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 Feature
Mark Turner
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MT: Everyone in the band on my new CD,
Lathe Of Heaven, I’ve played with before, as
sideman in other bands. And we all know each
other very well from various situations. There
are other people too that I’ve been with that I
also loved playing with. But, these musicians
seemed to work out particularly well, at least in
my mind for this particular project. The tunes—
2 September 2014  Jazz Inside Magazine  www.JazzInsideMagazine.com
music I’d written maybe slowly over the last
maybe three years.
JI: Since compositions are always in flux,
maybe you’ve agonized now and then over even
one note, or changing some section
MT: [Laughs]
JI: I read in Duke Ellington’s biography, Music
Is My Mistress, that when he was writing
“Sophisticated Lady,” he came up with at least
three different versions of the bridge—in trying
to decide where to modulate to. So I’m sure you
may have gone through something similar.
Interview by Eric Nemeyer
Photo by Ken Weiss
Could you talk about some of the interesting
developments that occurred over time while you
were working on these compositions? Were
there developments during the recording or the
preparation that influenced any significant
changes to the original songs?
MT: Okay. The recording was fairly straightfor-
ward except for one thing. There was one song.
We had more material. We recorded much more
than went on the record. I think we did nine
tunes or something. I knew that we were only
going to have time for about six. The only thing
is there were some tunes I wasn’t sure I wanted
(Continued on page 4)
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Mark Turner
(Continued from page 2)
to be on the album. There’s one song that was
actually written for another group but I thought
would work because we had played that tune.
Well actually we did record it but it didn’t actu-
ally get on the record. In terms of writing, it’s a
similar situation. Usually when I’m writing,
almost with all these songs, there are maybe two
or three, even four or five versions of different
“… treat all beings as if they were
your mother. It kind of takes care of
everything. If you can do that, then
generally everything else is
going to be fine.”
sections. It all worked out. Again, like you were
saying, agonizing over one or two notes. One
tune, “The Edenist,” we had been playing for a
while a certain way, and I was intending on
recording it that way. But then I don’t know
what I heard, but I decided it needed an ending.
So I added this whole other section to it which
started one way, and then I changed it so on and
so forth. That’s true with a lot of the tunes, but
4 September 2014  Jazz Inside Magazine  www.JazzInsideMagazine.com
that one in particular. There’s one that went
fairly straight through. The first tune was pretty
much straight through from beginning to end.
That one was written for me—fairly quickly
maybe in two weeks or something like that.
JI: Had you handed out lead sheets right at the
session, or was the music so well-known already
in some cases that people were working com-
pletely away from the printed page?
MT: Memory you mean?
JI: Yes.
MT: Not quite. It was maybe half and half. We
were still reading. Some of the songs are too
long to be able to have them memorized. I don’t
even have the memorized.
JI: How does composing work for you? Is mu-
sic simply flowing out, or do you experience
htose moments where you’re simply not sure
where to start? Maybe start with just a rhythmic
motif ….or start with a couple of chord changes
… or something to give you momentum? What
are some of the sources of inspiration or proc-
esses you’ve experienced?
MT: Like many people, I have a book of ideas.
Some of the ideas are little ones that are kind of
old, some are new, and some are rewrites of
older things, and some are inspirations. Like, the
first tune, “Lathe Of Heaven.” It is actually the
beginning. I wanted an anthem and I had always
loved the anthems of some science fiction
films—for example, Logan’s Run. So I listened
to that, just the theme anthem of it. The begin-
ning of it came from that. I didn’t do the exact
thing but it was just inspired by it. The rest of it
came from that, then I needed a second sections.
It’s basically three sections. Sometimes I plan
them out—I want three sections, I want four
sections, I want an interlude, so on and so forth.
I may not necessarily do that, but it gives a road
map. Then I might change the road map as I go
once it starts going. Sometimes I start writing
and I realize this is the end — and I start from
the end. I go back and I take themes from the
end and variations from the end to start or add to
the beginning. So for example, if I developed
the music to get to the end, what would it sound
like? Then I start at the beginning, so on and so
forth. Some of those tunes are like that. I don’t
think any of them started with rhythmic figures.
But one of them, the middle section, started with
a rhythmic figure. But usually it’s all rhythmic
figures mixed with voice leading—and then
from that the middle section to the end came
(Continued on page 7)
(Continued on page 7)
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Mark Turner
(Continued from page 4)
out. With a lot of the tunes, almost everything,
starts from voice leading of some type. Even if I
have chords, they’re almost always voice-lead
in some way. It’s usually not just chords and
melody. It’s always intertwined in some way.
That kind of affects how the melody and the
tune are going to go to some extent. The other
thing that has helped me lately is that I try to
write in the morning. Sometimes, it is some-
thing that I’ve written … I might have left it …
if I can still remember it and kind of sing it and
feel it, and feel the form while I’m doing some-
thing simple like the dishes or some kind of
chore ... usually at that point it feels like some-
thing to keep when I’m agonizing whether to
keep something or not. It sounds like a simple
thing but it actually helps quite a bit.
JI: What was the source of inspiration for the
title, Lathe of Heaven?
MT: The title is from a book from Ursula K. Le
Guin. It’s the title of that book. It’s basically
about the transient nature of realities. It’s basi-
cally about a guy who dreams and all of his
dreams become reality. So reality is changing all
the time. There’s a point where everybody’s
gray, all the people are gray. There’s a point
where small things like you have a painting in
the room one time it was a mountain and then
it’s a tree … things like that. He’s constantly
changing and he meets this guy. It basically
starts where he witnesses a holocaust of some
type. You don’t even know if that was real or
might have been real. Then after that, he dreams
that that didn’t happen, so then everything’s
back to normal, I suppose. Later on, he contin-
ues to dream. There are changes, and he meets
this psychologist who first doesn’t believe him.
And then he does a few things so that he does
believe him. Eventually the psychologist tries to
cure him and eventually the psychologist tries to
make a better world with this guy’s dreams and
of course that goes to naught. The story goes on
from there. But that’s basically what it’s about,
about the changing nature, that reality is not as
solid as we think it is.
JI: You’ve focused on recording with instru-
mentation that is without chord instruments, not
unlike classic artists such as Sonny Rollins on
his album East Broadway Rundown from the
mid 1960s, that he recorded with Freddie Hub-
bard, and the Live At The Village Vanguard
sessions from 1957, and others. Could you talk
about how that concept and approach, working
without chord instruments, helps you rather than
challenges you, or maybe it challenges you too,
in the creation of your music?
MT: Yes. Well, the inspirations are some of the
above that you mentioned and others—
chordless quartets and trios. The biggest chal-
lenges and inspirations and things that helped
me—one is this format. I like it because of the
To Advertise CALL: 215-887-8880 September 2014  Jazz Inside Magazine  www.JazzInsideMagazine.com
nakedness of it. You’re given a lot of freedom
but also a lot of responsibility. It’s kind of like
that situation is a little bit more intense. All the
items and things at play that come to an impro-
viser and composer are a little bit more height-
ened—a little bit more intense. That’s what I
like about it. There’s less of a blanket. The more
people that are on the bandstand, the more of a
blanket there is for all of us to rest on. We rely
more on each other all the way to the size of a
full orchestra. And the fewer people there are,
all the way down to solo—it’s a lot more intense
when you’re playing all by yourself than duo,
trio, quartet, so on and so forth. So that’s the
main reason. In terms of writing—same reasons.
But part of it is a voice leading exercise—just to
be able to write, condensing harmony, without a
chordal instrument—meaning that the voice
leading needs to be strong to some extent. You
can’t just write any melody with one or two
other voices. The voice leading needs to be sus-
tained to some extent. If there’s a chordal instru-
ment, you can write any melody. It can be out of
the chords, in the chords. The chords are always
there. So that’s a big part of it for me. I think
that’s true for any kind of composition. The
forms need to be interesting. The pacing needs
to lead one to the next, or whatever it is that
you’re looking for. There needs to be some mo-
tion. I think without a chordal instrument to
create that kind of interest, it’s a little bit more
difficult. Again, that’s because there’s no pad-
ding behind you—meaning the padding of the
chords or the guitar or piano. You create a little
bit more of the interest with the form … certain
twists and turns that it may not normally do ...
and helps it to create more of the interest than
you get when you have chords. Chords can cre-
ate a lot of interest for the listener. When you
don’t have chords [being played], there’s a
crackling empty space—but it needs to be either
filled or used in another way. Does that make
sense?
JI: Yes.
MT: So anyway that’s it.
JI: I read that you value storytelling in your
playing. Could you talk about your concept of
connecting the communication of a non-abstract
story line as communicated in a book or movie,
and converting that or expressing that in the
abstract form of instrumental music?
MT: Right, I know what you mean. I’m not sure
about that. The only thing I can think of is the
main things for me is the flow, pacing. If I’m
writing something, I might think of the begin-
ning as an introduction or an anthem, for exam-
ple, like the first tune. Or, I might say this next
section needs to have a feeling of something you
might think in story lines. This section needs to
come down or there needs to be some kind of
conflict in this section … or there needs to be
some form of rest ... there needs to be some sort
of feeling of anticipation ... things like that.
That’s the closest thing I can think of with
which you can make some kind of correlation
and you can relate it to music. You can create
anticipation in music. We all know what that
means. You can create rests. Everyone has an
image in their own mind. Maybe I might think
of being in a certain place … like you’re in a
desert ... Or you’re in a green space where there
are lots of trees ... or you’re going to the top of a
mountain where you’re on a plateau and you’re
looking down ... What does that feel like to you
musically? So with just those images I might
create for myself, I’m creating pacing for the
song. Often the pacing of the song helps with
the pacing of the solos—the pacing of the song
as a whole including solos, melodies, and so on
and so forth. So that’s the closest thing I can get
to. It kind of gives some kind of correlation. I
can’t relate to something if someone tries to
make it a literal. I’m not sure if that can be
done. But I haven’t really felt it yet myself.
JI: What kinds of developments have you ob-
served about your own playing and your ap-
proach over the last decade, say, and your cur-
rent reality, your current new album, the work
that you’re doing with Stefano Bollani, and the
whole array of things you’re doing now? Do
you have some perspective on it all?
MT: Only in the sense that I tend to keep a little
musical diary—in which, every few months, I
write down what my strengths are, my weak-
nesses, and my goals, and how it is that I’m
going to reach those goals and what am I going
to do about it. So I have some perspective in the
sense that I do write down what’s going on,
where am I at each period. I can see it to some
extent kind of based on that. I generally try and
take a look and see what’s going on so I can see
what my progress is to some degree.
JI: How do you balance your time and energy
for both the creative efforts and mindset that are
essential for the process of performing, improvi-
sation, and the slower improvisation which is
composing and arranging?
MT: In general, most of my time is spent as an
instrumentalist, an improviser. There are periods
where I write more, so I try and basically write
in the morning—and there are periods where I
may not write for months.
JI: What kinds of things do you do when you’re
working on your instrumental capabilities?
MT: I have these little goals I have written
down. I usually spend time on just getting some
technical kind of exercises in the beginning—
some kind of warm up. It could be short, it
could be very long. I usually do something
that’s the same—just to see where I am. In other
words, if it’s quick that’s generally how I’m
feeling. If it’s a long session, then it might be
that I hadn’t played for awhile. It also might be
just that my head space isn’t very clear so it
takes me a long time to be able to play my in-
strument well. I do certain things that bring the
air and the fingers together that are repetitive to
get a mantra-like feeling to something that’s
essentially technical, something that you’re
(Continued on page 8)
7
To Advertise CALL: 215-887-8880 September 2014  Jazz Inside Magazine  www.JazzInsideMagazine.com 1

Mark Turner
(Continued from page 7)
doing to build speed, agility, so on and so forth.
Then I’ll spend time on voice leading a lot of
times …. and then I’ll spend time on vocabu-
lary. Then, the voice leading usually involves
harmony too. Then I’ll spend time with playing
tunes and then changing keys a lot. I feel like
that’s important just to give my ears the agility
that they need. Again, with the voice leading
there’s a lot of ear training involved too. I’ll do
it on the horn and then I’ll go to the piano. Then
I might play through a song with only three
voices, and maybe I’ll sing the middle voice and
“I like working with and just watching
leaders that trust the band members.
They call people who play the way they
want them to play. So they don’t have
to tell them what to do.”
play the outer voices, sing the top voice, play
the bottom voices, so on and so forth. I spend a
lot of time doing things like that. Then I might
work on cadences, different cadences, different
types—one chord, two chords, three chords,
four chords. I’ll cover technique, voice leading,
vocabulary, repertoire, meaning tunes, any tune,
usually jazz standards and then tunes that might
be somebody’s tunes, and someone’s original—
that they’re not doing in their bands or what-
ever, or something like that.
JI: What were some of the early motivations
that you experienced through teachers and stud-
ies and the music that made a significant impact
on directing you down this path for your career?
MT: I guess there’s a teacher I had named Leo
Potts when I was still in Los Angeles. Basically
it was a very short period of time but it was all
classical saxophones repertoires, all European
music, but it was very helpful. I feel like he’s
the one that taught me how to play saxophone.
Then I went to Berklee. I had George Garzone.
He’s the head of the saxophone department. I’ve
had one teacher for saxophone playing, the other
one for various harmonic ideas and things, and
the other one for transcribing and just leading
me to the various saxophone players of the tra-
dition that one should spend time with.
JI: Were there two or three landmark albums
that were instrumental in inspiring your interest
in jazz?
MT: Okay. Probably records that my parents
had were the first ones. So Dizzy Gillespie,
8 September 2014  Jazz Inside Magazine  www.JazzInsideMagazine.com
Sunny Side Up—that was a big one for me—
with Sonny Stitt and Sonny Rollins. Sonny
Rollins, The Bridge, and John Coltrane, My
Favorite Things. Those are the ones in high
school that made a big impression on me early
on.
JI: What are your perspectives on the academic
route which for you included attending Berklee
College of Music?
MT: Well, I think the apprenticeship route is
the best way to go. Although I didn’t really get
to do much of that. Most of us don’t get to, but
that’s probably the fastest. I think that’s the
shortest way to go. But I think the academic
route provides a lot of information concentrated
in one place. So that’s one thing that you can get
for sure in the academic area that you can’t get
quite as much in the old apprenticeship route.
For example, if you want to be an arranger com-
poser, and the University that you’re at has piles
of scores and recordings that you can listen to—
I think that’s great if you want to be a composer.
The four year academic route gives you a lot of
time to just do one thing for example, practice.
Let’s say you want to practice saxophone or you
want to work on your doubles or whatever. You
can spend time doing one thing for a very long
time with few distractions. I think that can be
helpful. I don’t necessarily think it’s better. It’s
more integrative but it can be helpful. But by
and large, I can’t think of many pitfalls of the
apprenticeship route if you know what you want
and you know what you’re doing. Of course
there’s a lot of pitfalls and maybe you might get
stuck in some things. If I could have had that, I
would gladly have taken that over going to
school. The best is probably to have a little bit
of both—go to school and play with a few great
bands, play with the masters, then you have
everything. I don’t know, what are your
thoughts about that?
JI: Well, I made my way through the earlier
version, on the bandstand. I did earn a degree
from one of the musical institutions of higher
learning and studied classical percussion for
four years Principal Percussionist from the
Philadelphia Orchestra at the time—in part be-
cause there were far fewer jazz programs than
thee are now. In an interview I conducted with
saxophonist Gary Campbell he told me about
developing his skills via the loft scenes in the
1970s when he was coming along. There were
few texts and methods for developing your im-
provisation skills back then. I found that one of
the best ways to learn to improvise was to tran-
scribe solos and understand what players who
were your idols were doing. Anyway, Gary said
that when he arrived to teach at the University
of Miami, all of the things had then were laid
out like scriptures. But I think the good part of
the kind of earlier version, apprenticeship, is
that you learned on the bandstand. You made
mistakes and you had to quickly make adjust-
ments—as somebody was throwing something
at you or saying, “Look, you need to get it to-
gether before you show up here tomorrow
night.” The incubation that occurs on the band-
stand helps you grow quickly in a lot of ways—
when you actually have people in the audience
front of you, and for whom you’re playing and
trying to interact with or communicate with both
on the bandstand and off.
MT: I agree.
JI: By comparison, you’re alone most of the
time when you’re in the practice room—which
we’ve all gone through that where you’re get-
ting your stuff together. For years, you may be
playing for four, six, eight, ten hours a day—
doing very routine musical activities, reading
music, practicing your scales and your chords
and then you’re working through tunes and then
you’re doing transcription.
MT: Right. I agree. Exactly.
JI: What do you find are the ongoing challenges
that you experience as a professional in this
rapidly changing and constantly changing land-
scape of the music business, which is character-
ized both by areas of growth and contraction?
MT: Yeah, it certainly is. I don’t know. It’s a
big mess. I can’t tell what to think of it, to be
honest. It’s hard to say. I started to come along
where there was a fair amount of growth—I
guess during the whole of the 90’s and the end
of the 80’s. So during that period, there was a
lot of money in the record companies for jazz
musicians and there was a lot of work to a cer-
tain extent, for certain people anyway. That’s all
changed. The internet didn’t exist in the late
1980s and the a\early 1990s—not to the extent
that we have it now. Everything was done by
phone or fax. Communication is totally differ-
ent. I think people have more control over the
way that they present themselves and more con-
trol over where they’re going to record and how,
and there’s more access to the public, and that
can be a good thing. I think there are positives
and negatives to that. On the other hand, there’s
less of maybe apprenticeship … and less control
or filtering by the record companies too. It used
to be where you go through all these hoops and
then finally get a record contract as a leader or
whatever, or a well-known side person, same
thing. There isn’t as much of that. I’m not sure
if the quality is more suspect, but at least some-
one’s experience is more suspect. I don’t know
if that’s a bad thing but in the past you know
(Continued on page 10)
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Mark Turner
(Continued from page 8)
someone had a certain level of experience. You
know that in order to get to this place they had
to do these things. Now that’s not the case. Any-
body can produce their own recording. There’s
more work in some arenas, and less work in
other areas of the business. There are two major
jazz centers—Jazz At Lincoln Center in New
York and now SF Jazz in San Francisco. It’s
basically like the counterpart to Lincoln Center
in a way. And it’s housed next to the opera, the
symphony. My parents live out there. It’s
packed every night.
JI: You moved from Ohio to California when
you were a child. What kinds of interests did
your parents have that opened you up to being
involved in music?
MT: I don’t know if they did anything in par-
ticular. They’re music enthusiasts and they were
always playing music. My stepfather and my
biological father had a fair amount of records.
Some of the records that I have, I took from
them or borrowed from them. So there was mu-
sic always going on in the house, jazz, R&B,
10 September 2014  Jazz Inside Magazine  www.JazzInsideMagazine.com
blues, all the time. They’re fairly social. They
always had music going on. They had pool par-
ties with their friends. All their friends love
music too. Certainly weekends they’d go to
Concerts by the Sea, Shelly’s Manne Hole—
jazz clubs in Los Angeles. Sometimes they’d go
to Vegas and they’d go to see I forgot who they
liked. But they’d go to see R&B acts or jazz
acts. They were avid listeners. I think that’s
probably what influenced me, and I’d see the
records they were listing to, so on and so forth.
JI: What are some of the important lessons
you’ve learned about leadership among your
experiences working with different influential
artists—and how have you connected those with
your direction and life experiences?
MT: I think that I like working with and just
watching leaders that trust the band members.
They call people who play the way they want
them to play. So they don’t have to tell them
what to do. They know this guy, I like the way
this guy is, I trust him as a musician, I trust him
as a person to express himself in a way that I
relate to as a leader. Those are the leaders that I
relate to, that I enjoy. Ones that I’ve known and
ones that I can guess that were like that—John
Coltrane was probably like that. He hired the
guys he liked and that was it. It wasn't about
“you do this, you do that,” so on and so forth. I
think there’s value to that but it’s not something
that I personally would like. I think the ones that
trust the musicians take care of the band to some
extent. They make sure that everyone has to a
certain extent what they need on the road, and
they’re willing to hear ideas from the band to
bring whatever the band members have into the
music which I think is also helpful. They’re
flexible, they’re not rigid.
JI: That’s the pathway to growth, certainly.
What have you discovered about human nature
in your travels?
MT: Human nature? That’s a pretty big one.
What do you mean? Can you be more specific?
JI: I don’t want to pre-direct your ideas.
MT: Maybe there’s something you’re thinking
about when you ask that?
JI: It’s a general question, open-ended. Maybe
you’ve discovered that everybody has incredible
ethics and integrity and the music world is
populated by people on the business side, who
are paragons of virtue, completely selfless, hon-
est, trustworthy.
MT: [Laughter] Oh boy, that’s funny.
[Laughter] I don’t know. It’s hard to say. It’s
hard to say.
JI: You attitude sounds like you’re balanced
and thoughtful in your ways. What are your
experiences that have guided you to clarity
about the good, the bad and the evil?
MT: [Laughter] Well, it’s hard to say. But in
general I think there are people that you run
into, that we run into that have negative atti-
tudes that we would rather not confront. I think
they’re just more needy. They want to be loved.
No one is going to act like a complete person.
Most people that you find are going to be cool.
In general, I think they’re less needy, or at least
they can see themselves. They can take a look,
and usually when you can see and understand
yourself, you can see and understand other peo-
ple. So I think the people that have problems
exist everywhere, in the jazz world and outside
of it. I don’t think that they’re more concen-
trated here than other places. I think the music
world is highly social— so we have to spend
time, intimate time, for example, on tour or
whatever with people. I also think it’s height-
ened because art forms bring people together in
very intimate spaces. We feel intense about
something whether we’re able to relate to pick
other people or not, and we have to relate to
other people while we have a connection with
this thing, this music. It brings out intense emo-
tions. So I think it’s more intense than just being
an office worker or whatever, lawyer or ac-
countant or something.
JI: Right, there’s not going to be an emotional
connection to your work in the steno pool.
MT: Exactly. So it’s more intense being an
artist and being involved in the art world, music.
Anyway, that’s what I think in general. So I
think that if you’re going to confront people that
have issues or you have problems, you have to
treat them as you would treat somebody who
has cancer, or some heavy disease or someone
who’s schizophrenic or something. You have to
take care. You don’t want to get hurt, but you
treat them as if they’re your mother or some-
thing … like the mother that you loved … and
you see that they have issues and you just try
and take care of the situation ... act like a parent,
like they’re your kid.
JI: Well, the greatest need that every human has
is to feel wanted and accepted.
MT: Yeah, exactly. Most of us act out to the
degree that we don’t feel accepted in a human
community to some extent.
JI: Do you have kids?
MT: I do. I have two.
JI: It sounds like you’re a responsible parent.
MT: Well thanks, I appreciate that.
JI: What are some of the foundational under-
standing that guide the way you lead your life?
MT: There are a few different ones but a basic
one is to treat all beings as if they were your
mother. It kind of takes care of everything. If
you can do that, then generally everything else
is going to be fine. You’re going to be doing
what you’re supposed to do. That’s my big one.
  
