455, Fax: 212-838-7032,
Arts Maplewood, P.O. Box 383, Maplewood, NJ 07040; Dorian’s, 226 W. 79th (betw Bdwy/Amst), 212-595-4350 Lenox Lounge, 288 Lenox Ave. (above 124th St.), Tel: 212-
Phone: 973-378-2133, Downtown Music Gallery, 342 Bowery Ave. (betw E. 2nd & 427-0253,
Avery Fischer Hall, Lincoln Center, Columbus Ave. & 65th E. 3rd St.), Tel: 212-473-0043, Les Gallery Clemente Soto Velez, 107 Suffolk St. (at Riving-
St., Tel: 212-875-5030, eighty-eights, 1467 Main Street, Rahway, NJ, 732-499-7100 ton St.), Tel: 212-260-4080
Bacchus Room at Bonafides Italian Ristorante, 60 2nd Ave, Elixir, 95 W. Broadway (at Chambers St.), Tel: 212-233-6171. L.I.C. Bar, 45-58 Vernon Blvd., Long Island City, NY, Tel:
New York, NY 10003; 646-557-0565. El Museo Del Barrio, 1230 Fifth Ave (at 104th St.), Tel: 212- 718-938-7711,
Backroom at Freddie’s, 485 Dean St. (at 6th Ave.), Brooklyn, 831-7272, Fax: 212-831-7927, Lighthouse, 111 E. 59th St., betw Park & Lex, 516-627-4468.
NY, Tel: 718-622-7035, The Encore, 266 W. 47th St., Tel: 212-221-3960, Lima’s Taste, 122 Christopher St., 212-242-0010
BAM Café, 30 Lafayette Ave., Brooklyn, NY, Tel: 718-636- Living Room, 154 Ludlow St. (betw Rivington & Stanton),
4100, Enzo’s Jazz at The Jolly Hotel Madison Towers: 22 E 38th St. Tel: 212-533-7235,
Bar4, 7ave and 15th Brooklyn NY 11215, 718-832-9800, at Madison Ave. (in the Whaler Bar located in the lobby). Location One, 26 Greene St. (Betw Canal & Grand), Tel: 212- Europa Club, 98-104 Meserole Ave. (at Manhattan Ave.), 334-3289, Fax: 212-334-3289,
B.B. King’s Blues Bar, 237 W. 42nd St., Tel: 212-997-4144, Brooklyn, NY, Tel: 718-383-5723, Louis, 649 E. 9th St. (at Ave. C), 212-673-1190 EZ’s Woodshed, 2236 AC Powell Blvd, (bet 131st/132nd Sts) The Lucky Cat, 245 Grand St. (betw Driggs & Roebling St.),
Beacon Theatre, 74th St. & Broadway, Tel: 212-496-7070. 212 283-JAZZ (5299). Brooklyn, NY, Tel: 718-782-0437,
Best Western Hotel—Krystal Room, 173 Sunrise Hwy, Fat Cat, 75 Christopher St. (at &th Ave.), Tel: 212-675-7369, Makor, 35 W. 67th St. (at Columbus Ave.), Tel: 212-601-
Rockville Centre, LI. 516-678-1300. 1000,
Blue Note, 131 W. 3rd St., Tel: 212-475-8592, Fetch, 1649 3rd Ave, New York, NY 10128, 212-289-2700 Mannahatta, 316 Bowery, New York, 10022, 212-253-8644; Five Spot, 459 Myrtle Ave, Brooklyn, NY, Tel: 718-852-0202,
Bluestone Bar & Grill, 117 Columbia St., Brooklyn, NY, Tel: Fax: 718-858-8256, Marie’s Jazz Bar, 51 W. 46th, bet 5th-6th Av, 212-944-7005
718-403-7450, Flushing Town Hall, 137-35 Northern Blvd., Flushing, NY, Marriott New York at the Brooklyn Bridge, 333 Adams St.,
Blue Water Grill, 31 Union Square West, Tel: 212-675-9500 Tel: 718-463-7700 x222, Brooklyn, NY, Tel: 718-246-7000, Fax: 718-246-0563,
Bodles Opera House, 39 Main St, Chester, NY 10918, Frank’s Cocktail Lounge, 660 Fulton St. (at Lafayette), Brooklyn, NY, 718-625-9339, McCabe’s Bar, 6534 Broadway (betw 259th & 260th St.),
Bowery Poetry Club, 308 Bowery (at Bleecker), Tel: 212- Freddy’s Backroom, 485 Dean St., Brooklyn, NY 11217, Riverdale, NY, Tel: 718-549-9789.
614-0505, 718-622-7035 Megu, 62 Thomas St. (betw W. Broadway & Church St.), Tel:
Brindisi, 111 Jericho Tpk, Jericho, NY, Tel: 516-876-8855 Galapagos, 70 N. 6th St., Brooklyn, NY, Tel: 718-782-5188, 212-964-7777, Fax: 212-964-7776,
BRIC Studio, 647 Fulton St., Brooklyn, NY, Tel: 718-855- Merkin Concert Hall, Kaufman Center, 129 W. 67th St.
7882 x53, Fax: 718-802-9095, Garage Restaurant and Café, 99 Seventh Ave. (betw 4th and (betw Broadway & Amsterdam), Tel: 212-501-3330,
Brooklyn Public Library, Grand Army Plaza, 2nd Fl, Brook- Bleecker), Tel: 212-645-0600,
lyn, NY, Tel: 718-230-2100, Gishhen Café, 2150 Fifth Ave., Tel: 212-283-7699. MetroTech Commons, Flatbush & Myrtle Ave., Brooklyn,
Brooklyn Public Library, Bay Ridge Branch, 7223 Ridge Greenwich Village Bistro, 13 Carmine St., Tel: 212-206- NY, Tel: 718-488-8200 or 718-636-4100 (BAM).
Blvd. at 73rd St., Brooklyn, NY, Tel: 718-748-5709. 9777, Metropolitan Café, 959 First Ave, New York, NY 10022,
C-Note, 157 Ave. C (at 10th St.), Tel: 212-677-8142, Harlem Tea Room, 1793A Madison Ave., Tel: 212-348-3471, 212-759-5600 Mirelle’s, 170 Post Ave., Westbury, NY, Tel: 516-338-4933.
Café 111, 111 Court St., Brooklyn, NY, Tel: 718-858-2806, Helen’s, 169 Eighth Ave. (betw 18th & 19th St.), Tel: 212- Mixed Notes Café, 333 Elmont Rd., Elmont, NY, Tel: 516- 206-0609, 328-2233,
Café Bar, 247 Eldridge (Houston, Stanton), 212-505-0955. Hopewell Valley Bistro, 15 East Broad St, Hopewell, NJ Mo-Bay Uptown, 17 W. 125th St., Tel: 212-876-9300,
Café Carlyle, 35 E. 76th St., Tel: 212-570-7189, 08525, 609-466-9889; Houston’s, 153 E 53rd St, New York, 10022; 212-888-3828 Mo Pitkins, 34 Avenue A, New York, NY, 212-777-5660
Café Charbon, 170 Orchard St., Tel: 212-420-7520. Il Campanello Ristorante, 136 W. 31st St. (betw 6th and 7th Montauk Club, 25 Eighth Ave., Brooklyn, NY, Tel: 718-638-
Café Loup, 105 W. 13th St. (West Village) , between Sixth Ave.), Tel: 212-695-6111, 0800,
and Seventh Aves., 212-255-4746 Iridium, 1650 Broadway (below 51st St.), Tel: 212-582-2121, Museum of the City of New York, 1220 Fifth Ave. (betw
Café St. Bart’s, 109 E. 50th St. (at Park Ave.), Tel: 212-888- 103rd & 104th St.), Tel: 212-534-1672,
2664, Jazz 966, 966 Fulton St., Brooklyn, NY, Tel: 718-638-6910 Musicians’ Local 802, 332 W. 48th St., Tel: 718-468-7376 or
Café Steinhof, 422 Seventh Ave. (14th St., Park Slope S.), Jazz at Lincoln Center, 33 W. 60th St., Tel: 212-258-9800, 860-231-0663.
Brooklyn, NY, Tel: 718-369-7776, NAMA, 107 W. 130th. (bet Lenox & 7th Av.), 212-234-2973.
Caffé Buon Gusto, 151 Montague St., Brooklyn, NY, Tel: Frederick P. Rose Hall Broadway at 60th St., 5th Floor Newark Museum, 49 Washington Street, Newark, New Jersey
718-624-3838, Dizzy’s Club Coca-Cola, Reservations: 212-258-9595 07102-3176; Phone: 973-596-6550,
Cajun Restaurant, 129 Eighth Ave, Tel: 212-691-6174 Rose Theater, Tickets: 212-721-6500 New Jersey Performing Arts Center, 1 Center St., Newark,
Cami Hall, 165 W. 57th, 212-978-3726, THE ALLEN ROOM, Tickets: 212-721-6500 NJ, 07102; 973-642-8989;
Carnegie Club, 156 W. 56th St., Tel: 212-957-9676, Jazz Gallery, 290 Hudson St., Tel: 212-242-1063, Fax: 212- New School Performance Space, 55 W. 13th St., 5th Floor 242-0491, (betw 5th & 6th Ave.), 212-229-5896,
Carnegie Hall, 7th Av & 57th, 212-247-7800, Jazz Museum in Harlem, 104 E. 126th St., Tel: 212-348- New School University-Tishman Auditorium, 66 W. 12th 8300, St., 1st Floor, Room 106, 212-229-5488,
Cecil’s Jazz Club & Restaurant, 364 Valley Rd, West Or- The Jazz Spot, 375 Kosciuszko St. (enter at 179 Marcus New York City Baha’i Center, 53 E. 11th St. (betw Broad-
ange, NJ; Phone: 973-736-4800, Garvey Blvd.), Brooklyn, NY, Tel: 718-453-7825, way & University), 212-222-5159,
Central Park Summerstage, Rumsey Playfield, 72nd St. & Niagara, 112 Ave. A (at 7th St.), Tel: 212-420-9517.
5th Ave., Tel: 212-360-2777, Jazz Standard, 116 E. 27th St., Tel: 212-576-2232,
Charley O’s, 713 Eighth Ave., Tel: 212-626-7300. (Continued on page 18)

16 December 2006  Jazz Improv ® Magazine’s New York Jazz Guide To Advertise CALL: 212-889-0853
Wynton Marsalis and Friends Heat Up The Holidays
With Red Hot Holiday Stomp Concerts & Santa Art Exhibit
The annual Jazz at Lincoln Center holiday Jazz at Lincoln Center box office on Broadway than 40 pieces that feature the Coca-Cola Santa,
family concert series Red Hot Holiday Stomp at 60th Street, by calling CenterCharge at (212) which has become one of the most beloved cul-
brings New Orleans soul to holiday classics per- 721-6500 or via tural icons and an anticipated part of holiday
formed by Wynton Marsalis, Wess As part of the holiday festivities, Jazz at tradition. To mark the 75th anniversary, from
“Warmdaddy” Anderson, Victor Goines, Joe Lincoln Center will celebrate the 75th Anniver- December 1, 2006 through January 2, 2007 at
Temperley, Wycliffe Gordon, Dan Nimmer, sary of the modern-day image of Santa. The Jazz at Lincoln Center’s Frederick P. Rose Hall,
Reginald Veal, Herlin Riley, Don Vappie, modern-day image of Santa Claus - based on a Coca-Cola is presenting a free public exhibit
Roberta Gumbel and special guests. The Red Hot painting commissioned by Coca-Cola - turns 75 featuring a wide selection of Sundblom’s origi-
Holiday Stomp concerts come to town on De- this holiday season. Legendary illustrator Had- nal paintings from the Coca-Cola Santa collec-
cember 14, 15, 16 at 8pm and a matinee per- don Sundblom created the rosy-cheeked figure - tion. View them at the Peter Jay Sharp Arcade at
formance on December 16, 2006 at 2pm in Rose today’s traditionally accepted appearance of the Frederick P. Rose Hall or online by touring a
Theater, Frederick P. Rose Hall. Tickets are $30, jolly old elf - in 1931 for a Coke holiday adver- virtual gallery at
$50, $75, $100, $120 and are available at the tising campaign. In total, Sundblom created more   

To Advertise CALL: 212-889-0853 Jazz Improv ® Magazine’s New York Jazz Guide  December 2006 17
(Clubs & Venues - continued from page 16) Sista’s Place, 456 Nostrand Ave. (at Jefferson Ave.), Brook- 212 283-JAZZ (5299).
lyn, NY, Tel: 718-398-1766, J&R Music World, 23 Park Row (across from City Hall
Night & Day, 230 Fifth Ave., Brooklyn, NY (at President St.), Slipper Room, 167 Orchard St. (at Stanton St.), Tel: 212-253- Park); Phone: 212-238-9000; www,
718-399-2161, 7246, Jazz Record Center, 236 W. 26th St., Room 804,
Night of the Cookers, 767 Fulton St., Brooklyn, NY, Tel: Small’s, 183 W. 10th St. (at 7th Ave.), Tel: 212-929-7565, 212-675-4480;
718-797-1197, Fax: 718-797-0975. Norman’s Sound & Vision, 67 Cooper Sq., 212-473-6599
North Square Lounge, 103 Waverly Pl. (at MacDougal St.), Smith’s Bar, 701 8th Ave, New York, 212-246-3268 Princeton Record Exchange, 20 South Tulane St., Princeton,
Tel: 212-254-1200, Smoke, 2751 Broadway, 212-864-6662, NJ 08542; 609-921-0881;
Nublu, 62 Ave. C (betw 4th & 5th St.), 212-979-9925, Snug Harbor Cultural Center, 1000 Richmond Terr., Staten Rainbow Music 2002 Ltd., 130 1st Ave (between 7th & St. Island, NY, Tel: 718-448-2500; Marks Pl.); Phone 212-505-1774
Nuyorican Poet’s Café, 236 E. 3rd St. (betw Ave. B & C), Sofia’s Restaurant, 221 W. 46th St. (at Bdwy), 212-719-5799. Scotti’s Records, 351 Springfield Ave, Summit, NJ, 07901;
Tel: 212-505-8183, Solomon’s Porch, 307 Stuyvesant Ave., Brooklyn, NY, Tel: Phone, 908-277-3893;
Oak Room at The Algonquin Hotel, 59 W. 44th St. (betw 5th 718-919-8001. Tower Records, 692 Broadway (4th & Lafayette), Telephone:
and 6th Ave.), Tel: 212-840-6800, South Street Seaport, 207 Front St., Tel: 212-748-8600, 212-505-1500
Opia, 130 E. 57th St., 212-688-3939, Tower Records Upper West Side, 1965 Broadway (across
Orbit, 2257 First Ave. (at 116th St.), Tel: 212-348-7818, Spoken Words Café, 266 4th Av, Brooklyn, 718-596-3923. from Lincoln Ctr), 212-799-2500 Stanley H. Kaplan Penthouse, 165 W. 65th St., 10th Floor, Virgin Megastore, 1540 Broadway, 212-921-1020
Orchid, 765 Sixth Ave. (betw 25th & 26th St.), 212-206-9928 Tel: 212-721-6500, Virgin Megastore, 52 East 14th Street, 212-598-4666
Oro Blue, 333 Hudson St. (at Charlton St.), 212-645-8004 Stella Adler Studio, 31 W. 27th St., 3rd Floor, Tel: 212-689-
Pace Downtown Theatre, 3 Spruce St. (betw Park Row & 0087, MUSIC STORES
Gold St.), Tel: 212-346-1715. The Stone, Ave. C & 2nd St., Charles Colin Publications, 315 W. 53rd St., 212-581-1480
Parlor Entertainment, 555 Edgecomb Ave., 3rd Floor (betw Stonewall Bistro, 113 Seventh Ave., 917-661-1335. Manny’s Music, 156 W. 48th St. (betw. 6th and 7th Ave),
159 & 160 St.), 212-781-6595, Sugar Bar, 254 W. 72nd St., 212-579-0222 212-819-0576; Fax: 212-391-9250;
Parlor Jazz, 119 Vanderbilt Ave. ()betw Myrtle & Park), The Supper Club, 240 W. 47th St., Tel: 212-921-1940, Drummers World, Inc., 151 W. 46th St., NY, NY 10036,
Brooklyn, NY, Tel: 718-855-1981, 212-840-3057, 212-391-1185,
Patio, 31 Second Ave. (betw 1st & 2nd St.), 212-460-0992 Sweet Rhythm, 88 Seventh Ave. S. (betw Grove & Bleecker), Roberto’s Woodwind & Brass, 149 West 46th St. NY, NY
Peddie School-Jazz Fridays Series, South Main St. Box A, Tel: 212-255-3626, 10036, Phone: 646-366-0240; Fax: 646-366-0242; Repair
Hightstown, NJ 08520; 609-490-7500; Swing 46, 349 W. 46th St.(betw 8th & 9th Ave.), Tel: 212- Shop: Phone: 212-391-1315; Fax: 212-840-7224; 262-9554,
Perch Cafe, Brooklyn Symphony Space, 2537 Broadway, Tel: 212-864-1414, Fax: Sam Ash, 160 West 48th St, 212-719-2299;
Perk’s, 535 Manhattan Ave, New York NY 10027, Phone: 212-932-3228, SCHOOLS, COLLEGES, CONSERVATORIES
212-666-8500 Table XII, 109 E. 56th St., NY, NY, 212-750-5656 92nd Street Y, 1395 Lexington Ave, New York, NY 10128
Performance Space 122, 150 First Av., 212-477-5829, The Tank, 208 W. 37th St. (betw 7th & 8th Ave.), Tel: 212- 212.415.5500; 563-6269, Fax: 212-563-0556, Brooklyn-Queens Conservatory of Music, 42-76 Main St.,
Philip Marie, 569 Hudson St. (at W. 11th St.), Tel: 212-242- Tea Lounge, 837 Union St. (betw 6th & 7th Ave), Park Slope, Flushing, NY, Tel: 718-461-8910, Fax: 718-886-2450.
6200, Broooklyn, 718-789-2762; Brooklyn Conservatory of Music, 58 Seventh Ave., Brook-
Pianos, 158 Ludlow St., Tel: 212-505-3733. Terra Blues, 149 Bleecker St. (betw Thompson & LaGuardia), lyn, NY, 718-622-3300.
Porter’s, 216 Seventh Ave. (bet 22nd & 23rd), 212-229-2878 Tel: 212-777-7776, Charles Colin Studios, 315 W. 53rd St., 212-581-1480
Pourhouse, 790 Metropolitan Ave. (at Humboldt St.), Brook- Theatre Row, 410 W. 42nd, 212-714-2442, City College of NY-Jazz Program, 212-650-5411,
lyn, NY, Tel: 718-599-0697 Columbia University, 2960 Broadway, 10027, 212-
Priory Restaurant & Jazz Club: 223 W Market St., Newark, Times Square Brewery & Restaurant, 210 W. 42nd St., bet Five Towns College, 305 N. Service Rd., 516-424-7000,
NJ 07103. Phone: 973-639-7885 7th & 8th Ave., 212-398-1234, ext.163, Dix Hills, NY
Proper Café, 217-01 Linden Blvd., Queens, NY 11411, 718- Tonic, 107 Norfolk St. (betw Delancey & Rivington), Tel: Greenwich House Music School, 46 Barrow St., Tel: 212-
341-2233, jazz Wednesdays 212-358-7501, Fax: 212-358-1237, 242-4770, Fax: 212-366-9621,
Prospect Park Bandshell, 9th St. & Prospect Park W., Brook- Town Hall, 123 W. 43rd St., Tel: 212-997-1003. Juilliard School of Music, 60 Lincoln Ctr; 212-799-5000
lyn, NY, Tel: 718-768-0855 Triad Theater, 158 W. 72nd St. (betw Broadway & Columbus LaGuardia Community College/CUNI, 31-10 Thomson Ave.
Pumpkins, 1448 Nostrand Ave, Brooklyn, 718-284-9086. Ave.), Tel: 212-362-2590, Long Island City, 718-482-5151,
Punch Lounge, 913 Broadway (betw 20th & 21st St.), Tel: Tribeca Performing Arts Center, 199 Chambers Street; Lincoln Center - Jazz At Lincoln Center, 140 W. 65th St.,
212-673-6333, 10007; 10023, 212-258-9816, 212-258-9900,
Puppets Jazz Bar, 294 5th Ave. at 1st Street, Park Slope, Trumpets, 6 Depot Square, Montclair, NJ, 973-744-2600; Long Island University - Brooklyn Campus, Dept. of Music,
Brooklyn, NY, 718-499-2627, University Plaza, Brooklyn, 718-488-1051, 718-488-1372,
Pure Lounge, 101 Seventh Ave. (4th & Grove), 212-620-4000 Up Over Café, 351 Flatbush Ave. (at 7th Ave.); Telephone: Manhattan School of Music, 120 Claremont Ave., 10027,
Push Café, 294 Third Ave. (at 23rd St.), Tel: 212-477-8100. 718-398-5413; 212-749-2805, 2802, 212-749-3025
Rare, 416 W. 14 St. (betw 9th Av & Washgtn), 212-675-2220. Varjak, 923 8th Ave (betw 54th & 55th Sts), 212-245-3212 New Jersey City University, 2039 Kennedy Blvd., Jersey
Rare, 303 Lexington Ave (at 38th St.), 212-481-8439 Village Vanguard, 178 7th Avenue South, 212-255-4037 City, NJ 07305; Phone: 888-441-6528
Red Eye Grill, 890 Seventh Ave. (at 56th St.), Tel: 212-541- New School, 55 W. 13th St., 212-229-5896, 212-229-8936
9000, Vision Festival, 212-696-6681,; New York University-Jazz/Contemporary Music Studies,
Robin’s Nest Restaurant & Bar, 2075 1st Av, 212-316-6170. 35 West 4th St. Room # 777, 212-998-5446, 212-995-4043
Rose Center (Amer. Museum of Nat. History), 81st St. Watchung Arts Center, 18 Stirling Rd, Watchung, NJ 07069 Princeton University-Dept. of Music, Woolworth Center
(Central Pk W. & Col.), 212-769-5100, Phone: 908-753-0190; Musical Studies, Princeton, NJ, 609-258-4241, 609-258-6793
Rose Hall, 33 W. 60th St., Tel: 212-258-9800, Watercolor Café, 2094 Boston Post Road; Larchmont, NY Queens College - Copland School of Music, City University
The Rosendale Café; 434 Main St., PO Box 436, Rosendale, 10538; 914-834-2213; of NY, Flushing, 718-997-3800,
NY 12472; 845-658-9048; Weill Receital Hall at Carnegie Hall, 57th & 7th Ave, 212- Rutgers Univ. at New Brunswick, Jazz Studies, Douglass
Roth’s Westside Steakhouse, 680 Columbus Ave., 212-280- 247-7800, Campus, PO Box 270, New Brunswick, NJ, 908-932-9302,
4103, Fax: 212-280-7384, Zankel Hall, 881 7th Ave, New York, 212-247-7800 SUNY Purchase, 735 Anderson Hill Rd., Purchase, NY 914-
Ruby Lounge, 186 E. 2nd St. Tel: 212-387-9400. Zebulon, 258 Wythe St., Brooklyn, NY, 11211; 718-218- 251-6300, 914-251-6314
St. John’s Lutheran Church, 115 Milton St. (betw Manhattan 6934, Turtle Bay Music School, 244 E. 52nd St., 212-753-8811,
Ave. & Franklin St.), Brooklyn, NY, Tel: 718-389-4012. Zinc Bar, 90 W Houston St., NY, NY 10012; 212-477-8337, William Paterson University Jazz Studies Program, 300
St. Mark’s Church, 131 10th St. (at 2nd Ave.), 212-674-6377. Pompton Rd, Wayne, NJ, 973-720-2320
St. Nick’s Pub, 773 St. Nicholas Av (at 149th), 212-283-9728. Zipper Theater Lounge, 336 W 37th St. (Between 8th and 9th RADIO
St. Peter’s Church, 619 Lexington (at 54th), 212-935-2200; Aves.), Tel: 212-563-0485, WBGO 88.3 FM, 54 Park Pl, Newark, NJ 07102, Phone: 973- Zuni, 598 9th Ave # 1, New York, NY 10036, 212-765-7626 624-8880; Fax: 973-824-8888;
Sanctuary, 25 First Ave. (above 1st St), Tel: 212-780-9786 RECORD STORES ADDITIONAL JAZZ RESOURCES
Satalla, 37 W. 26th St. (bet 6th Ave. & Bdwy), 212-576-1155. Academy Records & CDs, 12 W. 18th St., 212-242-3000; Louis Armstrong House, 34-56 107th St, Corona, NY 11368,
Savoy Grill, 60 Park Place, Newark, NJ 07102, 973-286-1700 718-997-3670,
Schomburg Center, 515 Malcolm X Blvd., 212-491-2200, Academy Record Store, 77 E. 10th St., 212-780-9166 Big Apple Jazz, 2236 7th Ave, New York, NY 10027; 718- Barnes & Noble, 675 5th Ave, at 21st, 212-727-1227 606-8442.
Shanghai Jazz, 24 Main St., Madison, NJ, Tel: 973-822-2899, Barnes & Noble Citicorp Building, 3rd Ave & 54th St. Institute of Jazz Studies, John Cotton Dana Library, Rutgers- Barnes & Noble, 4 Astor Plz, 212-420-1322 Univ, 185 University Av, Newark, NJ, 07102, 973-353-5595
Shelly’s, 104 W. 57th St. (betw 6th & 7th Ave.), 212-245- Barnes & Noble, 1280 Lexington at 86th, 212-423-9900 Jazzmobile, Inc., 154 W. 126th St., 10027; 212-866-4900;
2422, Barnes & Noble, 600 5th Ave, at 48th St, 212-765-059
Showman’s, 375 W. 125th St., Tel: 212-864-8941. Barnes & Noble, 1960 Broadway, at 67th St, 212-595-6859 Jazz Foundation of America, 322 W. 48th St. 10036; 212-
Shrimp Box on City Island, 64 City Island Ave, Bronx, NY, Colony Music Center, 1619 Broadway; 212-265-2050; 245-3999;
718-885-3200 New Jersey Jazz Society, 1-800-303-NJJS;
Sidewalk Café, 94 Ave. A, Tel: 212-473-7373. Downtown Music Gallery, 342 Bowery (between 2nd & 3rd New York Blues & Jazz Society,
Silvermine Tavern, 194 Perry Ave. Norwalk, CT 06850; 203- St), 212-473-0043
847-4558; EZ’s Woodshed, 2236 AC Powell Blvd, (bet 131st/132nd Sts)   

18 December 2006  Jazz Improv ® Magazine’s New York Jazz Guide To Advertise CALL: 212-889-0853
INTERVIEW JI: Could you talk about the
first recording you and John

Wynton Marsalis
Hicks did?

EW: Luminous was the title
of the first co-collaborative
Interview By Eric Nemeyer recording that John and I did.
Transcribed by: Dave Miele
This is an excerpt from the comprehensive interview with
Pat Metheny that appears in Jazz Improv® Magazine,
Jazz Improv: Could weVolume talk4,aNo.little bit asWayne
4, available Shorter
a back issue. went toto
To subscribe New York Univer-
about the educational scene Magazine: and
the moment? sity.
to buy back issues, call 1-
How does the development 888-472-0670,
of jazz in or online
academic settings versus learning on the JI: And it’s a life-long pursuit. We’re al-
bandstand, as has been historically the ways educating ourselves, as we go along,
case—the way you came up, the way I came in order to develop. It’s not just a short-term
up—impact an improviser’s development in pursuit.
discovering their own voice, which is one of Ad
the unique elements that we know distin- Rez WM: Right, but the kind of anti-education
guishes us from one another? attitude has created a kind of willful igno-
rance that hurts our music in a way. It’s not
Wynton Marsalis: I feel that you need to so much that the school education keeps
have both because if you think of guys like people from learning to play; it’s about the
Don Redman, a lot of jazz musicians were quality of the school education. I think we
conservatory-trained; in it’s the earliest need to question our educational philoso- WM: I think that it’s hard in jazz, too, be-
years of jazz. Don Redman is a great exam- phy, not whether or not the institution of a cause once you start to question the mean-
ple of someone who had conservatory train- school keeps you from playing. The thought ing of a thing, it’s very hard to teach it. If I
ing. Then you go to people like Booker Lit- that groups of people coming together over tell you, “This is a basketball, but you don’t
tle, Lee Morgan; they attended Julliard. a subject could somehow keep you from have to dribble,” it’s going to be very diffi-
Miles went to Julliard. They might not have learning how to play is one of the dumbest cult for me to teach you how to play it. A
stayed for a long time, but they had already thoughts ever. When we see a lot of young philosophical guy could write a great article
gone up in the educational system. They musicians going to school and not being about it. You know what I mean? For me to
tell you that the blues is not significant; for
me to tell you that swing is not the major
rhythm of jazz; for me to tell you that im-
“ I was a product of my generation and ignorant.
provisation of a harmonic form is not im-
There was a big anti-tradition vibe when I was coming up. portant; for me to tell you all of the central
We weren’t a part of jazz, we thought. things of this music are no longer signifi-
To be ignorant was considered to be a plus… cant…now I’m going to teach you some-
philosophically, I didn’t understand the importance thing about playing it, my authority as a
teacher is seriously undermined.
of knowledge. ”
JI: Absolutely. The foundation and the his-
tory is the essential part of being able to
move forward.
had gone through high school band pro- able to play, it’s not because of school-
grams. They had taken lessons. Even Dizzy, learning. It’s because of the way the institu- WM: Right. These are all things that we’ll
as a professional, took lessons from Joe tions are teaching them. Many times they straighten out as we become more intelli-
Custad who was playing first trumpet in the teach a student stuff like what scales to play gent about how we educate. We’ll begin to
St. Louis Symphony. All the great programs on chords. That stuff has absolutely nothing identify that the reason we’re not success-
that all the great musicians came through. I to do with learning how to play. They ful, many times, with producing students of
actually am interested in, with our education should be teaching a melodic basis and the a high quality is because we’re teaching the
department, developing a brochure on the meaning of the swing rhythm. Things that material incorrectly, not because of the fact
education of the great jazz musicians. Be- have much more significance to our way of of education. I think for jazz musicians, the
cause one of the great misconceptions about playing. bandstand, the jam session are also impor-
the music is the kind of Louis Armstrong tant. A lot of time hustling is important—go
model or the Duke Ellington model—even JI: I agree. I think another part of it too is out and hustle your gig. There are a lot of
though Duke did have theoretical education everyone taking responsibility, no matter kids who come up who create their own
with piano lessons and things like that. I how young one is, to be able to learn and opportunities. I’m thinking of people like
think a lot of times people think that that is determine some sort of responsible direction Eric Lewis and Ali Jackson, Brandon Lee.
the typical jazz musician’s story and it’s and path, even if somebody’s not handing it A lot of the younger musicians on the scene,
not. Coltrane went to the Ornstein School of to you on a silver platter. they grew up playing in clubs in their re-
Music. We could go on and on. I think (Continued on page 20)

To Advertise CALL: 212-889-0853 Jazz Improv ® Magazine’s New York Jazz Guide  December 2006 19
spective cities and they continue to make jobs since I was eight years old, so I wasn’t mind is focused on that. I grew up with a lot
things happen. I know I go to clubs some- looking to be hollering and screaming like a of brothers in my house; a lot of noise. I
times in cities and I’ll see a kid sixteen or child. I didn’t mind working, but philoso- was around a lot of people. I like people. I
seventeen sitting in, playing. phically, I didn’t understand the importance like noise. I don’t need to be in any special
of knowledge. setting. I’ve never had writer’s block. All I
JI: Sure. Can you talk a little bit about how need is a deadline. I’m always late
your association with Art Blakey developed JI: It’s interesting that you espouse that. I [laughter] but it’s not because of a block. I
the kind of experience and feeling you had agree with you. To me, one of the essentials just start late. I like the pressure. I like pres-
as you took over the trumpet chair that was, about making this music is the long-term sure in general. Pressure just makes some-
of course, held by such stylists as Clifford commitment and that in order to develop thing come out of you. Even as a kid, when
Brown and Lee Morgan and Freddie Hub- through your lifetime you really have to I was playing ball, I’d like there to be pres-
bard and so-forth? commit yourself. Somebody can have im- sure.
mense talent but ultimately it’s the work
WM: Well, I had the opportunity to play that we all do to develop that over a period JI: Certainly that tension gives you the im-
with him. He gave me the opportunity to of time. Sometimes something that happens petus to be able to resolve the tension into
work and to learn how to play. I have to quickly fades just as quickly. How is the something else, until the next tension comes
say, I was ignorant of that tradition when I process of making music different or deeper along.
played with him. I grew up in the seventies. now than it was when you were creating in
I knew some jazz records and I loved jazz. I situations such as Art’s and Herbie Han- WM: It makes it more fun. It’s just fun.
cock’s quartet and your own small groups We’re out here for a certain amount of time
versus the array of program settings and and we hope we have a good time. Do your
“ I like corresponding instantaneous adjustments thing. I’ve always been lucky to have great
you need to make with which you’re in- musicians to play with.
pandemonium volved today?
and noise. JI: There are many people writing these
My mind is WM: Not that much. My knowledge of the days. Many times people write tunes based
music has expanded. When I was nineteen on a series of chord changes and the melody
always quiet, or twenty, I was basically trying to figure isn’t very compelling. I know for myself, I
when it comes out what was happening. I was lucky to be agonize over melodies from time to time
on recordings on that time. I had a kind of because I want to write something that has
to music. ” feeling for the music and I liked it. It’s very some kind of meaning and is memorable—
different now. I’ve had years—an opportu- something a lot more than just a bunch of
nity to read and study and meet so many chord changes with something I slopped
had been around my father. I knew more of people and be a part of the American cul- together. Could you talk about the impor-
the New Orleans tradition of playing. tural scene for so many years. To see stu- tance of melody and how that process works
Freddie Hubbard was the one everybody dents come up, and always be out on the for you?
listened to in the seventies. Some Miles, road, and hear people and play with them
some Clifford Brown, but I didn’t really and play at jam sessions all over the world. WM: The melodic and the rhythmic imprint
know the history of Art Blakey’s trumpet So my understanding of what’s going on is of music—I’ve tried to deal with melodies
chair. I didn’t know the records with Lee very different, of course, from what it was that come from my New Orleans heritage
Morgan or Woody Shaw. I had heard the when I was a kid who just left New Orleans and from the American tradition in general.
record with Clifford once or twice; I didn’t for New York. I have a melody; “All Rise” [sings the mel-
really know those recordings. I didn’t actu- ody]. That was a tune my great uncle would
ally know the tradition of the chair. I JI: You’ve composed and arranged quite a sing to me. I’ll write songs that are real sim-
learned the tradition of the chair until after I bit. Composing and arranging are often ple, like nursery rhyme songs, like a song I
left the band, actually. When I was in the creative endeavors which for me, and others wrote called “Free to Be”. Sometimes I use
band, James Williams used to always tell I’m sure would agree, involve a certain just thing in the American songwriting tra-
me: “You need to learn the tradition of the modicum of quiet and introspection. How dition, like a song I wrote called “D in the
chair and you need to learn the tradition of do you quiet your mind and remove outside Key of F”. Things come from different
this band.” I was a product of my generation distractions and stress and so forth, which places. I was lucky growing up in New Or-
and ignorant. There was a big anti-tradition sometimes are useful in the creative proc- leans—there’s a lot of melody down there.
vibe when I was coming up. We weren’t a ess, to be in a mindset to create. How do From church music to music we played in
part of jazz, we thought. To be ignorant was you structure your time to compose and parades, hymns, street songs, the blues—I
considered to be a plus. So, even this man arrange? Do you do some jotting down of try to call on all of that tradition. One of my
was telling me to learn, I was so much a ideas that you use later? Do you experience challenges was to develop a base of learning
part of that kind of generational ignorance, I writer’s block? in the American folk tradition and in an
didn’t feel it was important. If you listen to American melodic tradition, so that my mu-
my playing, it’s obvious I didn’t know that WM: No, I never have that. I like pandemo- sic would have those elements in it. To
tradition. It wasn’t until after I left the band nium and noise. My mind is always quiet, learn how to write on triads—growing up in
that I understood I had a golden opportunity when it comes to music. I don’t mind jazz, you’d be writing what I call “New
to learn that tradition. I wasn’t aware of the noise—my phone going off, people all York Tunes” [sings a post-bopish melody].
importance of knowing the tradition. It was- around me—it doesn’t affect me really at So I started off with that kind of tradition,
n’t that I felt I knew everything. I’ve held all, when I’m working on something. My but I noticed that music doesn’t have that

20 December 2006  Jazz Improv ® Magazine’s New York Jazz Guide To Advertise CALL: 212-889-0853
much melodic meaning. So I started to learn, in my
twenties, how to write songs that more reflected
how I grew up and the music I knew. I was lucky “ Creativity...makes me feel like
coming from New Orleans because I was always I’m a child all the time. It makes
around a lot of different kinds of music. I remem-
ber the first song I wrote like that was called “In
me have fun with my own kids
the Afterglow” [sing the melody]. I tried to write a and it doesn’t make a differ-
melody I could just sing and have it stand on its ence whether I’m playing ball,
or teaching a class or if I’m
JI: Absolutely, yeah. Could you talk a little bit dealing with a very serious
about the immense responsibility with Jazz at Lin-
coln Center, to represent them in the areas of mar-
subject...I approach all
keting and management and fundraising and spon- of those things the
sorships? All these things going on—the many same way. I’m just
non-musical activities—how does all this impact
your focus on the music and your creativity? having a good
WM: Your creativity is something that you’re
given. It’s a gift. It’s like clownin’, crackin’ jokes,
reading stories, dancing; it’s something that’s in
you or it’s not. You can’t work on your creativity.
You can work on things, but your creative impulse
and your desire to be creative and make up things
and have a good time with things, that’s in you.
For me, nothing affects that. That’s what I like
doing. It makes me feel like I’m a child all the
time. It makes me have fun with my own kids and
it doesn’t make a difference whether I’m playing
ball, or teaching a class or if I’m dealing with a
very serious subject, or something that’s just a
joke. I approach all of those things the same way.
I’m just having a good time, and that’s it. I’m go-
ing to be creative. I’m going to clown, act crazy.
It’s just how I am. Nothing will change that or
make me not be like that. I’m just that way.