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 Jazz Inside Magazine
ISSN: 2150-3419 (print) • ISSN 2150-3427 (online)
September 2014 – Volume 6, Number 2
Cover Design by Shelly Rhodes
Cover photo of Mark Turner, and
photo of Marshall Allen (right) by Ken Weiss

Publisher: Eric Nemeyer

Associate Publisher: Nora McCarthy
Editor: John R. Barrett, Jr.
Advertising Sales & Marketing: Eric Nemeyer
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Layout and Design: Gail Gentry
Contributing Artists: Shelly Rhodes
Contributing Photographers: Eric Nemeyer, Ken Weiss
Contributing Writers: John Alexander, John R. Barrett, Curtis
Davenport; Eric Harabadian; Alex Henderson; Rick Helzer; Nora
McCarthy; Joe Patitucci; Ken Weiss, Scott Yanow.

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CONTENTS 51 How To Connect With Jazz Inside 40 Thurman Barker Eliana Cuevas; Dr. John; Larry
CLUBS, CONCERTS, EVENTS FEATURES 45 Benjamin Lapidus Fuller; Steve Grover; Ali Jackson;
15 Calendar of Events, Concerts, Festi- 2 Mark Turner Jason Jackson; Mike Longo; Mack
vals and Club Performances INTERVIEWS REVIEWS OF RECORDINGS
28 Clubs & Venue Listings 32 Marshall Allen by Ken Weiss 49 Cyrille Aimee; Brooklyn Jazz Under- Avenue Superband; NYSQ; Enrico
27 Your Marketing Blueprint-First Step 38 Rotem Sivan ground; Chicago Jazz Philharmonic; Pieranunzi; Annie Ross; Amanda
Ruzza, Mauricio Zottarelli; Jim
Stranahan; Rotem Sivan; Roseanna;

ARE YOU BUYING RESULTS OR JUST Vitro; Ernie Watts; Miguel Zenon

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Jazz Inside-2014-09_07-0... Tuesday, September 02, 2014 19:53

page 14 Composite
 CALENDAR OF EVENTS
How to Get Your Gigs and Events Listed in Jazz Inside Magazine
Submit your listings via e-mail to info@jazzinsidemagazine.com. Include date, times, location,
phone, tickets/reservations. Deadline: 15th of the month preceding publication (Sep. 15 for Oct)
(We cannot guarantee the publication of all calendar submissions.
ADVERTISING: Reserve your ads to promote your events and get the marketing
advantage of controlling your own message — size, content, image, identity, pho-
tos and more. Contact the advertising department:
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Monday, September 1  Kavita Shah 5 at Jazz Standard, 7:30, 9:30 PM. 116 E. 27th.
 Billy Cobham Spectrum 40 at Blue Note, 8:00 and 10:30 PM.
131 W. 3rd St. 
 Michael Mwenso: 110 Years of Fats Waller, Dizzy’s Club, 7:30,  Coco Montoya at B.B. King Blues Club, 8PM. 237 W. 42nd. 
9:30 PM. 10 Columbus Cir.  Lucio Ferrara at Measure, 8PM. 400 5th Ave. 
 Rotem Sivan 3 at Smalls, 7:30 PM. 183 W. 10th St.  Richard Thai 2 at Tomi Jazz, 8PM. 239 E. 53rd St. 
 Daniela Schaechter 3 feat. Vic Juris at Bar Next Door, 8:30 PM.  Mark Feldman/Sylvie Courvoisier at Village Vanguard, 8:30 
129 MacDougal. PM. 178 7th Ave. S. 
 David Amram & Co. at Cornelia St. Cafe, 8:30 PM. 29 Cornelia.  Ray Schinnery Band at Terra Blues, 10PM. 149 Bleecker. 
 Roman Roflaski at Spectrum, 9PM. 121 Ludlow.  Leala Cyr 4 at Whynot Jazz Room, 10PM. 14 Christopher. 
 Lars Ekman 4 at Whynot Jazz Room, 9PM. 14 Christopher.  Afro Mantra at Garage, 10:30 PM. 99 7th Ave. S. 
 Manuel Valera 3 at Zinc Bar, 10PM. 82 W. 3rd St.  Jeff Davis 4 at Korzo, 10:30 PM. 667 5th Ave., Bklyn. 
 Rebel Tumbao at Blue Note, 10:30 PM. 131 W. 3rd St.  Smalls Legacy Band at Smalls, 10:30 PM. 183 W. 10th St. 
 Kyoko Oyobe 3 at Garage, 10:30 PM. 99 7th Ave. S.  Eyvind Kang Ensemble at Village Vanguard, 10:30 PM. 178 7th
Ave. S. 
Tuesday, September 2  Stephen Riley, Dizzy’s Club, 11:30 PM. 10 Columbus Cir. #10. 

 David Coss 4 at Garage, 6PM. 99 7th Ave. S. Wednesday, September 3 

 Reggie Lewis, Restoration Plaza, 6PM, 1368 Fulton, Bklyn. 
 Tom Blatt Project at Shrine, 6PM. 2271 7th Ave.  Yvonnick Prene 4 at Garage, 6PM. 99 7th Ave. S.
 Josian Boorzanian 5 at 55 Bar, 7PM. 55 Christopher.  K.J. Denhert at 55 Bar, 6:30 PM. 55 Christopher.
 Mason Brothers 5, Dizzy’s Club, 7:30, 9:30 PM. 10 Columbus  Nick Brust 3 at Bar Next Door, 6:30 PM. 129 MacDougal.
Cir. #10.
To Advertise CALL: 215-887-8880 September 2014  Jazz Inside Magazine  www.JazzInsideMagazine.com
“Be more
concerned with your
character than your
reputation, because your
character is what you really
are, while your reputation
is merely what others
think you are.”
— John Wooden
K.J. Denhert at 55 Bar, 7PM. 55 Christopher.
Renee Manning at Lucille's, B.B. King Blues, 7PM. 237 W. 42nd.
Keith Ingham at Shanghai Jazz, 7PM. 24 Main St., Madison NJ.
Julian Lage at Shapeshifter, 7PM. 18 Whitwell, Bklyn.
Yusuke Kono at Somethin' Jazz, 7PM. 212 E. 52nd.
Mason Brothers 5, Dizzy’s Club, 10 Columbus Cir. #10.
Albert “Tootie” Heath 3 at Jazz Standard, 116 E. 27th.
Fatum Brothers at The Lambs Club, 7:30 PM. 132 W. 44th.
Eric Alexander at An Beal Bocht, 8PM. 445 W. 238th, Bronx.
Billy Cobham at Blue Note, 8:00 and 10:30 PM. 131 W. 3rd St.
Steely Dan w/Bobby Broom at Count Basie Theatre, 8PM. 99
Monmouth, Red Bank NJ.
Lucio Ferrara at Measure, 8PM. 400 5th Ave.
Karl Berger, Stone, 8PM. Corner of 2nd St. and Avenue C.
Ales Brown 3 at Terraza 7, 8PM. 40-19 Gleane, Queens.
Yoshiko Iwata at Tomi Jazz, 8PM. 239 E. 53rd.
Lars Ekman 4 at Whynot Jazz Room, 8PM. 14 Christopher.
Valery Ponomarev Big Band at Zinc Bar, 8:00 and 10PM. 82 W.
3rd St.
(Continued on page 16)
15
  Zaid Nasser 4 at Smalls, 6PM. 183 W. 10th St.  Stephen Riley, Dizzy’s Club, 11:30 PM. 10 Columbus Cir. #10.
 Rafal Sarnecki 3 at Bar Next Door, 6:30 PM. 129 MacDougal.  Nick Hempton Band at Smalls, 12 AM. 183 W. 10th St.
 Amy Cervini & Duchess at 55 Bar, 7PM. 55 Christopher.
“If a nation values 

Marco DiGennaro 3 at Cleopatra's Needle, 7PM. 2485 Bdwy.
Bucky Pizzarelli at Shanghai Jazz, 24 Main St., Madison NJ. Friday, September 5
anything more than freedom,  Dave Acker 4 at Somethin' Jazz, 7PM. 212 E. 52nd.
 Nico Letman at Spectrum, 7PM. 121 Ludlow.  Al Marino 5 at Garage, 6:15 PM. 99 7th Ave. S.
it will lose its freedom, and the  Herb Woodson, Shanghai Jazz, 24 Main St., Madison NJ.
 Bria Skonberg: Satch Plays Fats, Dizzy’s Club, 7:30, 9:30 PM.
irony of it is that if it is comfort 10 Columbus Cir.  Gabriela Anders 3 at 55 Bar, 7PM. 55 Christopher.
or money that it values more,  Dafnis Prieto 6 feat. Manuel Valera at Jazz Standard, 7:30,  A Little Cachaça at Alvin & Friends, 7PM. 14 Memorial Hwy.,
9:30 PM. 116 E. 27th. New Rochelle NY.
it will lose that too.”  Scot Albertson feat. Mark Egan at Symphony Space, 7:30 PM.  Greg Murphy at Lorenzo's, 7PM. 1100 South Ave., Staten Island.
2537 Bdwy.  Frank Lacy at Shapeshifter, 7PM. 18 Whitwell, Bklyn.
 Billy Cobham, Blue Note, 8:00 and 10:30 PM. 131 W. 3rd St.  Steve Kaiser at Somethin' Jazz, 7PM. 212 E. 52nd.
— W. Somerset Maugham  Manny Moreira & Julie E. at Cafe Wha, 8PM. 115 MacDougal.  John Raymond, G. Hekselman, Bar Next Door, 129 MacDougal.
 Steely Dan w/Bobby Broom at Count Basie Theatre, 8PM. 99  Joe Temperley, Dizzy’s Club, 7:30 PM. 10 Columbus Cir. #10.
Monmouth, Red Bank NJ.  Dafnis Prieto 6 feat. Manuel Valera at Jazz Standard, 7:30,
 Ches Smith, Craig Taborn, Greenwich House, 8PM. 46 Barrow. 9:30, & 11:30 PM. 116 E. 27th St.
(Continued from page 15)
 Tanya Darby,t Makeda, 8PM. 338 George St., New Brunswick NJ.  Michael Kanan 3 at Smalls, 7:30 PM. 183 W. 10th St.
 Shai Maestro 3 at Shapeshifter, 8:15 PM. 18 Whitwell, Bklyn.  Lucio Ferrara at Measure, 8PM. 400 5th Ave.  Billy Cobham at Blue Note, 8:00 and 10:30 PM. 131 W. 3rd St.
 Noah Garabedian 6 at Cornelia St. Cafe, 8:30 PM. 29 Cornelia.  Karl Berger, The Stone, 8PM. Corner of 2nd St. and Avenue C.  Lizz Wright at City Winery, 8PM. 155 Varick.
 Johnny O'Neal 2 at Mezzrow, 8:30 PM. 163 W. 10th St.  Ari Hoenig at Terraza 7, 8PM. 40-19 Gleane, Queens.  K.J. Denhert at Classon Social, 8PM. 807 Classon.
 Jamie Saft 3 at Village Vanguard, 8:30 PM. 178 7th Ave. S.  Tom Csatari 3 at Bar Next Door, 129 MacDougal.  Tyler Mitchell 3 at Cleopatra's Needle, 8PM. 2485 Bdwy.
 Steve LaSpina, Joel Frahm at Smalls, 9PM. 183 W. 10th St.  Patrick Cornelius 8 at Cornelia St. Cafe, 8:30 PM. 29 Cornelia.  Arturo O'Farrill at Greenwich House, 8PM. 46 Barrow.
 Valentina Marino 7 at Somethin' Jazz, 9PM. 212 E. 52nd.  Amy London w/Roni Ben-Hur, Ginny's, 8:30 PM. 310 Lenox.  Lucio Ferrara at Measure, 8PM. 400 5th Ave.
 Short Line Project at Way Station, 9PM. 683 Washington, Bklyn.  Cyrus Chestnut/Dezron Douglas at Mezzrow, 163 W. 10th St.  Swingaroos at Pianos, 8PM. 158 Ludlow.
 Henry Hey & Forq at 55 Bar, 10PM. 55 Christopher.  Harlem Renaissance Orch at Swing 46, 8:30 PM. 349 W. 46th.  Karl Berger at The Stone, 8PM. Corner of 2nd St. and Avenue C.
 Karl Berger at The Stone, 10PM. Corner of 2nd St. and Avenue C.  Erik Friedlander at Village Vanguard, 8:30 PM. 178 7th Ave. S.  Russ Nolan 5 at Tagine, 8PM. 221 W. 38th.
 Leon Boykins 3 at Whynot Jazz Room, 10PM. 14 Christopher.  Contrapuntal Swing at Somethin' Jazz, 9PM. 212 E. 52nd St.  Paul Abler/James Weidman at Trumpets, 8:00 and 10PM. 6
 Debra Kreisberg at Tomi Jazz, 9PM. 239 E. 53rd St. Depot Sq., Montclair NJ.
 Nick Brust 4 at Garage, 10:30 PM. 99 7th Ave. S.
 Gregorio Uribe Big Band at Zinc Bar, 9PM. 82 W. 3rd St.  Blue Project feat. Danny Petroni & Frank Lacy at Shapeshifter,
 Uri Caine 3 at Village Vanguard, 10:30 PM. 178 7th Ave. S.
 Miss Ida Blue at Edison Rum House, 9:30 PM. 228 W. 47th. 8:15 PM. 18 Whitwell, Bklyn.
 Stephen Riley, Dizzy’s Club, 11:30 PM. 10 Columbus Cir.
 Kristine Mills at Metropolitan Room, 9:30 PM. 34 W. 22nd.  Cyrus Chestnut/Dezron Douglas, Mezzrow, 163 W. 10th St.
 Jam Session at Zinc Bar, 12 AM. 82 W. 3rd St.
 “Chembo” Corneil, Nyorican Poets Cafe, 9:30 PM. 236 E. 3rd St.  Masada String 3 at Village Vanguard, 8:30 PM. 178 7th Ave. S.
 Lauren Sevian 4 at Smalls, 12:30 AM. 183 W. 10th St.
 Kate Schutt/Julian Lage, Rockwood, 9:30 PM. 196 Allen.  Kris Davis 3, Cornelia St. Cafe, 9:00 and 10:30 PM. 29 Cornelia.
 Michael Blake Group at Smalls, 9:30 PM. 183 W. 10th St.  Benito Gonzalez 3 feat. Essiet Essiet at Somethin' Jazz, 9PM.
Thursday, September 4  Felix Pastorius at 55 Bar, 10PM. 55 Christopher.