JI: That’s a healthy thing, too. One of my favorite
quotes is: “You should grow old in your child-like
qualities, not your adult-like qualities, Heaven

WM: Right. Just have a good time. I try to pass
that down to my own kids. You were given your
creativity, that’s a gift. Everybody has creativity;
we are all given that gift. Respect your creativity
and develop it and enjoy it and enjoy the creativity
of other people. Just like you have it, other people
have it too. All of my jobs are one job and ulti-
mately it’s about the human spirit—it’s not even
about jazz. I believe in it, so it’s never too much
work for me. I don’t work on the clock and I don’t
work for money. I never did that. My entire life,
it’s always been the same. It does not make a dif-
ference to me what’s said about me, whether it’s
true or it’s false. My mind is made up about what
I’m about. Now I’m a man, I’m forty-five. I’m not
a boy. I was nineteen for twenty years.

JI: And suddenly you’re forty-five.

WM: And I love it. I’ve been out here the whole
time just enjoying myself and trying to be a posi-
© 2006 Clay McBride

To Advertise CALL: 212-889-0853 Jazz Improv ® Magazine’s New York Jazz Guide  December 2006 21
tive influence on people. going to do what you will want them to do, speaking—because we’ve never spoken
but they have a path that they’re on. You before—I really get a sense of how commit-
JI: And you are. And age is just in your don’t know what that is. You’re a part of ted you are to the music. The original burn-
head. their path. You’re a part of their story. A lot ing fire we each experience when we were
of times you look at somebody as if they’re first magnetized by this music. For me it
WM: Tell that to my jump-shot., in my a part of your story. But for that student, was like Thad Jones, Buddy Rich, Joe Hen-
basketball game. you’re a part of their story. So, you try to derson. You don’t lose that. You’ve main-
empower them with tools that will help tained it and also gotten to a very high level
JI: [laughs] Could you talk a little bit about them to do what they want to do. with it and in this conversation, I detect this
commitment and staying on the path of incredible level of commitment without
mastery versus how society really creates a JI: That’s a profound understanding. Many compromising or selling out or whatever
prodigious conspiracy against the commit- people look at it the opposite way; you you want to call it, to really dedicate your-
ment that’s essential to play and develop as really have to take yourself out and be in the self to other people. I just had to give you
an artist and create this music? mode of giving instead of taking, which is that compliment because I think it’s well
really a healthy thing, I think. You’ve really deserved.
WM: You know, I don’t think it has any- been a model for that, Wynton.
thing to do with society or anything else, to WM: I appreciate that. It’s the life I like to
be honest with you. It’s all about you and WM: I don’t know. You know, man, we’re live. I saw my daddy doing it with teaching.
how you feel about something. You wake all out here doing our thing. I teach kids, I stay up, I go to jam sessions,
up every day and you choose the things you and I play. The lord has blessed me to do
want to do. It’s up to you to do it; you don’t JI: Could you share some of the sources of what I want to do with great musicians. I
have to do it. If you have that feeling about encouragement and positive thinking that don’t have a complaint. The musicians
you experi- looked out for me so much. So many people
enced that have looked out for me in so many ways.
“ A lot of times, people ask me were instru- With Jazz at Lincoln Center, start with my
if I think rap music is valid. It’s not up to me mental in unbelievable staff. Mary, she’s been work-
your abun- ing seventeen years. Herlin Riley. Me and
to determine the validity of rap music. dant success Herlin worked sixteen, seventeen years to-
If it’s out here, it’s obviously valid. ” early on, but gether. I could go on and on. It doesn’t
also, more make a difference where I fall. Marcus Rob-
importantly, erts, Wycliffe Gordon. Students we brought
something do it. If you don’t, don’t do it. some of things that are inspiring you today? up, I was Walter Blanding’s band instructor.
It’s about you and yourself. It’s like with Philosophies or authors and so forth? Everywhere I turn the level of dedication
your old lady, you know? If you want to be that they’ve had to me and to this music and
committed, be committed. If you don’t, WM: For me, all the older musicians sup- the love that they’ve given me, to be there
don’t. It’s a very simple equation, you ported me in an unbelievable way. Not so for me. It’s been an unbelievable blessing.
know? And if you are committed, you get much in the press, but Elvin Jones, I was
the benefits that come from being commit- always welcome in his house all hours of JI: You know, the music is one thing, but in
ted. And if you’re not committed, you get the night. Ed Bradley, he’s gone now. Just this business, it’s really important to build
the benefits that come with that. There are the amount of time that he would spend just relationships, which is where some people
benefits to both. To not be committed teaching alone. Just what he would tell me. either shoot themselves in the foot or fall
means you have more time to bullshit Dizzy. Art Blakey. Gerry Mulligan. A long short. Maybe you could talk about the im-
around. If you like doing that, do it. It’s not line of musicians that I would talk to all the portance of and how to build relationships?
a crime. If you’re serious, you get the bene- time that would say: “Do this that and the
fits of being serious. other. Check this out.” Joe Williams, WM: A relationship is very simple. You
Freddie Green. The type of love and support need to treat the people they way you want
JI: With all the teaching and interaction that John Lewis showed me—I was like his son. to be treated. If you smile at somebody,
you’ve had with so many types of people, The amount of information they were will- they’re going to smile at you. Sometimes
so many different age groups and back- ing to give me. The way they took me in. I’ve fallen short. I’ve learned a lot in this
grounds and levels of interest in the mu- The way that they loved me. Frank Foster, job. Even now, I could do a better job of
sic—or non-interest; what kinds of under- Jimmy Heath. I could go on and on, I could keeping in touch with people. The basic
standings about human nature have you name so many musicians. Whenever I feeling you give someone, they will in most
learned or developed as a result of your called them, whatever I needed. “Here’s instances, ascribe to give that same feeling
journey from your times as an emerging what you need to learn. Study these things. back to you. I see you on the elevator and
artist on to your current leadership role? Learn this, work on this. This is a problem you smile, I’m going to smile at you, man.
with your playing.” Dizzy told me stuff. He You frown at me; I’m going to frown at
WM: I think I’ve learned that the most im- was very intellectual, very intelligent. On you. You might frown and I might still
portant thing you can do is to empower an- and on. My great mentors I had: Albert smile at you. It’s just basic manners 101 of
other person to be themselves—even if Murray, Stanley Crouch. how to treat people and deal with them and
what they’re going to do is going to be the when you feel short of that to recognize and
opposite of what you do. If you’re teaching JI: One of the things I really admire about try to do better the next time.
someone, you don’t want to teach them a you is how I’ve attained this extremely high
dogma. Many times your students are not visibility and in the short time we’ve been JI: I think Dan Borsen, in the Library of

22 December 2006  Jazz Improv ® Magazine’s New York Jazz Guide To Advertise CALL: 212-889-0853
Congress said: “One of the greatest obsta-
cles to discovery is not ignorance but the
illusion of knowledge.” How have you ex-
perienced or dealt with this, or do you have
any comments on that?

WM: I think that our music helps to remove
a lot of that. Jazz music is something, man.

JI: It’ll make you honest in a hurry.

WM: You’re always thinking about what
you need to do to improve. Of course you
still have a lot of illusions, that’s just a part
of life.

JI: Regarding the Ellington High School
Jazz Band competition, I understand thea festival. Americans love competition. We obviously valid. Or people ask if its music.
love to compete. The older jazz musicians
value of band competitions and contests and It’s obviously music. I have a basketball
were always talking about battles. I heard
how they create interest and involvement game. It may not be a good game, but don’t
among students—the prospect of winning Sweets Edison talk about when Basie bat- come to me and tell me I’m not playing
tled Benny Goodman. When they battled
things—but in times gone by some stylists basketball. It’s just what it is. It’s not up to
Duke. Cutting sessions. It’s a part of the
might not have been perceived as anything me or you to determine what is.
lure and the tradition of our music. Compe-
special or won anything because of their
tition is a part of it and it’s a fun part of it. I
unique approach involving subtlety or econ- JI: Yeah, the moment you let go of being
happen to love competition. It’s not for eve-
omy of notes. How does the aspect of com- the general manager of the universe, it
rybody. Music can accommodate all kinds
petition impact building the identity and the seems like the whole universe opens up for
of personalities. Some people don’t like to
value of the music as an artistic endeavor as you.
opposed to an athletic sport? be competitive, but they can play great mu-
sic. Many can be very competitive and play WM: I have a thing that is what I believe to
WM: You know we have a competition and great music. It just depends on the person. be jazz. That is what I believe it to be. You
But there’s so much competition in our cul- might believe it to be something else. There
ture and our way of life, and its fun. It does- are many different people on earth. It’s like
Ed Bradley n’t have to be mean-spirited. It depends on what I was saying about our students.
1941 - 2006 the spirit you bring to the competition. If it There’s a reason our students are not learn-
means more to you than what it actually is; ing how to play as good as we want them to
if you have it out of proportion to the reality play. It’s not because they’re going to
of life, then it could be a bad thing. The school, it’s because of what they’re being
only time it’s that serious a thing is when taught when they’re in school.
it’s a war. That competition is very serious.
But a battle of music on a horn is not that JI: Talk about the Essential Ellington Jazz
serious a thing. A basketball, a football Band competition?
game, is not serious. It’s a game. It’s a
sport. You want to win. I want to play for a WM: It’s just a fantastic festival/
score. I want to shake your hand after you competition. There’s a great history and
beat me and say, “Good game.” A chess tradition. Kids love it as well as parents. We
game, you want to win. But part of winning have so many letters that speak on our be-
is losing. It’s like life. You’re going to die. half. So many band directors love it. They
That makes life fun. love to come back. Our entire staff volun-
teers. We’ve been doing it for many years,
JI: And it gives you that pressure that we we love doing it. We produce a lot of stu-
were talking about before, to get things dents who can play. We’ve seen so many
“Ed Bradley was a great American, one of
our definitive cultural figures, a man of un-
done. great things from our students. As of now it
surpassed curiosity, intelligence, dignity is exclusively limited to Duke’s music. We
and heart. We of course are shocked and WM: You should have a good time in your may expand it, but we love his music.
experiencing that unspeakable grief that time out here. Your choices are your own.
always attends the finality of the death of a The problem comes when someone thinks JI: Is there anything else you’d like to share
loved one. We have lost a trusted friend that there’s one way—they think something with our readers?
and mentor. Our nation has lost a voice of is the way it should be. There are many
integrity and wisdom. We love him and ways that a thing is. That is the reality. A lot WM: Just tell them to come down and visit
miss him and it will always be that way.”
of times, people ask me if I think rap music us at Lincoln Center. Come be a part of it.
-Wynton Marsalis,
is valid. It’s not up to me to determine the They’ll have a good time. ♪
Artistic Director of Jazz at Lincoln Center validity of rap music. If it’s out here, it’s

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Steve Tyrell
Interview By Eric Nemeyer

Jazz Improv: Could you talk about the evolu- important to her. Armstrong and Ray Charles even though he’s
tion of your recent recording of Disney stan- not very know that much for his jazz, but some
dards. JI: I saw all the movies when I was a kid. of the stuff that Quincy did with him, you know.
“Move to the Outskirts of Town” and… you
Steve Tyrell: That started about two years ago, ST: Yeah, well, that’s the biggest difference. I remember those arrangements? I mean, those
maybe longer. First of all, I kind of started my think this Disney album has a much bigger things always killed me, man. I’m really kind of
career as a performer singing the standards with demographical appeal. People don’t have to a blues-influenced cat, you know. I grew up in
Disney, because I sang “The Way You Look discover the music. They know the music. Texas in an all-black neighborhood. My family
Tonight” in Father of the Bride, which was a they were Italian immigrants that had a grocery
Buena Vista film. And it was really kind of an JI: It’s charisma pre-sold, as they call it. store with a house in the back. Joe Sample and
unusual situation where I was the music pro- The Crusaders lived across the street from me.
ducer of the movie. I did this little tune for the ST: Yeah, that’s a good way of putting it. So
reception and everybody loved it and they put that’s what happened. I went in and did it and JI: I’m friendly with Stix.
me in the movie. Then the movie tested really then they decided to release it, to make a video
well and that particular scene tested really well of “Bella Notte” caused they really like that and ST: Oh, well, Stix is my man. He’ll tell you
with all the audiences that they showed the to release it with The Lady and the Tramp DVD, about me. I was the only white boy in the
movie to. So, mine got singled out as who’s which came out February 28th. neighborhood for miles, man. So that music is
singing that song and so they decided to put it And the after I turned that in I got asked by just something that…anything with like a little
over the end title. Anyway, to make a long story the Sinatra family to go with Quincy Jones to the bit of blues in it. Billie Holliday always killed
short, it’s a very unusual thing. Usually, the mu- Hollywood Bowl last season on opening night’s always something that I leaned strongly
sic producer doesn’t end up singing in a 100- and sing “Fly Me to the Moon” in honor of their toward. And when I got into making mainstream
million dollar movie [laughter], you know what I father Frank who was inducted into the Holly- jazz albums, I mean, I produced Blood, Sweat
mean? And so I started with Buena Vista is what wood Bowl Hall of Fame. And so that led to me and Tears in the old days. Basically, what I
I’m trying to say. So I have fans over there, making my Sinatra album. I really have two wanted to do is take these songs and do some-
Chris Montan, especially, at the time was the albums out at the same time. I have The Songs of thing original with them. I didn’t really want to
head of Disney music and then he went on to be Sinatra, which I love, you know, getting into that copy anybody and I don’t think we have.
the head of Disney animated features and was album and the Disney album. Whether people like our arrangements or not, I
responsible for The Lion King and Beauty and don’t think they sound like anybody else’s. We
the Beast and all their hits. JI: What kinds of preparation did you do in tried to just take these songs and just be true to
A few years back, I got an idea when I was terms of discussing and preparing the arrange- them and do arrangements that—I’m talking
working for the Steven Spielberg film, An ments on The Disney album. about my other albums more than my Disney
American Tail, to take the little song that the albums—try to bring them into the 21st century,
mice sang in the movie, the character-driven ST: We have kind of a crew of people that I’ve but pay tribute to the kind of great harmonies
song, and make a version of it that would go been working with for years and Bob Mann is a that Nelson Riddle wrote and Billy May—you
over the end title. Before that, people don’t really partner of mine; he’s co-producer of the albums. know what I mean? Pay tribute to them, but not
realize this, but before that that hadn’t been done He and I have been working together since he copy them.
in animated features. You look back on it now was in that group Dreams.
you don’t realize it, but “Somewhere Out There” JI: Put your own spin on it—it’s about develop-
from an American Tail was the first one and that JI: The one with the Brecker Brothers and Billy ing your own voice and your own perspective, a
was my idea. Cobham? function of how you live your life.
So I had a little bit of a history, I had a his-
tory of taking character-driven songs and making ST: Yeah, that’s why I met those guys back in ST: Exactly. And that’s exactly what we’ve tried
different kinds of versions of them. And so Chris the ‘70s, and Bob and I have been working to- to do. And what I’ve tried to do all the way from
Montan [?}two years ago came to see me and we gether ever since. Allen Broadbent is somebody my first album on is I’ve also tried to honor
became friends over the years, and he said, that we’ve started working with in the last few some of the great soloists from that period. Like
“Man, you know what you should do? You years. He’s a wonderful arranger and he’s been if you look back on all my albums, I’ve used
should take the Disney songs and you should do working on all the stuff that we’ve done. We Harry “Sweets” Edison, rest his soul, Toots,
your kind of versions of them. It’s an extension have a team of people that we use and we Clark Terry’s played on almost everyone of my
of what you’ve been doing with the Great worked with Sammy Nestico who we had never albums, Plas Johnson, of course. Joe, but Joe’s
American Songbook, but it’s kind of the same worked with before. Sammy worked with us on a not old, but Joe Sample played on a lot of my
thing but it’s different.” So that idea kind of couple of things on the Sinatra album, which stuff. Or, at least, he’s not old to me, not com-
intrigued me and we talked about it for a while came out great. And, of course, Quincy and I pared to these cats, you know. I tried to do like
and finally we did it. worked together on one of the tunes. So, it’s just
And when I got into doing it I realized how a great group of people who know what they’re Hear Steve Tyrell at Café Carlyle, Carlyle Hotel
important…unlike The Great American Song- doing. December 1 thru December 31
book, The Great American Songbook was our 35 E. 76th St. New York 212-570-7189
parent’s music, you know, but the Disney stan- JI: What was the spark that aroused your interest
dards are our children’s music. Like my daugh- in mainstream jazz? Visit Steve on the Internet
ter’s 22-years old, and she knew every song that
we did on that album and they were all very ST: I loved the music of Duke Ellington, Louis
24 December 2006  Jazz Improv Magazine’s New York Jazz Guide To Advertise CALL: 212-889-0853
“ Usually, the music
producer doesn’t end up
singing in a $100-million
movie, you know what
I mean? ”

modern kind of 21st century versions of classic Steve Gadd came in and took Billy Cobham’s Blood, Sweat, and Tears, I came in at the end of
stuff and then have some of the classic soloists place. Will Lee took Chuck Rainey’s place and the album that had “Hi-De-Ho” on it. And they
play on them. Michael Brecker’s played on my that’s where I met Bob Mann, Don Grolnick and were going through a transitional period too,
stuff, well, on this last album Chris Botti played Randy and Mike. We’ve all been friends ever where David Clayton Thomas was leaving the
on “When You Wish Upon a Star.” since. Then I just continued on down the road band. Bobby Colomby had been the producer,
and I left New York after a while, came out to but they had decided that they didn’t want a
JI: Could you talk about how you got involved California and got into doing music for movies member of the band producing them, so I kind of
in the record business—especially in terms of and soundtracks and stuff like that. Then, that led came in and took over for Bobby. We would just
working with groups like Dreams, and Blood, me back to being an artist myself. I’ve produced have meetings and I would suggest songs and
Sweat and Tears. Give us a thumbnail sketch along the way some stuff with Ray Charles, people would do arrangements. In those days,
about how the doors opened for you leading to some stuff with Linda Ronstadt, a couple of her they had a place in Dobbs Ferry, New York that
these associations. big hits, you know, “Somewhere out There,” and we used to go rehearse. It was kind of cool in a
”Don’t Know Much,” with her and Aaron way. We would decide on something and then
ST: Like I’ve said, I’ve always been attracted to Neville. we would go to the rehearsal hall. Somebody
R&B and blues. That was my roots and when I would write an arrangement and then we’d mess
was a kid, I was in an R&B band in Texas. I was JI: What kind of direction or instruction or dis- with it in the rehearsal hall before we ever had to
always fascinated in the process of making the cussion did you have when you were going go to the studio to record it. Then I brought some
records. So I got a job very early on in my career through the production of recordings with Blood, different people to that gig. I brought Paul Buck-
luckily to move to New York and work at Scep- Sweat, and Tears or Dreams? master and we did a couple of really nice string
ter Records, which was an independent kind of charts on one of the albums in London. He was
R&B label, really. We had Chuck Jackson and ST: Well, Dreams kind of had all their stuff very hot in those days with his work that he was
The Shirelles, Dionne Warwick, Maxine together; I just went in and recorded it for them. doing with Elton John. Man, he wrote all those
Brown0—you know, people like that, and And like I said it was at the very end of their great orchestral arrangements for “Madman
Tommy Hunt and people in the ‘60s that were career. They were almost a band that was too Across the Water” and all those Elton John
real kind of R&B icons. I started producing re- famous to be a band. tunes. Do you remember, “Tiny Dancer” and all
cords for them and then I left there to go on my that stuff? He came on the scene in a big way in
own. I got a deal to produce records for Colum- JI: They did the two albums and that was it. the ‘70s. And so he contributed some stuff to one
bia and part of the deal was to do my own stuff of the BS&T albums. And we went over to Lon-
for Columbia but they also gave me the gig of ST: It was the last album and they were like don to record with him.
producing Blood, Sweat, and Tears and then being asked to do everything. They were playing
Dreams was on the label at the same time. And on everybody’s albums and records and stuff. JI: It sounds like the doors kind of opened for
so I did the last group of sessions with Dreams. And I think they just didn’t continue. With you, you’ve worked hard for years for this
To Advertise CALL: 212-889-0853 Jazz Improv ® Magazine’s New York Jazz Guide  December 2006 25
“overnight success.” The public thinks of over- you have the soundtrack division. Then you have music for movies. And it’s a shame. Pop culture
night successes—and when you’re young you the record company’s soundtrack division...You is in trouble, man, in case you haven’t noticed.
want everything to happen yesterday. As we get have the music supervisor. I mean, there’s a lot
a few years of experience, a kind of inverse pro- of people that are working on something instead JI: It’s the dumbing-down of America. And
portion sets is—you want to slow it down, I of the writer of the scene, and the director of the people are preoccupied with the superficial, the
think, and overemphasize every little thing that movie and the person writing the song hardly illusion. It’s unfortunate; that’s the way it is. It’s
you do. You become more attuned to subtlety I ever exists anymore and it’s a shame. And when clear from the observations and evidence, that
think. I say it’s a lost art it’s a shame, because when people do gravitate toward quality. The big issue
you write a song…if you’re a songwriter, you sit is “If only…” If only the music could be heard
ST: Yeah, I agree, you do. Yeah, I see what you in a room and write a song, you have no idea by more people it would be loved and appreci-
mean. I mean I just have always been a working who’s going to sing it most of the time unless ated. When I talked to Pat Metheny he was tell-
music producer, basically. I’ve done music for you’re producing somebody that you’re writing ing me how a lot of people come up to him
records. for or you’re working with someone who’s mak- around the world and it’s been happening for
ing an album and they’re going to sing it. But for years, “What is that that you’re playing?” “Oh,
JI: You play piano, too? the most part, you’re just writing a song. Well, in that’s jazz.” It’s one style of jazz. There are cer-
film, you have a script, you have a story, you tainly many, bebop, hard bop, swing, early,
ST: I play a little guitar. I’m not really a very have a character, you have a director who’s go- avant-garde, whatever. And they say, “Wow, I
good musician. I’m a singer and I understand ing to shoot that scene. It’s a beautiful thing didn’t know that that’s what jazz is.” When you
music and chords, you know what I mean. I kind when the writer of a piece of music gets together expose people to the highest quality musicians,
of view myself as like a director of a movie. You with the person who’s going to direct and create it’s hard not to believe that intuitively they won’t
can put the cast out there, but you gotta get the the scene visually and the person who wrote the resonate with that because the foundation is real,
performances from the cast and make sure that scene in the first place. It’s such a fertile place it’ pure, it’s truth. It comes from people’s souls
when you get in the car you didn’t leave some- that you could come up with something really as opposed coming from some contrived, super-
body’s best performance in the studio that you good. But nowadays everybody is afraid to do ficial, or synthesized, phony place.
got it that you helped them get it out. That’s that. It’s like, “Wait a minute! We’re not used to
basically been my approach to making music. doing that. You mean we have to pay this person ST: Yeah, absolutely. It’s just terrible. I don’t
I’ve done music for film, television and I’ve to write a song. What if we don’t like it?” Every- know what to say about it.
been nominated a couple of times for an Emmy. thing comes from the negative instead of saying
this is a great opportunity to create a wonderful JI: Talk about the music you’re performing live.
JI: What are the biggest challenges for you in new song that’ll live forever in our movie. It’s
terms of working on music for film or TV? like, what if we don’t like it? ST: I’ll be doing songs from all my albums, a lot
from the new Sinatra album. The Sinatra is the
ST: Well, one of the things that I’m disappointed JI: I think you framed it accurately—for all of us best album I’ve ever made, I think. I made my
in about film and TV is this last ten years I’ve that are involved in making music, recordings first album in 1999 on Atlantic. It really kind of
kind of lost my interest in working on film and and playing and so on and so forth. The creative started this whole Great American Songbook
TV, ‘cause I’m not a composer. I’m a music process, and creating something new, is about latest renaissance or whatever you want to call it,
because Rod Stewart heard that album and Rich-
ard Perry and they decided to do their version,
which ultimately, I don’t know if you know I
ended up doing the last two of his albums. But it
“ I grew up in Texas in an all-black neighborhood. started when I sang “The Way You Look To-
My family they were Italian immigrants that had a grocery night” in Father of the Bride and that album
store with a house in the back. Joe Sample and came out, I mean, the Atlantic album, Ahmet
Ertegun put it out. It was an album of standards.
The Crusaders lived across the street from me...I was the And it influenced a lot of people. David Foster
only white boy in the neighborhood for miles, man. ” tells me that it influenced him and then he started
producing Michael Buble. That started me sing-
ing back live. Rosemary Clooney called me and
asked me to perform with her because she liked
producer, supervisor. If I was a composer it starting with nothing, or with a germ of an idea, the album, so I’ve been playing live concerts
would be different. But the art of writing a song and having the courage, ingenuity and drive to now quite regularly for the last six or seven
for a movie, collaborating with the filmmaker to develop it into something. You’re taking some- years. And it’s my favorite thing in the world.
create a scene in a movie that has something thing from nothing. We’ll worry about whether it Last year I did quite a bit of record production,
special is becoming a lost art. And it’s a shame, works or not later, but we can’t figure out if it’s but I love playing live. It’s a privilege to be able
because some of the best music that’s ever been going to work or not unless we have it in the first to play your music live.
written in America has been written in collabora- place.
tion with film. JI: Can you share some of the understanding of
ST: Right, you’re not getting the opportunity to human nature that you have gathered through
JI: Don’t you think it has to do with economic do it, because on top of coming from the nega- your experience in the business and as an artist?
factors? People are afraid to step out and say, tive it’s being replaced by somebody an exterior
“Well, gee, let’s create something new,” when person like you say who has a soundtrack deal ST: Being an artist is quite an undertaking. Part
they have the convenience of falling back on they made with the movie. And they’re trying to of it is you’re putting yourself out there to be
something that’s already been a proven success. take a song that was written that has nothing to heard, but you can’t take it too seriously because
And they say, “Well, maybe this’ll generate x do with the scene that if it works it’s an accident it’s a gift. And if you’re operating on the true
more pennies on the ledger and then I’ll have my and put it in this scene so that it will be able to level of artistry then you’re operating on some
job for the next film.” be marketed with the movie, and it had no gene- other kind of spiritual…you’re tapping into
sis with the movie; it had no genesis with the something else. And that’s what it’s about. And
ST: That’s exactly it. That’s exactly it. Well, scene. And that’s why you don’t have any great every artist knows that. When you get out there
first of all, everybody has less and less creative academy-award-winning songs anymore. And and you get on this high, this kind of wave where
control of anything any more. You’ve got the you haven’t for a while and you’re not going to you’re just kind of a vessel [laughs] where stuff
film studio that has their music department...and unless people get back to letting people create is coming out and it’s just really great. And you

26 December 2006  Jazz Improv ® Magazine’s New York Jazz Guide To Advertise CALL: 212-889-0853
feel it communicating, so you can’t take it too
seriously in the sense that you can’t say it’s
yours. If you know what it is you know it’s not
yours. And you know if your voice is moving
somebody then it’s a gift you have. I mean, cer-
“ if you’re operating
tainly you have to study what you’re doing and on the true level of
you have to learn and you have to improve on artistry then you’re
your craft and you have to constantly work on it,
but the reality is it’s a gift. And that is what I operating on some
think is something that I’ve noticed over the other kind of
years about the human condition. When you take spiritual…you’re
yourself too seriously and you forget that it’s not
you, man. Does that make any sense to you? tapping into
something else.
JI: Of course. We all then face the temptation
and tyranny of the ego.
And that’s what
it’s about. ”
ST: Right, and that’s always the problem. That’s
when people act rudely or they have problems,
because they start thinking it’s them, you know

JI: As opposed to it coming through them.

ST: Yeah, exactly, and so I’ve kind of learned
that. And I remember Ray Charles telling me
something one time. You’re always out there.
And you’re always being criticized by some-
body, one way or another. You’re too inside;
you’re too outside; you’re too this; you’re too
that. I remember Ray Charles telling me one
time, he said [mimics Ray Charles], “Man, I
never let it worry me if somebody don’t like me
‘cause there’s a whole lot of people that do

JI: That’s good. I’m sure you’ve been through
this, where you might get 99 successive compli- ily man. I’ve been through…I lost my wife a few JI: That kind of mindset lends a totally different
ments reviews, and then somebody will say years ago to cancer. That was something my kids perspective, one that’s possibly quite limiting to
something negative and that ruins everything. and I experienced that opened our eyes to a lot of the creative process—which requires a modicum
You’re suddenly, “I should quit.” But compli- things. You see someone suffer and you see of clarity, and commitment beyond the physical,
ments and criticism, like perfume, are probably someone who had no idea that this was going to to be able to be clear, and enable the music or
better off inhaled than swallowed—since down happen to them fight gallantly and it just changes whatever it is you’re creating to flow through
deep we all really know when our music is hap- your perspective a little bit...a lot! Especially you. It’s an entirely different perspective.
pening or not. when they’re your mother or your wife or your
partner. And so it does change things. I mean ST: Yeah, well, the world makes you do that. It
ST: Exactly. I mean that’s that vulnerability that Frank Sinatra once said, “You better live every does. There’s a certain thing that you have to
I’m talking about. You go out there. You put day like it’s your last and one of these days deal with. Your albums have to be marketed or
your ass on the line. And you don’t really know. you’ll be right [chuckles].” So you have to kind they don’t sell. Then if you see that they’re not
You know if you’re good, if you move some- of keep that in mind, man, that it can happen to being marketed then you get bummed. And if
body. I mean you don’t know that you’re good, you, that you can spend your whole life being they don’t sell, you can’t make another one. It’s
but you know that you’re doing something when negative or being depressed or finding out like there is stuff that puts you down the wrong
you move somebody and they tell you, “Hey, what’s wrong. And we all do it, man. Don’t get path that you can’t help. There’s a lot of stuff
man, that really touched me or my father was in me wrong. We all do it. We all get into that that you have to wade through and sometimes
the hospital and we played your album and it got space of the one bad review and forget the 99 you don’t know if it’s just too deep, you know,
him through.” When you hear that which every good ones or we’ll think about what’s wrong and in the music business. The music business is
artist I’m sure does and I’ve certainly heard it a we’ll never think about what’s right. If you can getting worse, because it’s a dying business un-
lot with these Great American Songbook albums stay grateful to what’s going on in your life then fortunately—the record business, I mean, or the
that the music got people through tough times. you can be happy. If you’re not grateful then CD, whatever you want to call it. Everything is
You go, man, that’s all worth it then. If you real- you’re screwed. There’s only two ways to be. merging together. The reason all the companies
ize it’s…if you like the sound of my voice and It’s a shame, man. You can never get enough, merge is so you have one head of sales where
somebody else may hate the sound of my voice, man. If that’s what you’re looking for you’re you used to have five. All these companies come
but if you like the sound of it then it’s a gift. I never gonna get enough. I don’t care who the together and the guy who used to be the head of
had nothing to so with the sound of my voice. hell you are, Donald Trump. If money is your this company is supposed to do the job of five
When Ray Charles sings two words, I feel better. deal… people. He really can’t do that. So it’s impossi-
It’s all just flowing out and you have little to do ble. So he goes to work every day trying to not
with it. You’re just doing the footwork. JI: It’s just a bottomless…it’s kind of like eating lose his job. You have a whole industry that’s on
food with MSG in it. It’s not filling; it’s not defense.
JI: Talk a little bit about what you do that helps healthy but you’re just going to keep wanting
you maintain balance in your life? more of it. JI: And, those whose positions are based on
having gotten because of who they know, rather
ST: I don’t know. I mean I’m very much a fam- ST: Yeah, exactly. Exactly, man. than on a foundation of competence bolstered by
To Advertise CALL: 212-889-0853 Jazz Improv ® Magazine’s New York Jazz Guide  December 2006 27
what they know, are likely to be looking over what I’m saying? Especially in standards in jazz (Reggie Workman continued from page 29)
their shoulder even more. standards, you got feel where the groove is, man. The second week is the group Great
Friends is another project that happened when I
ST: And nobody’s going to fight for anything JI: You don’t learn that in a classroom. toured Europe and Japan. The CD is available
‘cause it’s not worth it to them to lose their job. here on Evidence Records. Since Rashied Ali
And so it’s very hard. I mean I’m just trying to ST: No. It’s just that it comes from your heart. will be here for Great Friends, he’s got his
tell you that I don’t have it down. I definitely So whoever’s accompanying you has to have the Quintet that will follow. And then there’s a
don’t know how to navigate through this and same heart. And you know it, man. It’s like two spoken word artist named Kayo and man, he is
I’ve been doing it forever, man, a long time. hearts beating, or 20 hearts beating at the same powerful! He’ll do some of his words to music
time. And you all know. And you know when and some of it, he doesn’t need any music. The
JI: Your clarity and attitude present a valuable somebody messes up too. You know what I
author Ashley Kahn will be doing a lecture out
role model. When we think we have it all to- mean?
in the Living Room. Ashley wrote “The House
gether, we’ve stopped learning and wouldn’t be
That Trane Built,” he did Miles Davis and
able to expand on our music and art. JI: Instantly.
Wayne Shorter. He’s such a part of the pillars of
ST: I mean I have my opinions of what’s wrong, ST: Instantly, and you just keep going, That’s the building that we are building. Ashley is
but I don’t know if I can do anything about it. I what makes it live. But when it’s all together, going to talk about his books and there will also
think that the record industry doesn’t build artists that pulse that underlying kind of spiritual beat be a Q&A session.
anymore like they used to. So they have no cata- that everybody’s feeling at the same time is hap- The Third Week, Feb. 18, we’ll have
logue. They have nothing to fall back on. Every- pening, it’s a wonderful thing, man. Odean Pope. Odean is also a grant recipient and
thing’s like starting over. An act can be around, a will also be involved with us the final week
hip-hop act, whatever. It could sell three-million JI: Does your involvement and the appeal of the which is The African-American Legacy Project.
albums, but it costs so much to have those. They Great American Songbook offer a ray of hope Charles Gayle is a musician that lives around
gotta have incredible videos, an entourage of a for the future of creating quality? New York, but he never gets a chance to per-
jillion people and this and that and then two form here. Around the world, people love him,
years later you never heard of that group any- ST: I’m just very happy that there’s a renais- but nobody has ever seen or heard him here.
more. sance going on for the Great American Song- Now is the opportunity for us to present Charles
book, because I’ve fallen in love with these and his trio. Another one of my projects,
JI: I was interviewing drummer Ben Riley, who songs. I truly believe that the songs of the Great Ashanti’s Message, is a group that involves
played with Monk for years. He commented on American Songbook are America’s greatest con- some of the people I’ve been working with.
keeping one’s ego in check. He said, “Man, tribution to the arts. I really believe that. And the Kevin (Bujo) Jones teaches at M.A.D. which is
when I was coming up when we were playing in reason I say that is I don’t know any other music the Montcair Academy of Dance Drummers, so
Harlem we got six dollars for the gig for the that allows itself to be interpreted by so many he’s going to bring some students. There will be
night. There wasn’t an ego ‘cause there wasn’t different kinds of personalities in a way that they about twelve drummers that deal with African
any money.” Then he said now, of course, can own it. Like you can take a song of George rhythms and rap and so forth. So they will do
you’ve got people getting a million, five million, Gershwin’s and you can love 25 versions of the their thing in the Living Room before Kevin
a zillion dollars and it creates the illusion of, same song. You can love it by Frank Sinatra or
joins us on stage and performs with us.
well, gee, I’m making all this money then I must Miles Davis. You can love it by John Coltrane
Odean will come back for the final week
be important. of Norah Jones. Everybody can do that tune,
which is actually a free concert — no cost to
“Somebody to Watch Over Me,” or something
JI: That’s what happens. You start thinking it’s like that, and bring their own personality to it. attend — in tribute to all the people that came
you. Then you find out it’s not you and you’re And it can span 80 years or 70 years or however and supported the rest of it. There’s going to be
kind of screwed. long it’s been since it’s been written. And so I’m a 20-piece Big Band called the African-
very happy that that’s happening a little bit now American Legacy Project; a twenty piece choir;
JI: When you’re working with an accompanist, a and that I had something to do with it. ‘Cause I some new music and some of the older music
guitar player, a piano, it doesn’t matter, what is it go and I play concerts and I see young people which Charles Tolliver has transcribed and he’s
that enables you to be at your best? come in and listen to the great standards of going to conduct it. Richard Harper is gong to
American composers and realize how great the conduct the choir. The young people will be
ST: Just an environment for me to sing in music is and discover it. I think that’s a great presenting what they’ve got going on and since
whether it’s one instrument or a hundred. Time thing. And it’s given American youth a totally it’s The Legacy Project, Jimmy’s Garrison’s
is everything. It’s very important that you can new perspective on what’s great. ♪ son, Matt Garrison, will bring his trio that week
feel the time, even if it’s no time. You know and my daughter, Nioka Workman, will bring
her string quartet, Sojourner. The Legacy Pro-
ject is all about the next generation and passing
the torch. I’m deeply moved by this project.
I just have to mention that Francina Connor