3rd floor, 212 E. 52nd.
Kuni Mikami 2 at Tomi Jazz, 9PM. 239 E. 53rd.
 Ben Allison at Brasserie Ruhlmann, 10PM. 45 Rockefeller Plz.
 Brian Carter 4 at White Plains City Center, 12 PM. 10 City Pl.,  Karl Berger's KIKK w/Jason Hwang & Kirk Knuffke, The Stone,  Robert Ross, Turning Point, 9PM. 468 Piermont, Piermont NY.
White Plains NY. 10PM. 2nd St. and Avenue C.  Smith & 9th at Edison Rum House, 9:30 PM. 228 W. 47th.
 Dre Barnes Project at Garage, 6PM. 99 7th Ave. S.  Gabe Valle 4 at Garage, 10:30 PM. 99 7th Ave. S.  Ron Sunshine Orchestra at Swing 46, 9:30 PM. 349 W. 46th.
 Scott & Eric Reeves 4 at Silvana, 6PM. 200 W. 116th.  Frank London at Village Vanguard, 10:30 PM. 178 7th Ave. S.  Radio Jarocho at Terraza 7, 9:30 PM. 40-19 Gleane, Queens.
 Russ Kassoff 2 at Knickerbocker Bar, 9:45 PM. 33 University Pl.
 Brian Mitchell at 55 Bar, 10PM. 55 Christopher.
 Broadway Brassy at Hotel Chantelle, 10PM. 92 Ludlow.
 Jan Leder/Connie Crothers, I Beam, 10PM. 168 7th Ave., Bklyn.
 Karl Berger, The Stone, 10PM. Corner of 2nd St. and Avenue C.
 Sunfree at Dino BBQ Harlem, 10:30 PM. 700 W. 125th.
 Aaron Diehl 3 at Smalls, 10:30 PM. 183 W. 10th St.
 Cyro Baptista's Banquet of the Spirits at Village Vanguard,
10:30 PM. 178 7th Ave. S.
 Hot House at Garage, 10:45 PM. 99 7th Ave. S.
 Stephen Riley, Dizzy’s Club, 11:30 PM. 10 Columbus Cir. #10.
 The Flowdown at Blue Note, 12:30 AM. 131 W. 3rd St.
 Lawrence Leathers at Smalls, 1:00 AM. 183 W. 10th St.

Saturday, September 6
 Larry Newcomb 4 at Garage, 12 PM. 99 7th Ave. S.
 Erik Satie 4 at Barbes, 2:30 PM. 376 9th St., Bklyn.
 Daryl Yokley at Candlelight Lounge, 3:30 PM. 24 Passaic St.,
Trenton NJ.
 Corinne Mammana, Metropolitan Room, 4:00 PM. 34 W. 22nd.
 Joe Beninati 3 at Pianos, 5:00 PM. 158 Ludlow.
 Evgeny Sivtsov at Garage, 6:15 PM. 99 7th Ave. S.
 AndJam Band at Alvin & Friends, 7PM. 14 Memorial Hwy., New
Rochelle NY.
 Tiszji Munoz, Paul Shaffer, Falcon, 1348 Rte. 9W, Marlboro NY.
 Paul Bollenback, Bar Next Door, 129 MacDougal St.
 Fred Caruso at Cutting Room, 7:30 PM. 44 E. 32nd St.
 Joe Temperley, Dizzy’s Club, 7:30, 9:30 PM. 10 Columbus Cir.
 Dafnis Prieto 6 feat. Manuel Valera at Jazz Standard, 7:30,
9:30, & 11:30 PM. 116 E. 27th.
 Tardo Hammer 3 at Smalls, 7:30 PM. 183 W. 10th St.
 Billy Cobham Spectrum 40, Blue Note, 8PM. 131 W. 3rd St.
 Denton Darien 3 at Cleopatra's Needle, 8PM. 2485 Bdwy.
 Myles Mancuso Band at Club Groove, 8PM. 125 MacDougal.
 Wali Ali 5 feat. Harvie S: Music of Miles Davis at Downtown
Music at Grace, 8PM. 33 Church St., White Plains NY.
 Eric Gales Band at Iridium, 8PM. 1650 Bdwy.
 Daniel Schlappi/Marc Copland at Jazz Gallery, 1160 Bdwy.
 Lucio Ferrara at Measure, 8PM. 400 5th Ave.
 Rome Neal's Banana Puddin' Jazz at Nyorican Poets Cafe,
8PM. 236 E. 3rd St.
 Mind Open at Shrine, 8PM. 2271 7th Ave.
 Eddie Palmieri Salsa Orchestra at SOB's, 8PM. 204 Varick.

16 September 2014  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880

 Claire Duncan 5 at Tomi Jazz, 8PM. Lower level, 239 E. 53rd St.
 Claudio Roditi 4 at Trumpets, 6 Depot Sq., Montclair NJ.
 Cyrus Chestnut/Dezron Douglas at Mezzrow, 163 W. 10th St.
 Chris Crocco's Fluid at Whynot Jazz Room, 14 Christopher.
 John Zorn, Dave Douglas at Village Vanguard, 178 7th Ave. S.
 John McNeil, Cornelia St. Cafe, 9:00 and 10:30 PM. 29 Cornelia.
 Coyote Anderson at Tea Lounge, 9PM. 837 Union, Bklyn.
 Trio Cachimba at Edison Rum House, 9:30 PM. 228 W. 47th.
 NY Funk Exchange at Club Groove, 9:30 PM. 125 MacDougal.
 Castles Made of Sound, Lew Soloff, Dave Stryker, & others at Cutting Room, 9:30 PM. 44 E. 32nd.
 Kathy Sledge: Brighter Side of Lady Day at Metropolitan Room, 9:30 PM. 34 W. 22nd.
 Crescent City Maulers at Swing 46, 9:30 PM. 349 W. 46th.
 Russ Kassoff 2 at Knickerbocker Bar, 9:45 PM. 33 University Pl.
 Sweet Georgia Brown 4 at 55 Bar, 10PM. 55 Christopher.
 Regina Bonelli at Dino BBQ Bklyn, 10PM. 604 Union, Bklyn.
 Sabor & The Afro-Latineers, Tea Lounge, 837 Union , Bklyn.
 Craig Dreyer at Dino BBQ Harlem, 10:30 PM. 700 W. 125th.
 Aaron Diehl 3 at Smalls, 10:30 PM. 183 W. 10th St.
 Virginia Mayhew 4 at Garage, 10:45 PM. 99 7th Ave. S.
 Tak Iwasaki 3 at Tomi Jazz, 11PM. 239 E. 53rd.
 Stephen Riley, Dizzy’s Club, 11:30 PM. 10 Columbus Cir.
 East Gipsy Band, Tim Ries at Blue Note, 12:30 AM. 131 W. 3rd
 Philip Harper at Smalls, 1:00 AM. 183 W. 10th St.

Sunday, September 7
 Mayu Saeki 3 at Garage, 11:30 AM. 99 7th Ave. S.
 Bill Mays 3 at Outdoor Stage, Castle Inn, 12 PM. 20 Delaware Ave, Delaware Water Gap PA.
 Joe Carter/Wayne Sabella at Grasso's, 12 PM. 134 Main St., Cold Spring Harbor NY.
 Jan Leder, Van Der Donck Park, 3:00 PM. Dock St., Yonkers NY.
 Laurie Krauz & Daryl Kojak 8: Tapestry Rewoven at Metropolitan Room, 4:00 PM. 34 W. 22nd .
 Myriad3 at Smalls, 4:30 PM. 183 W. 10th St.
 Josh Bailey Group at Pianos, 5:00 PM. 158 Ludlow.
 Aaron Diehl 3 at St. Peter's, 5:00 PM. 619 Lexington.
 Raimundo Santos, Somethin' Jazz, 5PM. 3rd floor, 212 E. 52nd.
 Brandee Younger at Minton's, 5:30 PM. 206 W. 118th.
 Joe Temperley, Dizzy’s Club, 7:30PM. 10 Columbus Circle
 Dafnis Prieto 6 feat. Manuel Valera at Jazz Standard, 7:30, 9:30 PM. 116 E. 27th St.
 Ehud Asherie at Smalls, 7:30 PM. 183 W. 10th St.
 Victor Gould at Measure, 8PM. 400 5th Ave.
 Shrine Big Band at Shrine, 8PM. 2271 7th Ave.
 Karl Berger at The Stone, 8PM. Corner of 2nd St. and Avenue C.
 Sarah Hayes & Savoy 7 at Swing 46, 8:30 PM. 349 W. 46th.
 Roberto Rodriguez, Village Vanguard, 8:30 PM. 178 7th Ave. S.
 Maryanne DeProphetis, Whynot Jazz, 9PM. 14 Christopher.
 Frank Kohl 4 at Metropolitan Room, 9:30 PM. 34 W. 22nd.
 Karl Berger, The Stone, 10PM. Corner of 2nd St. and Avenue C.
 Uri Gurvich 4 at Village Vanguard, 10:30 PM. 178 7th Ave. S.
 Tsutomu Naki 3 at Garage, 11PM. 99 7th Ave. S.
 Joe Magnarelli 4 at Smalls, 12 AM. 183 W. 10th St.

Monday, September 8
 Elijah Shiffer at Silvana, 6PM. 200 W. 116th.
 Paul Jones 3 at Bar Next Door, 6:30 PM. 129 MacDougal.
 Jazz Memorial for Joe Wilder at St. Peter's, 6:30 PM. 619 Lexington.
 Bill Sims Jr. at 55 Bar, 7PM. 55 Christopher.
 Lou Caputo Not So Big Band at Garage, 7PM. 99 7th Ave. S.
 Nicole Zuraitis, Rockwood Music Hall, 7PM. 196 Allen.
 Haruka Yabuno 2 at Somethin' Jazz, 7PM. 212 E. 52nd.
 Leala Cyr at Zinc Bar, 7PM. 82 W. 3rd St.
 Martina & The Ladybugs, Dizzy’s Club, 7:30, 9:30 PM. 10 Columbus Cir.
 Joe Alterman/Marissa Mulder, Le Cirque, 7:30 PM. 151 E. 58th.
 Shai Maestro 3 at Smalls, 7:30 PM. 183 W. 10th St.
 Mark Giuliana, Blue Note, 8:00 and 10:30 PM. 131 W. 3rd St.
 Poogie Bell Band feat. Alex Bugnon & Lakecia Benjamin at Iridium, 8:00 and 10PM. 1650 Bdwy.
 Antonio Ciacca at Measure, 8PM. 400 5th Ave.
 Glenn Franke Big Band at SuzyQue's, 8PM. 34 S. Valley, West Orange NJ.
 Marla Sampson 2 at Tomi Jazz, 8PM. 239 E. 53rd.
 Band in a Box at Way Station, 8PM. 683 Washington, Bklyn.
 Elisabeth Lohninger 3 at Bar Next Door, 129 MacDougal.
 Terrence McManus 3 at Somethin' Jazz, 3rd floor, 212 E. 52nd.
 Felipe Lamogla 5 at Zinc Bar, 9:00 and 10PM. 82 W. 3rd St.
 Tim Horner 4 feat. Vic Juris at 55 Bar, 10PM. 55 Christopher.
 Jason Yeager 3 at Garage, 10:30 PM. 99 7th Ave. S.
 John Raymond Rockwood Music,11PM. 196 Allen.

Tuesday, September 9
 Harvey Granat/David Lahm: Music of Jerome Kern, 92nd St. Y, 12PM. 92nd St. and Lexington.
 Recessionals Jazz Band at Garage, 6PM. 99 7th Ave. S.
 Napoleon Revels-Bey's Nu-Mo Swing Ens. at Restoration Plaza, 6PM. Free. 1368 Fulton, Bklyn.
 Panayides w/Rich Perry at Silvana, 6PM. 200 W. 116th. (Continued on page 18)

To Advertise CALL: 215-887-8880 September 2014  Jazz Inside Magazine  www.JazzInsideMagazine.com 17


September 2014
All Shows on Tuesdays at 8PM
 9th: Mike Longo & Funk Meets Jazz
 16th: Russ Kassoff Orchestra w/ Catherine Dupuis
 23rd: Vibraphonist Warren Chiasson Group
 30th: Frank Perowsky Big Band
18


Kevin Clark 3 at Bar Next Door, 6:30 PM. 129 MacDougal.
Stan Killian at 55 Bar, 7PM. 55 Christopher. Thursday, September 11
 King Solomon Hicks at Minton's, 7PM. 206 W. 118th.
 Peter Knoll 3 at Shapeshifter, 7PM. 18 Whitwell, Bklyn.  Champian Fulton 4 at Garage, 6PM. 99 7th Ave. S.
 Alex Navarro 4 at Somethin' Jazz, 7PM. 212 E. 52nd.  Dwayne Clemons 5 at Smalls, 6PM. 183 W. 10th St.
 Ray Schinnery at Terra Blues, 7PM. 149 Bleecker.  Andrew Van Tassel, Bar Next Door, 6:30 PM. 129 MacDougal.
 Anderson Brothers Play The Dorsey Brothers, Dizzy’s Club,  Bob Stewart 4 at Alvin & Friends, 7PM. 14 Memorial Hwy., New
7:30, 9:30 PM. 10 Columbus Cir. Rochelle NY.
 Ben Wolfe, Orrin Evans, Jazz Standard, 7:30 PM. 116 E. 27th.  C.J. Everett 3 at Cleopatra's Needle, 7PM. 2485 Bdwy.
 Cyrille Aimee, Rockwood Music Hall, 7:30 PM. 196 Allen.  Luba Mason at Metropolitan Room, 7PM. 34 W. 22nd.
 Odean Pope/Pharoah Sanders/James Carter at Blue Note, 8:00  E.J. Decker at Somethin' Jazz, 7PM. 212 E. 52nd.
and 10:30 PM. 131 W. 3rd St.  Roy Haynes Fountain of Youth Band, Dizzy’s Club, 7:30, 9:30
 Steely Dan w/Bobby Broom at Mayo Center for Performing PM. 10 Columbus Cir.
Arts, 8PM. 100 South St., Morristown NJ.  Steel House feat. Edward Simon at Jazz Standard, 7:30, 9:30
 Antonio Ciacca at Measure, 8PM. 400 5th Ave. PM. 116 E. 27th.
 Mike Longo & NY State of the Art Ensemble w/Ira Hawkins at  Odean Pope/Pharoah Sanders/James Carter at Blue Note, 8:00
NYC Baha'i Center, 8:00 and 9:30 PM. 53 E. 11th St. and 10:30 PM. 131 W. 3rd St.
 Evan Parker, The Stone, 8PM. Corner of 2nd St. and Avenue C.  Trinity Vibe Trio at Cafe Wha, 8PM. 115 MacDougal.
 George Dulin 3 at Tagine, 8PM. 221 W. 38th.  Lauren Lee 3 at Choga, 8PM. 145 Bleecker.
 Florencia Gonzalez 2 at Tomi Jazz, 8PM. 239 E. 53rd.  Samora Pinderhughes: The Transformations Suite at Jazz
 Peter Nelson 4 at Whynot Jazz Room, 8PM. 14 Christopher St. Gallery, 8PM. 1160 Bdwy.
 Lars Haake 4 at Zinc Bar, 8:00 and 10PM. 82 W. 3rd St.  Lee Hogans, Makeda, 8PM. 338 George St., New Brunswick NJ.
 Nafsi Groove at Shapeshifter, 8:15 PM. 18 Whitwell, Bklyn.  Antonio Ciacca at Measure, 8PM. 400 5th Ave.
 Tyler Blanton 3 at Bar Next Door, 129 MacDougal.  Matthew Shipp, Stone, 8PM. Corner of 2nd St. and Avenue C.
 Anthony Wonsey 2 at Mezzrow, 8:30 PM. 163 W. 10th St.  Walter Smith 5 at SubCulture, 8PM. 45 Bleecker.
 Kurt Rosenwinkel 4 at Village Vanguard, 178 7th Ave. S.  Doug Wamble 3 at Whynot Jazz Room, 8PM. 14 Christopher.
 Anodyne Blues Band at Shrine, 9PM. 2271 7th Ave.  Colin Stranahan 3 at Bar Next Door, 8:30 PM. 129 MacDougal.
 Cristian Mendoza at Somethin' Jazz, 9PM. 212 E. 52nd.  Spike Wilner 3 w/Peter Bernstein at Mezzrow, 8PM. 163 W. 10th
 Leni Stern at 55 Bar, 10PM. 55 Christopher.  Harlem Renaissance Orch, Swing 46, 8:30 PM. 349 W. 46th.
 Evan Parker w/Joe McPhee at The Stone, 10PM. Corner of 2nd  Kurt Rosenwinkel 4 at Village Vanguard, 178 7th Ave. S.
St. and Avenue C.  Christian McBride 3 at Birdland, 9:00 and 11PM. 315 W. 44th.
 King Solomon Hicks at Terra Blues, 10PM. 149 Bleecker.  Eclectic Guitar Trio at Tea Lounge, 9PM. 837 Union, Bklyn.
 Isaac Darche 3 at Garage, 10:30 PM. 99 7th Ave. S.  Scot Albertson 2 at Tomi Jazz, 9PM. 239 E. 53rd.
 Charlotte Greve 4 at Korzo, 10:30 PM. 667 5th Ave., Bklyn.  Paul Nedzela 5 feat. Walter Blanding at Smalls, 9:30 PM. 183
 Riley Mulherker, Dizzy’s Club, 11:30 PM. 10 Columbus Cir. #10. W. 10th St.
 Dan White, Rockwood Music Hall, 12 AM. 196 Allen.  Wayne Krantz at 55 Bar, 10PM. 55 Christopher.
 Nate Wooley 3 w/Evan Parker at The Stone, 10PM. Corner of 2nd
St. and Avenue C.
Wednesday, September 10  Dmitry Baevsky 3 at Garage, 10:30 PM. 99 7th Ave. S.
 Riley Mulherker, Dizzy’s Club, 11:30 PM. 10 Columbus Cir.
 Anderson Brothers at Garage, 6PM. 99 7th Ave. S.  Carlos Abadie 5 at Smalls, 12 AM. 183 W. 10th St.
 Alex Cummings 4 at Shrine, 6PM. 2271 7th Ave.


Jidam Hang at Silvana, 6PM. 200 W. 116th.
Ricardo Grilli 3 at Bar Next Door, 6:30 PM. 129 MacDougal.
Friday, September 12
 Nate Birkey at 55 Bar, 7PM. 55 Christopher.
 Yoav Shmolov 5 at Somethin' Jazz, 7PM. 212 E. 52nd.  Masami Ishikawa 3 at Garage, 6:15 PM. 99 7th Ave. S.
 Charles Turner, Dizzy’s Club, 7:30, 9:30 PM. 10 Columbus Cir.  Rob Paparozzi, Shanghai Jazz, 6PM. 24 Main St., Madison NJ.
 Steel House feat. Edward Simon at Jazz Standard, 7:30, 9:30  Eli Fountain & The Organizers at Alvin & Friends, 7PM. 14
PM. 116 E. 27th. Memorial Hwy., New Rochelle NY.
 Jam Session at Trumpets, 7:30 PM. 6 Depot Sq., Montclair NJ.  Warren Vache/Harry Allen at Flemington Courthouse, 7PM.
 Odean Pope/Pharoah Sanders/James Carter at Blue Note, 8:00 Main and Court Sts., Flemington NJ.
and 10:30 PM. 131 W. 3rd St.  Stephen Fuller 5 at Priory, 7PM. 233 W. Market St., Newark NJ.
 Tessa Souter at Iridium, 8:00 and 10PM. 1650 Bdwy.  Steel House feat. Brian Blade at Carnegie Room, 7:30 PM. 59
 Dave Stryker, B.B. King Blues, 8:00 and 10PM. 237 W. 42nd . S. Broadway, Nyack NY.
 Steely Dan w/Bobby Broom at Mayo Center for Performing  Roy Haynes Fountain of Youth Band, Dizzy’s Club, 7:30, 9:30
Arts, 8PM. 100 South St., Morristown NJ. PM. 10 Columbus Cir.
 Antonio Ciacca at Measure, 8PM. 400 5th Ave.  Dr. Lonnie Smith 3 at Jazz Standard, 7:30, 9:30 PM. 116 E. 27th
 Oscar Perez/Vivian Sessoms at New Brunswick Hyatt, 8PM. 2  Odean Pope/Pharoah Sanders/James Carter at Blue Note, 8:00
Albany St., New Brunswick NJ. and 10:30 PM. 131 W. 3rd St.
 Maggie Rose at Shrine, 8PM. 2271 7th Ave.  Cliff Barbaro 3 at Cleopatra's Needle, 8PM. 2485 Bdwy.
 Fred van Hove w/Evan Parker, Peter Evans, & Charles Evans  Winard Harper 6 at Flemington Courthouse, 8PM. Main & Court
at The Stone, 8PM. Corner of 2nd St. and Avenue C. Sts., Flemington NJ.
 PianoFest: Cory Henry, Danny Fox 3, Krom at SubCulture,  Alexis Cuadrado at Jazz Gallery, 8PM. 1160 Bdwy.
8PM. 45 Bleecker.  Nikki Armstrong: Lady Sings the Blues at Lucille's, B.B. King
 Craig Yaremko 3: The Music of Horace Silver at Tomi Jazz, Blues Club, 8PM. 237 W. 42nd.
8PM. 239 E. 53rd.  Orchestra Ritmo at SOB's, 8PM. 204 Varick.
 Martina Fiserova at Way Station, 8PM. 683 Washington, Bklyn.  Antonio Ciacca at Measure, 8PM. 400 5th Ave.
 Sun Ra Arkestra + Nate Wooley at Roulette, 8PM. 509 Atlantic
 Rale Micic/Peter Bernstein at Whynot Jazz Room, 8PM. 14
Christopher. Ave., Bklyn.
  Phil Haynes & No Fast Food feat. Dave Liebman at
Joe Alterman at Caffe Vivaldi, 8:15 PM. 32 Jones St.
 Chico Pinheiro 4 feat. Helio Alves at Cornelia St. Cafe, 8:30 Shapeshifter, 8PM. 18 Whitwell, Bklyn.
PM. 29 Cornelia.  Rocket Science feat. Peter Evans & Evan Parker at The Stone,
8:00 and 10PM. Corner of 2nd St. and Avenue C.
 Spike Wilner, Peter Bernstein, Mezzrow, 8PM. 163 W. 10th St.
 Blues to Black Street at Treme, 8PM. 553 Main St., Islip NY.
 Jen Shyu at Seeds, 8:30 PM. 617 Vanderbilt, Bklyn.
 Kurt Rosenwinkel 4 at Village Vanguard, 178 7th Ave. S.  John Ehlis Ensemble feat. Loire at Trumpets, 8:00 and 10PM. 6
Depot Sq., Montclair NJ.
 Dave Chamberlain's Band of Bones w/Antoinette Montague at
Zinc Bar, 9PM. 82 W. 3rd St.  Taeko at Whynot Jazz Room, 8PM. 14 Christopher.
 Billy Rogan at Cafe Nadery, 8:30 PM. 16 W. 8th St.
 Ben Van Gelder 4 at Smalls, 9:30 PM. 183 W. 10th St.
 Donny McCaslin 3 at 55 Bar, 10PM. 55 Christopher.  Ingrid Laubrock 5 at Firehouse 12, 8:30 and 10PM. 45 Crown
St., New Haven CT.
 Pre-War Ponies at Barbes, 10PM. 376 9th St., Bklyn.
 Rossano Sportiello/Scott Robinson at Mezzrow, 8:30 PM. 163
 Abelita Matheus 5 at Cornelia St. Cafe, 10PM. 29 Cornelia.
W. 10th St.
 Fred van Hove w/Evan Parker & Peter Evans at The Stone,
 Kurt Rosenwinkel 4 at Village Vanguard, 178 7th Ave. S.
10PM. Corner of 2nd St. and Avenue C.
 Jerome Sabbagh at Cornelia St. Cafe, 9PM. 29 Cornelia.
 Dave Baron 3 at Garage, 10:30 PM. 99 7th Ave. S.
 Bernie Worrell Orchestra at Flemington Courthouse, 9PM.
 Riley Mulherker, Dizzy’s Club, 11:30 PM. 10 Columbus Cir.
Main & Court Sts., Flemington NJ.
 Jade Synstelian at Smalls, 12:30 AM. 183 W. 10th St.
 Mitch Marcus 4 at Somethin' Jazz, 9PM. 212 E. 52nd.
September 2014  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880
 Jonah Parzen-Johnson Group at Spectrum, 9PM. 121 Ludlow.
 Roy Meriwether 2 at Knickerbocker Bar, 9:45 PM. 33 University
 Bill Sims Jr. at 55 Bar, 10PM. 55 Christopher.
 Marko Djordjevic, Whynot Jazz Room, 10PM. 14 Christopher.
 Sam Newsome, Jean-Michel Pilc at Smalls, 10PM. 183 W. 10th
 Peter Valera & The Jump Blues Band at Garage, 10:45 PM. 99
7th Ave. S.
 Leah Gough-Cooper & PANOOC at Somethin' Jazz, 11PM. 212
E. 52nd.
 Riley Mulherker, Dizzy’s Club, 11:30 PM. 10 Columbus Cir.
 Lawrence Leathers at Smalls, 1:00 AM. 183 W. 10th St.
Saturday, September 13
 Pinelands Jazz Festival at Still Office Site & Education Center,
10:00 AM. Artists include Vince Giardino, Lenny Pierro Band,
Kelli Campbell 3, and others. 211 Church Rd., Medford NJ.
 Daniela Schaechter 3 at Garage, 12 PM. 99 7th Ave. S.
 Jazzmeia Horn 5 at Monument Square, 2:45 PM. Livingston Ave.
& George St., New Brunswick NJ.
 Bob Smith at Candlelight Lounge, 3:30 PM. 24 Passaic St.,
Trenton NJ.
 Ravi Coltrane 4 at Monument Square, 4:30 PM. Livingston Ave.
& George St., New Brunswick NJ.
 Myrella Nascimento at Pianos, 5:00 PM. 158 Ludlow.
 Brooks Hartell 3 at Garage, 6:15 PM. 99 7th Ave. S.
 Tony Jefferson 3 at Alvin & Friends, 7PM. 14 Memorial Hwy.,
New Rochelle NY.
 Hardbop Authority: Mostly Horace, Caviarteria, 7PM. 75 Murray
 Bria Skonberg, Symphony Space, 7:15 PM. 2537 Bdwy.
 Ben Monder 3 at Bar Next Door, 7:30 PM. 129 MacDougal.
 Roy Haynes Fountain of Youth Band, Dizzy’s Club, 7:30, 9:30
PM. 10 Columbus Cir.
 Natalie Cressman 6 at Drom, 7:30 PM. 85 Avenue A.
 Nicole Henry, Ginny's Supper Club, 7:30, 9:30 PM. 310 Lenox.
 Dr. Lonnie Smith 3 at Jazz Standard, 7:30, 9:30 PM. 116 E. 27th
 Chris Byars 6 at Smalls, 7:30 PM. 183 W. 10th St.
 Odean Pope/Pharoah Sanders/James Carter at Blue Note, 8:00
and 10:30 PM. 131 W. 3rd St.
 Wolter Williams 3 at Cleopatra's Needle, 8PM. 2485 Bdwy.
 Oliver Lake Big Band at Iridium, 8:00 and 10PM. 1650 Bdwy.
 The Amigos at The Falcon, 8PM. 1348 Rte. 9W, Marlboro NY.
 Alexis Cuadrado, Jazz Gallery, 8PM. 1160 Bdwy.
 Jim Pellegrino 3 at Meal, 8PM. 433 Kingsland, Nutley NJ.
 Antonio Ciacca at Measure, 8PM. 400 5th Ave.
 Sandy Sasso, The Mill, 8PM. 101 Old Mill Rd., Spring Lake
Heights NJ.
 Ramsey Lewis, SOPAC, 8PM. 1 SOPAC Way, South Orange NJ.
 Milford Graves/Evan Parker at The Stone, 8:00 and 10PM.
Corner of 2nd St. and Avenue C.
 Yukari Watanabe 2 at Tomi Jazz, 8PM. 239 E. 53rd.
 Blue Roots Band at Treme, 8PM. 553 Main St., Islip NY.
 Dee Lucas at Trumpets, 8PM. 6 Depot Sq., Montclair NJ.
 Alexis Parsons 3 at Whynot Jazz Room, 8PM. 14 Christopher.
 Don Braden at Zinc Bar, 8PM.
 Sari Schorr at Shapeshifter Lab, 8:15 PM. 18 Whitwell, Bklyn.
 Sean Noonan at I Beam, 8:30 PM. 168 7th St., Bklyn.
 Rossano Sportiello 3 w/Harry Allen at Mezzrow, 8:30 PM. 163
W. 10th St.
 Kurt Rosenwinkel 4 at Village Vanguard, 178 7th Ave. S.
 Marianne Solivan at Anyway Cafe Brooklyn, 9PM. 1602
Gravesend Neck Rd., Bklyn.
 Mat Maneri/Lucian Ban, Cornelia, 29 Cornelia.
 David Glasser 4 at Somethin' Jazz, 9PM. 212 E. 52nd.
 Roy Meriwether, Knickerbocker Bar, 9:45 PM. 33 University .
 Sam Newsome, Jean-Michel Pilc at Smalls, 183 W. 10th St.
 Akiko Tsuruga 3 at Garage, 10:45 PM. 99 7th Ave. S.
 Spencer Jones 3 at Tomi Jazz, 11PM. 239 E. 53rd.
 Riley Mulherker, Dizzy’s Club, 11:30 PM. 10 Columbus Cir.
 Josh David at Blue Note, 12:30 AM. 131 W. 3rd St.
 Stacy Dillard at Smalls, 1:30 AM. 183 W. 10th St.
Sunday, September 14
 Lou Caputo 4 at Garage, 11:30 AM. 99 7th Ave. S.
 Ridgewood Jazz festival at Memorial Park, 12 PM. Artists
include Native Soul, Luba Mason, and Big Fun(k) feat. Don
Braden & Julie Michels. Van Neste Sq., Ridgewood NJ.
 Alan Dale & New Legacy Jazz Band at Palmer Square, 12 PM.
40 Nassau St., Princeton NJ.
 Warren Chiasson 4: Tribute to George Shearing at Palmer
Square, 1:15 PM. 40 Nassau St., Princeton NJ.
 Jazz House Kids at Courthouse Green, 2:00 PM. E. Main and
Grove Sts., Somerville NJ.
 Warren Vache 4 at Monmouth County Library, 2:00 PM. 125
To Advertise CALL: 215-887-8880 September 2014  Jazz Inside Magazine  www.JazzInsideMagazine.com
Symmes, Manalapan NJ.
 Jazz House Kids at Courthouse Green, 3:20 PM. E. Main and
Grove Sts., Somerville NJ.
 Whitney Marchelle at Abyssinian Baptist Church, 4:00 PM. 132
W. 138th.
 Jazz House Kids at Courthouse Green, 4:40 PM. E. Main and
Grove Sts., Somerville NJ.
 T.S. Monk 6 at Courthouse Green, 5:00 PM. E. Main and Grove
Sts., Somerville NJ.
 Vince Giordano & The Nighthawks at Palmer Square, 5:00 PM.
40 Nassau St., Princeton NJ.
 Ike Sturm & Evergreen at St. Peter's, 5:00 PM. 619 Lexington.
 Brandee Younger at Minton's, 5:30 PM. 206 W. 118th.
 Jim Campilongo at 55 Bar, 6PM. 55 Christopher.
 Gene Bertoncini at Drawing Room, 7PM. 56 Willoughby, Bklyn.
 Roy Haynes Fountain of Youth Band, Dizzy’s Club, 7:30, 9:30
PM. 10 Columbus Cir.
 Dr. Lonnie Smith 3 at Jazz Standard, 7:30, 9:30 PM. 116 E. 27th.
 Joseph Jarman's 77th Birthday Celebration at Shapeshifter,
7:30 and 9PM. Artists include Thurman Barker, Warren Smith,
Visit www.JazzNewswire.com
Max Johnson, and others + surprise guests. 18 Whitwell, Bklyn.
 Bucky Pizzarelli/Ed Laub at Smalls, 7:30 PM. 183 W. 10th St.
 Odean Pope/Pharoah Sanders/James Carter at Blue Note, 8:00
and 10:30 PM. 131 W. 3rd St.
 Terry Bozzio at Iridium, 8PM. 1650 Bdwy.
 Kate Baker/Vic Juris, Rockwood Music Hall, 8PM. 196 Allen.
 Joe Wagner at Silvana, 8PM. 200 W. 116th.
 Ikue Mori Duos w/Evan Parker and others at The Stone, 8PM.
Corner of 2nd St. and Avenue C.
 Bob Lepley Bebop Band at Treme, 8PM. 553 Main St., Islip NY.
 Jane Ira Bloom 4 at Cornelia St. Cafe, 8:30 PM. 29 Cornelia.
 Rossano Sportiello/Frank Tate, Mezzrow, 8PM. 163 W. 10th St.
 Kurt Rosenwinkel 4 at Village Vanguard, 178 7th Ave. S.
 Francois Grillot, Whynot Jazz Room, 9PM. 14 Christopher.
 Ikue Mori, The Stone, 10PM. Corner of 2nd St. and Avenue C.
 Michael Sheridan 3 at Garage, 11PM. 99 7th Ave. S.
 Behn Gillece 5 at Smalls, 12 AM. 183 W. 10th St.
Monday, September 15
 B.D. Lenz, Renaissance Hotel, 6PM. 1000 Spring, Elizabeth NJ.
 Jon Menges Group at Silvana, 6PM. 200 W. 116th.
 Olli Hirvonen at Bar Next Door, 6:30 PM. 129 MacDougal.
 Kelsey Jillette, 55 Bar, 7PM. 55 Christopher.
 Kyle Athayde Dance Party at Garage, 7PM. 99 7th Ave. S.
 Marianne Solivan at Zinc Bar, 7PM. 82 W. 3rd St.
 Cole Rumbough at Le Cirque, 7:30 PM. 151 E. 58th.
 Joey Alexander, Dizzy’s Club, 7:30, 9:30 PM. 10 Columbus Cir.
 Peter Bernstein at Smalls, 7:30 PM. 183 W. 10th St.
 Youn Sun Nah/Ulf Wakenius at Blue Note, 8PM. 131 W. 3rd St.
 John Mayall at City Winery, 8PM. 155 Varick.
 Terry Bozzio at Iridium, 8:00 and 10PM. 1650 Bdwy.
 Antonio Ciacca at Measure, 8PM. 400 5th Ave.
 Nora McCarthy at Bar Next Door, 129 MacDougal.
 Nick Grinder at Cornelia St. Cafe, 8:30 PM. 29 Cornelia.
 Francois Moutin/Jim Ridl at 55 Bar, 10PM. 55 Christopher.
 Kenny Shanker 4 at Garage, 10:30 PM. 99 7th Ave. S.
 Ric Molina, Rockwood Music Hall, 11PM. 196 Allen.
Tuesday, September 16
 David Coss 4 at Garage, 6PM. 99 7th Ave. S.
 Steve Cromity 3 at Restoration West Plaza, 6PM. Free. 1368
Fulton, Bklyn.
 Harlem Renaissance Jazz Art at Silvana, 6PM. 200 W. 116th.
 Tobias Meinhart 3 at Bar Next Door, 6:30 PM. 129 MacDougal.
 Nat Janoff at 55 Bar, 7PM. 55 Christopher.
 Brooklyn Blowhards at Barbes, 7PM. 376 9th St., Bklyn.
 Milton Suggs at Minton's, 7PM. 206 W. 118th.
 Steven Bernstein's Sex Mob Plays the Music of John Lurie at
(Le) Poisson Rouge, 7PM. 158 Bleecker.
 Lautarinos at Somethin' Jazz, 7PM. 212 E. 52nd.
 Donal Fox 2, Dizzy’s Club, 7:30, 9:30 PM. 10 Columbus Cir.
 Owl Trio feat. Lage Lund at Jazz Standard, 7:30, 9:30 PM. 116
E. 27th.
 Radio Jarocho at Stage 2, Rockwood Music Hall, 7:30 PM. 196
Allen.
 PianoFest: Gregg Kallor at SubCulture, 7:30 PM. 45 Bleecker.
 Youn Sun Nah/Ulf Wakenius at Blue Note, 8:00 and 10:30 PM.
131 W. 3rd St.
(Continued on page 20)
 John Mayall at City Winery, 8PM. 155 Varick.
19