Cutting Room is my partner in crime on this entire project and
without her, this never would have come to
What we’re doing is necessary, because
without somebody rolling up their sleeves, it
would be the same old stuff that’s always hap-
pening and running the audience away. They
tell you, ‘this is who you should be listening
to...this is who’s playing… and there’s no alter-
native for the people to really look at.”
For information about tickets for both the
preview concert and the Sculptured Sounds
Festival, call 212-959-2200 and 212-959-8566.
The preview concert starts at 7:00pm and
there’s a suggested donation of $20. ♪

28 December 2006  Jazz Improv ® Magazine’s New York Jazz Guide To Advertise CALL: 212-889-0853

Reggie Workman
On His Latest Project, the “Sculptured Sounds Festival”

ass player, composer and educator, find people that would compromise their fee for
Reggie Workman, is a man on a mission. the greater good. That’s why I reached out to
He’s played jazz for the past fifty years people I’m already affiliated with; people I’ve
and has no plans on slowing down. He does have traveled with and have been out on the road with.
plans, however, to pass his experience and the Most of the people came on board right away
experience of his contemporaries — other educa- like Oliver Lake and Andy Cyrille of my group
tors and musicians at The New School — to Trio 3. Billy Harper who is not only a great
upcoming generations so that they may keep the saxophonist, but also a great vocalist, is taking
legacy of jazz alive. How does one keep the part as well. He’s involved with chorus at the
flame alive in the face of contemporary music New School, so that’s one of the projects that

© Ken Weiss
and culture? Workman, is taking a page from we’re nurturing. We’re creating a festival that
script of Field of Dreams: “Build it and they will will run for the month of February (which is
come.” But first you got to get the word out! Black History Month) at St. Peter’s Church on
Reggie shared with Jazz Improv about his plans Lexington Avenue. We’ve chosen to name the
for a festival of new music and art to take place festival, “Sculptured Sounds. It’s going to take
in February called, “Sculptured Sounds.” A pre- place every Sunday in February—four concerts:
view concert on December 10th is scheduled at February 4th, 11th, 18th and 25th. of the festival. When you buy a ticket and you go
St. Peter’s Church. The New School is sponsoring us to a de- into the sanctuary, you’ll be getting into the mu-
“The December production is like a preview gree as Andy, Billy and myself are a part of the sic aspect of the festival.
concert to show what kinds of things we want to faculty. Also, good portion of the choir that Billy The Festival is dedicated to the memory of
do at the festival. I’ve been playing music and is using is from The New School and it’s a nice the late Jimmy Vass. Jimmy was a person who I
doing this sort of thing for a lifetime. I’ve taken picture of what we do up there as an institution. grew up with in Philadelphia and we’ve been
notice of what’s been going on over the years – I The Preview on December 10th will feature together for years. It really shocked us all that he
see the production of various artists and various three musical groups: Trio 3, Billy Harper and passed. He was directing music at the University
kinds of music. A lot of musicians, including the New School Vocal Ensemble, and Finnish of the Streets, so a lot of young musicians know
him from that. He was also teaching at Boy’s
Harbor. I think that all of us are in the same
frame of mind to try to pass on our knowledge
“ What we’re doing is necessary. and experience of our lives, to the younger peo-
ple so they may carry the music forward. That is
the concept of the festival, the presentation and
Because without somebody everything that we’re doing. If you look around,
most of the musicians are educators because
rolling up their sleeves, we’re looking to give something back as well as
spread our knowledge.

it would be the same old stuff... ”
The Sculptured Sounds Music Festival
will occur on four consecutive Sundays in Febru-
ary. We already know that we’re competing with
the Winter weather and Sunday sports, but we’re
myself, are left out of that picture. My friend, Saxophone maverick Juhani Aaltonen in his US hoping to inspire people to check out something
Francina Conner, is involved with St. Peters debut. new and different.
Church which is known as being the jazz minis- There’s also going to be an art exhibit that’s The Festival kicks off with BREW, which is
try. She related that they need to attract new going to happen on that day, which is really in- Jerry Hemingway and myself. Next is the Reggie
people to the church—young people. At the teresting as well. Oliver Lake and Dick Griffen Workman Ensemble which has in it Pheroan
same time, there is music that needs to be pre- are both painting now and they’re going to bring AkLaff amongst others. BASSDRUMBONE is
sented to a new audience, so it seemed like a their work to exhibit. That will be in the living being supported by the Composers of America.
natural fit. The situation kind of presented itself. room section of St. Peter’s, while the main con- Bassdrumbone is Jerry Hemmingway, Mark
There are places like The Stone and the Vision certs will take place in the sanctuary. Helias and Ray Anderson. They got a grant and
Festival that are also presenting this type of mu- With all that happening, we’d like to have a they agreed to perform as part of their grant for
sic. My experience is vast – it crosses the border- theme that there are lectures and demonstration us. We had also met a Sound Improvisationalist
lines. Musically speaking, I don’t consider my- in the Living Room and that will be one “flavor” named Umberto Grati. He actually paints pic-
self ‘inside’ or ‘outside.’ To me, ‘outside’ means tures to the music and projects them on to a
beyond one’s comprehension, and ‘inside’ means screen. I’m not sure if he has the ability to cap-
Hear Reggie Workman at the
incarcerated. I’d like not to be related with either ture it, but it will be available to the people that
“Sculptured Sounds Festival”
of those two areas. I looked around to see who I are there to experience. He does it through com-
December 10,2006, 8:00 PM
was affiliated that would be willing to come on puter software, so it’s a computer paint brush —
at St. Peter’s Church
board with me and deal with an artist-driven it’s not on an actual canvas.
619 Lexington Avenue @ 54th Street
project. Of course, we don’t have the money like
Info: 212-959-8566
the bigger producers out there, so I needed to (Continued on page 28)

To Advertise CALL: 212-889-0853 Jazz Improv ® Magazine’s New York Jazz Guide  December 2006 29

Andrew Cyrille
Interview By Eric Nemeyer
Transcribed by: Dave Miele

Jazz Improv: In the fifties, you studied that I went to with Joe and Stan Getz. Then
with Philly Joe Jones, who at that time of there was another one with a piano player
course was a part of Miles Davis’ group and named Evans Bradshaw, I remember going
that was the group at the time. Maybe you to that session with Joe. So many other
could talk a little bit about the influence that things. Sometimes he was supposed to be

© Ken Weiss
Philly Joe Jones had on you? giving me a lesson and he’d have to go into
New York for some business, so I’d be with
Andrew Cyrille: Joe was a very charis- him on the subway and he’d pull out some
matic individual, as many musicians will brushes and start showing me some kind of
tell you. He was a unique personality, in a technique on the seat. [laughter] Little
way. At the same time he was an extraordi- things like that, just being able to be around with Thad Jones. Mel was the driver.
nary drummer. He had great musical ability. him. To watch him, hear him talk about
He had great ears. His technique was su- drums and drumming and other musicians, JI: I loved going to hear them on Monday
perb. And he was very intelligent in terms other drummers. nights at the Vanguard. Any tempo worked
of how he played the drums in relationship and it would stay at that tempo. He had all
to the music that was around him. I liked to JI: Is there something about his style or his the technique to execute whatever he
be around Joe, simply because I was able to approach that made a significant impact on needed to. It didn’t matter that the rolls
watch him. I was at a number of perform- your own stylistic approach to playing the weren’t out of the Stick Control book.
AC: The thing is, of course, all of us use
AC: That’s an interesting question. My rudiments to some degree. Mel played that
style evolved, conceptually, because of my music. Drummers, in a sense, have a force
“ Drummers...have a association with other people. The thing that that can shape the sound of a band, espe-
I had in common with what Joe presented cially when you know the music. You can
force that can shape was the fact that he used a lot of rudiments make that music sound almost anyway you
in his playing—rudiments are sticking pat- want it to sound, especially with dynamics.
the sound of a band, terns—Joe used a lot of rudiments. I started The character of the person comes out in the
out in drum and bugle corps and that’s all music. That’s why when you hear all of
especially when you rudimental. A lot of drummers of note, to- those different Miles Davis bands, every
day and in the past started out playing in drummer that he had that had a strong musi-
know the music. ” marching bands, drum and bugle corps, the cal drum personality, made that music
Army band or the Navy band or whatever sound the way they wanted it to sound and
branch of the service they were in. Joe was it came out that way because of the drum-
definitely a fantastic rudimental drummer. mer. They could play “Ah-Leu-Cha” with
A lot of the stuff that he played, you could different drummers and each would make
ances that he did with a lot of the musicians also hear coming from the Charley Wil- that music sound different, even though you
that I wanted to play with. As a teenager, I coxon drum book. He used to do a lot with had the same front line. So, just getting
dreamed about these things. One stands out; “Three Camps”. The other part of it, too, back to Mel, Mel was one of those kinds of
the recording of The Amazing Bud Powell. was he had such a command of the music people. If Elvin Jones played with the Thad
That recording, with Sam Jones, at which I and he was so authoritative with it. The Jones orchestra, the music was going to
was. Just being around Bud Powell, and thing about it was that he played it with sound different. He was that kind of a drum-
Sam Jones and I remember Oscar Goodstein such conviction and in the final analysis he mer; formidable in terms of his rhythmic
was the producer, who was part of that really swung that stuff. He could really projections. All that music that goes on top
group of men who ran Birdland. It was just swing. of that is shaped by the sound of the drum-
a thrill for me, being eighteen, nineteen mer. ♪
years old and being around those guys. JI: That’s the operative word, really, be-
That, plus also the fact that I used to be cause it doesn’t matter how much technique
around Miles Davis and Coltrane, Cannon- you have. I mean, Mel Lewis was an exam- Hear Andrew Cyrille at the
“Sculptured Sounds Festival”
ball and Paul Chambers, Red Garland, when ple of that, going the other way, I think.
December 10,2006, 8:00 PM
Joe would be playing with Miles at that at St. Peter’s Church
time. I remember a couple of sessions that I AC: I have to give Mel credit. I heard Mel 619 Lexington Avenue @ 54th Street
had gone to. I remember another session on a number of occasions, in particular, Info: 212-959-8566

30 December 2006  Jazz Improv ® Magazine’s New York Jazz Guide To Advertise CALL: 212-889-0853

Chris Botti
Interview By Eric Nemeyer
Transcribed by Denise King

Jazz Improv: Could you talk about how JI: When you first moved to New York you
your association with Sting developed? were hoping to be a jazz player. You said, “The
music moves a little too quickly for me.” Could
Chris Botti: He’s an interesting artist in that he you talk about this understanding?
doesn’t really talk much. When you know you’re
getting along with him great, he never talks CB: For me Bebop is very constrictive. In the
about the music at all. It’s funny because around sixties, Miles’ groups started deconstructing the
over artist that are always running up to him and songs. In other words, when you listen to “Stella
saying “do you want us to do it more like this or By Starlight, it’s not even the same chord these tunes. It’s interesting how the approach to
more like this,” it doesn’t really go well. His changes at all remotely that you would hear the songs took on a different character with
whole thing is sort of on a more emotional level. Kenny Dorham play or Tommy Flanagan. It’s a George Coleman and then Wayne Shorter.
If he connects with someone, he and I connected completely different thing all together. It’s the
from literally the beginning when I met him. We deconstruction. It’s not necessarily modal music, CB: Right in between there was the band with
have a love of the same kind of music and jazz. but it’s got elements of that. It’s when they start Sam Rivers. I was listening to that right before
That lead to him asking me to be in the band. He making it more open ended harmonically. The you called. Live In Tokyo.
said, “Listen, I had a lot of success with doing a tempos can be fierce. [emphatically] Whether
similar kind of platform with Branford Marsalis they were playing “Walkin’” or (sings here) “If I JI: Incredible renditions of “All Of You” and “If
in the eighties and early nineties and would love Were a Bell” and all that stuff. They were play- I Were A Bell.” Sam Rivers gives it a completely
to do more of that same kind of role using the ing tempos. “Footprints” and all that stuff. They different flavor than either Wayne Shorter or
trumpet in my band.” I said, “Great.” And then were exaggerating the tempos to a certain place, George Coleman did. By 1965, when Miles’
he said “ Come to Italy, let’s rehearse and see but the harmony itself wouldn’t move in the group recorded at The Plugged Nickel, they were
what happens.” So it kind of went from there. He same way that you would hear people play “Joy taking all sorts of liberties.
really is one of the rare artist who loves to ex- Spring” or “Hot House.” So for me I loved that
plore giving up the spotlight which is a tough aspect of Miles’ playing. The searching quality CB: I loved that because what it did, it made
thing for most big pop stars. He was into and of that music. The ballads that he would play, “I Miles Davis not try to be Dizzy Gillespie. Of
would push me to the forefront a lot. Musically Thought About You,” or “Funny Valentine,” and course with limited chops you can’t be Dizzy
and improvisation wise he would just let me be all of that kind of deconstruction thing I loved. Gillespie anyhow. He didn’t do, “Boo ba-do-ba-
myself in the contest of his music. It’s not al- But I realized, when I first moved to New York, do-ba-de-ba-doo-be. He just went off into “bah...
ways about playing a particular thing, it’s about that I wasn’t going to be a hard Bebop trumpet Beee” [emulates long tones on trumpet] all that
really being a personality. And I love that in my player like Roy Hargrove. It was at the time whatever. That’s when I think Miles Davis really
own band. Sting definitely likes personality. when Wynton really burst on the scene, a few started to shine. As great as he is and certainly is
There’s Vinnie Colaiuta Kenny Kirkland or years before I moved to New York. I knew I was my favorite, it’s his limitations that really made
Branford Marsalis. He digs that sort of thing and not going to try to go into that world and com- him great. He couldn’t get around the horn like
they’re all radically different. The way that they pete with that particular kind of thing. Wynton Dizzy or Clifford or certainly not Wynton today.
approach music. Whereas some people want can do whatever he wants—he’s a great trumpet The trumpet is a very unforgiving instrument.
their band to just play the parts. Even if someone player. He can play all those things. I moved to Even by the time you get to a certain age you’re
is different they’re interchangeable but the parts New York at the time when there was this kind locked into a certain approach on the trumpet.
are all the same. Sting is not like that and cer- of affection for the superstar sidemen. You know What people ultimately don’t give Miles enough
tainly Miles was not like that at all either. Sanborn, Michael Brecker, Randy Brecker. Out credit for. I mean they certainly love him, but he
It ultimately comes down to great casting. You in L.A., it was Jerry Hay and that sort of stuff. I made great records. I think that’s one of the thing
wouldn’t have Robert De Niro do a certain wanted to combine my love of 1960s Miles that separates him from certainly a lot of his
movie that you might have someone else do. Davis with kind of a head for Pop music—and peers. This is one of the things that I get into
Casting in music is so important and it’s over- not just be a Bebop trumpet player. Bebop, what with jazz musicians. A lot of jazz musicians are
looked. Or it’s underrated. Miles was ultimately you’re really referring to is the chords. A lot of not interested in record making. Record making
a great casting director. In Pop music Sting has the popular music instrumentalists that play isn’t just “Oh, I’ve got a pro tools kit” or what-
been a great casting director. That sort of thing is saxophone—the harmony is coming out of R&B ever the latest gizmo is. If you look at Miles
very, very important. Just because you can play music. There’s really very little to do with har- Davis or Frank Sinatra, they surrounded them-
one particular thing great doesn’t mean you’re mony in my music that’s R&B related. The way selves with the best engineers and the best ar-
great for all things. That’s certainly been a lesson that Luther Vandross or those kinds of artists rangers, they went in the best studios. They
I’ve learned over the years. view harmony is much more prevalent in some really cared about what space they played in,
pop music from saxophone players than there is where they stood, what kind of microphone they
Hear Chris Botti my stuff. My last two records have a lot more to used. Certainly Gil Evans was paramount with
at the Blue Note Jazz Club do with a certain kind of jazz. Harmonically, it’s Miles sound on a few records. It shaped the
131 W. 3rd St, New York, NY 10012 much more into that then a bunch of R&B sound of his stuff. A lot of his contemporaries
212-475-8592 chords. were trying to get from fix to fix to fix. They’d
Visit Chris on the internet at give away their trumpet or they’d be recording JI: You mentioned earlier about deconstructing on six different labels. You can feel the uneven-

To Advertise CALL: 212-889-0853 Jazz Improv ® Magazine’s New York Jazz Guide  December 2006 31
ness of the work. Miles was trying for something Mandel. The stuff. that help them understand stuff. Unfortunately, a
for three or four records and then he’d shift to lot of times if you come out with an all original
another kind of thing. I still marvel at that kind JI: Night and day. record and they go “huh.” It’s no secret to me
of attention to detail. Also, his allowing people why Miles played a lot of familiar stuff at differ-
to be personalities in and amongst the music. CB: It’s night and day difference. It’s the same ent parts of his career. It enabled them to decon-
When he’d put the horn down and would walk to guy, same heartbeat, same voice. Why is it so struct the stuff, but at some point in the thing it
the side of the stage, the audience would be great and so different and so much more accessi- gave the audience something to grasp on to.
viewing literally the history of jazz in front of ble? It’s because they made great records and
them—you know Miles, Coltrane, Cannonball, they understood. One of my favorites of that JI: It insured for him as an artist that he would
Chic Corea, Keith Jarrett the list goes on and on. stuff is The Jobim/Sinatra record. You know the immediately have people relating to what he did
All the way up to Marcus Miller, Darryl Jones, whole basis for that is they would come in and at some level. How is your perspective and the
Kenny Kirkland. That sort of thing was just so they would just whisper a record. Everything interaction or process of making music different
running through Miles’ music so heavily. A lot was soft and in restraint. I don’t know if some- or deeper now than it was when you were focus-
of jazz musicians now, especially young trumpet body said that to Miles when he made Kind Of ing on being a strict jazz player when you came
players I hear, just go into a room set up some Blue. The kind of restraint on Kind of Blue is to New York, given that you now have had the
microphones and blast at the microphones. They very similar to me to the kind of restraint I guess opportunity to perform in high profile situations?

CB: The hard core jazz phase...because I had all
of those other guys that I looked up to too, it was
“ It’s a very precarious thing for jazz sort of a two pronged effort. You really want to
be a great improviser or an original improviser
musicians because they want to get off, for yourself and set yourself apart in some way.
But also I loved Sanborn and Michael Brecker,
Randy and they were cool to me, man. They
and get all of their feelings onto would play solo’s on pop albums that I thought
was interesting. So I moved to new York and got
a thing. But sometimes you need involved in that world and realized that
maybe my one way that I could say, I’m not
to have some restraint. ” Wynton Marsalis.” I still valued as an impro-
viser being the jazz musician that the pop musi-
cians would go to. I have so much respect for
Wynton and really revolutionizing the instru-
wonder why didn’t it read like a really beautiful Kind of Blue was before. The restraint on the ment when he came out. So many people when
record when I go home and listen to it. It’s one Jobim/Sinatra record has that same sort of feel- he came out (laughs)’s hilarious to me. It’s
thing to go in a club and write it out. I’m all for ing that Kind of Blue has. Kind of Blue would be like in sports, you just can’t get away from the
that. But making records is a different thing. It’s like a pop record now in a lot of ways. fact that Michael Jordan is an incredible basket-
a very precarious thing for jazz musicians be- ball player. Everyone can say that he leaps from
cause they want to get off and get all of their JI: Those are some of my favorites, the ones he the free throw line and smashes the basketball
feelings onto a thing. But sometimes you need to did in the sixties. The Jobim record was around over someone’s head and that’s great, but in
have some restraint. ’66 or ‘68. So when you do an album you’re music it’s more subjective thing and peo-
implementing all of those things that you talked ple’s ego’s come into play. They hear Wynton
JI: Anybody who has made a record knows the about. You’re going through these processes in do some things on the trumpet that physically no
kind of detail that goes into it. The question is advance. How is the composing process for you? one can do. Then I hear trumpet players say, “He
whether you go to the next level and agonize For me and other people that I know, some times doesn’t do it for me.” I go, “Yeah right. Give me
over all the things that are worth agonizing over, I’ll agonize over a melody that’ll take forever a break...the guy can play his ass off.” So when
or just go into a studio and set up a mic and just and other times I’ll come up with fifteen differ- Wynton came on the scene, it was so powerful I
blow. ent ideas and I don’t know which of them to use. just kinda go there’s no way I can compete with
Whether I’m at the piano or jumping out of bed that. So what do I do to still be a valid person? A
CB: Agonize over what happens before you while I’m sleeping. How does that process work valid trumpet player, valid improviser or valid
blow. Over the arrangers, producers. I’m not a for you? record maker? That became my
real big fan of agonizing after. A lot of people go path. Literally I’m going, “Okay, I get you.” I’m
in and move every single lick around, punch in CB: It’s changed. Over the years when I first waving the white flag when it comes to that. So,
every note. It takes the essence of risk out of it started out, I’d have more realized sketches be- now I’m going to move over here and do this
for me. Different parts of my career maybe I did fore we go into the studio. Now, my last two kind of thing in hopes that I can separate and get
it too. records I’ve done are the biggest sellers for me my trumpet sound to be recognizable. So, via a
in the cross over market, and are all famous bunch of breaks with Paul Simon, Joni Mitchell
JI: The amazing thing about Sinatra’s albums, in songs with a couple of exceptions. I’ve been and then the big break obviously with Sting, I
addition to the great arrangements, big bands, kind of co-writing. I enjoy that process quite a developed myself as the jazz guy that pop musi-
soloists was how meticulously organized the bit. I co-wrote something with Burt Bacharach cians would call. Quite frankly, a lot of jazz
finished albums were. and a few things with Billy Childs. That’s been musicians find themselves in a pop venue like I
fun for me to go into these situations. I can defi- would be with Sting and they over play to death.
CB: Sinatra was certainly probably one of the nitely see myself changing my attitude. Whereas They don’t know how to work with a singer. I
greatest record makers. When you listen ten years ago, I wanted to try to do it all. Now, have that kind of sculpted out through my love
to his Columbia records, they suck, you really I just want to play trumpet and try to get of a certain kind of elevated pop music. An ap-
know...his earlier stuff. I mean, I’m like who is an audience with the sound of my trumpet more preciation for that. A lot of jazz musicians fail at
that guy. When he surrounded himself with that even than composing. It’s so difficult with in- that sort of thing. I kind of realized that I wasn’t
great team; the stuff with Jobim, Count Basie, strumental music. If you give people a familiar going to be Wynton Marsalis and how do I do
then all of a sudden, “Whoa!” These arrange- song, you’re at least giving them something fa- this? And that became my goal. ♪
ments came out of Nelson Riddle and Johnny miliar and you can wrap it around with trappings

32 December 2006  Jazz Improv ® Magazine’s New York Jazz Guide To Advertise CALL: 212-889-0853
Jazz Nativity” Turns 21 and Goes to Birdland
By John Armato very beginning. They’ve roamed from St. Bart’s to Within days, and in classic “come-on-kids-let’s-put-on-
Lincoln Center. Once, when a venue couldn’t be a-show!” style, Anne had booked musicians, printed
“Bending Towards The Light: A Jazz Nativity” found, the Stephen Wise Free Synagogue took the posters, written press releases, and summoned Beth
turns 21 this December and celebrates the milestone Nativity in. The headlines read “Rabbi saves Christ- and Tad Jones to restage the production.
with it’s first-ever shows in a jazz club, Birdland, mas.” So now, like a re-mastered release of a cher-
Christmas Eve and Christmas Day. It’s another plot Three years ago cast and fans alike plowed ished recording, the Jazz Nativity is back, refreshed
twist in the amazing story about a show that was born through a blizzard to get to the Patriot Theater in and scheduled for shows Christmas Eve and Christ-
in a church, raised on the stage, and, now, comes of Trenton. Last year the show came to Symphony mas Day to keep the holiday fire alive after that inevi-
age in a major club. Space, playing the very two days of the city’s transit table post-meal-and-gifts let-down.
The story began in 1985 at St. Peter’s Church, strike. Subways and busses had ground to a halt, Fans will find the same music, the same book,
where the late Rev. John Garcia Gensel first sug- slowing the city even more than the blizzard had, so the same wonderful family experience, but tailored to
gested singer/songwriter Anne Phillips as the writer of there was extra room at the inn that night. Too bad. the club. The 16-person company will take on multiple
the Nativity through jazz. Anne turned the Gospel Those who were there describe the performance as a roles, and the set and costuming will suit the more
stories into a score, and Dave and Iola Brubeck – and magical celebration of the show’s 20th anniversary. intimate setting.
Anne’s husband, saxophonist Bob Kindred – contrib- This year, it looked like the Jazz Nativity would have The Jazz Nativity is all grown up. It literally has
uted additional music. Directors Beth and Tad Jones to take Christmas off. That is, until a couple of weeks been to church and to school, seen its name in lights
turned it all into a simple but beautiful show. ago. At the same time as Anne and Bob were resign- and seen the world, and now it’s returned, tall and
As in all good stories, our-hero-the-show found ing themselves to a hiatus, two unlikely Santas were handsome and ready to make Birdland its home for
success, fell on hard times, and achieved triumphs, mulling over some thoughts of their own. the holidays.
among them: attracting amazing talent. Over the Irvin Arthur, a veteran agent who has seen many   
years the Jazz Nativity has brought to the stage Lionel Christmases come and go while booking the Carlyle
Hampton, Al Grey, Tito Puente, Slide Hampton, and other venerable NYC clubs and cabarets, is a fan BENDING TOWARDS THE LIGHT: A JAZZ NATIVITY.
Savion Glover, Jon Faddis, Dave Brubeck, Dr. Billy of the Jazz Nativity and always felt there was December 24, 6 p.m. and December 25, 5 and 8 p.m. at
Taylor, Phil Woods, Clark Terry, Jimmy Slyde, Can- “something else” to do with it, but just couldn’t figure Birdland, 315 West 44th Street, between 8th and 9th
dido, Stanley Turrentine, Paquito D’Rivera and others. out what.
Avenues. Written and conducted by Anne Phillips. Musi-
In recent years, a published version of the show has cal direction by Bob Kindred. Directed by Beth and Tad
Then three things happened about as fast as Jones. Original music by Phillips, Kindred and Dave and
been performed by amateur, college, and professional phones could ring: Irvin figured out what the
theater groups from New York to Chicago, and from Iola Brubeck. With Slide Hampton (trombone), Max Pollak
“something else” was. He called Anne, breathless, (tap dancer) and Dave Valentin (flute) as the Three Jazz
North Carolina to Ketchikan, Alaska. The show has blunt, and blurting out: “What about a club? Can you Kings. Featuring Hilary Kole as Mary and Brenda Fe-
even been featured on CBS Sunday Morning and in a do it in a club?” Anne shouted “yes!” and Irvin called liciano as the Archangel, plus an all-star jazz band. Pro-
BBC documentary. Birdland and they said yes. Everyone’s plans changed duced by Kindred Spirits. Tickets: Birdland Box Office
But like Mary and Joseph, Anne and Bob have and it was time to mount one of New York’s favorite (212-581-3080) or $35. For more
had to look hard for a home for their baby from the Christmas shows in a first-ever jazz club production. information:

To Advertise CALL: 212-889-0853 Jazz Improv ® Magazine’s New York Jazz Guide  December 2006 33
Major Expansion of Essentially Ellington
High School Jazz Band Program
signed to offer bands of all levels the opportunity
For the first time, during the 2006-07 aca- to perform Ellington’s music and receive profes-
demic year, Jazz at Lincoln Center will offer a sional feedback from Jazz at Lincoln Center
new expansion of the Essentially Ellington High clinicians and other jazz professionals. Spring
School Jazz Band Program (EE): three tiers of 2007 regionals will be held at the University of
membership. Premium Membership (the original North Carolina in Chapel Hill on March 1, 2007
program with some added benefits), a Basic and at Temple University, Philadelphia, Pennsyl-
Membership and a Student Membership. The vania on March 8, 2007. One additional location
new membership levels are aimed at providing will be announced in the coming months.
more high school jazz bands with the opportu- The submission recordings for this year’s
nity to receive the educational resources of this 12th Annual EE, which will take place on May
program, including an easy-to-medium level 4-6, 2007, are due on January 31, 2007. For
chart that will teach the skills for playing Duke more information on the history of EE, please
Ellington’s music. visit:
CAPE TOWN INTERNATIONAL Also new in 2007, both Premium and Basic b_description.html
JAZZZ FESTIVAL EE members are eligible to take part in regional
festivals. The non-competitive festivals are de-

Audition Applications Available Now For Jazz &
Hip-Hop/Urban Music Quartets 2007-2008 Tours
The U.S. Department of State’s Bureau of, call 212.258.9899 or
Educational and Cultural Affairs and Jazz at email
Lincoln Center are accepting applications for the The tours are co-produced by Jazz at Lin-
2007-2008 Rhythm Road: American Music coln Center, the Bureau of Educational and Cul-
Abroad Program. Jazz and hip-hop/urban music tural Affairs of the U.S. Department of State and
quartets from around the country are invited to U.S. Embassies abroad. Selected ensembles are
apply for the opportunity to travel to countries provided overseas traveling expenses, an hono-
not often visited by American musicians to in- rarium, and a tremendous opportunity for per-
crease cross-cultural understanding. formance and cultural exchange. In addition to
Applications for the 2007-2008 tours are public concerts, musicians will conduct master
available at classes, lecture-recitals, workshops, jam ses-
formusicians.html and are due on January 30, sions, and make radio and TV appearances. The
2007. A panel of musicians and scholars will selected groups also will perform free concerts at
review all applications and invite the top quartets Dizzy’s Club Coca-Cola in Frederick P. Rose
to attend live auditions at Frederick P Rose Hall, Hall as well as in Washington, D.C.
home of Jazz at Lincoln Center in New York, “Music is the only true universal language
and additional U.S. cities to be determined. Hip- with the power and spirit to bring people to-
hop/urban auditions are scheduled for March 23 gether. The Rhythm Road tour is a natural exten-
& 24, 2007 and jazz auditions are scheduled for sion of our mission that brings jazz to as many
April 1 & 2, 2007. people as possible in the name of universal
A panel of musicians, experts and U.S. friendship,” said Artistic Director of Jazz at Lin-
State Department representatives will select six coln Center, Wynton Marsalis.
jazz quartets and three urban music groups will For more information on Jazz at Lincoln
be selected for the 2007-2008 touring season. Center, visit: www.jalc.orgor more information
Musicians inquiring about auditions may visit visit:

in Jazz Improv’s
New York Jazz Guide

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34 December 2006  Jazz Improv ® Magazine’s New York Jazz Guide To Advertise CALL: 212-889-0853
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venue review
Parlor Entertainment
By Eric Frazier ing in your living room.” Lyle Atkinson, Bob Cunningham, Richard Wy-
In 2001 Ms. Eliot was inducted into the ands, Benny Powell, Bill Easley, Charles Davis,
Peoples Hall of Fame housed in the Museum of David Lee Jones, Dave Hubbard, Brian Smith,
n Sunday after- The City of New York by City Lore, a non-profit Charles McGee, and Jimmy Vass.
noons, you can organization dedicated to recognizing the City’s The people that come to Parlor Entertain-
hear the sounds of living cultural treasures for keeping alive a ment are absolutely remarkable. The way they
jazz music filling unique expression of Harlem jazz. embrace it has been the most surprising thing to
the air from the apartment of Marjorie stated, “Once a year I do an out- me. My story could be very sad, but the people
pianist, playwright, actress door show at Morris Jumel Mansion and people who have come into my life have made it a joy-
and teacher Marjorie Eliot. She is the founder have been so loyal. They come every year. My ous story. People can donate if they wish but
and Artistic Director of Parlor Entertainment, oldest son, Michael, passed away in January admission is absolutely free. We began getting
which presents free jazz, shows at 2:00 and 2006 and it has been tough. I have the most won- people to attend shows by sending out about 200
4:00pm every Sunday. derful people who come here and they are very mailings. Since then word of mouth and great
By the age of twelve, Marjorie was already supportive. A couple came here from New Zea- people have helped Parlor Entertainment to take
playing for the junior choir at her Methodist land and they had lost a son as well. We con- on a life of its own. It’s a miracle how people
church in Philadelphia, Pennsylvania. She later nected right away and they have kept in touch. have embraced us. This past Wednesday we had
performed in the Pulitzer Prize win-
ing play “No Place to be Somebody”
by Charles Gordone. Marjorie loves
people and immensely loves and
appreciates the music played at her
home each Sunday. There is no
cover charge, no two-drink mini-
“ My story
could be very
mum, no rush to clear out the room
before the second set. In fact, Ms.
Eliot will even serve salad and apple
sad, but the
juice to her loyal listeners during
intermission. Marjorie decided she
people who have
would not wait to achieve her dream
of having a theater of her own. It
come into my life
was time for jazz to come back up- have made it
town, free of commercial pressures

and sky-high tabs of downtown a joyous story.

Photo by Eric Frazier
clubs. She created the ultimate inti-
mate setting where musicians who
played at the Blue Note or Lincoln
Center the night before could kick
back and let loose.
Marjorie had five distinctly — Marjorie Eliot
talented sons: Rudel, Shawn, Alfred,
Michael and Phillip. The Sunday
shows originated as a tribute to Phil-
lip who passed away on a Sunday in
1992 and and began in August of
1993 outdoors on the lawn of the
historic Morris Jumel Mansion. Past
shows were hosted by Reverend John Garcia My boys grew up with theater and music in the people from France. The previous Sunday we
Gensel, formerly of St. Peters Church on 54 home. I was raised by teachers, my parents and had people from Montreal, Canada and people
Lexington Avenue. Reverend John was the foun- my aunts. Teachers are great actors and great from Germany. It’s a motivation to do things
der of the Jazz Vespers Ministry at St. Peters motivational speakers. We do concerts that start better. All of your experiences matter. People
Church. Marjorie hasn’t missed a Sunday since. at 4PM and 6:30PM every Sunday. Sometimes can expect that all shows start on time. The mu-
When visitors walk into 555 Edgecombe we have play readings after the concerts. We sicians are very professional and that’s how the
Avenue in Harlem, they are filled with a sense of have poetry on some Sundays as well. Teachers audience treats it. Its a paid gig for musicians
grandeur from a past era. The building has mar- call to bring their students here for field trips. I even though everything is free. The universal
ble walls and leaded-glass ceilings and was love doing things for children. On Saturday, message of music brings people together. I met a
home to such greats as Count Basie, Paul Robe- December 2, 2006, at 4PM Parlor Entertainment German group and they were very stiff. By the
son, Charles Buchanan, Johnny Hodges and will do a free concert for the Children’s Hospital time intermission came about they were just
Andy Kirk. A young saxophonist named Sonny at Columbia Presbyterian Hospital on 165th and loose and talking away. That’s what music does.
Rollins used to visit Andy Kirk here to take les- Broadway. It will feature Gerald Hayes and Se- Visit Marjorie Eliot and Parlor Jazz, every
sons. Ms. Eliot recalled how music at home was dric Choukroun (sax), Rudel Drears (piano/ Sunday. December Schedule: Dec. 3: Gerald
just a part of what you did as a cultured person. vocals and the Musical Director for Parlor Enter- Hayes, sax; 12/10: Nabate Isles, trumpet;
“I grew up before grants and all those things tainment.), Nabate Isles (trumpet) and Don Mare 12/17:David Lee Jones, sax; 12/24: Bob Cun-
were happening. Every month my piano teacher (bass). ningham, bass. For more information, visit
had a recital and we played for family and Other artists who have also graced our or call 212-781-
friends. I came up with the concept of perform- venue include Jimmy Owens, Cecil Bridgewater, 6595. ♪

To Advertise CALL: 212-889-0853 Jazz Improv ® Magazine’s New York Jazz Guide  December 2006 47
venue review
RARE’s Lexington Lounge
By Winthrop Bedford only jobs the Lexington Lounge did were early carpet soften up the room for the eye, as well as
morning and mid afternoon meetings. The space improving the sound. The musicians have told
A conversation with Ross Lombardo (Partner), was always empty in the evening. As a business me that the room is exactly the kind of room in
and Aoife Freeman, Manager man, this was unacceptable. I needed to sell this which they like to play in.
room at night. The problem was, it looked like a
JI: Could you talk about the development classroom. It was the complete opposite of what JI: What are the covers and minimums?
of RARE’s Lexington Lounge from concept to a swanky Jazz club should look like. The con-
reality? cept for the layout started with the baby grand RL: No cover charge. Two drink minimum—
piano. It is by far the most important item pur- with fair prices. We have a full bar.
RL: I wanted to create an atmosphere that al- chased to create the room’s vibe. It was my fa-
lowed guests from the hotel as well as New ther’s advice. He said, “Do not spend a dime on JI: Tell us about how you chose the piano for
Yorkers to enjoy. Our restaurant gets very anything until you buy a baby grand.” Thanks the room?
crowded and can be quite loud. I felt The Lex- Dad! The rest of the design
ington Lounge and the live jazz would be a nice flowed easily as I purchased RL: I purchased a
alternative. I have known for a long time that navy velvet fabric and had Young Chang from a
good music attracts people. I have always loved them made into ceiling to couple that barely
jazz and felt it would be perfect for the space. floor curtains, added some used it on the Upper
gold ribbons to tie them off. West Side. I did my
JI: Ross, you’ve had a long standing interest in We added benches with cush- research. I was on
jazz. Could you tell us about what sparked his ions and crushed red velvet such a tight budget. I
interest? pillows that surround the was looking at a
room. The VIP room, or as I white Young Chang
RL: I grew up listening to Glen Miller, Ella call it the “red room” is deco- Baby Grand in a
Fitzgerald, Stan Getz, Louis Armstrong, and rated with a black couch, ac- store for $6000. The
John Coltrane to name a few. I used to go and cented with red and gold pil- salesman was very
listen to my father play the saxophone. He was a lows, and a bit of foliage. helpful with the in-
bandleader for Duchin Entertainment. The bands Very simple, this makes it formation. I knew the
were so good. It was all ad price was too high
lib. They were playing for us and a white
from the heart. It was fasci- piano was not invit-
nating to watch my father ing enough for a Jazz
lead the job. He would club. Perhaps for
point to one of the musi- Little Richard or
cians to stand and take a Jerry Lee Lewis. I
solo while they were all then went hunting
playing. This might have online, and found a
been the first time they beautiful black
have even played together. Young Chang in great
The musician would sim- condition, for half the price than the
ply stand up and belt out one I saw in the store. I got the best
the solo: Effortless. I was piano I could for a very reasonable
amazed at how the band price. It was one of the most exciting
created this wonderful days for me when it was delivered. I
atmosphere. People don’t kept saying “the baby is coming to-
realize how important mu- day!”
sic is to a party.
JI: Who are the artists that you have
RL: What was your con- featured so far?
cept in planning the layout Above top: Aoife Freeman, Manager; Ross Lombardo (one of the co-partners);
and design of the club’s Above: RARE’s Lexington Lounge (partial view) RL: We change the bands up to keep
interior? things fresh. Bob Cranshaw, Al Gafa,
sexy! Aoife was a tremendous help to achieve Frank Gravis, and Jay Leonhart are absolute
RL: There were limited possibilities for the the right look. professionals. I am lucky to have them. Bob was
room because there are no windows and the the original bass player on Sesame Street and
space is small. We thought that ive jazz would JI: Could you discuss the acoustics in the club? Saturday Night Live. He currently tours with
be a smart choice because it would be a nice Sonny Rollins and is one of the coolest men I
amenity to the hotel guests. I have witnessed RL: The acoustics make a good band sound have ever met. Al Gafa played with Dizzy Gil-
how my father’s bands created this wonderful great! The plush curtains, furniture, couches and lespie. He now plays for many Broadway Musi-
vibe for a party. People love listening to good cals. Frank Gravis is currently touring in Europe
music. I did my research. I went to several other RARE’s Lexington Lounge for Duchin Entertainment. Jay Leonhart played
jazz clubs around town. Some of them were 303 Lexington Ave. with such greats as Mel Torme and Stan Getz. I
great, but some of them were just okay. I noticed at The Shelburne Hotel can’t say enough about these guys. They are just
what worked and what did not. I felt I had the 212-481-1999 as good as anybody I have seen at the other jazz
right ingredients and knowledge to, at least, take clubs. Actually, they may even be better.
a chance. The room was so stark at first. The
48 December 2006  Jazz Improv ® Magazine’s New York Jazz Guide To Advertise CALL: 212-889-0853

“Saludos” to all!
By Harry Maisonette

“Saludos” to all! In this column, I will be and sculpts along with being a folkloric arti- Staton, and his Original Jazz Gents. A won-
as informative as possible on all subjects re- san, poet, composer and percussionist. More derful evening was had by all.
lated to Latin music, Latin jazz, world beat, information about this great show can be Producer and filmmaker Ivan Acosta
and a touch of jazz. All comments and or sug- found at presented his Latin Jazz USA Concert 2006 at
gestions are welcomed, but please be gentle! On the same night, I popped into the leg- Town Hall on October 19th. Pianist-composer
I had the pleasure of spending a beautiful endary Copa Cabana in its newest incarnation Maestro Edy Martinez conducted his 18-piece
fall day across from Central Park in Spanish on West 34th Street and 11th Avenue. The club Latin Jazz Band, featuring in different con-
Harlem, where you’ll find the Harbor Conser- looks very sleek, especially on Latin Tues- figurations Dave Valentine, Oscar Castro Ne-
vatory for the Performing Arts, a division of day’s, with lots of neon and of course lots of ves, and Candido Camaro. The show was a
Boys and Girls Harbor. This pre-professional palm trees. An eclectic crowd all decked out Latin jazz extravaganza, an in-the-pocket suc-
institution, offering low-cost training in mu- in their Halloween finery and plenty of Latin cess. Look for further coverage in January.
sic, dance, and theater to over 1,300 students, ladies to dance with fill these two floors of Sergio Mendes blew into town courtesy
was in full swing celebrating its 5th annual continuous dancing. I hadn’t been there in of Mark Morganelli of Jazz Forum Arts, at
“Salsa Sunday.” years, and this nostalgic trip was well worth it. SUNY Purchase Performing Arts Center. Ser-
Welcoming the Latin Grammy’s to New Long live the Copa! gio, always on the cutting edge, comes full
York City was no small feat for director I got a call from Shelton Gary, drummer circle with his newest album, Timeless. Pro-
Ramon Rodriguez and curator Louis Bauzo. for the Harlem Blues and Jazz Band, jazz duced by and featuring Will. I.Am of the
The conservatory was a flurry of excitement raconteur, and all around great guy. He invited Black Eyes Peas, Timeless communicates
and activity. The Raices Latin Music Collec- us to the “Friendly 50 club” (Jazz Society) for loudly that Sergio and the sounds of Brazil are
tion (raices means “roots” in Spanish) is on the 46th Annual Harvey Davis Scholarship back. That’s the bottom line! It was a spec-
the 5th floor gallery; Afro-Puerto Rican bomba Fund, which provides music scholarship funds tacular show; more to come in January.
class is at studio 623; “Mr. Bang-Bang,” Joe for young musicians who are interested in the On the way to Athens, Greece, singer
Cuba, was being interviewed by Aurora Flo- study of jazz. In attendance was jazz philan- Frankie Vásquez stopped by to present his
res on the 3rd floor; Manny Oquendo’s Libre thropist Cobi Narita, and her husband Paul Salsfied Latin Vocals. “Buena Suerte,” her-
featuring Frankie Vazquez on the 5th floor; Ash, of Sam Ash Music Stores. Narita, whose mano. Jimmy Delgado, master timbalero and
and finally the “Palladium dance” featuring age has not slowed her down one bit, men- alumni of the Ray Barretto University,
Louie Bauzo and The Harbor Latin Big Band. tioned to me that other than the advancing stopped touring long enough to record his first
What a blast – all this for five bucks! A won- glaucoma, arthritis, and other ailments, she solo effort in Salsa con Dulzura. This album
der in our era of cut-backs, this institution is was doing just fine, thank you! And off she swings from beginning to end, employing a
an excellent resource for all those interested in went across the dance floor. Wow! One of the virtual who’s who of Latin Americana. As
the arts. Mucho thanks to Ramon and Louis. many highlights of the evening were the per- Pacheco would say, “He’s cooking with gas.”
I also had a chance to stop by the Exit Art formances of the scholarship recipients. Alto Congratulations all around to Jimmy. And last
gallery on 475 10th Avenue to check out “Viva saxophonist, Melvin Brison, showed he can but not least, somebody please speak to the
La Musica,” a celebration of 50 years of Latin hold his own and baritone saxophonist Kim music gods that be to get their act together at
music album cover art. The exhibit traces the Amonte sounded very smooth and mellow. the so-called Latin Grammy’s, presented in
visual history of Latino identity, culture, and But it was the piano virtuosity of young Miller the Big “Mango” Apple. And not a mention, a
aesthetics using the mediums of album art and Lulow that blew me away. Reminiscent of a blurb, of the pioneers of Latin music in New
music. The curator, Pablo Yglesias, utilized young Harry Connick, Jr., this young man just York or the rest of this country – shame,
hundreds of covers and graphic artists such as ate up the keyboard with jazz elegance. He shame, shame.
Chico Alvarez, Izzy Sanabria, and Charlie certainly has a bright future ahead of him. Have a wonderful holiday and blessings
Rosario. The latter is a renaissance man unto More music was provided by tenor saxophon- to all. “¡Que vive la musica!”
himself. Rosario paints, draws, photographs, ist Fred Staton, the brother of singer Dakota   

(RARE’s Lexington Lounge—Continued from page 48) do it great! Everyone enjoys a burger, why not
RL: The room was called the Lexington Room. I set out to make the best burger possible. My
JI: What kinds of food and drink can patrons still needed to sell the idea to the hotel. The Lex- partners and I are always looking for ways to
enjoy? What kinds of plans do you have for the ington Room does not sound very inviting, so I improve the business. We never want to get
future. named it the Lexington Lounge. We still needed complacent. We are also very “hands on own-
to sell the idea to the hotel. Keeping the name ers”. I have never asked an employee of mine to
RL: We offer complimentary salsa and chips. similar made the transition painless. do a job that I have not done myself. I believe I
Food is minimal for now in the Lexington have gained a lot of respect from them this way.
Lounge, but our restaurant Rare Bar and Grill is JI: Could you talk about the development of They have seen the owners sweeping floors,
less than 15 feet away. You can have a bite to eat RARE, along with some of the basic business bussing tables and plunging toilets. The good
at Rare and then come to the Lexington Lounge understandings that you embrace which have thing about being the boss is you get to choose
and listen to great Jazz. Not a bad evening! enabled you to make it successful? the 70 hours a week to work.
JI: How did you chose the name? RL: Rare’s motto is: do something simple, but

To Advertise CALL: 212-889-0853 Jazz Improv ® Magazine’s New York Jazz Guide  December 2006 49
calendar of events
How To Get Your Gigs and Events Listed in Jazz Improv’s New York Jazz Guide & Directory
Submit your listings via e-mail to Include date, times, location, phone num-
ber 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.

REGULAR ENGAGEMENTS Jimmy Vaas Cleopatra’s Needle 8:00pm
Ken Hatfield Fetch 8:30 pm—12:00am
Mondays Mingus Big Band Iridium 8:00 & 10:30pm
Ari Hoenig Trio Small’s 10:00pm Sedric Choukroun Seppi’s 8:30pm
Cecil’s Big Band w/ Joe Elefante Cecil’s 9:00pm Sweet Rhythm Vocal Series 8:00 & 10:00pm
The Grove Street Stompers Arthur’s Tavern 8:00pm TK Blue Dakar Restaurant 8:00pm
Gene Bertoncini Le Madeleine Bistro
Howard Williams Orchestra Garage 8:00pm
Arturo O’Farrill Sextet Birdland 9:00 & 11:00 pm
Jason Linder Big Band Fat Cat 10:00pm
Francina Connors’ “Uptown Jazz” Penang 8:00pm
John Farnsworth Jazz Jam Smoke 8:00pm
Myron Walden, Danny Barrett Fat Cat 10, 11:30pm
Les Paul & his Trio Iridium 8:00 & 10:30pm
Nathan & Max Lucas Organ Trio Lenox Lounge 6:00pm
Miles Mondays Mo Pitkin’s 6:00—9:00pm
New School for Jazz Sweet Rhythm 8, 10:00pm Thursdays
Patience Higgins Lenox Lounge 9:30pm Eddie Martinez Big Band Fat Cat 10:00 & 11:30 pm
Ron Affif Trio Zinc Bar 9:00, 11:00pm, 12:30, 2AM Manhattan Ragtime Orchestra The Cajun 8:00pm
Scott Whitfield Jazz Orchestra Birdland 5:30pm Pam Purvis Savoy Grill 5:30—7:30pm
Vanguard Jazz Orchestra V. Vanguard 9:30 & 11:30pm Sedric Choukroun Brasserie Julien 7:00pm
Tammy Shoji Open Jam Cleopatra’s Needle 7:30 &
Anat Cohen & Friends Jules Bistro 8:30pm
Wayne Krantz 55 Bar 9:30pm
Bruce Williams Jam Session Cecil’s 9:00pm
David Ostwald, Birdland 5:30pm Fridays
Dekel Bor Trio Charley O’s 8:00pm Canal Street Dixieland Jazz/Blues Band Cajun 8:00pm
Duke Ellington Orchestra Birdland 9:00 & 11:00 pm Sedric Choukroun Brasserie Julien 7:00pm
George Gee Big Band Swing 46 8:30pm-11:30pm Tommy Igoe’s FNBB Birdland 5:50—7:30pm
Gene Bertoncini Le Madeleine Bistro
Grant Stewart, Joe Cohn Quintet Small’s 10:00pm Saturdays
Greg Tardy Group Fat Cat 10:00 & 11:30pm Alan Jay Palmer & New Soil Band Creole 9:00pm
Hammond B3 Organ Grooves Smoke 9, 11, 12:30am Alex Donner Big Band Café Carlyle 5:30pm
Brazilian Bossa Jazz Zinc 10:00 & 11:30pm, 1:00am
John Colianni and Tira Table XII 7:30—11:30pm
Sedric Choukroun Brasserie Julien 7:00pm
Whitney Moulton Trio Perks 7:00—11:00pm
Brazilian Samba Jazz Zinc 10:00 & 11:30pm, 1:00am
Bob Kindred, J. Hart, S. LaSpina Café Loup 12:30—3.
Chico O’Farrill Afro-Cuban Jazz Big Band Birdland
9:00 & 11:00 pm
Choro Ensemble Jules Bistro 8:30pm—11:00pm
Chris Washburne Band Smoke 9, 11, 12:30am
David Coss & Trio Garage 7:00pm
Gospel Brunch Buffett Iridium 11:30am—3:00pm
Jazz Standard Youth Orchestra Jazz Standard 2:00pm
Pam Purvis/Bob Ackerman Cecil’s Jazz Club 5:9:00pm Bistro. 403 W. 43rd St.
Planet Jazz feat. P. Bernstein, J. Magnarelli, S. Wilner, • Fri 12/1: Jazz Jam Opening Ceremony at The Little
N. Miner Small’s 10:00pm Theater. Reception at 7:00 pm. Performance at 8:00 pm.
Rudell Drears, Sedric Choukroun & Marjorie Elliot LPAC Box office: 718 482-5151. Visit us at
Parlor Entertainment 4:00pm
Shawn Aileen Clark Barmarche 7:00pm—11:00pm • Fri 12/1: Deanna Kirk Quartet at Enzo's Jazz at The
Singer’s Open Mic Cleopatra’s Needle 4:00—8:00pm Jolly Hotel Madison Towers. 22 East 38th St. at Madison
Toru Dodo Jam Cleopatra’s Needle 4:00pm Ave. (212) 802 0600. In the Whaler Bar located in the
Zaid Nasser Jam Session Fat Cat 10:00 & 11:30pm Lobby. Complimentary antipasti served by Ristorante
Cinque Terre. $15. cover, 1 drink min. Sets are at 8pm
• Fri 12/1: Enrico Granafei at Greenwich Village Bistro.
New York City 212-206-9777.
• Fri 12/1: Tommy Igoe’s Friday Night Big Band at Bird- • Fri 12/1-Sat 12/2: Russ Nolan at the River Room of
land. Every Friday 5:30-7:30PM. 315 W. 44th St. The Harlem 145th and Riverside Dr. 212-491-1500.
FNBB roars into action every Friday, playing the finest • Sat 12/2: Klezmer Madness! Celebrates David Krakaur’s
Jazz, Latin and Brazilian music from the worlds best 50th birthday at Carnegie Hall. 57th St. & 7th Ave. Zankel
arrangers. After work or before a show, drinks or a great Hall, 7:30 pm.
dinner, come hear one of the worlds best drummers • Sat 12/2: Dekel Bor Trio & Paul Speciale Combo at
driving the hardest swinging band in New York. Experi- Greenwich Village Bistro. -206-9777.
ence why the FNBB is fast becoming the must-see weekly • Sat 12/2: Steven Maglio & The Stan Rubin Orchestra
jazz event in New York and kick off your weekend with perform “Sinatra Songs” at the Carnegie Club. 8:30 &
what critics are calling “The best live music bargain in all 10:30PM. 156 W. 56th Street. $30 Cover + 2 drink min.
of NYC!” Visit for surprise special guest Res: 212-957-9676.
line-up. • Sat 12/2: Vocal Artist/Composer/Poet Nora McCarthy in
• Sun & Mon 12/3 12/4: Gene Bertoncini at Le Madeleine RED VOX at the Cornelia Street Café with Dominic

December 2006  Jazz Improv ® Magazine’s New York Jazz Guide
50 November To Advertise CALL: 212-889-0853
Duvall, Brian Wilson. New & Original Music. 6PM - 8PM. • Tue 12/5: Acoustic Jazz Tuesdays with Ken Hatfield at
20 Cornelia Street, (bet W. 4th/Bleecker Sts). cover: $15. Fetch w/Hans Glawischnig, guitar and bass duo. 8:30 –
212-989-9319. 11:30 pm. 1649 Third Avenue between 92nd and 93rd
• Sun 12/3: The Barry Harris Trio with Singers at St. Streets, New York City 212-289-2700 / No cover.
Philip's Church Undercroft. 3 pm - 6 pm. 204 West 134
St. 212-862-4940.Donation: $20 • Tue 12/5: Shaynee Rainbolt at the Metropolitan Room with Neal Kirkwood, Piano; Tom Hubbard, Bass; Jeff
• Sun 12/3: Bob Kindred Trio at Café Loup. A Jazz Brillinger, Drums; Chris Rogers, Trumpet; Dave Riek-
Brunch from heaven. 12:30--3:30pm. No Cover. Bob enberg, Saxophone...and Special Guest: Jazz Vocalist,
Kindred, Steve LaSpina, John Hart. 105 W. 13th St., Judy Barnett. Cover: $20/$15 for MAC and Cabaret Hot-
(bet 6th/7th Aves). 212-255-4746. line Online Members (2 drink Min). 4 West 22nd St., NYC.
• Sun 12/3: Dee Pop presents: Freestyle Jazz at Jimmy's Res: 212-206-0440.
Restaurant. 43 East 7th St. 212-982-3006. Daniel Levin, • Tue 12/5: Mannahatta Jazz on the Bowery. Mary
Matt Moran, Peter Bitenc, Nate Wooley @ 7 pm and Gatchell @ 7, Mychele Colleary @ 8, Grady Tate @ 9,
Joe Fiedler Trio @ 9 pm. $10 at door. 1 drink min. & The Michael Karrtet w/ Ron Afif & Victor Jones @
• Sun 12/3: Jazz Mass with The Brenda Earle Quartet at 10:30. 316 Bowery (at Bleecker St.) (212) 253-8644.
St. Peter’s Church. 5 pm. Lexington Ave @ 54th St. No cover. 212-935-2200. Free. • Tue 12/5: Rob McCrone at Greenwich Village Bistro.
• Sun 12/3: Gerald Hayes, sax at Parlor Entertainment 212-206-9777.
Jazz, with Marjorie Eliot, piano; Rudell Drears, piano; • Tue 12/5: Martha Lorin Jazz Quartet at The Metropoli-
Sedric Choukroun, sax; Bob Cunningham, bass. 555 tan Room. 34 West 22nd St. (Bet. 5th & 6th Aves). Res-
Edgecombe Ave, #3F, (bet 159th &160th St). 212 781 ervations: (212) 206-0400. 9:00 pm. $20 music charge. in the Lobby. Complimentary antipasti served by Risto-
6595. Free Admission. • Tue 12/5: Jupiter String Quartet at Merkin Concert Hall rante Cinque Terre. $15. cover, 1 drink min. Sets are at
• Mon 12/4: Mannahatta Jazz on the Bowery. Kelley Sut- at Kaufman Center. 129 West 67th Street (bet. Bway & 8pm and 9.30pm.
tenfield @ 7, Seth Fruiterman @ 8, Aimee Allen @ 9, & Amsterdam Ave). Tkts: 212 501 3330 or • Wed 12/6: Ted Rosenthal Trio at the Kitano Hotel. 66
Steve Slagel w/ Craig Hartley Trio @ 10. 316 Bow- 2pm. Park Ave. @ 38th St. 7:30 & 9:15 pm.
ery (at Bleecker St.) 212-253-8644. • Tue 12/5: Martha Lorin Jazz Quartet at Metropolitan • Wed 12/6: Jazz vocalist Tierney Sutton is singing I'm
No cover. Room at Gotham. 34 West 22nd St. (bet. 5th & 6th Aves.) With The Band at Birdland. 315 W. 44th St. bet. 8th & 9th
• Mon 12/4: Vocalist Amy Cervini at Jazz Standard. $15. Reservations Suggested: (212) 206-0400. 9 pm. $20. Aves. 212 581 3080. 9 pm & 11 pm. $10 min.
7:30 & 9:30 pm. 116 E. 27th Street bet. Lexington and • Tue 12/5: First Tuesdays: Free Seminar for All Musi- • Wed 12/6: Brian Van Arsdale Quartet at Greenwich
Park Aves. 212 576 2232. cians: "Promote Yourself: Web-based Marketing" w/ Jim Village Bistro. 212-206-9777.
• Mon 12/4: Yamaha Day of Trumpets. Open Instrument Eigo, jazz industry expert at St. Peter’s Church. Lexing- • Wed 12/6: Midtown Jazz at Midday with Tomas Janzon
Testing : 11:00 am - 2:00 pm. Marvin Stamm clinic: 2:00 ton Ave @ 54th St. 212-395-2200. Free. 3 pm. and Ken Filiano at St. Peter’s Church. 1 pm. Lexington
pm - 3:00 pm. Tiger Okoshi clinic: 3:15 pm - 4:15 pm. • Wed 12/6: Avi Rothbard at the Ethiopian Restaurant. Ave @ 54th St. 212-395-2200. Free.
Evening Concert: 7:00 pm - 8:30 pm, Brian Lynch and The program will include repertoire of the American Song- • Thu 12/7: Sachal Vasandani Group at Sweet Rhythm.
his quartet with special guest Tiger Okoshi. All events are book and Jazz classic for solo guitar. 7:30 to 10:00 pm. 88 Seventh Avenue South between Grove and Bleecker
free and open to the public, but seating is limited to the 1582 York Ave bet. 83rd and 84th St. Reservations: (212) Streets.
first 150 people. R.S.V.P. today by sending an e-mail to: 717-7311. • Thu 12/7: New Sounds Live hosted by John Schaefer: Clinics/Concert will be • Wed 12/6: Deanne Gorman Jazz Quartet at Enzo's Jazz Anonymous 4 at Merkin Concert Hall at Kaufman Cen-
held on the 3rd floor. Open instrument testing will be held at The Jolly Hotel Madison Towers. 22 East 38th St. at ter. 129 West 67th Street (bet. Bway & Amsterdam Ave).
on both the 3rd and 11th floors. Madison Ave. (212) 802 0600. In the Whaler Bar located Tkts: 212 501 3330 or 8 pm.

To Advertise CALL: 212-889-0853 Jazz Improv ® Magazine’s New York Jazz Guide  November 51
December 2006 51
• Thu 12/7: Jack Kleinsinger presents Highlights in Jensen, John D'marco, Jeanne Mcdonald, Mary Fos- • Mon 12/11: Sachal Vasandani Group at Zinc Bar. 7:30-
Jazz, Buddy DeFranco. Howard Alden. Derek Smith ter Conklin, Karen Mack, Terese Genecco, Cynthia 9 pm. 90 West Houston Street.
Randy Sandke. Rufus Reid. Ed Metz Jr. New York's Crane & Kristine Zbornik. 5:00pm. 34 West 22nd St., • Mon 12/11: International Women in Jazz at St. Peter’s
Longest Running Jazz Concert Series at Tribeca Perform- NYC. Res: 212-206-0440. Church. Lexington Ave @ 54th St. 212-395-2200. 7 pm.
ing Arts Center. 8 pm. The tickets are $30.00 and $27.50, • Sat 12/9: Joe Locke and Geoffrey Keezer at AC Pi- • Mon 12/11: Steve Nelson at Merkin Concert Hall at
for students. (212) 220-1460. anocraft Showroom. 333 West 52nd St. bet 8th & 9th Kaufman Center. 129 West 67th Street (bet. B’way &
• Thu 12/7: Steve Hudson's Outer Bridge Ensemble at Ave. 9:00pm - 10:15pm, & 10:45pm - 12:00am. @ web- Amsterdam Ave). Tkts: 212 501 3330 or
the Knitting Factory. Tap Bar, 12 am. 74 Leonard St. site $20.00 cover:; @ Door $25.00 8 pm.
(212) 219-3006. cover. Phone: 212-397-5298 Ex.22 or jka- • Mon 12/11: Andrew McCain at Greenwich Village
• Thu 12/7: Steve Husted Quartet at Greenwich Village Bistro. 212-206-9777.
Bistro. 212-206-9777. • Sat 12/9: Steven Maglio & The Stan Rubin Orchestra • Mon 12/11: VandoJam with our American distributor
• Fri 12/8: Tommy Igoe’s Friday Night Big Band at Bird- perform “Sinatra Songs” at the Carnegie Club. 8:30 & DANSR. "The best Jazz value" in New York….FREE!
land. Every Friday 5:30-7:30PM. 315 W. 44th St. “The 10:30PM. 156 W. 56th Street. $30 Cover + 2 drink min. Iguana Restaurant 240 W. 54th Street. 8pm to midnight.
best live music bargain in all of NYC!” Visit Tommy- Res: 212-957-9676. For more information, call 212-399-9457. for surprise special guest line-up. • Sun 12/10: Nabate Isles, trumpet at Parlor Entertain- • Tue 12/12: Baano at Sweet Rhythm with Frank Owens,
• Fri 12/8: Michelle Walker Quartet at Enzo's Jazz at The ment Jazz, with Marjorie Eliot, piano; Rudell Drears, Earl May & Jackie Williams. 88 Seventh Avenue So. @
Jolly Hotel Madison Towers. 22 East 38th St. at Madison piano; Sedric Choukroun, sax; Bob Cunningham, bass. Bleeker. 8:00 & 9:30pm. $15 cover; $10 drink/food min.
Ave. (212) 802 0600. In the Whaler Bar located in the 555 Edgecombe Ave, #3F, (bet 159th &160th St). 2pm— Info: 212-255-3626.
Lobby. Complimentary antipasti served by Ristorante 6pm. 212 781 6595. Free Admission. • Tue 12/12: Rob McCrone at Greenwich Village Bistro.
Cinque Terre. $15. Cov. 1 drink min. Sets: 8pm & 9.30pm. 212-206-9777.
• Fri 12/8: Paul Speciale Combo at Greenwich Village • Sun 12/10: Jazz Vespers with Okaru Lovelace & • Tue 12/12: Acoustic Jazz Tuesdays with Ken Hatfield at
Bistro. 212-206-9777. Friends at 5 pm and Jazz Concert with Reggie Work- Fetch w/Hans Glawischnig, guitar and bass duo. 8:30 –
• Fri 12/8: Eric Frazier at National Black Theater. 8 pm. man's Sculptured Sounds at 7:30 pm at St. Peter’s 11:30 pm. 1649 Third Avenue between 92nd and 93rd
2031 5th Avenue. Info: 212-722-3800. Church. Lexington Ave @ 54th St. 212-395-2200. Streets, New York City 212-289-2700 / No cover.
• Fri 12/8-Sat 12/9: Sanni Orasmaa at the River Room of (Suggested donation: $20).
Harlem 145th and Riverside Dr. 212-491-1500. • Sun 12/10: Bob Kindred Trio at Café Loup. A Jazz • Wed 12/13: Avi Rothbard at the Ethiopian Restaurant.
• Fri 12/8-Sat 12/9: Paul Carlon Octet at Fat Cat. 75 Brunch from heaven. 12:30--3:30pm. No Cover. Bob The program will include repertoire of the American Song-
Christopher St. 10:00 p.m. - 1:30 a.m. $15; $10 for stu- Kindred, Steve LaSpina, John Hart. 105 W. 13th St., book and Jazz classic for solo guitar. 7:30 to 10:00 pm.
dents. . (bet 6th/7th Aves). 212-255-4746. 1582 York Ave bet. 83rd and 84th St. Reservations: (212)
• Sat 12/9: Reissue: Classic Recordings Live feat. Ani- • Sun 12/10: Rocco at Greenwich Village Bistro. 717-7311.
mation: Miles Davis's Bitches Brew at Merkin Concert 212-206-9777. • Wed 12/13: Mary Foster Conklin and John DiMartino at
Hall at Kaufman Center. 129 West 67th Street (bet. • Sun 12/10: Reggie Workman's Sculptured Sounds Midtown Jazz at Midday at St. Peter’s Church. 1 pm. 619
Bway & Amsterdam Ave). Tkts: 212 501 3330 or Preview Concert feat. Trio 3; Billy Harper feat. The New Lexington Avenue at 54th Street. 8pm. School Vocal Ensemble; The Juhani Aaltonen Trio. • Wed 12/13: Nerissa Campbell at Enzo's Jazz at The
• Sat 12/9: Bill Toms and Friends at Greenwich Village Pre-concert Art Exhibit Discussion by Musician/Artists Jolly Hotel Madison Towers. 22 East 38th St. at Madison
Bistro. 212-206-9777. Oliver Lake and Dick Griffin. St. Peter's Church (619 Ave. (212) 802 0600. In the Whaler Bar located in the
• Sat 12/9: Shaynee Rainbolt at the Metropolitan Room Lexington Ave.,@ E.54th St.), 7pm. Sugg. Donation $20. Lobby. Complimentary antipasti served by Ristorante
Give Me A Voice: A Benefit for Oprah's Angel Network to For info: (212 642-5277). Cinque Terre. $15. cover, 1 drink min. Sets are at 8pm
aid the still suffering victims of Hurricane Katrina with • Sun & Mon 12/10 12/11: Gene Bertoncini at Le Made- and 9.30pm.
Annie Ross, Branden Cutrell, Thos Shipley, Rick leine Bistro. 403 W. 43rd St. • Wed 12/13: Mannahatta Jazz on the Bowery. The Mi-

December 2006  Jazz Improv ® Magazine’s New York Jazz Guide
52 November To Advertise CALL: 212-889-0853
chael Karrtet w/ Ron Afif & Victor Jones @ 10:30. 316 Smith at Greenwich Village Bistro.
Bowery (at Bleecker St.) 212-253-8644. 212-206-9777. No cover. • Wed 12/20: Mannahatta Jazz on the Bowery. The Mi-
• Wed 12/13: Paul Speciale Combo & Minetta Creek Blue- chael Karrtet w/ Ron Afif & Victor Jones @ 10:30. 316
grass at Greenwich Village Bistro. Bowery (at Bleecker St.) 212-253-8644. 212-206-9777. No cover.
• Thu 12/14: Ted Hefko at Greenwich Village Bistro. • Wed 12/20: Avi Rothbard at the Ethiopian Restaurant. 212-206-9777. The program will include repertoire of the American Song-
• Fri 12/15: Tommy Igoe’s Friday Night Big Band at book and Jazz classic for solo guitar. 7:30 to 10:00 pm.
Birdland. Every Friday 5:30-7:30PM. 315 W. 44th St. 1582 York Ave bet. 83rd and 84th St. Reservations: (212)
“The best live music bargain in all of NYC!” Visit Tommy- 717-7311. for surprise special guest line-up. • Thu 12/21: Mari Rosa at Greenwich Village Bistro.
• Fri 12/15: Mark Pender Band at The Cutting Room. 19 212-206-9777.
W 24th St. 212-691-1900. • Fri 12/22: Tommy Igoe’s Friday Night Big Band at
• Fri 12/15: Paul Speciale Combo & Tarana Collective at Birdland. Every Friday 5:30-7:30PM. 315 W. 44th St.
Greenwich Village Bistro. 212-206-9777. “The best live music bargain in all of NYC!” Visit Tommy-
• Fri 12/15: Pianist Laszlo Gardony celebrates Sunnyside for surprise special guest line-up.Fri 12/22:
CD Natural Instinct with acoustic performance at the Karen Stachel Jazztet at Big Apple Jazz / EZ's Wood-
Rubin Museum of Art. Tickets $15 in advance or $20 at shed. 2236 Adam Clayton Powell, Jr. Blvd. (7th Ave.)
door. (212) 620-5000 ext. 344. (bet. 131st and 132nd st.). (212) 283-JAZZ (5299). http://
• Fri 12/15-Sat 12/16: Sylvia Cuenca, Ed Cherry, and 5:30pm.
Jared Gold at the River Room of Harlem 145th and • Fri 12/22: Paul Speciale Combo at Greenwich Village
Riverside Dr. 212-491-1500. Bistro. 212-206-9777.
• Sat 12/16: Rocco at Greenwich Village Bistro. • Fri 12/22-Sat 12/23: Charenee Wade at the River Room 212-206-9777. of Harlem 145th and Riverside Dr. 212-491-1500.
• Sat 12/16: Steven Maglio & The Stan Rubin Orchestra • Sat 12/23: Bob Dorough presents School House Rock,
perform “Sinatra Songs” at the Carnegie Club. 8:30 & Blue Xmas and All That Jazz at Joe’s Pub. 7 pm. $20.
10:30PM. 156 W. 56th Street. $30 Cover + 2 drink min.
Res: 212-957-9676. • Sat 12/23: Steven Maglio & The Stan Rubin Orchestra
• Sun 12/17: David Lee Jones, sax at Parlor Entertain- perform “Sinatra Songs” at the Carnegie Club. 8:30 &
ment Jazz, with Marjorie Eliot, piano; Rudell Drears, 10:30PM. 156 W. 56th Street. $30 Cover + 2 drink min.
piano; Sedric Choukroun, sax; Bob Cunningham, bass. Res: 212-957-9676.
555 Edgecombe Ave, #3F, (bet 159th &160th St). 212 • Sun 12/24: Bob Cunningham, bass at Parlor Entertain-
781 6595. Free Admission. ment Jazz, with Marjorie Eliot, piano; Rudell Drears, piano; Sedric Choukroun, sax. 555 Edgecombe Ave,
#3F, (bet 159th &160th St). 212 781 6595. Free Admis-

• Sun 12/24: Bob Kindred Trio at Café Loup. A Jazz
Brunch from heaven. 12:30--3:30pm. No Cover. Bob
Advertise it here for only $45 Kindred, Steve LaSpina, John Hart. 105 W. 13th St.,
and reach over 30,000 jazz fans & (bet 6th/7th Aves). 212-255-4746.
tourists who don’t know you…yet! • Sun 12/24: Jazz Vespers with Lessons and Carols with
Ike Sturm & Friends and Saint Peter's Choir at St.
Call Jamie: 212-889-0853 Peter’s Church. 5 pm. Lexington Ave @ 54th St. 212-
• Sun 12/17: Family Matinees feat. the Poppy Seed Play- • Sun 12/24: Gene Bertoncini at Le Madeleine Bistro.
ers and the Kaufman Kids, Latkes and Applesauce: A 403 W. 43rd St.
Hanukkah Revue at Merkin Concert Hall at Kaufman • Tue 12/26: Dave Stryker Organ Trio at The Jazz Stan-
Center. 129 West 67th Street (bet. Bway & Amsterdam dard. $30. 7:30 & 9:30 pm & 11:30 pm Fri & Sat. 116 E.
Ave). Tkts: 212 501 3330 or 27th Street bet. Lexington and Park Aves. 212 576 2232.
• Sun 12/17: Jazz Vespers with Anna Dagmar Trio at 5 pm • Wed 12/27: Avi Rothbard at the Ethiopian Restaurant.
and Jazz Concert with Havana Carbo Quartet: The program will include repertoire of the American Song-
"Remembering Tom and Chet" at 7 pm at St. Peter’s book and Jazz classic for solo guitar. 7:30 to 10:00 pm.
Church. Lexington Ave @ 54th St. 212-395-2200. 1582 York Ave bet. 83rd and 84th St. Reservations: (212)
• Sun 12/17: Paul Speciale Combo & Hiroko Kanna Trio 717-7311.
at Greenwich Village Bistro. 212-206-9777. • Wed 12/27: Mannahatta Jazz on the Bowery. The Craig
• Sun 12/17: Dee Pop presents: Freestyle Jazz at Jimmy's Hartley Trio w/ Special Guest @ 7 & The Michael
Restaurant. 43 East 7th St. 212-982-3006. Paloma Karrtet w/ Ron Afif & Victor Jones @ 10. 316 Bow-
Recio: Ben Monder, Tony Malaby, Eivind Opsvik, ery (at Bleecker St.) 212-253-8644.
Nasheet Waits. $10 at door. 1 drink min. • Wed 12/27: Midtown Jazz at Midday with Bill Mays at St.
• Sun & Mon 12/17 12/18: Gene Bertoncini at Le Made- Peter’s Church. Lexington Ave @ 54th St. 212-395-
leine Bistro. 403 W. 43rd St. 2200. 1 pm.
• Sun 12/17: Bob Kindred Trio at Café Loup. A Jazz • Wed 12/27: Eric Holland Trio at Greenwich Village
Brunch from heaven. 12:30--3:30pm. No Cover. Bob Bistro. 212-206-9777.
Kindred, Steve LaSpina, John Hart. 105 W. 13th St., • Thu 12/28: Claudio Marc Antonio at Greenwich Village
(bet 6th/7th Aves). 212-255-4746. Bistro. 212-206-9777.
• Mon 12/18: Andrew McCain at Greenwich Village • Fri 12/29: Tommy Igoe’s Friday Night Big Band at
Bistro. 212-206-9777. Birdland. Every Friday 5:30-7:30PM. 315 W. 44th St.
• Tue 12/19: Rob McCrone at Greenwich Village Bistro. “The best live music bargain in all of NYC!” Visit Tommy- 212-206-9777. for surprise special guest line-up.
• Tue 12/19: Acoustic Jazz Tuesdays with Ken Hatfield at • Fri 12/29: The Ron Vincent Trio feat. Jay Azzolina &
Fetch w/Hans Glawischnig, guitar and bass duo. 8:30 – Dean Johnson at the River Room of Harlem 145th and
11:30 pm. 1649 Third Avenue between 92nd and 93rd Riverside Dr. 212-491-1500.
Streets, New York City 212-289-2700 / No cover. • Sat 12/30: Steven Maglio & The Stan Rubin Orchestra perform “Sinatra Songs” at the Carnegie Club. 8:30 &
• Wed 12/20: Midtown Jazz at Midday’s Annual Christ- 10:30PM. 156 W. 56th Street. $30 Cover + 2 drink min.
mas Program at 1 pm and The Duke Ellington Soci- Res: 212-957-9676.
ety’s Holiday Party with Live Music feat. Joe Temperley, • Sun 12/31: Bob Kindred Trio at Café Loup. A Jazz
Junior Mance and others at 7 pm sat St. Peter’s Church. Brunch from heaven. 12:30--3:30pm. No Cover. Bob
Lexington Ave @ 54th St. 212-395-2200. Kindred, Steve LaSpina, John Hart. 105 W. 13th St.,
• Wed 12/20: Paul Speciale Combo & Michael Louis (bet 6th/7th Aves). 212-255-4746.