“In these times,
where social appearance
is more important than spiritual
substance - what has become our
longing to change is really the
unconscious desire to control not
just the shape of our bodies but to
dominate our environment as well,
regardless of the cost.”
— Guy Finley
(Continued from page 19)
 Pink Martini at Count Basie Theatre, 8PM. 99 Monmouth, Red
Bank NJ.
 Antonio Ciacca at Measure, 8PM. 400 5th Ave.
 Russ Kassoff Orchestra w/Catherine Dupuis at NYC Baha'i
Center, 8:00 and 9:30 PM. 53 E. 11th St.
 Ric Molina Group at Silvana, 8PM. 200 W. 116th.
 Steve Coleman and Five Elements at The Stone, 8:00 and
10PM. Corner of 2nd St. and Avenue C.
 Chieko Honda at Tomi Jazz, 8PM. 239 E. 53rd.
 Nathan Hook at Tumulty's Pub, 8PM. 361 George St., New
Brunswick NJ.
 Theo Hill at Zinc Bar, 8:00 and 10PM. 82 W. 3rd St.
 Matt Brewer 5 at Shapeshifter, 8:15 PM. 18 Whitwell, Bklyn.
 Maria Manousaki 4 at Cornelia St. Cafe, 8:30 PM. 29 Cornelia.
 Michael Kanan 2 at Mezzrow, 8:30 PM. 163 W. 10th St.
 Eric Reed, Ralph Moore at Village Vanguard, 178 7th Ave. S.
 Jeff Goldblum & Mildred Snitzer Orchestra at Cafe Carlyle,
8:45 PM. 35 E. 76th.
 Miss Ida Blue at Freddy's Bar, 9PM. 627 5th Ave., Bklyn.
 Ralph Alessi, Korzo, 9PM. 667 5th Ave., Bklyn.
 Tony Tixier 3 at Somethin' Jazz, 9PM. 212 E. 52nd.
 Film Screening: Embracing Dissonance – A Life in Bebop at
Spectrum, 9PM. 121 Ludlow.
 Bobby Bryan Band at Terra Blues, 10PM. 149 Bleecker.
 Nobuki Takamen 3 at Garage, 10:30 PM. 99 7th Ave. S.
 Lucas Pino No Net Nonet at Smalls, 10:30 PM. 183 W. 10th St.
 Frank Basile/Steve Fishwick 6, Dizzy’s Club, 11:30 PM. 10
Columbus Cir.
Wednesday, September 17
 Marlene VerPlanck at St. Peter's, 1:00 PM. 619 Lexington.
 Plenty of Phunk at The Archive, 3:00 PM. 12 E. 36th.
 Marc Devine 3 at Garage, 6PM. 99 7th Ave. S.
 Tim Talavera at Shrine, 6PM. 2271 7th Ave.
 Brian Charnley at Silvana, 6PM. 200 W. 116th.
 Benno Marmur 3 at Bar Next Door, 6:30 PM. 129 MacDougal.
 Amy Cervini & Duchess at 55 Bar, 7PM. 55 Christopher.
 Karl Berger 3 at The Falcon, 7PM. 1348 Rte. 9W, Marlboro NY.
 Anna Elizabeth Kendrick at Flute Gramercy, 7PM. 40 E. 20th.
 Dorian Devins at Flute Midtown, 7PM. 205 W. 54th.
 Aline Almeida at Somethin' Jazz, 7PM. 212 E. 52nd.
 Joe Alterman 3 at Zinc Bar, 7PM. 82 W. 3rd St.
 Marianne Solivan 3 at Antibes Bistro, 7:30 PM. 112 Suffolk St.
 Monty Alexander: Jazz Around the West Indies, Dizzy’s Club,
7:30, 9:30 PM. 10 Columbus Cir.
 Nate Smith + Kinfolk at Jazz Standard, 7:30, 9:30 PM. 116 E.
27th.
 Julian Fleisher at Joe's Pub, 7:30 PM. 425 Lafayette.
 Gato Barbieri at Blue Note, 8:00 and 10:30 PM. 131 W. 3rd St.
 Evan Parker/Joe Morris at Greenwich House, 8PM. 46 Barrow.
 Antonio Ciacca at Measure, 8PM. 400 5th Ave.
 Stachel 5 at Silvana, 8PM. 200 W. 116th.
 Steve Coleman and Five Elements at The Stone, 8:00 and
10PM. Corner of 2nd St. and Avenue C.
 PianoFest: Geoff Keezer at SubCulture, 8PM. 45 Bleecker.
 Kathryn Alltn 2: 'Tis Autumn at Tomi Jazz, 8PM. 239 E. 53rd.
 Dalton Gang at Trumpets, 8PM. 6 Depot Sq., Montclair NJ.
 Claude Diallo at Shapeshifter Lab, 8:15 PM. 18 Whitwell, Bklyn.
 Equilibrium at Caffe Vivaldi, 8:30 PM. 32 Jones St.
 David Hazeltine/Sean Smith at Mezzrow, 8:30 PM. 163 W. 10th
St.
 Diane Cameron at Tagine, 8:30 PM. 221 W. 38th.
20 September 2014  Jazz Inside Magazine  www.JazzInsideMagazine.com
 Eric Reed 4 feat. Ralph Moore at Village Vanguard, 178 7th
Ave. S.
 Jeff Goldblum & Mildred Snitzer Orchestra at Cafe Carlyle,
8:45 PM. 35 E. 76th .
 Mike Armando & The Drivers at Somethin' Jazz, 9PM. 212 E.
52nd.
 Yael Kraus at Way Station, 9PM. 683 Washington, Bklyn.
 Hot House NYC Jazz Awards at Metropolitan Room, 9:30 PM.
34 W. 22nd.
 Harold Mabern 3 at Smalls, 9:30 PM. 183 W. 10th St.
 Christos Rafildes & Manhattan Vibes at Zinc Bar, 9:30 PM. 82
W. 3rd St.
 Scott Colley 3 feat. Donny McCaslin at 55 Bar, 10PM. 55
Christopher.
 Junior Mack Band at Terra Blues, 10PM. 149 Bleecker.
 Will Terrill 3 at Garage, 10:30 PM. 99 7th Ave. S.
 ionie at Way Station, 11PM. 683 Washington, Bklyn.
 Frank Basile/Steve Fishwick 6, Dizzy’s Club, 11:30 PM. 10
Columbus Cir. #10.
 Christopher McBride 5 at Smalls, 12:30 AM. 183 W. 10th St.
Thursday, September 18
 Rick Stone 3 at Garage, 6PM. 99 7th Ave. S.
 NJCU Alumni Big Band at J. Owens Grundy Pier, 6PM. Ex-
change Pl., Jersey City NJ.
 Wayfarer at Shrine, 6PM. 2271 7th Ave.
 Tammy Scheffer at Silvana, 6PM. 200 W. 116th.
 Mike Irwin 3 at Strand Bistro, 6PM. 33 W. 37th.
 Alex Levine 3 at Bar Next Door, 6:30 PM. 129 MacDougal.
 Tony Moreno 3 at 55 Bar, 7PM. 55 Christopher.
 Dan Furman 3 at Cleopatra's Needle, 7PM. 2485 Bdwy.
 Libor Šmoldas 4 at The Falcon, 7PM. 1348 Rte. 9W, Marlboro
NY.
 Sunny Leigh at Metropolitan Room, 7PM. 34 W. 22nd.
 Jason Miles/Ingrid Jensen w/Cyro Baptista at Shapeshifter
Lab, 7PM. 18 Whitwell, Bklyn.
 Takeshi Asai 3 at Somethin' Jazz, 7PM. 212 E. 52nd.
 Monty Alexander: Jazz Around the West Indies, Dizzy’s Club,
7:30, 9:30 PM. 10 Columbus Cir.
 Willy Salsa at Harvest Bistro, 8PM. 252 Schralenburgh, Closter
NJ.
 Mark Turner 4 at Jazz Standard, 7:30, 9:30 PM. 116 E. 27th.
 Jason Palmer 5 feat. Donny McCaslin: City of Poets at Jazz
Gallery, 8PM. 1160 Bdwy.
 Chucho Valdes w/Pedrito Martinez & Wynton Marsalis at Rose
Theater, Lincoln Center, 8PM. Corner of Broadway & 60th St.
 Ralph Bowen 4 at Makeda, 8PM. 338 George St., New Brunswick
NJ.
 Antonio Ciacca at Measure, 8PM. 400 5th Ave.
 Blue Project feat. Frank Lacy, at The Saint, 8PM. 601 Main St.,
Asbury Park NJ.
 Steve Coleman and Five Elements at The Stone, 8:00 and
10PM. Corner of 2nd St. and Avenue C.
 Claude Diallo/Scott Tixier at Shapeshifter, 8:15 PM. 18 Whit-
well, Bklyn.
 Syberen Van Muenster at Bar Next Door, 8:30 PM. 129 Mac-
Dougal.
 Vinnie Sperrazza 4 at Cornelia St. Cafe, 8:30 PM. 29 Cornelia.
 David Hazeltine/Sean Smith at Mezzrow, 8PM. 163 W. 10th St.
 Glenn Crytzer & Savoy 7 at Swing 46, 8:30 PM. 349 W. 46th.
 Eric Reed, Ralph Moore at Village Vanguard, 178 7th Ave. S.
 Jeff Goldblum & Mildred Snitzer Orchestra at Cafe Carlyle,
8:45 PM. 35 E. 76th.
 Banda 55 Plays Ellington at 55 Bar, 10PM. 55 Christopher.
 Scott Wendholt/Adam Kolker, Smalls, 10:30 PM. 183 W. 10th St.
 Jeron White 4 at Somethin' Jazz, 11PM. 212 E. 52nd.
 Frank Basile/Steve Fishwick 6, Dizzy’s Club, 11:30 PM. 10
Columbus Cir. #10.
Friday, September 19
 Carla Innerfield/Chris Coogan: Movie Music of the '30s at 92nd
St. Y, 12 PM. Corner of 92nd St. and Lexington Ave.
 Alex Layne 3 at Garage, 6:15 PM. 99 7th Ave. S.
 Grover Kemble/Jerry Vezza 3 at Shanghai Jazz, 6:30 PM. 24
Main St., Madison NJ.
 Jon Weiss/Sol Yaged at Alvin & Friends, 7PM. 14 Memorial
Hwy., New Rochelle NY.
 Bill Frisell 5: This Land at Appel Room, Lincoln Center, 7:00
and 9:30 PM. Broadway & 60th St.
 Marieann Meringolo at Metropolitan Room, 7PM. 34 W. 22nd.
 Neal Kirkwood 3 at Somethin' Jazz, 7PM. 212 E. 52nd.
 Steve Guyger at Terra Blues, 7PM. 149 Bleecker.
 Steve Bloom 3 at Bar Next Door, 7:30 PM. 129 MacDougal.
 Monty Alexander: Jazz Around the West Indies, Dizzy’s Club,
7:30, 9:30 PM. 10 Columbus Cir.
 Mark Turner, Jazz Standard, 7:30, 9:30, & 11:30 PM. 116 E. 27th.
 J.C. Sanford 4 at Shapeshifter, 7:30 PM. 18 Whitwell, Bklyn.
 Mark Elf 3 at Smalls, 7:30 PM. 183 W. 10th St.
 Tim Hagans 3 Accompanies the 1926 Silent Film A Page of
Madness at Village Zendo, 7:30 PM. 588 Broadway #1108.
 Gavroche Trio at Cafe du Soleil, 8PM. 2723 Bdwy.
 Rudi Mwongozi 3 at Cleopatra's Needle, 8PM. 2485 Bdwy.
 Michael McGinnis at Jazz Gallery, 8PM. 1160 Bdwy.
 Chucho Valdes w/Pedrito Martinez & Wynton Marsalis at Rose
Theater, Lincoln Center, 8PM. Broadway & 60th St.
 John Coltrane Festival, Measure, 8PM. Artists TBA. 400 5th Ave.
 Steve Coleman and Five Elements at The Stone, 8:00 and
10PM. Corner of 2nd St. and Avenue C.
 Chris Antonik Band at Treme, 8PM. 553 Main St., Islip NY.
 Vinny Valentino, Trumpets, 8PM. 6 Depot Sq., Montclair NJ.
 Richard Wyands/John Webber at Mezzrow, 163 W. 10th St.
 Eric Reed, Ralph Moore at Village Vanguard, 178 7th Ave. S.
 Jeff Goldblum & Mildred Snitzer Orchestra at Cafe Carlyle,
8:45 PM. 35 E. 76th.
 Robin Verheyen, Cornelia, 9:00 and 10:30 PM. 29 Cornelia.
 Jason Rigby Group at Shapeshifter, 9PM. 18 Whitwell, Bklyn.
 Janine Gilbert-Carter at Metropolitan Room, 34 W. 22nd.
 Ron Sunshine Orchestra at Swing 46, 9:30 PM. 349 W. 46th.
 Ben Wolfe, Knickerbocker Bar, 9:45 PM. 33 University Pl.
 Chris Bergson Blues Band at 55 Bar, 10PM. 55 Christopher.
 Jonathan Kalb at Dino BBQ Harlem, 10:30 PM. 700 W. 125th.
 Clifford Adams 4 at Smalls, 10:30 PM. 183 W. 10th St.
 PianoFest: Michael Kaeshammer at SubCulture, 10:30 PM. 45
Bleecker.
 Frank Basile/Steve Fishwick 6, Dizzy’s Club, 11:30 PM. 10
Columbus Cir. #10.
 Rabbi Darkside at Blue Note, 12:30 AM. 131 W. 3rd St.
 Jeremy Manasia 3 at Smalls, 1:00 AM. 183 W. 10th St.
Saturday, September 20
 Larry Newcomb 4 at Garage, 12 PM. 99 7th Ave. S.
 OSPAC Jazz Festival at Oskar Schindler Performing Arts
Center, 2:00 PM. Artists include Bob DeVos 4, and others. 4
Boland Dr., West Orange NJ.
 NY Jazz Academy Big Band at Somethin' Jazz, 2:00 PM. 212 E.
52nd.
 Oran Etkin at Children's Museum of Manhattan, 3:00 PM. 212
W. 83rd.
 Web T at Candlelight Lounge, 3:30 PM. 24 Passaic St., Trenton
NJ.
 Alvaro Gutierrez Espinosa 5 at Pianos, 5:00 PM. 158 Ludlow.
 Thana Alexa at 55 Bar, 6PM. 55 Christopher.
 Chester Jankowski & Friends at Somethin' Jazz, 6PM. 212 E.
52nd.
 Mark Marino 3 at Garage, 6:15 PM. 99 7th Ave. S.
 Dennis Jeter at Deer Head Inn, 7PM 5 Main St., Delaware Water
Gap PA.
 Bill Frisell 5: This Land at Appel Room, Lincoln Center, 7:00
and 9:30 PM. Broadway & 60th St.
 Leo Liebeskind & Friends at Shapeshifter, 7:00 and 8:15PM. 18
Whitwell, Bklyn.
 Acoustic T Band at Terra Blues, 7PM. 149 Bleecker.
 Mike Baggetta 3 at Bar Next Door, 7:30 PM. 129 MacDougal.
 Monty Alexander: Jazz Around the West Indies, Dizzy’s Club,
7:30, 9:30 PM. 10 Columbus Cir.
 Mark Turner 4 at Jazz Standard, 7:30, 9:30, & 11:30 PM. 116 E.
27th.
 Highline Chamber Ensemble Plays Charlie Parker with Strings
at Joe's Pub, 7:30 PM. 425 Lafayette.
 Richie Vitale 5 at Smalls, 7:30 PM. 183 W. 10th St.
 Blue Vipers of Brooklyn at Winnie's, 7:30 PM. 63 W. 38th.
 Lucien Ban/Mat Maneri at Barbes, 8PM. 376 9th St., Bklyn.
 Alan Rosenthal 3 at Cleopatra's Needle, 8PM. 2485 Bdwy.
 Darius Jones & The Elizabeth-Caroline Unit at Greenwich
House, 8PM. 46 Barrow St.
 Allan Holdsworth feat. Jimmy Haslip at Iridium, 8PM. 1650
Bdwy.
 Manuel Valera 3 at Kitano, 8:00 and 10PM. 66 Park Ave.
 Chucho Valdes w/Pedrito Martinez & Wynton Marsalis at Rose
Theater, Lincoln Center, 8PM. Broadway & 60th St.
 John Coltrane Festival at Measure, 8PM. Artists TBA. 400 5th
Ave.
 Steve Coleman and Five Elements at The Stone, 8:00 and
10PM. 2nd St. and Avenue C.
 Daniel Bennett Group at Tomi Jazz, 8PM. 239 E. 53rd.
 Todd Wolfe Band w/Mark Mancini at Treme, 8PM. 553 Main St.,
Islip NY.
(Continued on page 22)
To Advertise CALL: 215-887-8880
Wednesday, september 17 @ 5:30 pm wednesday, september 24 @ 8 pm
Willie Nelson Boz Scaggs
With a six-decade career Grammy Award winning
and 200 plus albums, artist, Boz Scaggs, and his
Willie Nelson has earned band are making a return to
every conceivable award as our stage. Scaggs is both a
a musician and amassed musical seeker and a man
reputable credentials as an of sizable talent as a singer,
author, actor and activist. songwriter and guitarist.

wednesday, october 1 @ 8 pm wednesday, october 22 @ 8 PM

Esperanza Natalie Cole
Spalding The daughter of legend-
ary crooner Nat King Cole
“Thank You October” Tour (“Mona Lisa,” “The Christmas
To celebrate her birthday Song,” “Unforgettable”),
month, Esperanza returns Natalie Cole won the first
with a special two-week tour, of her nine career Grammy
joined by long-time Awards as Best New Artist of
collaborators Leo Genovese 1975, the year she debuted
and Lyndon Rochelle. The with the hit “This Will Be (An
young bassist/vocalist/ Everlasting Love).” Her other
composer was one of the hit singles include “I’ve Got
biggest breakout stars of 2011, Love on My Mind,” “Our
garnering Best New Artist at Love,” and the dance-pop
the 53rd Grammy® Awards. cover of Bruce Springsteen’s
This is unprecedented by a “Pink Cadillac.” Like her
jazz musician, and Spalding father, Natalie has remarkable
continues to make the gift for performing standards
unprecedented her norm. from the American Songbook.