To Advertise CALL: 212-889-0853 Jazz Improv ® Magazine’s New York Jazz Guide  November 53
December 2006 53
• Sun 12/31: Guitarist Ken Hatfield and violinist Rob Tho- • Thu 12/21: Eric Frazier at Erasmus Hall H.S. 911 Flat-
mas join drummer/percussionist extraordinaire Vanderlei bush Ave. Info: 718-282-7804. 11:30 pm.
Pereira for Jazz Brunch at the Red Eye Grill. 890 Sev- • Thu 12/21: Kelsey Jillette Group at Jazz at The Perch
enth Avenue at 56th Street December 31, 12:00 noon – Café. 365 5th Ave. (bet. 5th and 6th St.) (718) 788-2830.
3:00 pm. 212-541-9000. 8:30 pm, 2 sets. Cover: Suggested Donation $5.
• Sun 12/31: Jazz Vespers: New Year's Eve Extrava- • Sat 12/23: Cosmo D at Jazz at The Perch Café. 365 5th
ganza w/ the Pete Zimmer Quartet at St. Peter’s Ave. (bet. 5th and 6th St.) (718) 788-2830. 8:30 pm, 2
Church. Lexington Ave @ 54th St. 5 pm. 212-395-2200. sets. Cover: Suggested Donation $5.
• Thu 12/28: Seeung-Hee Quartet at Jazz at The Perch
Brooklyn Café. 365 5th Ave. (bet. 5th and 6th St.) (718) 788-2830.
• Sat 12/2: Steve Lyman Quartet at Jazz at The Perch 8:30 pm, 2 sets. Cover: Suggested Donation $5.
Café. 365 5th Ave. (bet. 5th and 6th St.) (718) 788-2830. • Sat 12/27: Jazzy Brass for Christmas with Eddie Allen,
8:30 pm, 2 sets. Cover: Suggested Donation $5. Cecil Bridgewater, Linda Blacken, Clark Gayton, Joseph Daley, Dwayne "Cook" Broadnax at Brooklyn
• Sun 12/3: Oran Etkin / Rodney Siau Quartet at Food 4 Children’s Museum. 1:30pm & 3:00pm. 145 Brooklyn Ave.
Thought. 3:00pm. 445 Marcus Garvey (corner of Mac- (at St. Marks Ave.) Info: 718-735-4420. All concerts are
donough, near Fulton) in > Bed-Stuy. Take A train to open to the public.
Utica. • Fri 12/29: Eric Frazier at The Williamsburg Jazz Cen- ter. 529 Bedford Ave. 8 pm. Info: 646-957-4487.
• Mon 12/4: Zach Brock Trio at Jazz at The Perch Café.
365 5th Ave. (bet. 5th and 6th St.) (718) 788-2830. 8:30 Queens
pm, 2 sets. Cover: Suggested Donation $5. • Queens Jazz Trail Tour. First Sat. of ea. month, 1:00—
• Tue 12/5: Angela Bingham Trio at Jazz at The Perch 4:00pm. $30/$25 members. Hop aboard the Flushing
Café. 365 5th Ave. (bet. 5th and 6th St.) (718) 788-2830. Town Hall Trolley—a fascinating journey through
8:30 pm, 2 sets. Cover: Suggested .Don: $5 neighborhoods where Louis Armstrong, Dizzy Gillespie,
• Wed 12/6: Trumpeter Ron Horton at Barbes with Ben Count Basie, Billie Holiday, Ella Fitzgerald, John Coltrane
Allison, Tom Beckham, Michael Blake, Gerald lived. Includes guided visit to newly restored Louis Arm-
Cleaver. 8pm. Cover: $8. 376 9th St. (corner of 6th Ave.) strong House and Museum. SPECIAL OFFER: Jazz by
Park Slope. 718.965.9177 Night and Day! $40/$35 for members! Experience Friday
• Wed 12/6: Ben Allison Quartet at Barbes with Ron Night Intimate Jazz Concert in Flushing Town Hall Gal-
Horton, Steve Cardenas and Gerald Cleaver. 8pm. lery, take the Queens Jazz Trail Tour following afternoon,
Cover: $8. 376 9th St. (corner of 6th Ave.) Park Slope. one low price.
718.965.9177 • Louis Armstrong House and Museum. Guided tours daily
• Thu 12/7, 14, 21, 28: Eric Frazier at Savy's Restaurant, through Louis and Lucille Armstrong's home. Now a
330 Myrtle Ave. Bklyn. Info: 728-403-0155. 8PM. museum, the home is in pristine condition and it’s a big
• Thu 12/7: O’Leary/Lightcap/Cleaver at Jazz at The time warp, to say the least! Most notable is the kitchen
Perch Café. 365 5th Ave. (bet. 5th and 6th St.) (718) 788-
2830. 8:30 pm, 2 sets. Cover: Suggested Donation $5. BOB ACKERMAN & PAM PURVIS
• Fri 12/8: Rhythm 'n' Strings at Freddy's Backroom. 10 EVERY SUNDAY
pm. 485 Dean Street. 718.622.7035. Dec. 3, 10, 17, & 24th & 31st 5:00—8:30pm
• Sat 12/9: Melissa Stylainou Quartet at Night and Day Cecil’s Jazz Club & Restaurant
Restaurant. 9:30pm $8 cover. 230 5th Ave. melissastyli- Cool Vibe, Comfortable Seating and Great Food & Drinks! 364 Valley Road, West Orange, NJ • 973-736-4800
• Sun 12/10: Oran Etkin / Rodney Siau Quartet at Food 4 •
Thought. 3:00pm. 445 Marcus Garvey (corner of Mac-
donough, near Fulton) in > Bed-Stuy. Take A train to and the mirrored bathroom Louis taped himself in every
Utica. room and he’ll give you a tour of the man behind the
• Mon 12/11: Melissa Stylianou Trio feat. Steve entertainer. Info: 718-478-8274 or
Cardenas on guitar at Bar Next Door. 8:00pm - 11:30pm Check schedule. A must see.
$8. 129 MacDouglas Street. • Wed 12/13: Eric Frazier at Queensboro Community
• Mon 12/11: Zach Brock Trio at Jazz at The Perch Café. College. 223rd St & 56 Ave. Info: 718-631-6262. 1 pm.
365 5th Ave. (bet. 5th and 6th St.) (718) 788-2830. 8:30 • Sat 12/16: Jazzy Brass for Christmas with Eddie Allen,
pm, 2 sets. Cover: Suggested Donation $5. Cecil Bridgewater, Linda Blacken, Clark Gayton,
• Tue 12/12: Brenda Earle Trio at Jazz at The Perch Joseph Daley, Dwayne "Cook" Broadnax at Langston
Café. 365 5th Ave. (bet. 5th and 6th St.) (718) 788-2830. Hughes Library. 2:00pm. 126 100-01 Northern Blvd.,
8:30 pm, 2 sets. Cover: Suggested Donation $5. Corona. Info: 718-651-1100. All concerts open to public.
• Wed 12/13: Steve Hudson's Outer Bridge Ensemble at
Puppets Jazz Bar, Park Slope. 9:15, 10:40, & 12. Westchester • Sat 12/2: Ted Rosenthal - Warren Vache Duo at Mt.
• Thu 12/14: Yoon Sun Choi & the E-String Band at Jazz Kisco Public Library. 100 E. Main St. Mt. Kisco. 2:00
at The Perch Café. 365 5th Ave. (bet. 5th and 6th St.) pm.
(718) 788-2830. 8:30 pm, 2 sets. Cover: $5.
• Sat 12/16: Jazzy Brass for Christmas with Eddie Allen, New Jersey
Cecil Bridgewater, Linda Blacken, Clark Gayton, • Fri 12/1: Joey DeFrancesco Trio at the Peddie School.
Joseph Daley, Dwayne "Cook" Broadnax at Brooklyn 8 p.m. in the Mount-Burke Theatre at the Peddie School.
Music School. 6:00pm. 126 St. Felix St. Blkyn. Info: 718- There will be a free, pre-concert chat with the artist from
638-5660. All concerts are open to the public. 7:00-7:30 p.m. in the theater. Tickets for the concert are
• Sat 12/16: Deandra Hart at Jazz at The Perch Café. 365 $15. Season subscriptions are $50 and include four
5th Ave. (bet. 5th and 6th St.) (718) 788-2830. 8:30 pm, 2 performances. Other performances on this series include
sets. Cover: Suggested Donation $5. Taylor Eigsti and Julian Lage on March 2, and vocalist
• Sun 12/17: Oran Etkin / Rodney Siau Quartet at Food 4 Rachael Price and her quartet on April 13. For more
Thought. 3:00pm. 445 Marcus Garvey (corner of Mac- information or tickets, please call (609) 490-7550, email
donough, near Fulton) in > Bed-Stuy. Take A train to or log onto
Utica. • Fri 12/1: Pianist Fred Fischer at Watchung Arts Cen-
• Mon 12/18: Zach Brock Trio at Jazz at The Perch Café. ter: Located on the Watchung Circle. Info: (908) 753-
365 5th Ave. (bet. 5th and 6th St.) (718) 788-2830. 8:30 0190. Reservations suggested. Tickets are held at the
pm, 2 sets. Cover: Suggested Donation $5. door. $13.
• Tue 12/19: Amy Cervini Quartet at Jazz at The Perch • Fri 12/1: Ted Rosenthal in Solo Concert, "Jazzing up
Café. 365 5th Ave. (bet. 5th and 6th St.) (718) 788-2830. the Classics" with The Discovery Orchestra, "Intimate
8:30 pm, 2 sets. Cover: Suggested Donation $5. Evenings". Far Hills. 8:30 pm.

December 2006  Jazz Improv ® Magazine’s New York Jazz Guide
54 November To Advertise CALL: 212-889-0853
• Thu 12/7 Nicole Pasternak w/ guitarist Carmine Mari-
noat at Clemens Restaurant. 7:30-9:30 pm
4 Long Ridge Road, West Redding, CT 06896. 203-938-
• Tue 12/12: Nicole Pasternak w/ guitarist Carmine Mari-
noat at Bistro Du Soleil. 7:30-9:30 pm
120 Washington St., So. Norwalk, CT. 203-855-9469.
• Thu 12/14: Nicole Pasternak w/ guitarist Carmine Mari-
noat at Clemens Restaurant. 7:30-9:30 pm
4 Long Ridge Road, West Redding, CT 06896. 203-938-
• Fri 12/22: Nicole Pasternak w/ the Harold Zinno Quintet:
Harold Zinno (t, fl); Bill Cofrances (as, ts); Doug Schlink
(p); John Mobilio (b); Jack Varanelli (d) at the Silvermine
Tavern. $5 cover. 9:00-11:30pm
194 Perry Ave., Norwalk, CT 06850. 203-847-4558. Upcoming Performances
• Sat. 12/2: Tony Mennella and Dick Braytenbah Trio at • Thu 1/4: Salute to Lou Donaldson with the Cyrus Chest-
Hopewell Valley Bistro. No cover. $15 min. 7-10pm. nut Trio. 8 pm. At the Tribeca Performing Arts Center.
Hopewell Valley Bistro. 15 East Broad St, Hopewell. 609- • Sat. 1/6: Tony Mennella and Dick Braytenbah Trio at
466-9889. Hopewell Valley Bistro. No cover. $15 min. 7-10pm.
• Mon 12/4: Elite Syncopation at The Bickford Theatre/ Hopewell Valley Bistro. 15 East Broad St, Hopewell. 609-
Morris Museum: On Columbia Turnpike/Road (County 466-9889.
Road 510) at the corner of Normandy Heights Road, east • Mon 1/8: Bria Skönberg at The Bickford Theatre/Morris
of downtown Morristown. Near Interstate 287 and the Museum. On Columbia Turnpike/Road (County Road
Route 24 expressway. 8 to 9:30 pm. $13 in advance, $15 510) at the corner of Normandy Heights Road, east of
@ door. (973) 971-3706. downtown Morristown, NJ. Near Interstate 287 and the
• Mon 12/7: Oscar Perez Quartet at the Goat Café. 21 Route 24 expressway. 8 to 9:30 pm. $13 in advance, $15
South Orange Ave, South Orange. 8 pm and 9:15 sets. @ door. (973) 971-3706.
$10 for adults; $5 for students. • Wed 1/10: CD Release Concert: Jam at The Triad. "Oh
• Wed 12/9: Darla Rich Quartet at Fedora Café. 6, 7-9 Lady Be Good” w/ Michele Ramo, Bucky Pizzarell, &
pm. 2633 Lawrenceville Rd., Lawrenceville. (609) 895- Jerry Bruno. 157 W. 72nd. St. Concert followed by jam
0844. No Cover, Smoke Free, BYOB. session. All musicians are welcome! Birthday party for
• Sat 12/9: Darla Rich Quartet at Hopewell Valley Bistro. Pizzarelli and Bruno! Look for time and details in January
7-10p. 15 East Broad Street, Hopewell. (609) 466-9889. 2007 issue of Jazz Improv &
$15 min per person.
• Sat 12/9: The Statesmen of Jazz at Bridgewater. Som-
erset County Vocational-Technical Schools, on Vogt Drive
near North Bridge Street in Bridgewater, just two blocks
from the huge Bridgewater Commons mall. 8 pm. $15 in
advance, but $20 at the door. (908) 725-6640.
• Sun 12/10: Carrie Jackson & Jazzin’ All-Star Trio at
Passions Jazz Café. 6:30 pm, 7:45 pm, 9:00 pm. No
Cover. Two Drink Min. Passions Jazz Café @ Cameo
Banquet Center. 800 Rahway Avenue, Woodbridge. Info:
Salange @ 908-251-8461.
• Mon 12/11: Ken Peplowski and Howard Alden at The
Bickford Theatre/Morris Museum. On Columbia Turn- If you enjoy Jazz Improv’s ® NY Jazz Guide that you have
pike/Road (County Road 510) corner of Normandy in your hands, you’ll LOVE Jazz Improv ® Magazine
Heights Road, east of downtown Morristown. Near Inter-
state 287 / Route 24 expressway. 8 to 9:30 pm. $13 in
advance, $15 @ door. (973) 971-3706.
• Wed 12/13: Ken Peplowski and Howard Alden at 300-400 Pages each issue  FREE COMPANION CD
Ocean County College. Midweek Jazz concerts at Fine each issue  75-100 CD & DVD REVIEWS  FULL COLOR
Arts Center. 8 pm. Tkts: $13 in advance, $15 @ door.
(732) 255-0500. Campus Drive, just off
Route 549, a short distance from Parkway exit 88 Education  In depth INTERVIEWS  THE GUITAR
(southbound) or exit 82 (northbound). PAGES  PLUS: For those who make music 150-page
• Sat. 12/16: Tony Mennella and Dick Braytenbah Trio at
Hopewell Valley Bistro. No cover. $15 min. 7-10pm. E-BOOK (solos, songs, exercises, how-to articles & more)
Hopewell Valley Bistro. 15 East Broad St, Hopewell. 609-
• Sun 12/17: The New Jersey Jazz Society’s Bill Steinberg
Scholarship Fund presents Rio Clemente at The
Bickford Theatre/Morris Museum. See above for direc-
tions. 8 pm. (973) 971-3706. Tkts: $20 advance/$25 door.
• Sat 12/30: The venerable Chickenfat Ball is back, at a
new location and a different date. Details on the always-
outstanding band next month, or consult Jersey
Jazz. Meanwhile, save this date at all cost. Full after-
noon event. Now & Save 33% Off The Newsstand Price
• Sun 12/31: Darla Rich Quartet at Hopewell Valley
Bistro. 7-9 p.m. and 10 pm-12 am. 15 East Broad Street,

Hopewell. (609) 466-9889. Fixed Price Dinner.

To Advertise CALL: 212-889-0853 Jazz Improv ® Magazine’s New York Jazz Guide  November 55
December 2006 55
noteworthy performances
Pam Purvis Stefon Harris
eighty-eight's Fri 12/1 & Thu 12/14 American Museum of Natural History: Fri 12/1
Cecil's (Every Sunday) • Trumpets: Tue 12/26
A graduate of The Manhattan School of Music, Harris
Pam Purvis began singing jazz in 1974 in Paterson, is a recipient of the prestigious Martin E. Segal Award
NJ. It was there that she met her husband and long- from Lincoln Center and has earned back to back to
time collaborator, saxophonist Bob Ackerman, with back Grammy nominations for Best Jazz Album. An
whom she has released eight albums. Fittingly, she active educator, he conducts clinics & lectures annu-
credits her style to "living with a horn player.” During ally at universities throughout the country. His passion-
the last several years they have performed in ate artistry and energetic stage presence have pro-
Europe, Mexico, and throughout the US. pelled him to the forefront of the current jazz scene.

Chris Washburne Grady Tate
Smoke: Wed 12/3 CD Release Mannahatta: Tue 12/5

Trombonist Chris Washburne is one of those rare Grady Tate is world-renowned as a session drummer
musicians whose musical activities cross many and in recent years, has made his voice his instrument
styles & cultural borders. From early in his career he of choice. A self-taught drummer by age 5, he played
refused to be pigeon-holed as just a jazz or classical with the Jerome Richardson Combo and the Quincy
player and instead has continually pursued a diverse Jones Big Band. He was the house drummer on The
path. He’s currently freelancing as a studio musi- Tonight Show. He has performed with Duke Ellington,
cians, performing trombone, bass trombone, tuba, Count Basie, Wes Montgomery, Ella Fitzgerald, Sarah
didjeridu, & percussion with various groups in NYC. Vaughn, & most of the jazz greats.

Buddy DeFranco Lewis Nash
Jack Kleinsinger’s Highlights in Jazz: Thu 12/7 The Rubin Museum: Fri 12/8

Generally credited with leading the way for jazz In 1981, Nash moved to New York from Phoenix,
clarinetists from the swing era to the age of bop, Arizona & joined the trio of jazz vocalist Betty Carter.
DeFranco has set the bar high for others in sheer Later stints included Ron Carter’s groups in 1984,
technical brilliance, improvisational virtuosity, and saxophonist Branford Marsalis’ quartet in 1986, and
creative warmth. He played with Gene Krupa and dates with J.J. Johnson and Sonny Rollins in 1988.
Tommy Dorsey throughout the 1940’s. In 1950 he Nash also played in the Tommy Flanagan Trio
joined the famous Count Basie Septet, and was lead throughout the 1990s. As his debut recording as a
the Glenn Miller Orchestra from 1966 to 1974. leader advertises, rhythm is Lewis Nash’s business.

Geoffrey Keezer Dave Holland
AC Pianocraft: Sat 12/9 Merkin Concert Hall: Mon 12/11

Born into a musical family, Keezer has been im- In 1968, Miles Davis heard Holland at Ronnie Scott’s
mersed in music his entire life. In 1989, at the age of in London and offered him a job on the spot. Holland
18, Keezer was faced with two job offers: one from abruptly moved to New York and toured with Davis
Miles Davis, the other with Art Blakey. He chose the for the next two years, recording In A Silent Way and
latter, and his career was off to a fast start. Keezer Bitches Brew. He went on to work with the influential
has since worked with virtually all of the living leg- groups Circle and Gateway in the 1970s before
ends of jazz. His newest release, Wildcrafted, cap- leading his own award-winning quintet and big band.
tures the fire and raw energy of Keezer’s trio.

Mulgrew Miller Chembo Corniel
Merkin Hall: 12/11 • Smoke: 12/14 - 12/16 Trumpets: Thu 12/21

Born in the Mississippi delta, Miller’s music is tinged Born in 1953 to Puerto Rican parents, Chembo was
with the blues and gospel flavor of his native environ- raised in the humble streets of Red Hook, Brooklyn.
ment. He arrived in New York with the Duke Ellington He honed his skills at The Harbor Conservatory for
Orchestra, conducted by Mercer Ellington, in 1977. the Performing Arts in New York and at La Escuela
Miller recorded his first album as leader in 1985. His Nacional de Arte in Havana, Cuba under the direction
© Gene Martin

most recent is 2004’s trio date “Live at Yoshi’s,” with of the great Chucho Valdés. Chembo teaches percus-
Derrick Hodge and Karriem Riggins. Miller also leads sion at SUNY Purchase and leads his own Latin jazz
his acclaimed quintet, Wingspan. sextet, Chembo & Grupo Chaworo.

Bob Dorough Don Braden
Joe's Pub: Sat 12/23 Kitano: NEW YEAR’S EVE Sun 12/31

In 1949, Dorough made a bee-line for NYC, where he Don Braden is a musician of the highest caliber,
immersed himself in the city’s rapidly evolving jazz having spent years as the saxophonist with greats like
scene & took whatever musical jobs he could land. Betty Carter, Wynton Marsalis & Roy Haynes. In
Though his long & colorful career has included stints addition of this own group, Braden spent four years as
with Miles Davis, ex-boxer Sugar Ray Robinson, and co-music supervisor/composer for Bill Cosby’s most
Dave Frishberg, Dorough is forever remembered as recent sitcom, “Cosby.” Ring in the New Year with
the man behind the music of “Schoolhouse Rock.” one of the most swingingest jazz artists on the scene
His playing continues to delight audiences worldwide. today. Vocalist Roseanna Vitro joins him at Kitano.

56 December 2006  Jazz Improv ® Magazine’s New York Jazz Guide To Advertise CALL: 212-889-0853
calendar of events Barbés Blue Note
376 Ninth St. 131 W Third St.
(at 6th Ave.) (betw. 6th & MacDougal)
718-965-9177 212-475-8592
1 - Fri Timothy Dick; The Second Fiddles; Jack Grace Cachao; Vinx

Prince Diabate & Imaginary Homeland; Brooklyn
2 - Sat Cachao; Frank & Joe Show w/ Fareed Haque
Qawwali Party

3 - Sun Ila Cantor; Stephane Wrembel Cachao; Kenny Werner & his NYU Jazz

Freddie Hubbard & the New Jazz Composers
4 - Mon Smokey Hormel Western Combo

5 - Tue Jenny Scheinman; Slavic Soul Party Gal Costa

6 - Wed Gal Costa

7 - Thu Sam Bardfeld’s Stuff Smith Project; Rachelle Garniez Gal Costa
Greta Gertler & the Extroverts; J. Walter Hawkes;
8 - Fri Gal Costa; Jacob Fred Jazz Odyssey
Chicha Libre!

9 - Sat WFMU Broadcast Live; Kill Henry Sugar Gal Costa; Jacob Fred Jazz Odyssey

Gal Costa; Benny Powell Quintet feat. Sayuri
10 - Sun Erik Pakula’s Triple Paste; Stephane Wrembel
Goto & TK Blue
11 - Mon Smokey Hormel Western Combo Taj Mahal Trio

12 - Tue Gowanusburg; Slavic Soul Party Taj Mahal Trio

13 - Wed Taj Mahal Trio
Rudresh/Hemingway/Dresser Trio; Musette Explo-
14 - Thu Manhattan Transfer
Manhattan Transfer; Chris Dave & Friends
15 - Fri Banning Eyre; Howard Fishman
feat. Stokley
16 - Sat Andy Statman; Polka Freak Out Manhattan Transfer; Chris Rob

17 - Sun Barbes Classical; Stephane Wrembel Manhattan Transfer; Frank Wess Quartet

18 - Mon Smokey Hormel Western Combo

19 - Tue Jenny Scheinman Chris Botti

20 - Wed Chris Botti

21 - Thu Chris Botti
Chris Botti; Mike Clark, Donald Harrison, &
22 - Fri
Jerry Z
Chris Botti; Mike Clark, Donald Harrison, &
23 - Sat
Jerry Z
24 - Sun Chris Botti

25 - Mon Satoshi Inoue Quartet

26 - Tue Jenny Scheinman; Slavic Soul Party Chris Botti

27 - Wed Chris Botti

28 - Thu Chris Botti

29 - Fri Chris Botti; Sam Kininger & Guests

30 - Sat Chris Botti; Sam Kininger & Guests
5th Annual New Year’s Balkan Bash w/ The Zagnut
31 - Sun Chris Botti; Kelli Sae
Cirkus Orkestar

To Advertise CALL: 212-889-0853 Jazz Improv ® Magazine’s New York Jazz Guide  December 2006 57
calendar of events
Cecil’s Jazz Club Cleopatra’s Needle Cornelia St. Café Dizzy’s Club Coca Cola Dizzy’s Club After Hours
364 Valley Rd. 2485 Broadway 29 Cornelia St. Broadway at 60th St. Broadway at 60th St.
West Orange, NJ 07052 (betw. 92nd & 93rd St.) (betw. W 4th & Bleecker St.) 5th Floor 5th Floor
973-736-4800 212-769-6969 212-989-9319 212-258-9595 212-258-9595
Cyrus Chestnut, George Mraz, &
1 - Fri Bob Devos CD Release Party Jon Maione Quartet Tony Malaby Tuba Trio + One Adam Birnbaum Trio
Lewis Nash
Bob Devos CD Release Party; Nora McCarthy; Ryan Scott & Cyrus Chestnut, George Mraz, &
2 - Sat Marek’s Jazz Vision Quartet Adam Birnbaum Trio
Grassella Oliphant Quartet Sean Wood Lewis Nash
Pam Purvis & Bob Ackerman; Matt Cyrus Chestnut, George Mraz, &
3 - Sun Singers’ Open Mic; Toru Dodo Jam Victor Prieto Trio
Chertkoff Organ Grooves Lewis Nash
Keep Searchin’ w/ Steve Turre &
4 - Mon Cecil’s Big Band Jam Session Tullis McCall; Amram & Co.
Stefon Harris
Jazz Jam Session w/ Bruce Wil- Igor Butman 4 w/ Eddie Gomez, Ben Markley Quartet w/ Special
5 - Tue Jam Julius Tolentino
liams Lenny White, & Andrey Kondakov Guests
Brazilian Helio Alves Trio w/ Santi Igor Butman 4 w/ Eddie Gomez, Ben Markley Quartet w/ Special
6 - Wed New Music Night Jon Weiss; Singers’ Open Mic
Debriano, Donald Edwards Lenny White, & Andrey Kondakov Guests
Artists’ Salon; Gnu Vox: Jo Lawry Igor Butman 4 w/ Eddie Gomez, Ben Markley Quartet w/ Special
7 - Thu Brazilian Night feat. Yashmin Dan Furman Trio
& David Devoe Lenny White, & Andrey Kondakov Guests
Jeremy Steig Quartet w/ Vic Juris, Igor Butman 4 w/ Eddie Gomez, Ben Markley Quartet w/ Special
8 - Fri Sonny Fortune Quartet Cathy Harley Quartet
Cameron Brown, Anthony Pinciotti Lenny White, & Andrey Kondakov Guests
Sonny Fortune Quartet; Igor Butman 4 w/ Eddie Gomez, Ben Markley Quartet w/ Special
9 - Sat Larry Newcomb Quartet Ben Waltzer Trio
Grassella Oliphant Quartet Lenny White, & Andrey Kondakov Guests
Pam Purvis & Bob Ackerman; Matt Sex Scenes; Myra Melford/Leroy Igor Butman 4 w/ Eddie Gomez,
10 - Sun Singers’ Open Mic; Toru Dodo Jam
Chertkoff Organ Grooves Jenkins/Thurman Baker Lenny White, & Andrey Kondakov
Upstarts! Julliard Jazz Ensemble w/
11 - Mon Cecil’s Big Band Jam Session
Vincent Herring
Sayuri Goto Trio feat. Essiet Essiet
12 - Tue Jazz Jam w/ Bruce Williams Jam Julius Tolentino Randy Weston African Rhythms
& Gene Jackson
Sayuri Goto Trio feat. Essiet Essiet
13 - Wed Lori Hartman Jon Weiss; Singers’ Open Mic Randy Weston African Rhythms
& Gene Jackson
Gnu Vox: Elisabeth Lohninger & Sayuri Goto Trio feat. Essiet Essiet
14 - Thu Brazilian Night feat. Yashmin John Nam Trio Randy Weston African Rhythms
Erin Byrne, Walter Fischbacher & Gene Jackson
Trio M w/Myra Melford; Mark Sayuri Goto Trio feat. Essiet Essiet
15 - Fri Spirit of Life Ensemble Randy Weston African Rhythms
Dresser; Matt Wilson & Gene Jackson
Gerald Cleaver: Violent Hour-two Sayuri Goto Trio feat. Essiet Essiet
16 - Sat Grassella Oliphant Quartet Spirit of Life Ensemble Randy Weston African Rhythms
Nights Live Recording & Gene Jackson
Pam Purvis & Bob Ackerman; Matt Gerald Cleaver: Violent Hour-two
17 - Sun Singers’ Open Mic; Toru Dodo Jam Randy Weston African Rhythms
Chertkoff Organ Grooves Nights Live Recording
Bernard Purdie & New School R&B
18 - Mon Cecil’s Big Band Jam Session World Mondays: Kaiku
Revue; Junior Mance
David “Fathead” Newman; Dr. Lonnie
19 - Tue Jazz Jam w/ Bruce Williams Jam Julius Tolentino Akiko Tsuruga Trio
Smith Trio w/ Peter Bernstein
David “Fathead” Newman; Dr. Lonnie
20 - Wed New Music Night Jon Weiss; Singers’ Open Mic Songwriters’ Beat 6th Anniversary Akiko Tsuruga Trio
Smith Trio w/ Peter Bernstein
Po’ Jazz; Mark Helias’ Bass-Drum- David “Fathead” Newman; Dr. Lonnie
21 - Thu Brazilian Night feat. Yasmin Jun Miyake Quartet Akiko Tsuruga Trio
Bone Smith Trio w/ Peter Bernstein
David “Fathead” Newman; Dr. Lonnie
22 - Fri TK Blue w/ Benny Powell Hiroshi Yamazaki Quartet Angelica Sanchez Quartet Akiko Tsuruga Trio
Smith Trio w/ Peter Bernstein
TK Blue w/ Benny Powell; Gras- David “Fathead” Newman; Dr. Lonnie
23 - Sat Joel Forrester Quartet Akiko Tsuruga Trio
sella Oliphant Quartet Smith Trio w/ Peter Bernstein
Pam Purvis & Bob Ackerman; Matt David “Fathead” Newman; Dr. Lonnie
24 - Sun Singers’ Open Mic; Toru Dodo Jam
Chertkoff Organ Grooves Smith Trio w/ Peter Bernstein
25 - Mon Cecil’s Big Band Jam Session
26 - Tue Jazz Jam w/ Bruce Williams Jam Julius Tolentino TBA
Soul of the Blues: Mark Tolstrup,
27 - Wed New Music Night Jon Weiss; Singers’ Open Mic TBA
Jon Short, Fitzgerald & Beach

28 - Thu Brazilian Night feat. Yashmin Matt Ray Trio TBA

29 - Fri Wallace Roney Group Cheryl Cassidy Quartet TBA
Grassella Oliphant 4;
30 - Sat Tammy Shoji Quartet TBA
Wallace Roney Group
Pam Purvis/Bob Ackerman;
31 - Sun New Year’s Eve w/ Steve Belvilus TBA
Wallace Roney