80 East Ridge, Ridgefield, CT

203.438.5795 • www.ridgefieldplayhouse.org
(Continued from page 20)
 Ty Stephens, Trumpets, 8PM. 6 Depot Sq., Montclair NJ.
 Richard Wyands/John Webber at Mezzrow, 163 W. 10th St.
 Eric Reed, Ralph Moore at Village Vanguard, 178 7th Ave. S.
 Jeff Goldblum & Mildred Snitzer Orchestra at Cafe Carlyle,
8:45 PM. 35 E. 76th.
 Riley Mulherkar: Two Quartets at Cornelia St. Cafe, 9PM. 29
Cornelia.
 Jen Shyu at Jazz Gallery, 9:00 and 11PM. 5th floor, 1160 Bdwy.
 Charles Tolliver 4 at Sistas' Place, 9:00 and 10:30 PM. 456
Nostrand, Bklyn.
 Brust/Horowitz 5 at Somethin' Jazz, 9PM. 3rd floor, 212 E. 52nd.
 Ben Wolfe/Luis Perdomo, Knickerbocker, 33 University Pl.
 John McNeil 4 at Cornelia St. Cafe, 10:30 PM. 29 Cornelia.
 Clifford Adams 4 at Smalls, 10:30 PM. 183 W. 10th St.
 Virginia Mayhew 4 at Garage, 10:45 PM. 99 7th Ave. S.
 Annie Chen 3 at Tomi Jazz, 11PM. 239 E. 53rd.
 Frank Basile/Steve Fishwick 6, Dizzy’s Club, 11:30 PM. 10
Columbus Cir. #10.
 Philip Harper at Smalls, 1:00 AM. 183 W. 10th St.
 Behn Gillece 4 at Fat Cat, 1:30 AM. 75 Christopher.
Sunday, September 21
 Michika Fukumori 3 at Garage, 11:30 AM. 99 7th Ave. S.
 Shiela Jordan/Cameron Brown at Perez Presents, 2:00 PM. 71
Ocean Pkwy. J, Brooklyn.
 PianoFest: Ted Rosenthal at SubCulture, 3:00 PM. 45 Bleecker.
 Dave Glasser 5 at Smalls, 4:30 PM. 183 W. 10th St.
 Bob Leive & Wooster St. Trolley Band at Deer Head Inn, 5:00
PM 5 Main St., Delaware Water Gap PA.
 Mareike Wiening Group at Pianos, 5:00 PM. 158 Ludlow.
 Fred Hersch at St. Peter's, 5:00 PM. 619 Lexington.
 Ray Anderson at 55 Bar, 6PM. 55 Christopher.
 James Brandon Lewis, Downtown Music, 6PM. 13 Monroe.
 Devin Gray Group at Pianos, 6:30 PM. 158 Ludlow.
 James Weidman 5 feat. Terrell Stafford at The Falcon, 7PM.
1348 Rte. 9W, Marlboro NY.
 Suzanne Pittson 4: Celebration of A Love Supreme at
Shapeshifter, 7PM. 18 Whitwell, Bklyn.
 Monty Alexander: Jazz Around the West Indies, Dizzy’s Club,
7:30, 9:30 PM. 10 Columbus Cir.
 Mark Turner 4 feat. Johnathan Blake at Jazz Standard, 7:30,
9:30 PM. 116 E. 27th.
 Dennis Jeter, Antonio Ciacca at Smalls, 7:30 PM. 183 W. 10th
 Darius Jones 5 feat. Emile Lesbros at Greenwich House, 8PM.
46 Barrow St.
 Allan Holdsworth, Jimmy Haslip at Iridium, 8PM. 1650 Bdwy.
 Ayal Tsubery at Silvana, 8PM. 200 W. 116th.
 Steve Coleman, Stone, 8:00 and 10PM. 2nd St. and Avenue C.
 Son Lewis at Van Gogh's Ear, 8PM. 1017 Stuyvesant, Union NJ.
 Suzanne Pittson 4: Compositions of Freddie Hubbard at
Shapeshifter, 8:15 PM. 18 Whitwell, Bklyn.
 Igmar Thomas, Cornelia St. Cafe, 8:30 PM. 29 Cornelia.
 Richard Wyands/John Webber at Mezzrow, 163 W. 10th St.
 Felix and the Cats at Swing 46, 8:30 PM. 349 W. 46th.
 Eric Reed, Ralph Moore at Village Vanguard, 178 7th Ave. S.
 Elsa Nilsson 5 Rockwood Music,9PM. 196 Allen.
 Brian Charette at 55 Bar, 9:30 PM. 55 Christopher.
 Dave Douglas at Cornelia St. Cafe, 10PM. 29 Cornelia.
 Mauricio DeSouza 3 at Garage, 11PM. 99 7th Ave. S.
 Frank Basile 6 at Smalls, 12 AM. 183 W. 10th St.
Monday, September 22
 Jonathan Saraga 3 at Bar Next Door, 6:30 PM. 129 MacDougal.
 Organik Vibe Trio at 55 Bar, 7PM. 55 Christopher.
 Cecilia Coleman Big Band at Garage, 7PM. 99 7th Ave. S.
 Peter Bernstein 4, Dizzy’s Club, 7:30, 10 Columbus Cir.
 Mingus Orchestra at Jazz Standard, 7:30, 9:30 PM. 116 E. 27th.
 Jane Bunnett at Blue Note, 8:00 and 10:30 PM. 131 W. 3rd St.
 Allan Holdsworth, Jimmy Haslip at Iridium, 1650 Bdwy.
 John Coltrane Fest, Measure, 8PM. Artists TBA. 400 5th Ave.
 Tyler Blanton Project Rockwood Music,8PM. 196 Allen.
 iRESi at Shapeshifter, 8PM. 18 Whitwell, Bklyn.
 Oscar Peñas 2 at Whynot Jazz Room, 8PM. 14 Christopher.
 Deborah Latz 3 at Bar Next Door, 129 MacDougal.
 Graham Haynes, Rockwood Music Hall, 8:30 PM. 196 Allen.
 Behn Gillece 5 at Fat Cat, 9PM. 75 Christopher.
 NY Jazz Philharmonic at Zinc Bar, 9PM. 82 W. 3rd St.
 Mike Stern at 55 Bar, 10PM. 55 Christopher.
 Jazz Thieves at Way Station, 10PM. 683 Washington, Bklyn.
 Justin Lees 3 at Garage, 10:30 PM. 99 7th Ave. S.
22 September 2014  Jazz Inside Magazine  www.JazzInsideMagazine.com
Tuesday, September 23
 Camille Thurman at Minton's, 5:30 PM. 206 W. 118th.
 Rob Edwards 4 at Garage, 6PM. 99 7th Ave. S.
 Jeff King Band: Tribute to Trane at Restoration West Plaza,
6PM. Free. 1368 Fulton, Bklyn.
 Gene Segal at Silvana, 6PM. 200 W. 116th.
 Yehonatan Cohen 3 at Bar Next Door, 6:30 PM. 129 MacDougal.
 Rebecca K at Somethin' Jazz, 7PM. 212 E. 52nd.
 Bobby Bryan at Terra Blues, 7PM. 149 Bleecker.
 Peter Bernstein, Dizzy’s Club, 7:30, 9:30 PM. 10 Columbus Cir.
 Rudy Linka at Drom, 7:30 PM. 85 Avenue A.
 Fred Hersch 3 w/Esperanza Spalding at Jazz Standard, 7:30,
9:30 PM. 116 E. 27th.
 Tower of Power at B.B. King Blues Club, 7:30 PM. 237 W. 42nd.
 Donald Harrison, Cookers, Blue Note, 8, 10:30 PM. 131 W. 3rd
 Andy Milne, Ben Monder at Iridium, 8PM. 1650 Bdwy.
 Jure Pukl 5 at Jazz Gallery, 8:00 and 10PM. 5th floor, 1160 Bdwy.
 John Coltrane Fest at Measure, 8PM. Artists TBA. 400 5th Ave.
 Warren Chiasson, NYC Baha'i Center, 8, 9:30 PM. 53 E. 11th St.
 Free Sound Ahn-Somble at Shrine, 8PM. 2271 7th Ave.
 Steve Coleman, Stone, 8PM. Corner of 2nd St. and Avenue C.
 Ian Buss 3 at Tomi Jazz, 8PM. 239 E. 53rd.
 Carlos Averhoff 4 at Whynot Jazz Room, 8PM. 14 Christopher.
 Dmitri Baevsky 3 at Bar Next Door, 129 MacDougal.
 Ehud Asherie at Mezzrow, 8:30 PM. 163 W. 10th St.
 Kirk Lightsey 4 at Village Vanguard, 178 7th Ave. S.
 Junko Sakai 4 at Somethin' Jazz, 9PM. 212 E. 52nd.
 Leni Stern at 55 Bar, 10PM. 55 Christopher.
 Jonathan Saraga 4 at I Beam, 10PM. 168 7th St., Bklyn.
 Austin Walker 3 at Garage, 10:30 PM. 99 7th Ave. S.
 Sam Ospovat 3 at Korzo, 10:30 PM. 667 5th Ave., Bklyn.
 Jackie Coleman, I Beam, 11PM. 168 7th St., Bklyn.
 Sammy Miller, Dizzy’s Club, 11:30 PM. 10 Columbus Cir.
Wednesday, September 24
 Nick Moran 3 at Garage, 6PM. 99 7th Ave. S.
 Dave Hassell 5 at Silvana, 6PM. 200 W. 116th.
 Nick Biello 3 at Bar Next Door, 6:30 PM. 129 MacDougal.
 Sheryl Bailey 3 at 55 Bar, 7PM. 55 Christopher.
 Pat Carroll at Shapeshifter Lab, 7PM. 18 Whitwell, Bklyn.
 Gene Segal at Somethin' Jazz, 7PM. 212 E. 52nd.
 Verena McBee at Zinc Bar, 7PM. 82 W. 3rd St.
 Sharel Cassity/Gary Bartz, Dizzy’s Club, 7:30, 9:30 PM. 10
Columbus Cir.
 Fred Hersch 3 w/Esperanza Spalding at Jazz Standard, 7:30,
9:30 PM. 116 E. 27th.
 Donald Harrison, Cookers, Blue Note, 8, 10:30 PM. 131 W. 3rd
 Bill Warfield Big Band, Randy Brecker, Iridium, 1650 Bdwy.
 Rodney Whitaker at Measure, 8PM. 400 5th Ave.
 Karl Berger's Improvisers Orchestra at Shapeshifter, 8PM.
Rehearsal at 7PM, concert at 8:00. 18 Whitwell, Bklyn.
 Steve Coleman, Stone, 8:00 and 10PM. 2nd St. and Avenue C.
 PianoFest: Anthony Molinaro at SubCulture, 8PM. 45 Bleecker.
 Else of Jazz at Tomi Jazz, 8PM. 239 E. 53rd.
 Rale Micic/Paul Bollenback, Whynot Jazz, 8PM. 14 Christopher.
 Joe Alterman at Caffe Vivaldi, 8:15 PM. 32 Jones St.
 Dmitri Matheny 4 at Cornelia St. Cafe, 8:30 PM. 29 Cornelia.
 Aaron Parks 2 at Mezzrow, 8:30 PM. 163 W. 10th St.
 Kirk Lightsey 4 at Village Vanguard, 178 7th Ave. S.
 Rita Wilson at Cafe Carlyle, 8:45 PM. 35 E. 76th.
 Sam Neufeld 3 at I Beam, 9PM. 168 7th St., Bklyn.


Claude Diallo at Somethin' Jazz, 9PM. 212 E. 52nd.
Jon Latona at Caffe Vivaldi, 9:30 PM. 32 Jones St.
 Pat Carroll 4 at Shapeshifter, 9:30 PM. 18 Whitwell, Bklyn.
 Stephanie Jones at Tomi Jazz, 9:40 PM. 239 E. 53rd St.
 Mike Stern at 55 Bar, 10PM. 55 Christopher.
 Andy Biskin & Ibid at Barbes, 10PM. 376 9th St., Bklyn.
 Benje Daneman Group at I Beam, 10PM. 168 7th St., Bklyn.
 Mike Irwin, Kenny Wolleson at I Beam, 11PM. 168 7th St., Bklyn.
 Sammy Miller, Dizzy’s Club, 11:30 PM. 10 Columbus Cir.
Thursday, September 25
 George Weldon 3 at Garage, 6PM. 99 7th Ave. S.
 Jay Rattman at Silvana, 6PM. 200 W. 116th.
 Casey Berman 3 at Bar Next Door, 6:30 PM. 129 MacDougal.
 B.D. Lenz at Mara's Denville, 6:30 PM. 25 E. Main, Denville NJ.
 Fay Victor at 55 Bar, 7PM. 55 Christopher.
 Jon Weiss at Alvin & Friends, 7PM. 14 Memorial Hwy., New
Rochelle NY.
 Steve Elmer 3 at Cleopatra's Needle, 7PM. 2485 Bdwy.
 Claudia Quintet at Shapeshifter, 7PM. 18 Whitwell, Bklyn.


Amadis Dunkel 4 at Somethin' Jazz, 7PM. 212 E. 52nd.
Heath Brothers, Dizzy’s Club, 7:30, 9:30 PM. 10 Columbus Cir.
 Fred Hersch at Jazz Standard, 7:30, 9:30 PM. 116 E. 27th.
 Christian Finger 3 at Trumpets, 7:30 and 9PM. 6 Depot Sq.,
Montclair NJ.
 Carrie Jackson at 16 Prospect, 8PM. 16 Prospect, Westfield NJ.
 Lou Donaldson 4 at Blue Note, 8, 10:30 PM. 131 W. 3rd St.
 Kirk Knuffke, Ben Holmes, Greenwich House, 46 Barrow St.
 Jeff Lorber/Everette Harp/Chuck Loeb at Highline Ballroom,
8PM. 431 W 16th.
 Akiko Pavolka 5 at I Beam, 8PM. 168 7th St., Bklyn.
 Eric Doob at Jazz Gallery, 8PM. 1160 Bdwy.
 Rudy Royston, Makeda, 338 George St., New Brunswick NJ.
 Rodney Whitaker at Measure, 8PM. 400 5th Ave.
 Pink Martini at Ridgefield Playhouse, 8PM. 80 E. Ridge Rd.,
Ridgefield CT.
 Steve Coleman, Stone, 8:00 and 10PM. 2nd St. and Avenue C.
 Oleg Kiryev, Symphony Space, 8PM. 2537 Bdwy.
 Anna Webber 3 at Shapeshifter, 8:15 PM. 18 Whitwell, Bklyn.
 Gene Segal 3 at Bar Next Door, 129 MacDougal.
 Greg Ward 3 at Cornelia St. Cafe, 8:30 PM. 29 Cornelia.
 Aaron Parks 2 at Mezzrow, 8:30 PM. 163 W. 10th St.
 Kirk Lightsey 4 at Village Vanguard, 178 7th Ave. S.