58 December 2006  Jazz Improv ® Magazine’s New York Jazz Guide To Advertise CALL: 212-889-0853
Deborah Davis:
Annual Jazz
Concert to Benefit
Lymphoma Society
at Blue Note
I first learned about the Leukemia & Lymphoma
Society from a flyer soliciting runners for their TEAM
in Training in 1996. It caught my eye because my
father had died of Leukemia in 1981. I signed up and
ran a full 26.2 mile marathon with the Society’s Team
in Training in Dublin Ireland, October 26, 1997 finish-
ing in 4:37. I had trained over a 6 month period and
raised a little over $3600 from sponsors and jazz
fans, by passing a basket at all my gigs. I had
planned on meeting new friends and training with the
team in Central Park, but I ended up being on the
road most of that year, so I trained alone jogging in
Ritido Park in Spain, The Black Forest in Germany,
Englisher Garden in Munich, South Africa, etc. I
remember getting $1000 from my fans one week in
Germany and another $600 in Spain. Being on the
road so much, I was really proud of myself for stick-
ing with my training alone, and finishing. It was an
easy run in Dublin, but I confess, the entire run I was
wishing I had roller blades. The next year I signed up
for the 38 mile inline skate team. I started training
and learned that I had an muscle injury that would
prevent me from participating. I’m not good at being
defeated, and I didn’t want to stop my own personal
campaign to raise funds for such a needy cause, so I
put my thinking cap on and realized , I had a much
better platform for raising funds than running mara-
thons or skating 38 miles. I knew there had to be a
better way! I figured I could raise much more money
in one night! I had learned that the Blue Note family
had a personal link to the illness as well, so I asked
Danny Bensusan about doing annual concerts for the
cause and donating the door charge from one night a
year! It was an idea that he has been happy to
continue and it has proved to be very successful
raising a great deal of funds over the years for the
cause. I also donate $1 from the sale of each of my
CD’s since 2002. CD’s are available online @
Since my mother’s death 2004, I’m now consid-
ering a platform for raising funds for Alzheimer’s
disease! I believe it’s a great way to honor both my
parents lives. Besides, everything I am, and every-
thing I do has a direct link to who they raised me to
be. My annual jazz benefit concerts funds now go
towards the Society’s Annual
Light The Night “Walk” over the Brooklyn Bridge. I
continue the concerts and the walks in honor of my
father Douglas E. Davis, Sr and on behalf of all the
patients and their families who are battling blood
related cancers.
10th Annual Jazz Benefit Concert
Monday, January 1, 2007, 8:00 & 10:30 shows
Blue Note Jazz Club 131 W. 3rd St. @ 6th Av), NY
Reservations Suggested: 212-475-0049
$25 Cover goes to the Charity.
For more information or to sign up for an event contact:

To Advertise CALL: 212-889-0853 Jazz Improv ® Magazine’s New York Jazz Guide  December 2006 59
calendar of events Garage Iridium The Jazz Gallery Jazz Standard Joe’s Pub
99 Seventh Ave. S 1650 Broadway 290 Hudson St. 116 E 27th St. at The Public Theatre
(at Grove St.) (below 51st St.) (below Spring St.) 425 Lafayette Street
212-645-0600 212-582-2121 212-242-1063 212-576-2232 (betw E. 4th St & Astor Pl) 212-539-8563
Tango Meets Jazz Festival w/
1 - Fri Nick Moran Pharoah Sanders Jason Lindner’s AB Aeterno Trio Marion Logudice; Lucie Idlout
Pable Ziegler Quartet
Larry Newcomb 3; Bruce Dave Liebman & Bobby Avey: Tango Meets Jazz Festival w/
2 - Sat Pharoah Sanders Marta Gomez; The Microscopic Septet
McKinnon; Virginia Mayhew 4 Vienna Diabloque Pable Ziegler Quartet
Champion Fulton Trio; David Coss Barry Levitt Jazz Wrkshp/Brunch; Tango Meets Jazz Festival w/ Allen Toussaint; Michelle Shocked; SXIP
3 - Sun
3; Jamaal Sawyer Pharoah Sanders; Tony Fusco Pable Ziegler Quartet Shirey
Howard Williams Jazz Orchestra; Voices and Songs Series: Sharp Things w/ Kristin Diable; Uncle
4 - Mon Les Paul & His Trio Steve Coleman Presents
Ben Markley 4 “Monday Off” Moon sings Velvet Underground
Tom Abbott Big Bang Big Band;
5 - Tue Mingus Legacy Dave Douglas Quintet Compania Flamenca Juan Polvillo
Mike Macallister
Compania Flamenca Juan Polvillo; Carla
6 - Wed Sharp Radway Trio;Dave Smith Freda Payne Dave Douglas Quintet
Bozulich’s Evangelista
Jonathan Batiste 3 w/ Jennifer Dana Leong’s Rhapsody in Over the Rhine; Tony Camin & Leo Allen
7 - Thu Freda Payne Dave Douglas Quintet
Sanon; BJ Jansen Quintet Groove in Bro’in Out
Tony Camin/Leo Allen; Vincius Cantu-
8 - Fri Hide Tanaka Trio; Joey Morant Freda Payne David Gilmore Group Dave Douglas Quintet
aria, Marc Ribot; Leslie Kritzer
Nick Moran Trio; Vinson Valega; Tony Camin & Leo Allen; Fraulein Maria;
9 - Sat Bilal Vocal Danny Grissett Trio Dave Douglas Quintet
French Cookin’ Blues Band Rene Risque & the Art Lovers
Lou Caputo 4; David Coss 3; Barry Levitt’s Workshop & Brunch; Leslie Kritzer; On
10 - Sun Dave Douglas Quintet
Austin Walker Quartet Bilal Vocal; John Signorello Ice; Tony Trischka
Howard Williams Jazz Orchestra; Leslie Kritzer; Nativity: a Life Story in
11 - Mon Les Paul & His Trio Steve Coleman Presents Voices and Songs Series: TBA
Ben Markley Quartet Concert
Gary Morgan and Panamericana; Kelly Joe Phelps w/ Natalia Zukerman;
12 - Tue Mingus Legacy
Mike Macallister Mike Errico; Girlyman
Michael Wolff: Love and Destruc- The Tom Kitt Band; Finn O Lochlainn CD
13 - Wed Gypsy Jazz Caravan; Dave Smith Joey DeFrancesco All-Stars
tion Tour Release
Michael Wolff: Love and Destruc- Benefit: North Star Fund w/Emeline
14 - Thu John Chin Trio; Ryan Anselmi 4 Joey DeFrancesco All-Stars Matt Brewer Quartet
tion Tour Michel; Losers Lnge; Dick Valentine
The Shape of Jazz to Come:
15 - Fri Mark Capon; Jonathan Batiste Trio Joey DeFrancesco All-Stars Mose Allison The Losers Lounge
Direction in 21st Century Music
Joni Paladin; Art Lillard Quartet; The Shape of Jazz to Come: The Losers Lounge; Treble; Senegalese
16 - Sat Joey DeFrancesco All-Stars Mose Allison
Virginia Mayhew Quartet Direction in 21st Century Music Mbalax Waaw band
Eve Silber; David Coss Trio; Adam Barry Levitt’s Jazz Brunch; Joey
17 - Sun Mose Allison Ethel Lab Series w/ Jill Sobule
Birnbaum Trio DeFrancesco All-Stars
Howard Wiliams Jazz Orchestra; Voices And Songs Series: Jaqui
18 - Mon Les Paul & His Trio Steve Coleman Presents Hadassah Gross; Divahn/Shushmo
Kenny Shanker Naylor
New Yorkestra Big Band; Jesse
19 - Tue Mingus Legacy Robert Glasper Trio Downtown Holiday
Elder Trio
20 - Wed David White 5; Vitaly Golovnev Vince Giordano & The Nighthawks Robert Glasper Trio East Village Opera Company
Cyrus Chestnut/Kevin Mahogany Robert Glasper Trio w/ Mark Hadassah Gross; Betty; Don’t Quit Your
21 - Thu John Chin Trio; Chris Ward Will Vinson Quintet
Christmas feat. Eric Alexander Turner Night Job
Cyrus Chestnut/Kevin Mahogany Betty; Las Rubias Del Norte; Elysian
22 - Fri Vinson Valega; Andre Barnes Trio Renee Neufville Robert Glasper Experiment
Christmas feat. Eric Alexander Fields
Joni Paladin; Hide Tanaka Trio; Cyrus Chestnut/Kevin Mahogany
23 - Sat Jaleel Shaw Quartet Robert Glasper Experiment Betty; Bob Dorough
Sharp Radway Trio Christmas feat. Eric Alexander
Lou Caputo Quartet; Kenny Shan- Barry Levitt; Cyrus Chestnut/Kevin
24 - Sun
ker Trio; David Coss and his Trio Mahogancy w/ Eric Alexander
25 - Mon Closed for Christmas Les Paul & His Trio
New York Jazz Nonet presents
26 - Tue Mingus Legacy Dave Stryker Organ Trio
David Heckendorn; Ben Cliness 3
Kevin Dorn Dixieland Band;David
27 - Wed Caribbean Jazz Proj-Dave Samuels Preservation Hall Jazz Band
White Quintet
Tatum Greenblatt Quartet; Kenny
28 - Thu Caribbean Jazz Proj-Dave Samuels Preservation Hall Jazz Band Ellis Paul; Stephen Kellogg & The Sixers
Shanker Quartet
Diane Schuur w/ Dave Samuels &
29 - Fri David White 5; Mark Marino 3 Preservation Hall Jazz Band Sandra Bernhard’s New Year’s Weekend
The Caribbean Jazz Project
Larry Newcomb Trio; Mark Capon; Diane Schuur w/ Dave Samuels &
30 - Sat Preservation Hall Jazz Band Sandra Bernhard’s New Year’s Weekend
Justin Lees Trio The Caribbean Jazz Project
Barry Levitt; Diane Schuur w/ Dave
31 - Sun Joni Paladin Preservation Hall Jazz Band Sandra Bernhard’s New Year’s Weekend

60 December 2006  Jazz Improv ® Magazine’s New York Jazz Guide To Advertise CALL: 212-889-0853
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calendar of events
Kitano Lenox Lounge Night & Day Restaurant Smoke
66 Park Ave. 288 Lenox Avenue 230 Fifth Ave., Brooklyn, 2751 Broadway
(at 38th St.) (above 124th St.) NY (at 105th St.)
212-885-7119 212-427-0253 (at President St.) 212-864-6662 718-399-2161

1 - Fri Brazilian Voyage Trio Tiffany Hall Trio Blues & Jazz Organist Jimmy

2 - Sat Brazilian Voyage Trio Tiffany Hall Trio Blues & Jazz Organist Jimmy

3 - Sun Jazz Vocalist JAM Marc Estrin & Bill Hoffman; Donna Leonhart; Chris
w/LaFayette Harris 3 Sunday Kind of Jazz Washburne & S.Y.O.T.O.S.

4 - Mon Patience Higgins The Artist’s Salon; Debra Jam Session w/ John Farns-
& the Sugar Hill Quartet Barsha, Mary Cleere Haran worth Quintet

5 - Tue Live Jazz Jam

6 - Wed Ted Rosenthal Trio Nathan Lucas Organ Trio Songwriter’s Showcase hosted
by Staci Rochwerg

7 - Thu Daniela Schaecter Trio Blues and R&B Tuey Connell & Friends Jean-Michel Pilc Quartet

8 - Fri Don Friedman Quartet feat. Kathy Griggs 3 Larry Willis Quintet
Peter Bernstein

9 - Sat Don Friedman Quartet feat. Kathy Griggs 3 Larry Willis Quintet
Peter Bernstein

10 - Sun Jazz Vocalist JAM Sunday Kind of Jazz Sunday Vocalist Series: Chris
w/LaFayette Harris 3 Washburne S.Y.O.T.O.S.

11 - Mon Patience Higgins Debra Barsha, Mary Cleere Jam Session w/ John Farns-
& the Sugar Hill 4 Haran worth Quintet

12 - Tue Live Jazz Jam

13 - Wed Sameer Ramchadran Trio Nathan Lucas Organ Trio Songwriter’s Showcase hosted
by Staci Rochwerg

14 - Thu Rich Perry Quartet Blues and R&B Jon Sobel’s Blues in the Slope Mulgrew Miller Quartet

15 - Fri Eric Reed Trio Bill Lee Group Mulgrew Miller Quartet

16 - Sat Eric Reed Trio Bill Lee Group Mulgrew Miller Quartet

17 - Sun Jazz Vocalist JAM Sunday Kind of Jazz Sunday Vocalist Series: TBA;
w/LaFayette Harris 3 Chris Washburne

18 - Mon Patience Higgins Debra Barsha, Mary Cleere Jam Session w/ John Farns-
& the Sugar Hill Quartet Haran worth Quintet

19 - Tue Live Jazz Jam

20 - Wed James Weidman Trio Nathan Lucas Organ Trio Songwriter’s Showcase hosted
by Staci Rochwerg

21 - Thu Kendra Shank Quartet Blues and R&B

22 - Fri Jim Rotondi Quintet feat. Danny Mixon Trio Christmas w/ Harold Mabern &
Joe Locke Friends

23 - Sat Jim Rotondi Quintet feat. Danny Mixon Trio Christmas w/ Harold Mabern &
Joe Locke Friends

24 - Sun Jazz Vocalist JAM Sunday Vocalist Series: TBA;
w/LaFayette Harris 3 Chris Washburne

25 - Mon Patience Higgins
& the Sugar Hill Quartet

26 - Tue Live Jazz Jam w/ Dan
McCarthy Trio

27 - Wed Nathan Lucas Organ Trio

28 - Thu Blues and R&B The Ukuladies

29 - Fri Hiromi Kasuga Duo Danny Mixon Trio Steve Turre Quintet Steve Turre Quintet

30 - Sat Dominic Duval Duo Danny Mixon Trio Steve Turre Quintet Steve Turre Quintet

31 - Sun Don Braden Quartet w/ New Year’s Eve w/ One For All David Hazeltine; Eric Alexan-
Roseanna Vitro der, Jim Rotondi, Steve Davis

62 December 2006  Jazz Improv ® Magazine’s New York Jazz Guide To Advertise CALL: 212-889-0853
calendar of events
The Stone Trumpets Village Vanguard
Ave. C and Second St. 6 Depot Square 178 Seventh Ave. S
Montclair, New Jersey 07042 (below W 11th St.)
Tel. 973-744-2600 Fax 973-744- 212-255-4037 7735

1 - Fri Paul Dunmall, Paul Rogers, Tony Ragan Whiteside Quartet Tom Harrell Quintet
2 - Sat Paul Dunmall, Paul Rogers, Tony Anna Maria Mannarino Quintet with Tom Harrell Quintet
Levin, Ellery Eskelin, Ray Anderson Ted Curson
3 - Sun Paul Dunmall, Paul Rogers, Tony Betty Liste Xmas CD Release Party Tom Harrell Quintet
Levin; Kevin Norton, Tony Malaby
4 - Mon Vanguard Jazz Orchestra

5 - Tue Steve Beresford’s Signal for Tea Matt McDonald/Craig Yaremko Group Paul Motian Trio 2000 + Two
Quartet; Beresford & Lol Coxhill
6 - Wed Lol Coxhill Ellington Band Paul Motian Trio 2000 + Two

7 - Thu Lucian Ban, Barry Altschul, & Hilliard Dre Barnes Paul Motian Trio 2000 + Two
Greene; Hieroglyphics
8 - Fri Dennis Gonzalez Yells at Eels Bob Devos Trio with Paul Motian Trio 2000 + Two
Hendrik Meurkens
9 - Sat Dennis Gonzalez, Paul Dunmall, Paul Bob Baldwin Birthday Celebration Paul Motian Trio 2000 + Two
Rogers, Tony Levin
10 - Sun Dee Pop, Tom Verlaine, Perry Robin- Rick Crane & Bob Himmelberger CD Paul Motian Trio 2000 + Two
son, William Parker, Any Haas Rel; Roseanna Vitro
11 - Mon Vanguard Jazz Orchestra

12 - Tue Selwyn Lissack w/ Brice Winston, Berkana with Nat Janoff Cedar Walton Trio
Roy Campbell, & William Parker
13 - Wed Grachan Moncur III w/ Michael Black Dick Meldonian Big Band Cedar Walton Trio
& James Spaulding
14 - Thu Hugh Hopper, Nick Didkovsky, & Ted Curson’s Holiday Jam Session Cedar Walton Trio
15 - Fri Chris Cutler, Fred Frith, Hugh Hopper Carrie Jackson Quartet Cedar Walton Trio

16 - Sat Chris Cutler, Fred Frith, & Tim Hodg- Enrico Granafei/Kristine Massari Cedar Walton Trio
17 - Sun Tim Hodgkinson & Fred Frith; Tim Jeree Wade & Adam Wade Cedar Walton Trio
Hodgkinson & Chris Cutler
18 - Mon Vanguard Jazz Orchestra

19 - Tue Michael Moore, Rob Brown, William Diane Moser Quartet-Christmas Cedar Walton Trio
Parker, & Gerald Cleaver Concert
20 - Wed Michael Moore, Jamie Saft, Trevor Ellington Band Cedar Walton Trio
Dunn, & Kenny Wollesen
21 - Thu Ivo Perelmen, Dominic Duval, New- Chembo Corniel & Andrea Brachfeld Cedar Walton Trio
man T.Baker & Rosie Hertlein
22 - Fri Joelle Leandre, Marilyn Crispell & Houston Person Holiday Concert Cedar Walton Trio
23 - Sat Mariyln Crispell & Tisziji Munoz Duo; Houston Person Holiday Concert Cedar Walton Trio
T.Munoz/Marilyn Crispell 4
24 - Sun Special HolidayDMG Benefit Cedar Walton Trio

25 - Mon Vanguard Jazz Orchestra

26 - Tue Raoul Bjorkenheim, William Parker, Pam Purvis and Bob Ackerman Dr. Michael White’s Original
Hamid Drake Liberty Jazz Band of New
27 - Wed Kazutoki Umezu w/ Jon Madof & Bruce Jackson Trio Dr. Michael White’s Original
Guests Liberty Jazz Band
28 - Thu Nels Cline & Surprise Guests Betty Liste Vocal Jam Dr. Michael White’s Original
Liberty Jazz Band
29 - Fri Vinny Golia, Nels Cliner, Ken Filiano Carla Culkin Quartet Dr. Michael White’s Original
Liberty Jazz Band of New
30 - Sat John Zorn “End of the Year” All-Star Melvin Davis Quartet Dr. Michael White’s Original
Improv Benefit Liberty Jazz Band
31 - Sun Kristine Massari Quartet;Enrico Dr. Michael White’s Original
Granafei/Ted Curson Quintet Liberty Jazz Band

To Advertise CALL: 212-889-0853 Jazz Improv ® Magazine’s New York Jazz Guide  December 2006 63
cd reviews
Louis Armstrong (2) from the listening public who found his en-
tire package of on-stage presence and recorded
accessibility engaging. The recordings in The
LEGENDS OF AMERICAN MUSIC: THE Wonderful World of Louis Armstrong concen-
WONDERFUL WORLD OF LOUIS ARM- trate on the latter side of Armstrong’s musical
STRONG—TIME LIFE #M19270. personality. The CD set includes some of Arm- Disk 1: What a Wonderful strong’s early popular hits, like “Ain’t Misbe-
World, Cabaret, A Kiss to Build a Dream On, havin’” and “All of Me,” but his introductory
Hello Dolly, Makin’ Whoopee, Stormy Weather, cadenza of “West End Blues,” which remains
I Gotta Right to Sing the Blues, Nobody Knows embedded in the consciousness of jazz musi-
the Trouble I’ve Seen, Georgia on My Mind, If I cians, does not appears on it. None of Arm-
Could Be with You (One Hour Tonight), strong’s Hot Fives or Hot Sevens tracks from the
Bucket’s Got a Hole in It, Your Cheatin’ Heart, 1920’s, such as “Struttin’ with Some Barbecue,”
Blueberry Hill, I Wonder, (I’ll Be Glad When are included, but his Decca hit “When the Saints
You’re Dead) You Rascal You, Lazy ‘Sippi Go Marching In” is. Armstrong’s ever-popular
Steamer, I’m Confessin’ (That I Love You), I “You Rascal, You” continues to evoke smiles,
Can’t Give You Anything but Love, I’m in the indeed as proven again on The Wonderful World
Mood for Love, When the Saints Go Marching of Louis Armstrong, but the immortality of
In. Disk 2: When It’s Sleepy Time Down South, “Potato Head Blues” appears elsewhere.
Mack the Knife, Summer Song, (What Did I Do Armstrong’s discography is vast from the
to Be So) Black and Blue, Ain’t Misbehavin’, continuous accumulation of one startling re-
Yellow Dog Blues, Beale Street Blues, I Want a cording after another throughout his career. So,
Little Girl, Joseph ‘n’ His Brudders, Do You choices must be made to produce any collection
Know What It Means to Miss New Orleans, The of his recordings. The choices of Time Life dem-
Blues Are Brewin’, Rockin’ Chair, Someday onstrate Louis Armstrong’s acclaim throughout
You’ll Be Sorry, Mississippi Basin, I’ve Got the more than four decades as he negotiated evolv-
World on a String, All of Me, Stardust, I Surren- ing popular musical trends—New Orleans jazz,
der Dear, When Your Lover Has Gone, Lazy riverboat bands, blues, swing, big bands, bebop,
River. West Coast cool, rock and roll, hard rock and the
PERSONNEL: Louis Armstrong (trumpet, Dolly!” and “What a Wonderful World,” which
attracted little notice until it appeared in Good beginnings of fusion—to remain individualistic
vocals). Various other musicians. and influential. By remaining true to himself.
Morning Vietnam. Now, “What a Wonderful
By Bill Donaldson World” is perhaps the song that the public most
closely associates with Armstrong as it is per-
Louis Armstrong proved that one person formed at weddings, as background music for
can make a difference. Like so many other indi- video productions and even during sporting
viduals who have changed the course of history events. The CD’s also includes some of Arm-
or scientific thought or the arts, Armstrong strong’s late-career work that received lush, and
through perseverance and through his own tal- sometimes unnecessary, orchestration, like
ent—well, his own genius—eventually attained “Nobody Knows the Trouble I’ve Seen,” on
critical and popular recognition for the innova- which the strings underlay Armstrong’s singing
tions he conceived. Indeed, Armstrong was the with cloying sweetness. Even when Armstrong’s
source of an entire art form, jazz. He established work is cushioned in such elaboration, his trum-
the instrumentalist as the focal point of a group, pet playing commands attention with his famous
vibrancy and clarity. Dave Brubeck was gratified
he influenced most jazz trumpeters in one way or
another, and he created a vocal music style, es- that Armstrong recorded his “Summer Song,” Cheryl Bentyne
pecially scat singing, that many other singers and that recording is included as well, right after
adopted. Who could have foreseen that a person “Mack the Knife,” Armstrong’s interpretation THE BOOK OF LOVE - TELARC CD-83652.
born in poverty in New Orleans and incarcerated that he makes his own, as he did every other You Don’t Know Me; Be My
as a teen in the Colored Waifs Home would song he recorded through the irrepressibility of Love; Blue Moon; Let’s Do It; Don’t Say A
emerge as one of the most important musical his personality. Word; You Taught My Heart To Sing; You Go
pioneers of the twentieth century? Like Theloni- The reasons for Armstrong’s successes are To My Head; Cry Me A River; I’m A Fool To
ous Monk or Eubie Blake, for example, Arm- several, including his stunning innovations as a Want You; Goodbye; The Book Of Love
strong lived long enough to experience critical trumpet soloist, his appearance in films, the en- (Reprise)
swings of approval, as well as the vagaries of tertainment value of his filmed appearances, the PERSONNEL: Cheryl Bentyne, vocals; John
popular trends, until a consensus formed. firm management of his career by Joe Glaser, his Pizzzarelli, vocals; Mark Kibble, vocals, ar-
Such was Armstrong’s popular appeal that appearance on several labels, his early crossover ranger; Alvin Chea, vocals; Zoe Allen, vocals;
Time Life recordings, now marketed by Direct appeal from the race-based OKeh label, his Corey Allen, producer, arranger, conductor,
Holdings Americas, has released a two-CD adaptability to any musical form that struck his piano and keyboards; Bill Cantos, piano; Kevin
package that covers over 35 years of his re- interest, the unforgettable nature of his perform- Axt, bass; Grant Geissman, acoustic and classi-
cordings, from 1931 to 1967. With due acknowl- ances, his intriguing personal history, the irre- cal guitar; Wayne Johnson, classical guitar, ar-
edgement to Armstrong’s most frequently played sistible natural appeal of his original singing ranger; Dave Tull, drums; Scott Breadman, per-
recordings, Legends of American Music: The style, the longevity of his recording career, his cussion; Don Alias, percussion; Charlie Bisharat,
Wonderful World of Louis Armstrong includes, unpretentious affability and the sheer force of his violin; Armen Ksajikian, cello; Bob Sheppard,
of course, the recordings that the listening public talent. The allegiance to Armstrong is twofold: tenor saxophone; Chris Tedesco, trumpet; Den-
usually associates with him, especially “Hello, (1) from jazz enthusiasts who recognize the utter nis Deal, arranger; The City of Prague Sym-
incomparability and excitement of his work, and phony Orchestra Strings.

64 December 2006  Jazz Improv ® Magazine’s New York Jazz Guide To Advertise CALL: 212-889-0853
By Alex Makarov. look that way, or it could be the chapters of
songs in the table of contents in the booklet that
It is not an easy task to review the Cheryl looks like a screenplay draft to me. I don’t know.
Bentyne’s work in general and this CD in par- Whatever it is, Cheryl Bentyne in my opinion is
ticular for a few main reasons. In “general”, perfect for this type of project. I remember her
because the legendary jazz vocal group Manhat- very well the first time I saw the Manhattan
tan Transfer and Cheryl Bentyne as a member is Transfer’s Vocalese on VHS back in the USSR.
in the cohort of greats that occupies a very spe- Since then I have always thought of her as a
cial place in the heart and mind of yours truly, an singer who acts or an actress who sings. I have
ordinary but devoted jazz lover from the former had an opportunity to see the Manhattan Trans-
Soviet Union. “In particular,” because first, the fer live twice after that and it has just made me
album is due in stores on late November and it certain.
makes me feel a little special as a reviewer and, All songs for this album were carefully
second, it seems to me that this CD must be a selected and as Cheryl noted – “Some of them so
milestone in the solo career of Cheryl Bentyne personal, I’d rather not comment.” Her singing is
and in the career of her husband Corey Allen very sincere indeed. Most of the songs are time-
whose role in this project as a producer, arranger tested classics. Those that are not will probably
of the most of the songs, conductor and pianist is be. Each one of these songs represents a certain
a vital one and proves him as a very talented phase of love. Strings open the first chapter “The Lust” is the third chapter. It contains only
musician. called “Longing” with Eddy Arnold’s and Cindy one but very beautiful and intimate ballad
The first thing that caught my eye when I Walker’s “You Don’t Know Me” and sound like “Don’t Say A Word” written by Bill Cantos, not
open the CD cover was the line at the bottom of an introduction to the story that lies ahead. There so long ago, with him at the piano, strings and
the page: “The City of Prague Symphony Or- is also a nice bluesy solo from Grant Geissman. nice tenor solo from Bob Sheppard. The title
chestra Strings”. At this point I realized that this The second tune in this chapter is “Be My song and “You Taught My Heart To Sing” have
must be something exclusive and it would be Love,” the classic by Sammy Cahn and been included in the fourth chapter called simply
better not to proceed with reading, but rather Brodszky. This song arranged by Wayne John- “Love.” In all albums title songs tend to stand
start listening to get an unfettered opinion. I was son as a duo with him on guitar, and Cheryl out. The Book Of Love is no exception to this
glad to find my view in agreement with the CD Bentyne. It includes a deep-sounded and velvety rule. It is truly outstanding. Handsomely ar-
booklet contents. By the way there are no liner solo on cello by Armen Ksajikian. The second ranged by Mark Kibble with the instantly recog-
notes as such. Instead, there are some thoughts chapter called “Flirtation” consists of the two nizable voices of Take 6, this a cappella-sung
from Cheryl, thanks from Corey and lyrics of the classics “Blue Moon” and “Let’s Do It.” John tune sounds stunning. In contrast, the next one
songs that are explanatory enough. There is also Pizzarelli on vocals joins Cheryl on “Blue “You Taught My Heart To Sing” is a duet with
something “theatrical” in a good sense in this Moon.” Both tunes were playfully and colorfully Corey Allen on piano. Very heartfelt singing
CD. May be the title The Book Of Love makes it arranged. “Blue Moon” is especially picturesque. from Cheryl and elegant accompaniment from

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Corey make this number gorgeous. Chapter five, acquainted with Broadbent’s work in 1976 when
“Joy,” comes next with only the one standard I picked up a copy of the great Woody Herman
“You Go To My Head,” lovingly arranged with work “The Children of Lima”. I was a young
strings, guitar, open trumpet and gentle Cuban student of jazz at that time and his work made a
touch. The sixth chapter contains two timeless lasting impression on me, and since then I have
classics “Cry Me A River” and “I Am A Fool To always known that when a Broadbent arrange-
Want You,” and is called “Disillusion.” The ment is included on a recording it is going to be
muted trumpet of Chris Tedesco and accompa- something special, and this release does not dis-
nying strings creates an atmosphere of disen- appoint.
chantment in “Cry Me A River.” On “I Am A It has to be noted that although the strings
Fool To Want You,” Cheryl Bentyne establishes on these selections are largely in the background,
a strong mood of hopelessness supported by they form an integral part of the music and do
violin and backed by the very capable rhythm not have the overlaid fluff feel that some listen-
section of Corey Allen, Kevin Axt and Dave ers might associate with a “strings’ albums.
Tull. “Goodbye” is the only song in the final Broadbent beautifully crafts the arrangements
chapter entitled “Loss.” It sounds sad but there is and orchestrations with interesting voicings and
no desperation, rather a sense of confidence and many dramatic, expressive and passionate mo-
little hope. This track is dedicated to the memory ments.
of Don Alias, who ironically appears in this song Of the ten pieces included on the disc five
posthumously. The abbreviated version of “The are Broadbent originals. “Autumn Variations” is
Book Of Love” concludes the story. Cheryl Ben- a medium up-tempo swing number with pleasing
tyne and Corey Allen preserve a traditional style, melodic and chordal movement. E. 32nd Elegy
bolstered and refreshed by their own musical written as a tribute to Lennie Tristano is mourn-
ideas. Sincerity of singing, illustrative, elegant ful and very impassioned. The title piece “Every
and tasteful arrangements, the very delicate ap- Time I Think Of You”, opens with some gor-
proach to each song, and distinct solos make this geous solo violin work and orchestration that is
CD a solid piece of work. sans rhythm section. This is a very touching and
moving work with a melody line that would
stand up to that of an age-old standard. “Nirvana
Blues” is a hip thematic piece with another
memorable melodic statement. The last original
and closing piece of the recording, “Woody ‘n’
Me, is a ballad dedicated to Woody Herman,
with whom Broadbent had a long, fruitful work-
ing relationship. The piece retains the warmth
and feeling of the session.
Of the standards offered all include excel-
lent arrangements and orchestrations. In particu-
lar the rendition of the Miles Davis/Bill Evans
Alan Broadbent piece “Blue In Green” stands out for me. The
orchestration is very emotional and Broadbent
exhibits his mastery of how to effectively use
EVERY TIME I THINK OF YOU – Artistry tension, climax and release.
Music 264 S. La Cienega Blvd., Suite 1264, Broadbent’s playing throughout the re-
Beverly Hills, CA 90211; cording is impassioned, soulful and technically Autumn Variations; excellent. His sense of time is always right on,
Bess, Oh Where’s My Bess; Blue In Green; E. his soloing is superb, and his choice of notes is
32nd Elegy; Last Night When We Were Young; always very tasteful. Brian Bromberg’s bass
Every Time I Think Of You; Lover Man; Nirvana sound is deep and round and he proves to be a
Blues; Spring Is Here; Woody ‘n’ Me. very tasteful and melodic player as well. Brom-
PERSONNEL: Alan Broadbent, Piano; Brian berg also offers up some excellent solo work.
Bromberg, Wood Bass; Kendall Kay, Drums; Kendall Kay’s drum work is impeccable and he
The AB (Tokyo) String Section. provides the perfect rhythmic feel on these
By Scott Hockenberry This is a touching, tasteful and relaxing
recording that is steeped with romanticism and
Alan Broadbent’s latest release “Every can at times melt your heart. All in all this is a
Time I Think Of You” offers a fine selection of very enjoyable offering that is another great
Broadbent original compositions along with addition to Alan Broadbent’s considerable re-
various timeless standards. The session is pre- sume.
sented in a traditional piano, bass, drums trio
with string arrangements included on all selec-
tions. There is a consistent laid-back feel to the Linda Bianchi
recording with plenty of emotion and the excel-
lent orchestral arranging that Broadbent is well LINDA BIANCHI—Ribico #7. Ribico Records,
known for. New York, NY 10014.
Broadbent has worked as a pianist and ar- The Joint is Really Jumpin’ Down at Carnegie
ranger/conductor for a virtual who’s who of Hall; Anyone Who Had a Heart; They Can’t
musical icons in both the jazz and pop idioms. Take That Away from Me / If I Love Again; On
His list of credits include Charlie Haden, Natalie the Sunny Side of the Street.
Cole, Woody Herman and Rosemary Clooney PERSONNEL: Linda Bianchi, vocals; Fran
just to name a few. I personally first became Minarik, piano.
66 December 2006  Jazz Improv ® Magazine’s New York Jazz Guide To Advertise CALL: 212-889-0853
By Jim Santella

In this brief performance, Linda Bianchi
sings cabaret with a personal zeal. As an estab-
lished actress and veteran performer, she knows
how to convince an audience. With Only Make
Believe, the New York theatrical charity devoted
to children in hospitals, she volunteers her time
to do that often. The young critics with Only
Make Believe may not be too tough on her, but A Rhapsody; Trane’s Slo Blues; Slowtrane; Like ‘Trane in this collection will be enough for you!
those kids still know what’s genuine and what’s Someone In Love; I Love You; DISC 2: You Spanning a period of only a year and a half,
not. Details on the organization, by the way, are Leave Me Breathless; Bass Blues; Soft Lights this collection covers Coltrane’s stint as a band-
available at and Sweet Music; Traneing In; Slow Dance; leader for Prestige Records that began in the
Bianchi is genuine. Her interpretations are Lush Life; The Believer; Nakatini Serenade; spring of 1957. Thirty years old, free from the
the real deal. Light and carefree, she sings with a DISC 3: Come Rain or Come Shine; Lover; Rus- ravages of a heroin addiction that caused Miles
polished charm. Clocking in at a mere 14:21, the sian Lullabye; Theme For Ernie; You Say You Davis to jettison him, and exploring the Muslim
album’s four tracks serve as an introduction to Care; Good Bait; I Want To Talk About You; religion of his new bride, Coltrane recorded 125
her lovely voice and technique. With only piano Rise ‘n’ Shine; I See Your Face Before Me; tracks over 27 recording sessions at Prestige.
alongside, she leaves us plenty of room to absorb DISC 4: If There Is Someone Lovelier Than You; This set features some of the best picks from that
the nuances of her performance. Seamless phras- Little Melonae; By The Numbers; Black Pearls; repertoire.
ing, studied breath control, pitch accuracy and a Lover Come Back To Me; Sweet Sapphire Blues; The sampler showcases at least one track
conversational eloquence make the difference. DISC 5: Spring Is Here; Invitation; I’m A from each disc. Fragas, Baker and Gasparre’s “I
Pianist and musical director Fran Minarik Dreamer, Aren’t We All?; Love Thy Neighbor; Hear A Symphony” leads things off from Disc
provides an interesting texture for the session. Don’t Take Your Love From Me; Stardust; My One. As pure as a jazz quartet gets, Coltrane’s
For their introduction to “They Can’t Take That Ideal; I’ll Get By; DISC 6: Do I Love You Be- tenor is warm and smooth whether soloing or
Away From Me,” for example, the pianist flows cause You’re Beautiful?; Then I’ll Be Tired Of playing the melody. Red Garland adds a pretty
through an array of James Bond themes while You; Something I Dreamed Last Night; Bahia;
supporting Bianchi’s rubato opening. Together, Goldsboro Express; Time After Time.
they give this familiar tune a creative aspect that
lingers. Then, they flow into the chorus with a
delicate air and later transition to “If I Love
PERSONNEL: DISC 1: John Coltrane: tenor
saxophone; Johnny Splawn: trumpet (1-4); Sahib
Again” effortlessly.
Both “The Joint is Really Jumpin’ Down at
Shihab: baritone saxophone (1, 3, 4); Mal Wal-
dron: piano (1-3); Red Garland: piano (4-7);
Jazz Improv’s ®
Carnegie Hall” and “On the Sunny Side of the Paul Chambers: bass (1-7); Earl May: bass (8-
Street” swing with a genuine big band counte-
nance that recalls the heyday of Count Basie,
11); Albert “Tootie” Heath: drums (1-7); Arthur
Taylor: drums (8-11). DISC 2: John Coltrane:
New York Jazz Guide
Duke Ellington, Benny Goodman and their ex- tenor saxophone; Donald Byrd: trumpet (6-8);
tended families. The album even closes with a Red Garland: piano; Paul Chambers: bass; Ar-
Maximize the return on your
Basie ending. Step back about 70 years and Bi- thur Taylor: drums (1-5); Louis Hayes: drums advertising investment
anchi would make a highly successful big band (6-8). DISC 3: John Coltrane: tenor saxophone;
vocalist. Donald Byrd: trumpet (1-2); Red Garland: piano;
Paul Chambers: bass; Louis Hayes: drums (1-2); REACH the
Arthur Taylor: drums (3-9). DISC 4: John Col-
trane: tenor saxophone; Donald Byrd: trumpet LARGEST NUMBER
(4-6); Red Garland: piano; Paul Chambers: bass;
Arthur Taylor: drums. DISC 5: John Coltrane:
of jazz fans and prospects in the
tenor saxophone; Wilbur Harden: flugelhorn; New York area and beyond.
Red Garland: piano; Paul Chambers: bass;
Jimmy Cobb: drums. DISC 6: John Coltrane:
tenor saxophone; Freddie Hubbard: trumpet (1- RUN your ads in
3); Red Garland: piano (1-4, 6); Paul Chambers:
bass; Arthur Taylor: drums. FULL COLOR
John Coltrane By John Cizik
to get attention & results!
FEARLESS LEADER (6-CD Box Set) — Pres- There is no such thing as too much John INCREDIBLY AFFORDABLE!
tige Records, Tenth and Parker, Berkeley, CA. Coltrane. This review is based on a nine-song
94710, Concord Music Group, 100 North Cres-
cent Drive, Suite 275, Beverly Hills, CA. 90210
sampler of the six-disc “Fearless Leader” box set JANUARY 2007 ISSUE
recently released by Prestige Records. These nine tunes leave you with an appetite for more –
HURRY! Ad Deadline: Dec. 15 DISC 1: Straight
Street; While My Lady Sleeps; Chronic Blues;
and it’s doubtful that even the massive forty- CALL Jamie Cosnowsky at
eight track, four-hundred eleven plus minutes of 212-889-0853
Bakai; Violets For Your Furs; Time Was; I Hear
To Advertise CALL: 212-889-0853 Jazz Improv ® Magazine’s New York Jazz Guide  December 2006 67
piano solo, Paul Chamber’s bass and Tootie melody is played in the lower registers of the sadness. Heavy hearts and teary eyes give the
Heath’s drums lay down a solid groove. Garland tenor, giving the tune a throaty sound. program its distinct characteristic. “Let’s Get
and Chamber’s presence is not by chance - they The sampler wraps with Ary Barosso’s Away from It All” appears as the lone exception,
were members of Miles’ band with Coltrane. “Bahia.” Named for one of Brazil’s 25 states, the with its cheery theme and upbeat personality.
“Trane’s Slo Blues” is the only original on tune’s latin feel is evident in Garland’s chords With lyrics such as “We’re off again to Niagara/
the sampler, and one of only nine in the set. It setting up the piece. They re-occur throughout in This time I swear we’ll look at the falls” and
starts with a walking blues bass line put down by the piano and bass to cement the sound. Col- “Then off to Reno, but just to play Keno,” evoke
Earl May. Arthur Taylor handles the drumming, trane’s melody and solos are a beautiful exten- a positive glow.
and Coltrane wails on tenor. A couple of solo sion of the theme. Chamber’s bowed bass solo “Blues for Breakfast” carries the program’s
breaks really showcase his wonderful playing. adds some interesting sonic flavor to the mix. true identity with its somber spirit and soulful
May solos as well. Things slow WAY down The first of three planned box sets from restraint. The imagery introduces a frail individ-
with “You Leave Me Breathless” from Disc Concord that will cover John Coltrane’s entire ual waking in the morning and viewing the day
Two. Another trio piece with Garland and Prestige period, “Fearless Leader” sees the leg- with doubts. We’ve all been there. It’s always a
Chambers, a highlight of this number is the bass end out of the shadows of the greats, stepping to delight to “compare notes” with the composer
solo about halfway through. It is said that during the front of the stage himself. This sampler is and lyricist who bring us such a message. Conk-
this period in his life, ‘Trane practiced almost just enough of an appetizer to leave the listener lin interprets what we’re feeling when the sun
obsessively, and one can hear it in the near per- longing for the entrée. comes up and we really don’t want to face the
fection of his solos. Whether noodling around day as usual. Of course, this song exaggerates
the melody, or exploring the depths of the chord what we usually feel in our homes on those
changes, never a displeasing note is heard on this mornings, through lyrics such as “I find the
cut, or anywhere else on the sampler, for that world around me is caving in/He left me with the
matter. His later career recordings would feature dawn for parts unknown.” It’s heavy stuff, and
some experimentation, and soloing “outside the Conklin delivers right on target.
box.” Here, things stay more standard.
Speaking of standards, we move ahead to
Disc Three and the Arlen and Mercer gem
“Come Rain or Come Shine.” Coltrane’s tenor
takes the melody. Although he did learn to play
sax on the alto and played some soprano in his
career, John is best known for his tenor work,
Mary Foster Conklin
and it’s the only horn heard on this collection.
Garland takes an extended solo on this chart, and BLUES FOR BREAKFAST—Rhombus Re-
a nice addition to the band is Donald Byrd’s cords #7064. Phone: 818-709-8480.
trumpet. Clear and crisp with a nice touch of
reverb, his solo fits the piece perfectly, and he
picks the melody back up before trading off with Before the Show; Spring Isn’t Spring Anymore; Bob DeVos
‘Trane to end the piece. The Dameron/Basie bop Show Me the Way to Get Out of this World; An-
epic “Good Bait” is next, at over twelve minutes gel Eyes; That Tired Routine Called Love; En- SHIFTING SANDS – HighNote / Savant Re-
the longest track on the sampler. A virtual clinic canto d’Amor; Blues for Breakfast; Will You cords 2006.
in tenor soloing, Coltrane improvs up and down Still Be Mine; Where Am I to Go?; The Night We Lost and Found;
his tenor at lightning speed, often going from the Called it a Day; Let’s Get Away from It All; Three/Four Miss C; Mojave; Shifting Sands;
top to the bottom of the horn in the same lick. Let’s Just Pretend; Learn to Love; Violets for Track and Field; Step Into Spring; But Beautiful;
Garland does the same on the piano, as does Your Furs. A Different Dozen; Willow Weep For Me.
Chambers on bass. ‘Trane comes back in at PERSONNEL: Mary Foster Conklin, vocals; PERSONNEL: Bob DeVos (Guitar), Eric Alex-
about the nine minute mark to trade fours with John Di Martino, piano; Tony Romano, guitar; ander (Tenor Saxophone), Dan Kostelnik
drummer Arthur Taylor – an interplay that car- Sean Smith, bass; Ron Vincent, drums; Joel (Hammond B-3 Organ), Steve Johns (Drums),
ries on ‘til the saxophone takes the melody over Frahm, tenor saxophone, soprano saxophone; Gary Fritz (Percussion)
again and out. The last selection here from Disc Wilson “Chembo” Corniel, percussion; Leo
Three is “Rise ‘n’ Shine,” another cut featuring Traversa, electric bass; David Oquendo, vocals. By Paul Sakion
Coltrane’s smoking tenor work. The speed of
Chamber’s bass line throughout the piece is Ever since Floyd Smith and Charlie Chris-
By Jim Santella tian brought the electric guitar to the jazz world
phenomenal. The consistency of personnel in
this sampler makes the sound very steady from in the 30’s, it has been one of the cornerstones of
Subtitled Remembering Matt Dennis, Mary the soundscape. Bob DeVos’s recent release,
beginning to end, and one would suspect that Foster Conklin’s album salutes the prolific com-
cohesiveness carries through the entire box set, Shifting Sands, features the modern version of
poser with 14 of his songs, interpreted sensi- this sound center stage in nine tracks with six
since Garland is on keys for all but three tracks, tively by the vocalist with a crew of piano, bass,
and Chambers’ bass graces all but four. original DeVos compositions. This is somewhat
drums, guitar, and several guests. The instru- of a departure from his previous recordings that
Romberg and Hammerstein’s “Lover Come mentation ensures an intimate portrayal. “Angel
Back to Me” is from Disc Four, and Donald focused more on jazz standards and the results
Eyes” and “The Night We Called It a Day” ring make one wonder why DeVos waited to debut
Byrd returns on trumpet as Dizzy to Coltrane’s instantly familiar to most of us. But Conklin has
Bird. The two play together, separately, and his writing talents.
done her research. She’s found songs by Matt While the piece “Lost and Found” is a rea-
together again without missing a beat. This track Dennis that we’ve not heard before. Most are
flies by at a wicked tempo for seven minutes and sonable beginning, do not judge this album by
with lyricist Thomas Adair and align themselves the opener as each track has a uniqueness worth
change, with both horns and the piano taking closely with the composer’s unique, torch song
long, whipping bebop solos. We’re back to stan- exploring. “Three Four Miss C” moves more
disposition. Bobby Troup wrote the lyrics for into a straight ahead feel combining guitar and
dard time with a track from Disc Five, the classic two of the program’s selections which overflow
“I’ll Get By.” This up-tempo rendition features sax melodically to create some interesting tim-
with passion and cabaret persuasion. bral effects. “Mojave’s” latin groove, accentu-
warm, clear sax work from ‘Trane, likely using The ensemble provides a colorful accompa-
his preferred ax of the period, a Selmer VI tenor. ated by Kostelnik’s excellent organ solos, adds a
niment for Conklin, but leaves plenty of room nice variety to the mix and the title piece,
Wilbur Harden’s flugelhorn follows with a solo for her to create. Most selections combine dark
and matches the warmth of ‘Trane’s tenor. The “Shifting Sands,” showcases both DeVos’ com-
moods with flowing vocal melodies that express positional abilities as well as his ability to exe-
68 December 2006  Jazz Improv ® Magazine’s New York Jazz Guide To Advertise CALL: 212-889-0853
cute a technically difficult ballad. vana, Cuba. All the while, young Alex was soak-
Rounding out the album, “A Different ing up a rich musical education both directly,
Dozen,” another DeVos original, features an from his choreographer mother and his composer
enjoyable dialog between guitar, organ, and father and indirectly, from the music that he
drums. Kostelnik’s organ is present at times as a heard at home and in his formal education. Mr.
counterpoint and at times as an accompaniment, Garcia counts among his influences Miles Davis,
while Johns’ drums expertly provide a rhythmic Pink Floyd, Perez Prado, and Irakere. By the
reinforcement of DeVos’ melodic themes. As a time he arrived in New York in 1996, Garcia
finisher, “Willow Weep for Me” might bring a was ready to put all of these influences into prac-
tear to your eye, but not because it is the typical tice, in an environment that was as culturally and
slow torch singer ballad. This up-tempo piece musically diverse as was his background and so
featuring Alexander’s buttery smooth saxophone he did in 1997, when he formed AfroMantra.
trading solos with DeVos, is an appropriate ener- Uplifting Spirit is a disc that I grew to like
getic ending for Shifting Sands. more each time I listened to it (and I listened
A wine connoisseur who enjoys a great many times). This is a tribute to the outstanding
1975 Mouton Rothschild on a snowy evening, writing and to the all-star musicians who bring
would definitely ask what they are drinking the vision to life. Norwegian-born saxophonist
when served an unidentified, and surprisingly Ole Mathisen, who has recorded with Eddie
superb table wine at a dinner party. Guitarist Gomez and Peter Erskine has a full robust tone
Bob DeVos’ album Shifting Sands would defi- on the tenor, similar to that of another great
nitely elicit the same kind of curiosity and de- Latin Jazz tenorman, David Sanchez. Like San-
lighted response from jazz lovers who recognize chez, he is also not afraid to head for the “free”
“a fine table wine” when they hear it. side of the street, when a piece warrants, such as
on “Yemaya, Goddess of the Sea.” Also, check
out his work on the disc’s best cut, “Nuevo
Amanecer (New Dawn),” a track that keeps you
on your toes, by switching from an easy going
first half, highlighted by Mathisen’s Grover
Washington-like soprano and guest tenor man
Jorge Castro’s tenor counterpoint, floating over
guest star Manuel Valera’s dreamy Fender Rho-
des; to an all out descarga, where Valera shows
off his Chucho Valdes influenced piano and
Mathiesen shows us the grittier side of the so-
prano sax. The group’s pianist Pablo Vergara, a
Alex Garcia’s AfroMantra veteran of Dave Valentin’s group, has several
highlights as well, most notably on “Suenos de
Otono (Autumn Dreams),” in a trio with Mr.
UPLIFTING SPIRIT – AfroMantra Records Garcia and guest bassist Jorge Bringas. Percus- The Uplifting Spirit of sionist Aryam Vazquez is rock steady through-
Our Soul; Latin American Song; Luna and the out, turning in first class work on the congas,
Sun; For Emiliano Salvador; Because of You; batas and cajon, that is a perfect compliment to
New Dawn; Yemaya, Goddess of the Sea; Au- leader Garcia’s work on the traps.
tumn Dreams; Green Horizons; Lighting the This CD is called Uplifting Spirit for good
World; My Word reason. These eleven tracks, all penned by Mr.
PERSONNEL: Alex Garcia, drums, timbales, Garcia, are upbeat and positive in tone, even
percussion; Ole Mathisen, soprano and tenor when the tempo slows down. Please note that
saxophone; Desmar Guevara, piano; Waldo AfroMantra’s brand of Latin Jazz, or Afro-
Chavez, bass; Aryam Vazquez, congas, batas, Cuban Jazz, if you prefer, is not the mambo-
cajon, percussion; Pablo Vergara, piano, key- driven product favored by Mario Bauza, Machito
boards, Fender Rhodes; Manuel Valera, piano, and other greats of the 50’s and 60’s. Although
Fender Rhodes; Jorge Fernando Rodriguez, those influences can be heard, this music owes
acoustic guitar; Jorge Castro, tenor saxophone; more to the sound of Irakere, Paquito D’Rivera
Jorge Bringas, bass. and the ‘70’s, when the influences of free jazz
and rock fusion began to make their way into
By Curtis Davenport Latin music. If this is a new experience for you, I
advise you to open up your mind as well as your
Uplifting Spirit (Espiritu Optimista) is the ears and enjoy a joyous, life-affirming musical
third offering from AfroMantra, the formidable ride.
New York based Latin Jazz ensemble, led by
drummer/percussionist Alejandro “Alex” Garcia.
Mr. Garcia and his band draw from a variety of Mark Helias
influences that are as wide and storied as Mr.
Garcia’s background, to create a truly contempo- ATOMIC CLOCK—Radio Legs Music.
rary view of the marriage of jazz and various Subway; Chavez; Cine-
Latin musical styles. matic; Momentum Interrupted; Modern Scag,
A bit of Alex Garcia’s personal history is Atomic Clock; Plantini, What Up; Zephyr; Many
worth noting here. Born in Santiago, Chile, Mr. Nows.
Garcia and his family fled Chile, in 1973, when PERSONNEL: Mark Helias, bass; Tony
Alex was seven, as a result of a military coup. Malaby, tenor saxophone; Tom Rainey, percus-
The family landed in Peru, where they remained sion; Ellery Eskelin, tenor saxophone on Modern
until 1979, at which point they moved to Ha- Scag.
To Advertise CALL: 212-889-0853 Jazz Improv ® Magazine’s New York Jazz Guide  December 2006 69
By Ken Weiss A tentative or hesitant quality seems to come
through as Wood explores the lower register of
Mark Helias’ Open Loose includes 3 heavy- the flute during the outset of “I Remember Clif-
weights from the NYC “downtown music” scene ford.” A bit more confidence seems to come out
and has been playing off and on together for 10 later and Jackson, who sounds distant and further
years. This is their fourth release and is aug- away on this track, matches the mood that was
mented by the talented Ellery Eskelin who also already set. “Peanut Butter Two” is the third and
has held down the horn role in the band’s past. final Latin-leaning piece on this recording and
All but one of the ten compositions are by the the formula, style, and relative tempo that was
leader and feature crafty yet melodic writing, established on the earlier tracks returns for one
incorporating a basic structure which serves as a By Dan Bilawsky last hurrah. “Sunset Blues” is the final track on
firm stepping point for sauntering improvisation the album and, as opposed to the other solo pi-
while avoiding broad dissonance. The music is John Hicks had the type of musical career ano tracks, Hicks gives us three minutes and
adventurous yet accessible, mainly living in the that many musicians, jazz or otherwise, can only twenty seconds of uncensored blues piano play-
low to mid tempo intensity range. Helias and dream about. His musical skills graced re- ing. The late John Hicks will be sorely missed
Rainey form one of the most pliable rhythm cordings from Art Blakey, Woody Herman, and this recording is a testament to his fine tal-
sections around and Malaby is perhaps the most Betty Carter, Pharaoh Sanders, Charles Mingus,
highly touted tenor of his generation. What Arthur Blythe and many other legends of jazz.
sounds like a winning recipe is, as the band is Whether playing in a strong blues vein, a Latin
fully lubricated after taking a seventeen-day tour jazz context or a quietly contemplative setting,
of the US prior to recording in December 2005. Hicks musical persona always shines through the
The opening tune, “Subway” erupts out of music. Sweet Love Of Mine, recently released on
the starting gate with an immediacy that is both High Note Records, was recorded a mere five
bold and bracing. Close your eyes and just feel weeks before his unfortunate passing. This al-
the wild subway ride, racing across New York bum displays his talent in several different musi-
on hot metal tracks, just beware of pickpockets. cal contexts, ranging from solo to sextet and
The beautiful “Chavez” is quite an experience; many things in between. Jazz fans will marvel at
each artist has plenty of space to be heard and his wide-ranging skills on every track. “One ents.
the years of playing together as a unit and in
other projects makes for attractive storytelling.
Peaceful Moment,” the album opener and one of
three Hicks tunes on the album, is one of the
Hot Club of Detroit
Drums and bass are resilient and clear in the mix most tender solo piano pieces I have ever heard.
but be prepared to be taken by Malaby’s golden Donald Elfman, in his liner notes, says that “it’s HOT CLUB OF DETROIT—Mack Avenue
horn. You might expect the addition of Eskelin as if he’s stopped in the midst of his jazz career Records #MAC 1030. Mack Avenue Records,
on “Modern Scag” would lead to a hell-raiser but for a moment of needed quiet contemplation,” Inc., 18530 Mack Avenue, #299, Grosse Point
Helias is a proponent of the unexpected and and I couldn’t agree more. Javon Jackson joins Farms, MI 48236.
folds the second horn into what is really a ballad. in for a duo performance of “I Guess I’ll Hang Belleville; Passion;
Eskelin’s tone is richly burnished in comparison My Tears Out To Dry.” Jackson’s tone is very Honeysuckle Rose; Leila; Stompin’ at Decca;
to Malaby’s acidic and plaintive horn on this focused and, with just the slightest hint of vi- Nuages; Swing One; Aurore; How Insensitive;
piece. The combined voice of the tandem is soul- brato, the listener can’t help but be drawn in by Tears; Godfather Theme; Troublant Bolero;
ful and stirs strong emotions. “Atomic Clock,” his seductive saxophone soliloquy. Hicks pro- Anouman.
the shortest cut at just over a minute, bubbles vides the gentlest cloud-like chords beneath PERSONNEL: Evan Perri, lead guitar; Colton
along a near nuclear meltdown while “Zephyr” Jackson and his solo is hypnotically relaxed and Weatherston, rhythm guitar; Paul Brady, rhythm
is an impressive tune that has that aged feel of a relaxing. Woody Shaw’s “Sweet Love of Mine,” guitar; Shannon Wade, string bass; Dave Ben-
comfortable standard. Nimble bass along with one of several tunes on the album that feature the nett, clarinet; Julien Labro, button accordion.
soft sax pleadings dance cheek to cheek as flute work of Elise Wood, sounds like it could
Rainey delicately builds the universe around have been a classic track from Mongo San- By C.J. Glass
them. “Many Nows” finishes the disc and its tamaria. The drum and percussion solo, from
compositional credit goes to the entire trio. Un- Victor Jones and Ray Mantilla, is the clear high- I know what you’re thinking, and no, these
wrapping slowly, it includes an enticing bass light here. tracks are not Berry Gordy’s Motown interpreta-
solo and chesty sax blasts as the group plays Hicks returns to the solo setting for the tions of Django Reinhardt songs. The Hot Club
more daringly on this presumed spontaneous mellifluous “The Things We Did Last Summer.” of Detroit was founded four years ago at Wayne
ditty. All the songs on this recording are rela- While the playing on “Once I Loved” is fairly State University and since that time has gone on
tively short and there’s no wasted effort. Helias’ subdued, Curtis Lundy’s bass playing locks in to take first place in the 2004 Detroit Interna-
Open Loose continues to play at a high level, with the drums and percussion to give the music tional Jazz Festival competition and win the
teasingly seductive at times, casting a silvery a slight Brazilian lilt. The piano soloing, which 2006 Detroit Music Award for “Outstanding
mood, all done, for the most part, while traveling follows that of Jackson, matches the suave style Traditional Jazz Group/Artist.” This eponymous
the speed limit. There is much to savor here. of the tenor saxophonist with clear assurance and debut is further evidence of an ensemble that is
style. Lundy gets a chance, early on, to stretch coming into its own and has great growth poten-
John Hicks out on “Hold It Down” and the bassist does not
squander the opportunity. Hicks follows Lundy Much to its credit, The Hot Club of Detroit
with some fine soloing and the ensemble ratchets has avoided the task of only recreating classic
SWEET LOVE OF MINE—High Note Re- up the intensity behind Jackson’s solo. Soloing Gypsy jazz repertoire. New tunes, arrangements,
cords HCD7142. One from Victor Jones is peppered throughout the instrumentation, and the overall vibe of this band
Peaceful Moment; I Guess I’ll Hang My Tears end of the track and his musical communication obviously kindle enthusiasm amongst players
Out To Dry; Sweet Love Of Mine; The Things with the rest of the musicians is strong. The per- and fans alike. Of course, sometimes musical
We Did Last Summer; Once I Loved; Hold It formance and atmosphere of “Mambo Influen- excitement can lead to “pushing the time,” driv-
Down; Mambo Influenciado; I Remember Clif- ciado” is cut from the same cloth as the perform- ing the rhythm out of a swinging balance, but
ford; Peanut Butter Two; Sunset Blues ance of the title track. An extended percussion that sensation is by now almost indigenous to the
PERSONNEL: John Hicks, piano; Javon Jack- and drum solo spices up the middle of the song genre.
son, tenor saxophone; Elise Wood, flutes; Curtis and the music, which only exhibits the mildest The best examples of The Hot Club’s style
Lundy, bass; Victor Jones, drums; Ray Mantilla, amount of intensity, sizzles throughout. on record are “Honeysuckle Rose,” “The Godfa-
percussion. ther Theme,” and “Anouman.” “Rose’s” multi-
70 December 2006  Jazz Improv ® Magazine’s New York Jazz Guide To Advertise CALL: 212-889-0853
modulated opening is sure to perk a few ears.
Add a finely crafted solo for clarinetist Dave
Bennett (note the “Scrapple From the Apple”
quote), a nifty shout chorus, and Shannon
Wade’s slap-bass interjection, and we have our-
selves one sweet rendition. Clocking in at 11:35,
“The Godfather Theme” is a very long journey,
but, well, geez, who else plays “The Godfather If you enjoy Jazz Improv’s ® NY Jazz Guide that you have
Theme?” This one is perfect for Julien Labro’s in your hands, you’ll LOVE Jazz Improv ® Magazine
button accordion. Evan Perri throws all he’s got
into his guitar and Bennett quotes again, this
time from “Sing, Sing, Sing.” Talk about build 300-400 Pages each issue  FREE COMPANION CD
and drive (thank you Colton Weatherston and each issue  75-100 CD & DVD REVIEWS  FULL COLOR
Paul Brady). Tempo, tension, and dynamic shifts
are also brought in for the proper effect.
Finally, “Anouman” brings The Hot Club of Education  In depth INTERVIEWS  THE GUITAR
Detroit full circle, beginning out of nothingness PAGES  PLUS: For those who make music 150-page
just as “Belleville” does when it opens the al- E-BOOK (solos, songs, exercises, how-to articles & more)
bum. There is a mystery to this song, one that is
left unsolved. Something about the whole tone
intro. and outro. surrounding the key of d minor
begs the question, “What is next for The Hot
Club of Detroit?”
So, what in fact, will be next for the sextet?
It will be nice to find out. While not inexperi-
enced, the group is still young and in some ways
rough around the edges. More importantly, The
Hot Club of Detroit shows promise, and for that,
we can be thankful. Now & Save 33% Off The Newsstand Price

interplay between Jones and alto saxophonist Tia
Fuller as their harmonics and cross-melodies
converge, separate and join again. It also in-
cludes a rhythmic reference to the thundering
extended version of “Lift Every Voice” that
Sean Jones follows mid-CD. The soloing and the ensemble
playing are quite beautiful on the title track.
“Divine Inspiration” features Jones on flu-
ROOTS—Mack Avenue Records. gelhorn and Orrin Evans on Fender Rhodes, Children’s Hymn, supported only by bass and drums, which opens
Roots, Divine Inspiration, God’s Gift, Come the tune in a way that reveals more delicacy and
Sunday, Lift Every Voice, Offering Time, Con- inner beauty. Duke Ellington’s “Come Sunday”
versations, El Soul, Puddin’ Time, What We and the aforementioned “Lift Every Voice” also
Have, John 3:16, I Need Thee. feature the quartet (trumpet plus rhythm section).
PERSONNEL: Sean Junes, trumpet, flugelhorn; Both are masterful showcases for his conversa-
Obed Calvaire, drums; Luques Curtis, acoustic tional trumpet.
bass; Orrin Evans, keyboards, piano, Fender Drummer Obied Calvaire’s “God’s Gift” is
Rhodes; Tia Fuller, alto sax; Eddie Howard, another piece performed by the two-horn quintet,
organ, piano; Jerome Jennings, drums. with Jones showing off some of his blistering
high note skills without giving any sense that
By Ken Franckling he’s doing it merely because he can. In other
words, it fits the music, as does Fuller’s upper
On his third CD as a leader, trumpeter Sean register alto work that follows. Their intensity is
Jones has built a very strong, and very personal, a joy to behold. Jones’s “Offering Time,” featur-
bridge between the gospel music with which he ing Eddie Howard on organ and Jerome Jennings
grew up and the jazz that hooked him hard start- on drums, is a trio burner with a swinging inten-
ing in the fifth grade. In a sense, Roots is all sity that feels like it comes right out of New
about this busy young trumpeter’s past and his Orleans. Evans’ “Conversations” brings back the
present and points to a strong direction for the quintet in an intense fusion mode that blends a
future that awaits Jones, who is lead trumpeter in shuffle rhythm and some tasty electronic key-
the Lincoln Center Jazz Orchestra, leads his own board work, including flute effects. Ali Jack-
group and teaches jazz at the university level. son’s wistful ballad “El Soul” and Brad Leali’s
The opening track is a solo version of the rollicking, blues-drenched “Puddin’ Time” are
traditional “Children’s Hymn,” into which he straight-ahead modern jazz pieces, the latter
weaves a snippet of “Jesus Loves Me.” It dou- kicking up the intensity of the proceedings be-
bles as an introduction to his beautiful tone and fore Jones reverts to his gospel-music focus on
command of the horn. The title track, “Roots,” is his original ballad “What We Have” and two
a showcase for his quintet that features great
To Advertise CALL: 212-889-0853 Jazz Improv ® Magazine’s New York Jazz Guide  December 2006 71
traditional pieces, “John 3:16” and “I Need Carter, which in addition to the laid back, sultry
Thee.” The latter, the closer at this musical ser- voice of Lea features very interesting, tasteful
vice, is a soulful and stirring duet featuring piano fills by Steve Ash on piano and a Bobby
Jones’s trumpet and Eddie Howard on piano. Pring solo on trombone. The jazz standard “My
Foolish Heart”, and “Come Rain Or Come
Shine”, by Johnny Mercer and Harold Arlen are
very effective with Lea performing with just the
accompaniment of Schoenberg on piano.
“’Round Midnight”, by Thelonious Monk, Coo-
tie Williams, and Bernie Hanighen features the
quartet of Lea, Schoenberg, Ken Kimery on
drums, and John Eckert on trumpet who’s tone is
Elisabeth Lohninger
somewhat reminiscent of early Miles Davis. “All
By Myself” by Irving Berlin, and “Just Squeeze THE ONLY WAY OUT IS UP – Lofish Mu-
Me” by Duke Ellington and Lee Gaines is once sic. Web: Mi-
rage; The Weather In New York City; The Only
Barbara Lea again Lea with Schoenberg on piano and tenor
sax overdubbing (on All By Myself). On these Way Out Is Up; Spring Can Really Hang You Up
& Loren Schoenberg Big Band up-tempo swing tunes Lea demonstrates a great The Most; As The Tides Turn; Delirious Joy;
rhythmic feel. I would enjoy hearing her do Swimming Upstream; Be A Lion; Falling Grace;
BLACK BUTTERFLY more of these types of songs in place of a few of Free To Fall THPOPS2: Black But- the slower ballads. “I Let A Song Go Out Of PERSONNEL: Elisabeth Lohninger, voice;
terfly; Together; Bend A Little My Way; Rest- My Heart”, by Ellington, Mills, Henry Nemo, Walter Fischbacher, piano, keyboards; Chris
less; My Foolish Heart; How Will I Remember and John Redmond features the entire big band Tarry, bass; Hari Ganglberger, drums; Mino
You; It’s So Peaceful In The Country; Blame It with Lea. James Chirillo plays a nice solo on Cinelu, percussion (tracks 1, 3, 4, 7, 8); Donny
On My Youth; When They Ask About You; guitar, and Schoenberg plays what I feel is the McCaslin, saxophones (tracks 3, 7, 8).
‘Round Midnight; All By Myself; Blackberry best solo of the CD on tenor sax.
Winter; If I Love Again; Mother May I Go Out There are two originals on the CD by Lea By Curtis Davenport
To Swim; Just Squeeze Me; I Let A Song Go Out and Chris Madsen, “Together”, and “Mother
Of My Heart; Come Rain Or Come Shine. May I Go Out To Swim”. “Together”, with solos Elisabeth Lohninger is one of the more
PERSONNEL: Barbara Lea, vocals; Jack by Jon Gordon on alto sax and Steve Ash on busy and familiar faces on the New York City
Stuckey, Jon Gordon, alto sax, woodwinds; piano presents thematic lines very reminiscent of downtown music scene. The Austrian-born vo-
Chris Madsen, Mark Lopeman, tenor sax, wood- “You Make Me Feel So Young”. calist is a part of the Jazz Department faculty at
winds; Carl Maraghi, bari sax, bass clarinet; The swing tune “Restless” with Mark Lope- The New School, has produced and performed
Seneca Black, Irv Grossman, Brian Pareschi, man on clarinet and the double time passages in music for television (Alias and the venerable
Randy Sandke, trumpets; Mike Christianson, the saxes call back memories of the big band era. daytime drama, One Life To Live are just two of
Eddie Bert, Bobby Pring, Brent Wallarab, trom- The flutes, muted trumpets, and brushes on the her credits), she also performs as a pop soul
bone; Steve Ash, piano; James Chirillo, Guitar; drum set provide a great timbre and plenty of artist under the pseudonym “Tera” and now, she
Yasushi Nakamura, bass; Kenny Washington, space for Lea to interpret “How Will I Remem- has released The Only Way Out Is Up, her sec-
drums. ber You”, which also features Schoenberg on ond jazz release under her own name.
tenor sax, clearly the most accomplished of the This CD caught my attention immediately,
By Larry A. Detwiler musicians in this band. “When They Ask About with the opening track, “Mirage,” a haunting,
You” features an excellent solo by Randy sensual piece, that I feel can be best described as
After a storied career that has seen perform- Sandke on trumpet, who is a close second to Scheherazade and King Shahryar spending a few
ances in such noted venues as the Village Van- Schoenberg among the instrumentalists. of their 1001 nights in a jazz club. Ms. Loh-
guard, Carnegie Hall, Town Hall in New York, There are a couple minor complaints I have ninger’s subtly erotic lyric, and her voice, a rich,
the Newport Jazz Festival, the Kool Jazz Festi- with this CD. First, I feel that there are times passionate alto, come together to create a perfect
val, and the JVC Jazz Festival, and impressive when Lea’s pitch is just a touch on the flat side. after-dark in the desert atmosphere. Canadian
awards as the Best New Singer of 1956, Black Second is in the mixing of the sound for the electric bass master Chris Tarry, then takes the
Butterfly is the most recent of the dozen CD’s of band. The lowest sounds need to act as the foun- track to an even higher level with a dexterous
Barbara Lea’s that are currently available on the dation of everything else. I feel that these voices solo that reminded me of Stanley Clarke at his
Audiophile label. Recorded in 2005 and 2006, at are a bit in the background giving everything a best. By the time Elisabeth returns to restate the
the age of 76 and 77 (and let’s be honest here – slightly trebly sound. I think more bass sound theme, you’ll know that Midnight at the Oasis
who among us as musicians wouldn’t love to be would give the entire CD a better sound. My was never like this. The mood and the tempo
simply performing at that age, let alone making third complaint involves the band. The Loren then shift quickly, with the next track, “The
recordings!) feels like a celebration of a singers Schoenberg Big Band is excellent throughout the Weather in New York City,” a bright, bustling
life in music. Lea has always been recognized as CD. The problem is I kept waiting for them to piece, which describes the scene outside during a
a singer of great diction, a true story teller in turn the band loose and let them blow a little, snowstorm in lower Manhattan. The track is
song, and that continues to show on this re- and it never came. It felt as if the band was held enlivened further by Walter Fischbacher’s ener-
cording. Lea isn’t going to dazzle you with virtu- back on this CD. getic and tasty piano solo. At three and one-half
osity, but you are going to understand the mean- In light of those things, I would still suggest minutes, it is a delightful track that, like a good
ing of the song. this CD to any listener. Owning this recording is time in NYC, goes by much too quickly.
Backed by the Loren Schoenberg Big Band, like owning a piece of jazz history. Any vocalist We are then taken in another direction, with
with which Lea has been the vocalist for the past would be wise to emulate the way Lea eliminates the title track, a piece of writing that, with its’
20 years, Black Butterfly is a collection of famil- the frills and gimmicks and concentrates on the jazz funk rhythm and sardonically witty lyric,
iar songs, original compositions, and selections most important aspect of singing – the meaning would make Donald Fagen proud. It is my favor-
that should be performed more often than they and emotion of the song. In the process she pulls ite track on the album, if only for the fact that
are. you in and gives you a new appreciation and you have got to love a song with a lyric that
The familiar selections begin with the first understanding of the way songs should be per- admonishes someone to “get up and get your
track and the title song of the album “Black But- formed. butt out of the mud.” As an extra treat, this track
terfly” by Duke Ellington, Irving Mills, and also features some marvelous tenor sax work
Benito Caine Carruthers, arranged by Benny from Donny McCaslin, one of the great, under
recognized saxophone players working today.
72 December 2006  Jazz Improv ® Magazine’s New York Jazz Guide To Advertise CALL: 212-889-0853
Of the ten cuts here, seven have been many memorable ones on this CD.
penned by Ms. Lohninger, which is just fine, for The Only Way Out Is Up is, on the whole,
as you may have guessed by now, she is a tal- an eclectic, risk-taking and pleasing disc that,
ented composer and lyricist. However some of manages to successfully find a balance between
the most unusual and interesting work on the a hip, downtown New York City vibe and the
CD, comes in the three tracks that Ms. Loh- conventions of jazz traditions. I have seen many
ninger did not write music for. One of them is a artists try for this type of balance before and fail,
very well known jazz standard, that has been because their efforts leaned too far toward one
covered by the greats from Getz, to Ella, to Betty side or the other of the fence. Elisabeth Loh-
Carter and more, another is a piece from a ninger, however, is a performer with enough of
Broadway musical classic, that is rarely heard the equal parts of intelligence, nerve, imagina-
outside of the show and the third a piece that has tion and talent that are necessary to pull it off
been played often, but has to my knowledge, not and she does so, marvelously.
had a lyric until Ms. Lohninger came along.
“Spring Can Really Hang You Up The Most,”
the aforementioned jazz standard, is usually
Myra Melford
taken at a tempo that fits its’ wistful lyric. But
Lohninger and her cohorts turn the melancholic THE IMAGE OF YOUR BODY—
ballad, into a swinging samba, highlighted again Cryptogramophone. www. cryptogramo-
by Mr. Fischbacher’s joyous, creative piano Equal Grace; Luck Shifts; Fear
work and Ms. Lohninger’s festive, scat-filled Slips Behind; To the Roof; Yellow are Crowds
vocals. I have heard many versions of of Flowers, ii; The Image of Your Body; Be
“Spring…” over the years, but until this version, Bread; If You’ve Not Been Fed; Your Face
never one that made me feel upbeat after it was Arrives in the Redbud Trees; Made It Out.
over. ”Be A Lion” is from the score of “The PERSONNEL: Myra Melford, piano; Bran-
Wiz.” Once again here, a piece that is known don Ross, elec. guitar, banjo, voice; Cuong Vu,
widely as a ballad, is given an up-tempo treat- trumpet, electronics; Stomu Takeishi, elec. and
ment, with excellent solo work from the guest acoustic bass guitar, electronics; Elliot Hum-
stars; McCaslin, this time on soprano sax and berto Kavee, drums.
percussion superstar Mino Cinelu, who adds his
distinctive touch to four other tracks, as well. By Ken Weiss
Finally, Steve Swallow’s “Falling Grace” is
given a beautiful reading here, with the addition Myra Melford made her name known in the
of Ms. Lohningers poignant words. Fis- early ‘90s with some strong trio recordings with
chbacher’s piano solo here, is the best of his