Rita Wilson at Cafe Carlyle, 8:45 PM. 35 E. 76th.
Adi Meyerson 4 at Somethin' Jazz, 9PM. 212 E. 52nd.
 Evan Francis at Tea Lounge, 9PM. 837 Union, Bklyn.
 Devin Bing at Metropolitan Room, 9:30 PM. 34 W. 22nd.
 Willie Martinez 6 at Nyorican Poets Cafe, 9:30 PM. 236 E. 3rd St.
 Wayne Krantz at 55 Bar, 10PM. 55 Christopher.
 Assaf Kehati 3 at Garage, 10:30 PM. 99 7th Ave. S.
 Sammy Miller, Dizzy’s Club, 11:30 PM. 10 Columbus Cir.
Friday, September 26
 Tommy Keys at The All Star, 5:00 PM. 96 Main Rd., Riverhead
NY.
 Kendra Shank at 55 Bar, 6PM. 55 Christopher.
 Lili Añel at Cornelia St. Cafe, 6PM. 29 Cornelia.
 Age Quintet at Silvana, 6PM. 200 W. 116th.
 Kneebody at (Le) Poisson Rouge, 6:30 PM. 158 Bleecker.
 Anderson Brothers at Shanghai Jazz, 6:30 PM. 24 Main St.,
Madison NJ.
 Mike Collins 5 at Deer Head Inn, 7PM 5 Main St., Delaware
Water Gap PA.
 Coelho & Ridnell at Drom, 7PM. 85 Avenue A.
 Cameron Brown and The Hear & Now feat. Don Byron & Sheila
Jordan at The Falcon, 7PM. 1348 Rte. 9W, Marlboro NY.
 John Escreet & Sirius 4 at Jazz Museum in Harlem, 7PM. 104
E. 126th.
 Marcus Roberts: Piano Masters of Melody at Appel Room,
Lincoln Center, 7:00 and 9:30 PM. Broadway & 60th St.
 American Brass Quintet & Practical Trumpet Society Play
Works by John Zorn, Gunther Schuller, and others at Mannes
Concert Hall, 7PM. 150 W. 85th.
 New York-Tokyo Connection at Somethin' Jazz, 7PM. 212 E.
52nd.
 Nelson Riveros 3 at Bar Next Door, 7:30 PM. 129 MacDougal.
 Chieli Minucci & Special EFX at Cutting Room, 7:30 PM. 44 E.
32nd.
 Heath Brothers, Dizzy’s Club, 7:30, 9:30 PM. 10 Columbus Cir.
#10.
 Phoebe Austin & Co. at Grasso's, 7:30 PM. 134 Main St., Cold
Spring Harbor NY.
 Fred Hersch 3 w/Esperanza Spalding at Jazz Standard, 7:30,
9:30, & 11:30 PM. 116 E. 27th.
 Jennifer Holliday at B.B. King Blues Club, 7:30 PM. 237 W.
42nd.
 Ralphn Lalama & Bop Juice at Smalls, 7:30 PM. 183 W. 10th St.
 Kenny Werner Coalition at Blue Note, 8:00 and 10:30 PM. 131
W. 3rd St.
 Sonelius Smith 3 at Cleopatra's Needle, 8PM. 2485 Bdwy.
 Asylum 4 at Greenwich House, 8PM. 46 Barrow St.
 Akiko Pavolka 5 at I Beam, 8PM. 168 7th St., Bklyn.
 Eric Revis 4 feat. Bill McHenry at Jazz Gallery, 8PM. 1160
Bdwy.
 Antoinette Montague, Kitano, 8:00 and 10PM. 66 Park Ave.
 Bruce Hornsby at Rose Theater, Lincoln Center, 8PM. Broad-
way & 60th St.
 Rodney Whitaker at Measure, 8PM. 400 5th Ave.
 Adventures in Bluesland at Shrine, 8PM. 2271 7th Ave.
 Annette Genovese at Silvana, 8PM. 200 W. 116th.
 Avenida B at SOB's, 8:00 and 10PM. 204 Varick.
 Manhattan Transfer at South Orange Performing Arts Center,
8PM. 1 SOPAC Way, South Orange NJ.
(Continued on page 24)
To Advertise CALL: 215-887-8880
 Miguel Zenon
with Kenny Werner
September 26-28
Blue Note
Photo by Eric Nemeyer
September 2014  Jazz Inside Magazine  www.JazzInsideMagazine.com
  Steve Coleman and Five Elements w/guests at The Stone, 8:00
and 10PM. 2nd St. and Avenue C.
 Vince Johnson & Dust My Blues at Treme, 8PM. 553 Main St.,
Islip NY.
 Semih Yenyali at Shapeshifter, 8:15 PM. 18 Whitwell, Bklyn.
 Bruce Barth/Peter Washington at Mezzrow, 163 W. 10th St.
 Kirk Lightsey 4 at Village Vanguard, 178 7th Ave. S.
 Rita Wilson at Cafe Carlyle, 8:45 PM. 35 E. 76th.
 Mark Dresser, Rudresh Mahanthappa, Cornelia, 29 Cornelia.
 Renegade Sufi at Tomi Jazz, 9PM. 239 E. 53rd.
 John Colianni/Jay Leonhart, Knickerbocker, 33 University Pl.
 Myron Walden Momentum at Smalls, 10:30 PM. 183 W. 10th St.
 Sammy Miller, Dizzy’s Club, 11:30 PM. 10 Columbus Cir.
 Sugabush at Blue Note, 12:30 AM. 131 W. 3rd St.
 Anthony Wonsey 3 at Smalls, 1:00 AM. 183 W. 10th St.
Saturday, September 27
 Marsha Heydt, Garage, 12 PM. 99 7th Ave. S.
 NY Jazz Acad Big Band at Somethin' Jazz, 2PM. 212 E. 52nd.
 Champian Fulton 4 at Garage, 6:15 PM. 99 7th Ave. S.
 Joel Perry at Black Horse, 7PM. 1 W. Main, Mendham NJ.
 Marcus Roberts: Piano Masters of Melody at Appel Room,
Lincoln Center, 7:00 and 9:30 PM. Broadway & 60th St.
 Greg Murphy at Lorenzo's, 7PM. 1100 South Ave., Staten Island.
 Sharón Clark & Chris Grasso 3 at Metropolitan Room, 7PM. 34
W. 22nd.
 Billy Test 3 at Shapeshifter, 7PM. 18 Whitwell, Bklyn.
 Leslie Pintchik at Bar Next Door, 7:30 PM. 129 MacDougal.
 Heath Brothers, Dizzy’s Club, 7:30, 9:30 PM. 10 Columbus Cir.
 Fred Hersch 3 w/Esperanza Spalding at Jazz Standard, 7:30,
9:30, & 11:30 PM. 116 E. 27th.
 David Schnitter 4 at Smalls, 7:30 PM. 183 W. 10th St.
 Kenny Werner, Blue Note, 8:00 and 10:30 PM. 131 W. 3rd St.
 Justin Lees 3 at Cleopatra's Needle, 8PM. 2485 Bdwy.
 Erkan Ogur's Telvin at Drom, 8PM. 85 Avenue A.
 Devin Gray 4 feat. Ellery Eskelin at Greenwich House, 8PM. 46
Barrow St.
 Akiko Pavolka 5 at I Beam, 8PM. 168 7th St., Bklyn.
 Rodney Whitaker at Measure, 8PM. 400 5th Ave.
 Joe Pino 3 at Pianos, 8PM. 158 Ludlow.
 Amina Figarova/Gilad Atzmon at Puffin Cultural Forum, 8PM.
24 September 2014  Jazz Inside Magazine  www.JazzInsideMagazine.com
20 Puffin Way, Teaneck NJ.
 Jean-Michel Pilc 8 at Shapeshifter, 8PM. 18 Whitwell, Bklyn.
 Steve Coleman, Stone, 8:00 and 10PM. 2nd St. and Avenue C.
 Strange & Beautiful: The Music of John Lurie & The Lounge
Lizards at Town Hall, 8PM. Artists include John Zorn, Marc
Ribot 6, Flea, Evan Lurie, Curtis Fowlkes, John Medeski,
Bryan Carrott, Billy Martin, and many others. 123 W. 43rd.
 Dave Stryker, Trumpets, 6 Depot Sq., Montclair NJ.
 Bruce Barth/Peter Washington,t Mezzrow, 163 W. 10th St.
 Kirk Lightsey 4 at Village Vanguard, 178 7th Ave. S.
 Rita Wilson at Cafe Carlyle, 8:45 PM. 35 E. 76th.
 George Garzone, Cornelia St. Cafe, 29 Cornelia.
 George Gray 4 feat. Antonio Hart at Sistas' Place, 9:00 and
10:30 PM. 456 Nostrand, Bklyn.
 Nashir Mody 4 at Somethin' Jazz, 9PM. 212 E. 52nd.
 Swingadelic at Swing 46, 9:30 PM. 349 W. 46th.
 John Colianni/Jay Leonhart, Knickerbocker, 33 University Pl.
 K.J. Denhert at 55 Bar, 10PM. 55 Christopher.
 Myron Walden Momentum at Smalls, 10:30 PM. 183 W. 10th St.
 Daylight Blues Band at Garage, 10:45 PM. 99 7th Ave. S.
 Paul Tafoya 5 at Somethin' Jazz, 11PM. 212 E. 52nd.
 Yusuke Seki at Tomi Jazz, 11PM. 239 E. 53rd.
 Sammy Miller, Dizzy’s Club, 11:30 PM. 10 Columbus Cir.
 Brown Rice Family at Blue Note, 12:30 AM. 131 W. 3rd St.
Sunday, September 28
 Iris Ornig 4 at Garage, 11:30 AM. 99 7th Ave. S.
 Laura Brunner 3 at North Square, 12PM. 103 Waverly Pl.
 George Freeman, Hudson View Gardens, 3PM. 128 Pinehurst
 Lauren Hooker feat. Jonathan Luks at Trumpets, 3:00 PM. 6
Depot Sq., Montclair NJ.
 Greg Osby/Jason Moran at Harlem Stage, 4:00 PM. 150 Con-
vent Ave.
 Bill Charlap at Deer Head Inn, 5:00 PM 5 Main St., Delaware
Water Gap PA.
 Josh Sinton Group at Pianos, 5:00 PM. 158 Ludlow.
 American Brass 5 at St. Peter's, 5:00 PM. 619 Lexington.
 Vocal Workshop, Somethin' Jazz, 5:00 PM.212 E. 52nd St.
 Margaret Grebowicz at 55 Bar, 6PM. 55 Christopher.
 Dissipated Face + Robert Musso at Downtown Music Gallery,
6PM. 13 Monroe.
 Jim Cammack Jazz Jam at Treme, 7PM. 553 Main St., Islip NY.
 Ron Aprea Big Band feat. Angela DeNiro at Trumpets, 7PM. 6
Depot Sq., Montclair NJ.
 Heath Brothers, Dizzy’s Club, 7:30, 9:30 PM. 10 Columbus Cir.
 Fred Hersch 3 w/Esperanza Spalding at Jazz Standard, 7:30,
9:30 PM. 116 E. 27th.
 Carolyn Leonhart at Smalls, 7:30 PM. 183 W. 10th St.
 Kenny Werner, Blue Note, 8:00 and 10:30 PM. 131 W. 3rd St.
 Matthew Shipp at Greenwich House, 8PM. 46 Barrow St.
 Steve Coleman, The Stone, 8PM. 2nd St. and Avenue C.
 Joe Taino at Van Gogh's Ear, 8PM. 1017 Stuyvesant, Union NJ.
 Bruce Barth/Peter Washington at Mezzrow, 163 W. 10th St.
 Tamaths & TKO Band at Swing 46, 8:30 PM. 349 W. 46th.
 Kirk Lightsey 4 at Village Vanguard, 178 7th Ave. S.
 Abe Ovadia 3 at Garage, 11PM. 99 7th Ave. S.
 Ned Goold at Smalls, 12 AM. 183 W. 10th St.
Monday, September 29
 Ben Bryden at Bar Next Door, 6:30 PM. 129 MacDougal.
 Kate Baker/Vic Juris at 55 Bar, 7PM. 55 Christopher.
 Eyal Vilner Big Band at Garage, 7PM. 99 7th Ave. S.
 Arman Raz 5 at Shapeshifter, 7PM. 18 Whitwell, Bklyn.
 Chris Norton at Le Cirque, 7:30 PM. 151 E. 58th.
 Django Guitar Night feat. Al Caiola & Bucky Pizzarelli at
Cutting Room, 7:30 PM. 44 E. 32nd.
 Deer Head Inn Jazz Orchestra at Deer Head Inn, 7:30 PM 5
Main St., Delaware Water Gap PA.
 Bob Stewart, Dizzy’s Club, 7:30, 9:30 PM. 10 Columbus Cir.
 Antonio Ciacca at Measure, 8PM. 400 5th Ave.
 Jerome Sabbagh at Smalls, 7:30 PM. 183 W. 10th St.
 Joelle Lurie at SubCulture, 8PM. 45 Bleecker.
 Michael Gallant 3 at Tomi Jazz, 8PM. 239 E. 53rd.
 Tammy Scheffer, Shapeshifter, 8:15 PM. 18 Whitwell, Bklyn.
 Sonia Sjanberg at Bar Next Door, 129 MacDougal.
 Spanish Harlem Orchestra at SOB's, 9PM. 204 Varick.
 Ana Gasteyer at Joe's Pub, 9:30 PM. 425 Lafayette.
 Itai Kriss, Shapeshifter, 9:30 PM. 18 Whitwell, Bklyn.
 Mike Stern at 55 Bar, 10PM. 55 Christopher.
 Saski Ryo 3 at Garage, 10:30 PM. 99 7th Ave. S.
 Jean-Michel Pilc 3 at Smalls, 10:30 PM. 183 W. 10th St.
(Continued on page 26)
To Advertise CALL: 215-887-8880
 Jimmy Heath
Hear The Heath Brothers
September 25-28
Dizzy’s Club
Photo by Ken Weiss
September 2014  Jazz Inside Magazine  www.JazzInsideMagazine.com

“Good intentions
will always be pleaded
for every assumption of authority.
It is hardly too strong to say that the
Constitution was made to guard the
people against the dangers of good
intentions. There are men in all ages who
mean to govern well, but they mean to
govern. They promise to be good
masters . . . . . but they mean
to be masters.”
— Noah Webster
(Continued from page 24)
Tuesday, September 30
 Adam Moezinia 3 at Garage, 6PM. 99 7th Ave. S.
 Mozayik at Restoration Plaza, 6PM. Free. 1368 Fulton, Bklyn.
 Tom Finn 3 at Bar Next Door, 6:30 PM. 129 MacDougal.


Gian-Carla Tisera at Americas Society, 7PM. 680 Park Ave.
Brianna Thomas at Minton's, 7PM. 206 W. 118th.
 Sweet Lee & Co. at Shapeshifter, 7PM. 18 Whitwell, Bklyn.
 Ray Schinnery at Terra Blues, 7PM. 149 Bleecker.
 Javon Jackson 4: Celebrating Coltrane, Dizzy’s Club, 7:30,
9:30 PM. 10 Columbus Cir. #10.
 Harold Lopez-Nussa 3, Jazz Standard, 7, 9:30 PM. 116 E. 27th.
 Chick Corea, Blue Note, 8:00 and 10:30 PM. 131 W. 3rd St.
26 September 2014  Jazz Inside Magazine  www.JazzInsideMagazine.com
 Antonio Ciacca at Measure, 8PM. 400 5th Ave.
 Frank Perowsky Big Band, Baha'i Center, 8PM. 53 E. 11th St.
 Ches Smith 4: A Meeting of Haitian Drums & Creative Music at
The Stone, 8:00 and 10PM. 2nd St. and Avenue C.
 Paul Lee 2 at Tomi Jazz, 8PM. 239 E. 53rd.
 Annie Chen 5 at Shapeshifter, 8:15 PM. 18 Whitwell, Bklyn.
 Haggai Cohen-Milo 3 at Bar Next Door, 8PM. 129 MacDougal.
 Pablo Masis 3 at Cornelia St. Cafe, 8:30 PM. 29 Cornelia.
 Ravi Coltrane 4 at Village Vanguard, 178 7th Ave. S.
 Rita Wilson at Cafe Carlyle, 8:45 PM. 35 E. 76th.
 Yakrib w/Rafiq Bhatia at Korzo, 9PM. 667 5th Ave., Bklyn.
 Margi Gianquinto at Edison Rum House, 9:30 PM. 228 W. 47th.
 Project Grand Slam at Toshi's Living Room, 10PM. 1141 Bdwy.
 Paul Francis 3 at Garage, 10:30 PM. 99 7th Ave. S.
 Josh Evans Big Band at Smalls, 10:30 PM. 183 W. 10th St.
 Dave Hassell 5 at Way Station, 11PM. 683 Washington, Bklyn.
 New Wonders, Dizzy’s Club, 11:30 PM. 10 Columbus Cir. #10.
Wednesday, October 1
 David Chesky 5, Dizzy's Club, 7:30, 9:30 PM. 10 Columbus Cir.
 Chick Corea, Blue Note, 8:00 and 10:30 PM. 131 W. 3rd St.
 Ravi Coltrane 4 at Village Vanguard, 178 7th Ave. S.
 New Wonders, Dizzy's Club, 11:30 PM. 10 Columbus Cir. #10.
Thursday, October 2
 Chick Corea, Blue Note, 8:00 and 10:30 PM. 131 W. 3rd St.
 Ravi Coltrane 4 at Village Vanguard, 178 7th Ave. S.
 New Wonders, Dizzy's Club, 11:30 PM. 10 Columbus Cir. #10.
Friday, October 3
 Chick Corea, Blue Note, 8:00 and 10:30 PM. 131 W. 3rd St.
 Ravi Coltrane 4 at Village Vanguard, 178 7th Ave. S.
 New Wonders, Dizzy's Club, 11:30 PM. 10 Columbus Cir. #10.
Saturday, October 4
 Open House at Dizzy's Club, 7:30, 9:30 PM. 10 Columbus Cir.
 Chick Corea, Blue Note, 8:00 and 10:30 PM. 131 W. 3rd St.
 Ravi Coltrane 4 at Village Vanguard, 178 7th Ave. S.
 New Wonders, Dizzy's Club, 11:30 PM. 10 Columbus Cir.
Sunday, October 5
 Chick Corea at Blue Note, 8:00 and 10:30 PM. 131 W. 3rd St.
 Ravi Coltrane 4 at Village Vanguard, 178 7th Ave. S.
REGULAR GIGS
Mondays (9/1, 9/8, 9/15, 9/22, 9/29)
 Hayes Greenfield 3 at Pearl's Social & Billy Club, 5:00 PM. 40
St. Nicholas, Bklyn.
 Rick Bogart 3 at Broadway Thai, 6PM. 241 W. 51st.
 Kat Gang/Joe Young at Arcane Bistro, 7:00. 111 Avenue C.
 Akiko Tsuruga 3 at Kotobuki, 7PM. 56 3rd Ave.
 Mingus Big Band (except 9/22) at Jazz Standard, 7:30, 9:30
PM. 116 E. 27th.
 Jon Weiss 3 at Cleopatra's Needle, 8PM. 2485 Bdwy.
 Cotton Club All Stars at Cotton Club, 8PM. 656 W. 125th.
 Vince Giordano & The Nighthawks at Iguana, 8PM. 240 W. 54th.
 Johnny O'Neal (except 9/1) at Mezzrow, 8:30 PM. 163 W. 10th St.
 Swingadelic at Swing 46, 8:30 PM. 349 W. 46th.
 Vanguard Jazz Orchestra at Village Vanguard, 178 7th Ave. S.
 Woody Allen & The Eddy Davis New Orleans Jazz Band
(except 9/1 and 9/8) at Cafe Carlyle, 8:45 PM. 35 E. 76th.
 Jim Campilongo 3 (except 9/1) Rockwood Music,196 Allen.
 Oz Noy 3 at The Bitter End, 10:30 PM. 147 Bleecker.
 Ari Hoenig 4 (except 9/22 and 9/29), Smalls, 10PM. 183 W. 10th
Tuesdays (9/2, 9/9, 9/16, 9/23, 9/30)
 Earl Rose at Bemelmans', 5:30 PM. 35 E. 76th.
 NY Jazz Workshop at Lexington Hotel, 6PM. 511 Lexington.
 Spike Wilner 3 at Smalls, 7:30 PM. 183 W. 10th St.


Vince Giordano & The Nighthawks at Iguana, 8PM. 240 W. 54th.
Chris Gillespie 3 at Bemelmans', 9:30 PM. 35 E. 76th.
To Advertise CALL: 215-887-8880
(Continued from page 26)

 Annie Ross at Metropolitan Room, 9:30 PM. 34 W. 22nd.

Your Marketing Blueprint:
 Kyle Poole & Friends (except 9/23) at Smalls, 1:00 AM. 183 W.
10th St. The First Step
Wednesdays (9/3, 9/10, 9/17, 9/24) Dear Artists, Industry Professionals and Business Owners,
 Midtown Jazz at Midday at St. Peter's, 1:00 PM. Artists TBA. 619 In order to help you be more successful, here is how to effectively
Lexington.
 Rob Mosci at Bemelmans', 5:30 PM. 35 E. 76th. reach us at Jazz Inside Magazine — to buy advertising space, market-
 Louis Armstrong Eternity Band (except 9/10) at Birdland, 5:30 ing & promotional services, get your CD reviewed, and for any and all
PM. 315 W. 44th.
 Bill Crow 4 at Red Hat Bistro, 6PM. 1 Bridge St., Irvington-on- editorial and feature considerations.
Hudson NY.
 Joel Forrester at Manhattan Inn, 7PM. 632 Manhattan Ave.,
Brooklyn. Please send a letter of interest with complete information and all of
 J.C. Hopkins Biggish Band w/Queen Esther & Charles Turner
at Minton's, 7PM. 206 W. 118th. your contact data (phone, e-mail, street or P.O. Box mailing address) in
 Stan Rubin Orchestra at Swing 46, 7:15 PM. 349 W. 46th.
 Jason Marshall 3 at American Legion Post #398, 7:30 PM. 248 an email to Eric Nemeyer at eric@jazzinsidemagazine.com
W. 132nd.
 Avalon Jazz Band at Apotheke, 8PM. 9 Doyers St.
 Mike Lee Jam Session at Hat City Kitchen, 8PM. 459 Valley St., For immediate attention put “Business Inquiry” in the SUBJECT field,
Orange NJ.
 Wayne Holmes 4 at Proper Cafe, 8PM. 217-01 Linden, Queens.
followed by one or all of the following: “AD”, “CD”, “Marketing/
 Jonathan Kreisberg 3 at Bar Next Door, 129 MacDougal. Promotion.”
 Kat Gang at Rose Club, Plaza Hotel, 9PM. Corner of 5th Ave. and
Central Park W.
 Jam Session at Tea Lounge, 9PM. 837 Union, Bklyn.
 Chris Gillespie 3 at Bemelmans', 9:30 PM. 35 E. 76th St.
For example: Business Inquiry – Marketing/Promotion.
 Joe Cohn, Clipper City Tall Ship, 9PM. Gangway 1, Battery Pk.
 Jam with Joonsam Lee at Cleopatra's Needle, 11:30 PM. 2485
Bdwy. Thank you for your interest in Jazz Inside Magazine, I am looking for-
ward to helping you with your business needs.
Thursdays (9/4, 9/11, 9/18, 9/25) In Music, and Continued Success to Your Goals.
 Melanie Marod at Toshi's Living Room, 6PM. 1141 Bdwy.
 Lauren Henderson 3 at Millesime, 8PM. 92 Madison Ave. Eric
 Dandy Wellington and His Band at Paris Cafe, 8PM. 119 South
St. Eric Nemeyer
 Lapis Luna at Rose Club, Plaza Hotel, 8:30 PM. 5th Ave. and
Central Park W.
 Michael Arenella 4 at Red Room, 8:30 PM. 85 E. 4th St.
 Chris Gillespie 3 at Bemelmans', 9:30 PM. 35 E. 76th.
 Jam with Kazu 3 at Cleopatra's Needle, 11:30 PM. 2485 Bdwy.