To Advertise CALL: 212-889-0853 Jazz Improv ® Magazine’s New York Jazz Guide  December 2006 73
with Lindsey Horner and Reggie Nicholson, By Curtis Davenport with little whispers and asides that are uncharac-
demonstrating a carnivorous command of the teristic, but definitely welcome. This track is a
piano along with penning creative compositions. Noel: One From the Heart, is an unex- pure delight and you’ll find yourself returning to
Since that time she has continued to produce and pected delight in the midst of the usual glut of it again and again.
record outstanding material while becoming Holiday themed discs that appear around the end Barbara Montgomery’s Noel: One From
deeply involved in Buddhism. of any year. There are a number of reasons for the Heart, is a disc I can recommend highly to
This disc presents her new band, Be Bread, the delight. First, it comes from Barbara Mont- the singer’s fans and to anyone looking at this
which draws significantly from the visionary gomery, the wonderful, smoky voiced, Philadel- time of the year for great Holiday music that is
recordings of Henry Threadgill. Melford, like phia chanteuse, whom we simply don’t hear not in everyone’s collection. If this disc serves as
Threadgill, has lived in India and studied the enough from. Ms. Montgomery, whose singing your introduction to this singer, I hope it will
harmonium. The Threadgill connection is further has always reminded me of two fifties cool whet your appetite to discover more of her work.
strengthened by the fact that three of Melford’s school greats, Chris Connor and June Christy, You’ll be glad you did.
musicians, Kavee, Ross and Takeishi, have spent had a career with many interesting stops before
time in various Threadgill bands. This is not to arriving at jazz’s door around ten years ago,
imply that she is a Threadgill-want-to-be, only including makeup artist and cameraperson for
the first tune, “Equal Grace,’ has you thinking the Mike Douglas show, background singer for
with closed eyes that it’s the mighty alto player Harry Chapin and musical director for diet and
at work, rather she extends his thoughts, insert- exercise guru Richard Simmons. Ms. Montgom-
ing her own soul into the equation. Taken as a ery has never been afraid to take chances on her
whole, this recording doesn’t have the aggres- prior efforts, taking on not just the usual stan-
sive attack of her earlier work but it does mix it dards, but also the music of jazz greats that
up in areas. The song titles bear a spiritual bent aren’t generally associated with vocalists, such
yet this music is never preachy although at times as Chick Corea (on 2001’s marvelous Dakini
it unfolds with a calm that is prayerful. Land), Duke Pearson and Freddie Hubbard (both
“Luck Shifts” is saturated with a George
Winston-esque sweet melody, bright and simple
on 2002’s Little Sunflower). Second, is the abso-
lute simplicity of the instrumentation. There are
Andrew Scott Potter
but develops into a significant statement sure to no overblown string sections, no jingling sleigh
enlighten your day. “Fear Slips Behind” has a bells to hammer home the fact that this album COCO BOP SAMBA RAP—Bons Ritmos
contrasting darkness centered on the raspy bits includes Christmas songs. There is simply Ms. Music #1414. Baralho Dois Ouro; On The Up-
of Vu’s trumpet and the ensemble’s climbing Montgomery’s soothing, voice and the piano of side; Samba Duro; Coco Rumba; Very Easy; Eu
steamy intensity. “To the Roof” opens with spa- Tom Lawton (replaced by Barry Sames on “O Avistei; Eu Avistei Bop; Preto Velho; Coco Bop
cious solo piano until the band eventually adds Holy Night”). Rap Suite; Boa Viagem; Vamparatu
an agitated undercurrent, building an ominous Finally, the song selection is impeccable. PERSONNEL: Paulo Russo, acoustic bass;
element into the dreamy piece which ends on a Ms. Montgomery has chosen a set of ten selec- David Eric Tillman, piano; Assis Calixto, vocal,
single clang off Kavee’s cymbal. Melford finally tions, split between time honored Holiday season triangle; Damion Calixto, vocal, pandeiro; Ari
gets around to unleashing her unmerciful tenta- standards, and a few titles that may be familiar, Brown, tenor sax; Rafael Vernet, piano; Luizao
cles to the piano keys on “Yellow are Crowds of but have not been overdone. She renders them in Maia, electric bass; Jose Luiz Maia, electric
Flowers, ii” for a too short solo before moving to a straightforward, unaffected style that warmed bass; Walter Bishop, Jr., piano; Tony Cimorosi,
the title track which includes Ross’ breathy talk- the heart of a Christmas traditionalist such as electric bass; Ranieri Ricardo, piano; Gustavo
ing and scrappy banjo along with the leader’s me. There are no vocal pyrotechnics; no attempts Anacleto, alto sax; Fabio Costa, trumpet; Bruce
harmonium which drones on like a church organ. render a song unrecognizable for art’s sake. You Whitcomb, guitar, electric bass, piano; Braulio
“Your Face Arrives in the Redbud Trees” is can drop this disc into your Holiday music mix Araujo, electric bass; Edi, lead vocal; Alex Fos-
especially satisfying, evolving slowly with gen- and not draw confused looks and groans from ter, tenor sax, soprano sax; Iuma Calixto, backup
tle waves of non-stop trumpet peaking over your guests. In fact, if they are unfamiliar with vocals; Adreza Karla, panderiro, backup vocals;
warm pulsing piano, drums and bass, quickly Ms. Montgomery, they are likely to ask how Ira Calixto, backup vocals; Bruce Dunlap, guitar;
coming to a full boil near the tune’s end and they can get their own copy. Itamar Assiere, piano; Nicky P, congas; Andrew
filled with Vu’s haunting electronically-altered There are a number of standout tracks here. Scott Potter, drums, piano; “Chupetta”, perc.
trumpet. “O Little Town of Bethlehem,” is a perfect
match between the song and the singer. It is By Curtis Davenport
enlivened by Mr. Lawton’s subtly driving piano
accompaniment and Barbara’s vocals that follow We have all heard the old adage, “you can’t
his rhythm. Two traditional songs that aren’t judge a book by its cover”. Well, today I would
heard often, “Lo How A Rose E’re Blooming” like to amend that saying to include compact
and “Coventry Carol” are combined into a beau- discs, which I will now admit, cannot always be
tiful, haunting, medley that you will remember judged by their cover art, or for that matter, by
long after the track ends. “Children Go Where I their titles. Coco Bop Samba Rap, is the disc that
Send Thee,” gently sways and swings along for made me come to this conclusion. I must admit
an infectious eight-plus minutes, which seems to that when I first saw the cover artwork and then I
read the rather clumsy title, I feared that I was in
Barbara Montgomery go by in half that time. Ms. Montgomery seems
to be having a good time singing the song and for an experience similar to those I’ve had with
Mr. Lawton is at his most creative, even taking a discs from many remainder bins, which has been
NOEL: ONE FROM THE HEART—Two rare solo turn. As a listener, you will be drawn in often unpleasant. But, to my surprise (and relief),
Beans Music #23070. I’ll Be and enjoy yourself as well. The best track on the I found Coco Bop Samba Rap to be, for the most
Home For Christmas; What Child Is This; Lo disc is a complete surprise: “A’ Soalin,” co- part, an appealing blend of jazz and indigenous
How A Rose E’re Blooming/Coventry Carol; O written by Paul Stookey of Peter, Paul and Mary, Brazilian musical styles.
Little Town Of Bethlehem; Carol of the Chil- associated mainly with the folk group and gener- The concept of Coco Bop Samba Rap, is the
dren; O Come O Come Emmanuel; A’Soalin’; ally sung in a style closer to that of a madrigal, brainchild of Andrew Scott Potter, an American
Children Go Where I Send Thee; O Holy Night; becomes a finger snapping groove tune. Appar- born drummer who worked in his early days
Have Yourself A Merry Little Christmas ently, Ms. Montgomery and Mr. Lawton were with artists such as the great bop era pianist,
PERSONNEL: Barbara Montgomery, Vocals; out to out the “soul” in “A’ Soalin” and they Walter Bishop, Jr., organist, Dr. Lonnie Smith
Barry Sames, piano (O Holy Night); Tom succeeded. She purrs her way through the song, and avant-garde guitar innovator, Sonny Shar-
Lawton, piano (all other selections) rock. Potter then moved to Brazil in the early
74 December 2006  Jazz Improv ® Magazine’s New York Jazz Guide To Advertise CALL: 212-889-0853
nineties to study Brazilian rhythms and percus-
sion methods. While there, he became greatly
influenced by the music of the “mangue bit”
movement that was coming out of the city of
Recife, in Northeastern Brazil; and much of his
drumming style now reflects those influences.
On this disc, Potter has recruited some first-
rate Brazilian jazz musicians, such as bassist
Paulo Russo, who is also one of Potter’s collabo-
rators in the Rio de Janeiro Jazz Trio and is here
helping Potter to form a rock solid rhythm sec-
tion on most tracks. There are many others musi-
cians, mostly Brazilian and some American, who
stop by and add their special touch to one or two
tracks. Some of the more familiar names are
journeyman saxophonist Alex Foster, a veteran
of the Mingus Big Band and Jaco Pastorius’
group; also Ari Brown a veteran avant-garde and
bop saxman from Chicago. For me however, the
most memorable appearances came from the
Brazilian musicians, most of whom were new to
me, but some of whom were so good, that they
have led me to start to hit my online resources,
in an attempt to track down more of their re-
cordings. Notable among these are pianist Rafael
Vernet, who grabs your attention with his inven-
tiveness on “Very Easy” a bop based trio burn-
out written by Paulo Russo, Itamar Assiere, who
along with bassist Jose Luiz Maia, give a samba
called “Preto Vehlo” a warm feeling reminiscent
of the late Manfredo Fest’s best contemporary
jazz work and an uncredited violinist, who ably
shares frontline duties with guitarist Bruce
Whitcomb, on Mr. Potter’s haunting “Coco
One of the focal points of this disc, is an
attempted fusion of Brazilian musical styles with
jazz and rap. The large majority of the eleven
tracks are really either jazz with a Brazilian tinge
or vice-versa. For the most part, those cuts are
very successful. As for the Brazilian-jazz-rap
fusion that is attempted on three tracks, it should
be applauded as an innovative and intriguing
idea. In a jazz world that is often lacking bold-
ness and originality, artists who are willing to try
something different should always be encour-
aged. In its’ execution though, for me, it only
really worked once, on “Eu Avistei”, a track
with a very strong Afro-Brazilian rhythm, a Por-
tuguese chorus that is infectiously repeated,
exciting jazz-based solos from Brazilians, Fabio
Costa on trumpet and Ranieri Ricardo on piano
(also check out their smoking mainstream jazz
chops on the second half of this piece, which is
called “Eu Avistei Bop”) and some nice fills, in
English, from a rapper named Mr. E. This piece experiment and still a very interesting one. I more hits than misses, it is reasonably priced,
seems to work, because hip hop is another ele- hope to hear more from these and other artists especially when you consider the 2-disc CD/
ment in the beautiful amalgam and it is not being attempting to expand their horizons in this way DVD package and finally, it is a great way to
asked to carry the piece. When the rap/hip-hop in the future. gain exposure to some talent that definitely de-
influence is the main focus, as it is on two other The package also includes a bonus DVD, serves more of the spotlight.
cuts, “Coco Bop Rap Suite” and “Boa Viagem”, Sambao, Swing, Mangue Jazz, shot on location
the results are at best, mixed. The “Rap Suite”
has some interesting ideas, such as sampling a
around Brazil, which features some fine Brazil-
ian jazz from Andrew Scott Potter, The Rio de
Sonny Stitt
great Walter Bishop piano solo, but it tries to Janeiro Jazz Trio and many of the artists featured
cram in too many concepts and it runs out of on the CD. It also features some spectacular STITT’S BITS: THE BEBOP RE-
ideas before its’ twelve minutes are up. “Boa Brazilian scenery, of the environmental and the CORDINGS, 1949-1952—Prestige Records
Viagem features a beautiful Brazilian melody, human variety. PRCD3-30043-2.
written by Mr. Potter and some solid musician- Overall, if you are looking to expand your PERSONNEL: Sonny Stitt, saxophones; Gene
ship. However Mr. E’s gruff voice in the rap Brazilian jazz horizons beyond the Bossa Nova, Ammons, saxophones/vocals; J.J. Johnson, trom-
sections of this tune, are a bit out of place with Andrew Scott Potter’s Coco Bop Samba Rap, is bone; John Lewis, piano; Max Roach, drums;
the rest of the surroundings. Again, this is a first not a bad place to start. Musically, it includes far Art Blakey, drums; Bud Powell, piano, with
other musicians.
To Advertise CALL: 212-889-0853 Jazz Improv ® Magazine’s New York Jazz Guide  December 2006 75
wish the fade-out, which I am assuming repre- By Scott Hockenberry
sents an incomplete take, didn’t arrive. The lone
Teddy Williams session here features two songs Prior to hearing his first major release, All
with some slightly over the top vocals from Wil- The Things We Still Can Be, I was unfamiliar
liams. The delivery tends to be a bit much on with trumpet player and composer Jacob Var-
“Touch of The Blues” but Williams nails the mus. I have to admit that it will often take listen-
mood and humor of “Dumb Woman Blues.” ing to a few tracks before I warm up to, or can
While several tracks in this collection feature fully appreciate, the style of an artist that is un-
vocals from the whole ensemble, the most enjoy- known to me, but with Varmus I was drawn in
able of these is “Who Threw The Sleeping Pills from the first cut.
By Dan Bilawsky In Rip Van Winkle’s Coffee?” The enthusiasm Varmus has a style that echoes some of the
and positive spirit of the band is easily trans- smooth sounding trumpet masters of the past like
Harvey Pekar, jazz aficionado and subject ferred to the listener during this performance. Chet Baker or early Miles Davis, while yielding
of the film American Splendor, laments the fact Stitt’s baritone saxophone graces many of the a fresh contemporary edge similar to Tom
that there is a lack of recognition for Stitt’s con- Ammons-associated dates and, while he is not Harrell or Dave Douglas. He plays with a pleas-
tributions to the world of jazz. Stitt, often looked the dominant voice in these moments, many ing round and full sound, and his improvisations
at as “a technically skilled copier of Charlie great tracks, like “La Vie En Rose,” are created. are lyrical and musical, in what I would largely
Parker,” claimed to have developed his style Larry Townsend’s vocals on “To Think characterize as a cool style.
without ever hearing Parker’s playing. Miles You’ve Chosen Me” and the highly energetic Of the eight tunes presented on this release
Davis, who heard Stitt in 1942, noted that Stitt’s “After You’ve Gone” are standouts from Stitt’s six are Varmus originals, and he proves himself
style had already been in place by that point. recordings in late 1950. “Jug” and “Wow” are to be an able composer with pieces written
Regardless of a who-did-what-when argument two songs that meet the description of the afore- largely in the traditional/post-bop style with
and chronological treasure hunt, Stitt deserves to mentioned Ammons group recordings. This sep- much attention to melody and form. His compo-
be recognized as one of the most important jazz tet sounds like a strong big band and the urgency sitions have a sense of purpose and structure
saxophone players in the mid-twentieth century here is astounding. Matthew Gee’s trombone with very listenable and memorable melody
and, to be honest, the history of jazz. This collec- solo is the highlight of “Wow” and the title aptly lines.
tion of music focuses on the period from 1949- describes my feelings toward the performance. The disc begins with the original “Ecstatic
1952 and we get to hear Stitt’s stylistic range “Can’t We Be Friends” is the strongest display, Little Porpoises” (you have love that title),
and creative ideas on alto saxophone, tenor saxo- present in this collection, of Stitt’s alto saxo- which is an up-tempo boppish piece that features
phone (which features most prominently) and phone work. The final Ammons session in this fine solo work by Varmus, guitarist Nate Radley
baritone saxophone. Prestige Records has done a set is ballad heavy, with three out of four tracks and pianist Toru Dodo. The rhythm section,
fantastic job compiling all of these recordings, falling into this category, and shows a com- which is completed by Yoshi Waki on bass and
placing them in chronological order, providing pletely different side of his personality. The final Brian Woodruff on drums, is tight, blends well
details on the musicians involved with each ses- disc closes out with energetic zeal, apparent in and provides a solid improvisational spring-
sion and making corrections where errors might “Sonny Sounds” and “Stitt’s It,” and the Mambo board. Following is the title track “All The
have existed in prior releases. While personnel magic of “Cool Mambo” and “Blue Mambo.” Things We Still Can Be”, which is written on the
changes occur and different leaders are associ- Pekar, being the honest and thorough writer that (you guessed it) “All The Things You Are”
ated with these sessions, the bulk of this set is he is, readily acknowledges that Stitt’s personal form, and it is a light lyrical piece with an enjoy-
taken from sessions of Sonny Stitt and/or Gene life, issues with alcohol and drugs, lack of alle- able, bright melody line. The next cut “Untimely
Ammons. giance to a particular stylistic camp and several Intrusion” is a more foreboding piece that dis-
Jay Jay Johnson’s Beboppers open the first other factors have contributed to his lack of rec- plays the diversity of Varmus’ compositional
disc with “Afternoon in Paris,” “Elora,” ognition. However, this body of work and many skills. In this piece Nate Radley takes the first
“Teapot,” and “Blue Mode.” Two takes of each other fine recordings of Stitt clearly demonstrate solo, and he proves himself to be a fine impro-
song are present and, as Pekar mentions, you can that as a soloist, ensemble leader, writer and viser playing tasteful lines and displaying ample
hear Stitt “synthesizing some Lester Young in- performer, he is truly in a class all his own. chops. Varmus also proves he can play with
fluence with the Bop vocabulary.” The session technical competency and performs one of the
on December 11, 1949, which is co-led by Stitt more harmonically interesting solos of the ses-
and Bud Powell, produced the best consecutive sion here. Throughout this piece the rhythm
recordings on this collection. “All God’s Chillun section is driving, and they nicely build a sense
Got Rhythm” is a fine demonstration of taste in of urgency and tension.
soloing and “Sonny Side” is brimming with The beautiful ballad “Everything Happens
energy. “Bud’s Blues” maintains a suave de- To Me” shows the major influence of Chet
meanor throughout and “Sunset” is simply Baker on Varmus. He plays in the soft lyrical
breathtaking. Stitt, serving as composer on three Baker style and even takes the tune out singing
out of those four tunes, demonstrates fine writing eight bars a la Baker. “Country Dave Tex Mex”
skills. The next couple of sessions, featuring is a fun, rolling piece that has several style shifts
various musicians under the moniker of the
“Sonny Stitt Quartet,” are heavy with standards.
Jacob Varmus with a bouncy, sunny and memorable melodic
line. On “What Is This Thing We Still Can Be”
“Later,” Stitt’s only writing contribution here, Varmus’ attention to tradition comes through
features some lovely gliding down the saxo- ALL THE THINGS WE STILL CAN BE— with the melody line fairly clearly quoting
phone that resembles gently cascading water. Kin Records. Ecstatic “What Is This Thing Called Love”. He takes on
“Mean To Me” and “Stairway To The Stars” are Little Porpoises; All The Things We Still Can a bit of the Miles Davis persona here beginning
an opportunity to hear his big, open sound in the Be; Untimely Intrusion; Everything Happens To the tune playing muted trumpet that is very remi-
lower register of the tenor saxophone. The ses- Me; Country Dave Tex Mex; What Is This Thing niscent of Miles’ sound.
sions with Gene Ammons, which are plentiful in We Still Can Be?; Why Don’t You Dance?; Per- The last Varmus composition, “Why Don’t
this collection, are unique in the fact that these petual Motion You Dance”, further exemplifies what seems to
medium sized groups (of less than ten musi- PERSONNEL: Jacob Varmus, trumpet, cornet, be a penchant for the cool style. It is a floating
cians) manage to capture the spirit, sound and vocal; Nate Radley, Guitar; Toru Dodo, piano; lyrical tune with a fine sense of melody and
nuances of big bands on many of these tracks. Yoshi Waki, bass; Brian Woodruff, drums; Chris movement. Here the melody is doubled on trum-
Several takes of “Blues Up And Down” begin Komer, french horn (8). pet and guitar, with well-crafted solo efforts by
the second disc and the music is so great that you Dodo, Varmus and Radley. The disc closes with

76 December 2006  Jazz Improv ® Magazine’s New York Jazz Guide To Advertise CALL: 212-889-0853
an original composition by bassist Yoshi Waki, The first track, “Sanyas,” represents Turre’s
titled “Perpetual Motion”. The piece blends well
with the feel and mood of the session and is a
light, rolling, well-structured composition.
first recorded composition (on Woody Shaw’s
1974 Moontrane) as well as the track on which
he first soloed. Turre begins Keep Searchin’ by
Eric Nemeyer
Overall this is a very respectable first offer- playing his innovative contribution to jazz in-
ing by Jacob Varmus, and it includes fine per- strumentation, the shells, which Rahsaan Roland
formances by all of the session members. The Kirk encouraged him to play. While one would
writing style is interesting and diverse, and it is a expect the shells to suggest invocation of spirits,
recording that holds interest from start to end instead, surprisingly enough, Turre’s 45-second
and never gets stale. Although you can readily shells introduction to “Sanyas” invokes the Performances
hear Varmus’ influences in his playing, you can blues. After that, the entire group deepens the
also hear his individual personality and style groove of the piece that switches between three-
come through. I am sure this release will garner four and five-four. And five-four it is when
ORDER the CD Commissions
a good bit of much deserved attention for Jacob Turre ends the piece on shells again, just as, Blessing In Composing/
Varmus, and I personally am eager to hear what symmetrically, he concludes the entire CD on Disguise
he offers up next. With the release of All The shells when he invokes the listener to “Keep Clinics
Things We Still Can Be, Jacob Varmus is prov- Searchin’” too. Eric Nemeyer, vibes
ing that he is moving toward being all the things Beyond the stylistic variations included on Tony Monaco, B3;
that he can be. the recording, its additional strengths encompass Valery Ponomarev, trumpet
Donny McCaslin, tenor/soprano sax
the apparent infinity of voices with which Mark Elf, Curtis Weaver, guitar
Turre’s trombone can speak, as well as the grati- Byron Landham, drums
fying contributions of the other members of the
group, as fulfilling on an individual basis as on a
collective one.
Voices? Turre’s range from the challenging
hard bop articulation of Curtis Fuller’s “Time
Off” to the plunger-muted gutbucket wailing of
“Da Blues” over its pronounced quarter-note
beat. From Turre’s affecting mid-range shaping
of “My Funny Valentine” to his own preferences
Steve Turre (down a fifth from its usual key) to his muted
wah-wah-ing of the melody of Stefon Harris’s Send $15: P.O. Box 26770, Elkins Park, PA 19027
“Faded Beauty” over Dixon’s gliding harmonic
KEEP SEARCHIN’—High Note #HCD7159. lines.
212-889-0853 Sanyas, Faded Beauty, By attaining control of the material he in-
Thandiwa, Reconciliation, Time Off, My Funny cludes on Keep Searchin’, Turre has provided
Valentine, Easy Now, Steppin’ Out, Da Blues, himself with a showcase for the prismatic colors And how well he does that—with graceful
Keep Searchin’. the trombone offers in its creation of contrasting chorded improvisation. “Time Off,” on which
PERSONNEL: Steve Turre (trombone, shells); and complementary hues, always engaging and, Turre’s entire group shines as if energized by its
Xavier Davis (piano); Stefon Harris well, gorgeous too. challenge, allows Davis to take off with fervid
(vibraphone); Akua Dixon (baritone violin); Other musicians’ contributions? First of all, intensity, demonstrating his technical ability on
Gerald Cannon, Peter Washington (bass); Dion one can’t miss the influence of Dixon on three of the fast tunes as well as his respectful leadership
Parson (drums). the ten tracks, as she adds vibrancy and a rich- in shaping the development of ballads. For in-
ness of texture to the group. On “Sanyas,” Dixon stance…the entire feeling of “My Funny Valen-
By Bill Donaldson makes her first appearance, enhancing the tine” changes during and after Davis’s solo when
piece’s excitement with her own irresistible he changes the dynamics of the piece after
Like many other musicians, Steve Turre heightening of tension before the shells’ fadeout Turre’s straightforward interpretation.
views the privilege of playing music as a revital- at the end. Her final performance on the CD is Keep Searchin’ is a fine ensemble album that
izing, lifelong quest. The learning is never com- even more memorable as she develops a musical provides Turre with the freedom he searches to
pleted, the pleasures are never depleted, and the narrative, rising from a relaxed phrase through create music that reflects his experiences, his
depth of its spirituality is never reached. And so, swing and to a final ostinato whose pitch Stefon interests and his spirit.
Turre captures the process of his life’s journey Harris seamlessly picks up as the beginning of
with the title of Keep Searchin’, its informality
in character with speech patterns and more im-
his solo. Turre has been a frequent collaborator
on Harris’ albums, even unto his latest one, Afri-
Vic Juris
portantly with the music’s accessibility.
Turre’s search takes on a more personalized
can Tarantella. Once again, Turre chooses in- Corey Christiansen
strumentation that supports the sound he seeks.
nature than it has on some of his past tribute And so, when Turre rips through Curtis Fuller’s LIVE AT THE SMITHSONIAN JAZZ CAFÉ
albums because the majority of Keep Searchin’s propulsive “Time Off,” a true showcase for the Mel Bay Records.
tracks consists of his own compositions, allow- trombonist as he shows unfettered articulation, Roads, Alone Together, Awakening, All the
ing him to explore various sonorities on the there is Harris as well, playing in unison on the Things You Are, Floater, Black Nile, Stella by
trombone (and shells) and to perform with stylis- fast first chorus and then taking his own super- Starlight, Kaiya’s Dance, Sweet 16, For Shirley,
tic diversity. In addition, Turre features his wife, charged solo. On “Reconciliation,” Harris blends Softly as in a Morning Sunrise.
Akua Dixon of Quartette Indigo, on three of the in with Turre’s statement of the melody by har- PERSONNEL: Vic Juris, guitar; Corey
tracks, where she plays baritone violin, deepen- monizing, adding a glassy overtone before they Christiansen, guitar; Bill Moring, bass; Tim
ing his personal statement on the CD. Moreover, break into simultaneous improvisations at the Horner, drums.
Turre’s group interjects some memorable mo- end. Moreover, “Reconciliation” resolves the
ments in the performance of his compositions as question about how well two chorded instru- By Dimitry Ekshtut
they give evidence of their own personalities ments will fit within Turre’s arrangements. Pian-
even while they capture the intensity and the ist Xavier Davis’s comping sets up the feel of Good jazz needs to be seen as well as heard.
humor of Turre’s works. And so, the execution the piece as he stays out of the way of the solo- This is why we go to concerts instead of listen-
of Turre’s ideas is as intriguing as their concep- ists until it’s his turn to step up front as well. ing to records at home. The act of making music
To Advertise CALL: 212-889-0853 Jazz Improv ® Magazine’s New York Jazz Guide  December 2006 77
is physical enough to more than warrant our Christiansen and Juris from different angles bassist Brad Jones and Derrek Phillips on drums.
attention. Nuances of body language, facial ex- appear as a single, dynamic split-screen image. It The sonic palette is expanded on several tracks
pressions, and the sheer pleasure of seeing art is such post-production editing that makes for a where the quintet is augmented by either guitar-
created before one’s own eyes keep us engaged truly enjoyable and unique experience with the ist David Fiuczynski, Josh Roseman on trom-
in the music on a multitude of sensory levels. DVD format. bone, vocalist Olu Femi Mitchell or percussion-
Mel Bay’s DVD release of an exceptional con- An added bonus is the inclusion of an inter- ist Pedro Pablo Martinez.
cert at D.C.’s Smithsonian Jazz Café by guitar- view featuring Juris and Christiansen in which Except for the Marvin Gaye penned
ists Vic Juris and Corey Christiansen does just they discuss their collaboration and the events “Life is for Learning” that closes the disc, all of
that. Joined by the understated eloquence of Bill leading up to it. Both guitarists offer their per- the compositions on The In Side Out were writ-
Moring on bass and Tim Horner on drums, Juris spectives on each other’s playing styles, explain ten by Rosewoman. There is a dancing quality
and Christiansen provide nearly two hours of the behind-the-scenes work that went into setting that permeates many of Rosewoman’s composi-
inventive, engaging guitar discourse. up the concert, and offer up some amusing anec- tions that can conceal the sophisticated playing
The two guitarists were wise to keep their dotes. Separately, Vic Juris and Corey by the musicians and underlying adventurous
offerings varied, breaking up the monotony that Christiansen are exciting musicians full of fresh spirit in her music. Rosewoman’s own piano
plague many similar two-guitar ensembles. They musical ideas. Yet as the concert and interview style is similar to her compositional approach in
play as a quartet for no more than half the per- both attest, the work that they have done to- its bouncing rhythmic feel, combined with an
formance. The rest is dedicated to the trio, elimi- gether is of a greater quality than either might edginess in her grouping and choice of notes.
nating one guitar, or duo format, eliminating the have achieved on their own. Prompting, pushing, Rosewoman also effectively optimizes the use of
bass and drums. Each setting offers its own in- and pulling, Juris and Christiansen bring out the horns. Instead of simply utilizing the collective
herent possibilities, allowing for both individual best in each other musically and that is what a horns to state the heads, she often writes parts
and collaborative musical statements. great collaboration is all about. which require horns to play off each other and
Christiansen and Juris also contribute their own also interact with the soloists throughout a song.
compositional voices – originals make up In this regard Zenon and Shim are well suited
roughly half of the material on this DVD. This and complimentary foils. Both are young stars
programmatic foresight works wonderfully to on the rise and their contributions throughout
make each subsequent song fundamentally dif- The In Side Out are consistently strong.
ferent from the last. The above qualities are brought into
Juris and Christiansen share the spotlight focus on tracks such as “Link” and “With You In
equally, but there is a sense of deference on be- Mind (for Duke)”. Rosewoman, Zenon on so-
half of Christiansen to the elder Juris. prano and Shim all make definitive statements
Christiansen is happy to follow Juris’ lead, often over Phillips skittering rhythm pattern on
allowing him to play the melody and take solos “Link”. Josh Roseman’s trombone is added to
first. Juris seems content in his role as the more the ensemble on “With You In Mind (for
seasoned of the two, ably guiding Christiansen in
their different configurations with his command-
Michele Rosewoman Duke)”. The arrangement on this track is a high-
light of the disc. Roseman’s trombone played in
ing tone and mature lines. Yet Christiansen’s subtle counterpoint with the other horns in the
contribution is in no way small. He provides THE IN SIDE OUT – Advance Dance Disques. head over the strolling rhythm is a delight. Rose-
three of the five originals on the DVD and seems Cuerpolarity; man, Zenon, and then Rosewoman all make
to be the impetus for the entire collaboration. His Warm; Link; Guapo; Guapo Remix; Eshu engaging solo statements before the horns return
tunes, “Roads,” “Awakening,” and “Kaiya’s Laroye; With You In Mind (for Duke); The ER; for a brief conversation to close the tune.
Dance” are marked by a compositional dexterity The Fineness Of; Advance Dance; Life is for Another side of Rosewoman is re-
and clarity often seen in older players. Juris en- Learning vealed on the convincing R&B/funk influenced
joys the challenge of these tunes, adding much- PERSONNEL: Michele Rosewoman, piano, tracks, “Warm” and “The Fineness Of”. “Warm”
needed color to Christiansen’s playing with stra- Fender Rhodes, midi keyboard, vocals; Mark features Rosewoman on Fender Rhodes and
tegically placed melodic and chordal volume Shim, tenor saxophone, midi wind controller, added electronic effects. The relatively brief
swells. This string-like effect, one of the staples programming; Miguel Zenon, alto and soprano “The Fineness Of” is all about the head nodding
of Juris’ style, is enhanced by his MIDI- saxophones; Brad Jones, acoustic and electric groove laid down by Jones and Phillips under-
equipped guitar. Such clever use of the instru- bass; Derrek Phillips, drums. Special guests: neath a simple unison horn line. On both tracks
ment is but one of the ways in which Juris and David Fiucynski, guitar; Josh Roseman, trom- Fiuczynski adds gritty guitar licks. Rosewoman
Christiansen manage to play with each other bone; Olu Femi Mitchell, vocals; Pedro Pablo brings out the electric keyboards again on “The
with little danger of getting in the way. Martinez, congas, bata, vocals, percussion. ER”, which in cahoots with Martinez’ percus-
While Christiansen is at his best playing on sion and Fiuczynski’s guitar evokes a mysterious
his own compositions, his combined efforts with By Ronald Lyles mood. Shim’s confident solo here, as elsewhere,
Juris are most effective on their duets. “Alone is a highlight and begs the question why we do
Together” finds the guitarists melding their play- Pianist Michele Rosewoman has been not hear more from this talented musician?
ing together into one unified sound. Their com- active on the jazz scene since the early eighties. Possibly the most emotionally power-
municative prowess is evident as they both hit Despite a still growing legacy as a leader of ful track on the disc is “Eshu Laroye”. Marti-
the first note of the melody. Christiansen backs consistently original and rewarding recordings, nez’ percussion establishes the infectious Afro-
off and begins to accompany Juris, who returns as well as performances and recordings in col- Cuban groove; and combined with the chanting
the favor in the bridge. The mutual respect these laboration with, or support of many notable mu- vocals of Rosewoman, Mitchell and Martinez
musicians have for each other is obvious as both sicians, Rosewoman does not seem to have the give the track an overall spiritually hypnotic
are wholly concerned with providing the other profile among jazz consumers that her signifi- effect. The track also intersperses sections of the
with balanced support. Their interaction takes on cant talent merits. previously discussed dancing feel where the
a strong sympathetic bent as both solo together The In Side Out is Rosewoman’s fifth instrumentalists get to stretch out a bit.
before returning to the melody. recording with her ensemble, Quintessence and Only time will reveal whether Rose-
“Stella by Starlight” is another evocative first recording in six years. On her first self pro- woman will receive more exposure within the
Juris-Christiansen duet. Once again Juris plays duced recording on her own label, Rosewoman jazz community. For now, The In Side Out is a
the melody, afterwards taking an inspired solo presents a program incorporating a variety of fine representation of her creative spirit and a
that demonstrates both his impressive technical musical styles which both influenced her and welcome addition to her recorded output.
command of the guitar and keen musical taste. illustrate her range as an artist. In addition to
As they engage in a mutual solo, shots of Rosewoman, the core members of the group are   
saxophonists Mark Shim and Miguel Zenon,
78 December 2006  Jazz Improv ® Magazine’s New York Jazz Guide To Advertise CALL: 212-889-0853
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80 December 2006  Jazz Improv ® Magazine’s New York Jazz Guide To Advertise CALL: 212-889-0853
W O R L D ’ S F I N E S T J A Z Z C L U B & R E S T A U R A N T
131 W. 3RD ST NYC . 212-475-8592 . WWW.BLUENOTEJAZZ.COM

2 5 T H A N N I V E R S A R Y C E L E B R AT I O N



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