Fridays (9/5, 9/12, 9/19, 9/26)

 Birdland Big Band (except 9/12), Birdland, 5:15 PM. 315 W. 44th.
 Brian Newman at General Jazz Room, 7PM. 199 Bowery.
 Charlie Apicella at Il Porto, 7PM. 37 Washington, Bklyn.
 Mary Foster Conklin at Moscow 57, 7PM. 168 ½ Delancey.
 Gene Bertoncini at Ryan's Daughter, 8PM. 350 E. 85th.
 Bill Saxton All Stars at Bill's Place, 9PM. 148 W. 132nd.
 Mac Gollehon Latin Stars at Cotton Club, 9PM. 656 W. 125th.
 Jam, Williamsburg Music Ctr, 9PM. 367 Bedford, Bklyn.
 Chris Gillespie 3 at Bemelmans', 9:30 PM. 35 E. 76th.
 Jam, Joanna Sternberg, Cleopatra's Needle, 12AM. 2485 Bdwy.

Saturdays (9/6, 9/13, 9/20, 9/27)

 Joel Press 4 at Smalls, 4:30 PM. 183 W. 10th St.
 Joel Forrester at Barbes, 6PM. 376 9th St., Bklyn.
 Rick Bogart 3 at Broadway Thai, 8PM. 241 W. 51st.
 Eric Lemon at Brownstone Jazz, 8PM. 107 Macon, Bklyn.
 Ben Perowsky 3 at Domu Na Rohu, 8PM. 27 Morton.
 Bill Saxton All Stars at Bill's Place, 9PM. 148 W. 132nd.
 Jam w/ Jesse Simpson at Cleopatra's Needle, 12:30 AM. 2485
Bdwy.

Sundays (9/7, 9/14, 9/21, 9/28)

 Afro-Latin Jazz Cats at Fat Cat, 12 PM. 75 Christopher.
 Nanny Assis 3 at SOB's, 12, 12:30, 2:00, & 2:30 PM. 204 Varick.
 Bob Kindred 3 at Cafe Loup, 12:30 PM. 105 W. 13th.
 Keith Ingham at Cleopatra's Needle, 4:00 PM. 2485 Bdwy.
 David Coss 4 (except 9/21) at Garage, 6:30 PM. 99 7th Ave. S.
 Swingaroos (except 9/28) at Cafe Lalo, 7PM. 201 W. 83rd.
 Peter Mazza 3 at Bar Next Door, 129 MacDougal.
 Joshua Richman (except 9/7) at Measure, 8PM. 400 5th Ave.
 Johnny O'Neal at Smalls, 10PM. 183 W. 10th St.



To Advertise CALL: 215-887-8880 September 2014  Jazz Inside Magazine  www.JazzInsideMagazine.com 27

 Clubs, Venues & Jazz Resources
55 Bar, 55 Christopher St. 212-929-9883, 55bar.com
92nd St Y, 1395 Lexington Ave, New York, NY 10128,
212.415.5500, 92ndsty.org
Aaron Davis Hall, City College of NY, Convent Ave., 212-650-
6900, aarondavishall.org
Alice Tully Hall, Lincoln Center, Broadway & 65th St., 212-
875-5050, lincolncenter.org/default.asp
Allen Room, Lincoln Center, Time Warner Center, Broadway
and 60th, 5th floor, 212-258-9800, lincolncenter.org
Alor Cafe, 2110 Richmond Rd., Staten Island. 718-351-1101.
alorcafe.com
American Museum of Natural History, 81st St. & Central
Park W., 212-769-5100, amnh.org
Arthur’s Tavern, 57 Grove St., 212-675-6879 or 917-301-
8759, arthurstavernnyc.com
Arts Maplewood, P.O. Box 383, Maplewood, NJ 07040; 973-
378-2133, artsmaplewood.org
Avery Fischer Hall, Lincoln Center, Columbus Ave. & 65th St.,
212-875-5030, lincolncenter.org
BAM Café, 30 Lafayette Av, Brooklyn, 718-636-4100, bam.org
Bar Chord, 1008 Cortelyou Rd., Brooklyn, barchordnyc.com
Barbes, 376 9th St. (corner of 6th Ave.), Park Slope, Brooklyn,
718-965-9177, barbesbrooklyn.com
Barge Music, Fulton Ferry Landing, Brooklyn, 718-624-2083,
bargemusic.org
B.B. King’s Blues Bar, 237 W. 42nd St., 212-997-4144,
bbkingblues.com
Beacon Theatre, 74th St. & Broadway, 212-496-7070
Bickford Theatre, on Columbia Turnpike @ Normandy Heights
Road, east of downtown Morristown. 973-744-2600
Birdland, 315 W. 44th St., 212-581-3080
Blue Note, 131 W. 3rd St., 212-475-8592, bluenotejazz.com
Bourbon St Bar and Grille, 346 W. 46th St, NY, 10036,
212-245-2030, contact@bourbonny.com
Bowery Poetry Club, 308 Bowery (at Bleecker), 212-614-0505,
bowerypoetry.com
BRIC House, 647 Fulton St. Brooklyn, NY 11217, 718-683-
5600, http://bricartsmedia.org
Brooklyn Public Library, Grand Army Plaza, 2nd Fl, Brook-
lyn, NY, 718-230-2100, brooklynpubliclibrary.org
Buttonwood Tree Performing Arts & Cultural Center, 605
Main St., Middletown, CT. 860-347-4957, buttonwood.org.
Café Carlyle, 35 E. 76th St., 212-570-7189, thecarlyle.com
Café Loup, 105 W. 13th St. (West Village) , between Sixth and
Seventh Aves., 212-255-4746
Café St. Bart’s, 109 E. 50th St, 212-888-2664, cafestbarts.com
Cafe Noctambulo, 178 2nd Ave. 212-995-0900. cafenoctam-
bulo.com
Caffe Vivaldi, 32 Jones St, NYC; caffevivaldi.com
Candlelight Lounge, 24 Passaic St, Trenton. 609-695-9612.
Carnegie Hall, 7th Av & 57th, 212-247-7800, carnegiehall.org
Chico’s House Of Jazz, In Shoppes at the Arcade, 631 Lake
Ave., Asbury Park, 732-774-5299
City Winery, 155 Varick St. Bet. Vandam & Spring St., 212-
608-0555. citywinery.com
Cleopatra’s Needle, 2485 Broadway (betw 92nd & 93rd), 212-
769-6969, cleopatrasneedleny.com
Copeland’s, 547 W. 145th St. (at Bdwy), 212-234-2356
Cornelia St Café, 29 Cornelia, 212-989-9319
Count Basie Theatre, 99 Monmouth St., Red Bank, New Jersey
07701, 732-842-9000, countbasietheatre.org
Crossroads at Garwood, 78 North Ave., Garwood, NJ 07027,
908-232-5666
Cutting Room, 19 W. 24th St, thecuttingroomnyc.com, 212-
691-1900
“Those who are
fired with an enthusiastic
idea and who allow it to take
hold and dominate their thoughts
find that new worlds open for them.
As long as enthusiasm holds out,
so will new opportunities.”
— Norman Vincent Peale
28 September 2014  Jazz Inside Magazine  www.JazzInsideMagazine.com
Destino, 891 First Ave. & 50th St., 212-751-0700
Division St Grill, 26 North Division St, Peekskill, NY, 914-739-
6380, divisionStgrill.com
Dizzy’s Club Coca Cola, Broadway at 60th St., 5th Floor, 212-
258-9595, jalc.com
DROM, 85 Avenue A, New York, 212-777-1157, dromnyc.com
The Ear Inn, 326 Spring St., NY, 212-226-9060, earinn.com
El Museo Del Barrio, 1230 Fifth Ave (at 104th St.), Tel: 212-
831-7272, Fax: 212-831-7927, elmuseo.org
The Falcon, 1348 Rt. 9W, Marlboro, NY., 845) 236-7970,
Fat Cat, 75 Christopher St., 212-675-7369, fatcatjazz.com
Five Spot, 459 Myrtle Ave, Brooklyn, NY, 718-852-0202,
fivespotsoulfood.com
Flushing Town Hall, 137-35 Northern Blvd., Flushing, NY,
718-463-7700 x222, flushingtownhall.org
For My Sweet, 1103 Fulton St., Brooklyn, NY 718-857-1427
Galapagos, 70 N. 6th St., Brooklyn, NY, 718-782-5188, galapa-
gosartspace.com
Garage Restaurant and Café, 99 Seventh Ave. (betw 4th and
Bleecker), 212-645-0600, garagerest.com
Garden Café, 4961 Broadway, by 207th St., New York, 10034,
212-544-9480
Ginny’s Supper Club, 310 Malcolm X Boulevard Manhattan,
NY 10027, 212-792-9001, http://redroosterharlem.com/ginnys/
Glen Rock Inn, 222 Rock Road, Glen Rock, NJ, (201) 445-
2362, glenrockinn.com
Greenwich Village Bistro, 13 Carmine St., 212-206-9777,
greenwichvillagebistro.com
Harlem Tea Room, 1793A Madison Ave., 212-348-3471,
harlemtearoom.com
Hat City Kitchen, 459 Valley St, Orange. 862-252-9147. hat-
citykitchen.com
Havana Central West End, 2911 Broadway/114th St), NYC,
212-662-8830, havanacentral.com
Hibiscus Restaurant, 270 S. St, Morristown, NJ, 973-359-0200,
hibiscusrestaurantnj.com
Highline Ballroom, 431 West 16th St (between 9th & 10th Ave.
highlineballroom.com, 212-414-4314.
Hopewell Valley Bistro, 15 East Broad St, Hopewell, NJ 08525,
609-466-9889, hopewellvalleybistro.com
Hyatt New Brunswick, 2 Albany St., New Brunswick, NJ
IBeam Music Studio, 168 7th St., Brooklyn, ibeambrook-
lyn.com
Iridium, 1650 Broadway, 212-582-2121, iridiumjazzclub.com
Jazz 966, 966 Fulton St., Brooklyn, NY, 718-638-6910
Jazz at Lincoln Center, 33 W. 60th St., 212-258-9800, jalc.org
 Frederick P. Rose Hall, Broadway at 60th St., 5th Floor
 Dizzy’s Club Coca-Cola, Reservations: 212-258-9595
 Rose Theater, Tickets: 212-721-6500, The Allen Room,
Tickets: 212-721-6500
Jazz Gallery, 1160 Broadway, New York, NY 10001, (212)
242-1063, jazzgallery.org
The Jazz Spot, 375 Kosciuszko St. (enter at 179 Marcus Garvey
Blvd.), Brooklyn, NY, 718-453-7825, thejazz.8m.com
Jazz Standard, 116 E. 27th St., 212-576-2232, jazzstandard.net
Joe’s Pub at the Public Theater, 425 Lafayette St & Astor Pl.,
212-539-8778, joespub.com
John Birks Gillespie Auditorium (see Baha’i Center)
Jules Bistro, 65 St. Marks Place, Tel: 212-477-5560, Fax: 212-
420-0998, julesbistro.com
Kasser Theater, 1 Normal Avenue, Montclair State College,
Montclair, 973-655-4000, montclair.edu/arts/
performancefacilities/alexanderkasser.html
Key Club, 58 Park Pl, Newark, NJ, 973-799-0306, key-
clubnj.com
Kitano Hotel, 66 Park Ave., 212-885-7119. kitano.com
Knickerbocker Bar & Grill, 33 University Pl., 212-228-8490,
knickerbockerbarandgrill.com
Knitting Factory, 74 Leonard St, 212-219-3132, knittingfac-
tory.com
La Famiglia Sorrento, 631 Central Ave, Westfield, NJ, 07090,
908-232-2642, lafamigliasorrento.com
Langham Place — Measure, Fifth Avenue, 400 Fifth Avenue
New York, NY 10018, 212-613-8738, langhamplacehotels.com
La Lanterna (Bar Next Door at La Lanterna), 129 MacDougal
St, New York, 212-529-5945, lalanternarcaffe.com
Le Cirque Cafe, 151 E. 58th St., lecirque.com
Le Madeleine, 403 W. 43rd St. (betw 9th & 10th Ave.), New
York, New York, 212-246-2993, lemadeleine.com
Les Gallery Clemente Soto Velez, 107 Suffolk St. (at Riving-
ton St.), 212-260-4080
Live @ The Falcon, 1348 Route 9W, Marlboro, NY 12542,
Living Room, 154 Ludlow St. (betw Rivington & Stanton), 212-
533-7235, livingroomny.com
The Local 269, 269 E. Houston St. (corner of Suffolk St.), NYC
Makor, 35 W. 67th St., 212-601-1000, makor.org
Lounge Zen, 254 DeGraw Ave, Teaneck, NJ, (201) 692-8585,
lounge-zen.com
Makeda, George St., New Brunswick. NJ, nbjp.org
Maxwell’s, 1039 Washington St, Hoboken, NJ, 201-653-1703,
maxwellsnj.com
McCarter Theater, 91 University Pl., Princeton, 609-258-2787,
mccarter.org
Merkin Concert Hall, Kaufman Center, 129 W. 67th St., 212-
501-3330, ekcc.org/merkin.htm
Metropolitan Room, 34 West 22nd St NY, NY 10012, 212-
206-0440
Mezzrow, 163 W. 19th St. 646-476-4346. Facebook.com/
mezzrowclub, mezzrow.com
Minton’s, 206 W 118th St., 212-243-2222, mintonsharlem.com
Mirelle’s, 170 Post Ave., Westbury, NY, 516-338-4933
MIST Harlem, 46 W. 116th St., myimagestudios.com
Mixed Notes Café, 333 Elmont Rd., Elmont, NY (Queens area),
516-328-2233, mixednotescafe.com
Montauk Club, 25 8th Ave., Brooklyn, 718-638-0800,
montaukclub.com
Moscow 57, 168½ Delancey. 212-260-5775. moscow57.com
Museum of the City of New York, 1220 Fifth Ave. (between
103rd & 104th St.), 212-534-1672, mcny.org
Musicians’ Local 802, 332 W. 48th, 718-468-7376
Newark Museum, 49 Washington St, Newark, New Jersey
07102-3176, 973-596-6550, newarkmuseum.org
New Jersey Performing Arts Center, 1 Center St., Newark,
NJ, 07102, 973-642-8989, njpac.org
New Leaf Restaurant, 1 Margaret Corbin Dr., Ft. Tryon Park.
212-568-5323. newleafrestaurant.com
New School Performance Space, 55 W. 13th St., 5th Floor
(betw 5th & 6th Ave.), 212-229-5896, newschool.edu.
New School University-Tishman Auditorium, 66 W. 12th St.,
1st Floor, Room 106, 212-229-5488, newschool.edu
New York City Baha’i Center, 53 E. 11th St. (betw Broadway
& University), 212-222-5159, bahainyc.org
Night of the Cookers, 767 Fulton St., Brooklyn, NY, Tel: 718-
797-1197, Fax: 718-797-0975
North Square Lounge, 103 Waverly Pl. (at MacDougal St.),
212-254-1200, northsquarejazz.com
Novita Bistro & Lounge, 25 New St, Metuchen.
Nublu, 62 Ave. C (betw 4th & 5th St.), 212-979-9925
Nuyorican Poet’s Café, 236 E. 3rd St. (betw Ave. B & C), 212-
505-8183, nuyorican.org
Oak Room at The Algonquin Hotel, 59 W. 44th St. (betw 5th
and 6th Ave.), 212-840-6800, thealgonquin.net
Oceana Restaurant, 120 West 49th St, New York, NY 10020
212-759-5941, oceanarestaurant.com
Opia, 130 East 57th St, New York, NY 10022, 212-688-3939
opiarestaurant.com
Orchid, 765 Sixth Ave. (betw 25th & 26th St.), 212-206-9928
Palazzo Restaurant, 11 South Fullerton Avenue, Montclair.
973-746-6778. palazzonj.com
Pigalle, 790 8th Ave. 212-489-2233. pigallenyc.com
Priory Restaurant & Jazz Club: 223 W Market St., Newark,
NJ 07103, 973-639-7885
Private Place, 29 S. Center St, South Orange, NJ, 973-675-6620
privateplacelounge.com
Proper Café, 217-01 Linden Blvd., Queens, 718-341-2233
Prospect Park Bandshell, 9th St. & Prospect Park W., Brook-
lyn, NY, 718-768-0855
Prospect Wine Bar & Bistro, 16 Prospect St. Westfield, NJ,
908-232-7320, 16prospect.com, cjayrecords.com
Red Eye Grill, 890 Seventh Ave. (at 56th St.), 212-541-9000,
redeyegrill.com
Ridgefield Playhouse, 80 East Ridge, parallel to Main St.,
Ridgefield, CT; ridgefieldplayhouse.org, 203-438-5795
Rockwood Music Hall, 196 Allen St, 212-477-4155
Rose Center (American Museum of Natural History), 81st St.
(Central Park W. & Columbus), 212-769-5100, amnh.org/rose
Rose Hall, 33 W. 60th St., 212-258-9800, jalc.org
Rosendale Café, 434 Main St., PO Box 436, Rosendale, NY
12472, 845-658-9048, rosendalecafe.com
Rubin Museum of Art - “Harlem in the Himalayas”, 150 W.
17th St. 212-620-5000. rmanyc.org
Rustik, 471 DeKalb Ave, Brooklyn, NY, 347-406-9700,
rustikrestaurant.com
St. Mark’s Church, 131 10th St. (at 2nd Ave.), 212-674-6377
St. Nick’s Pub, 773 St. Nicholas Av (at 149th), 212-283-9728
St. Peter’s Church, 619 Lexington (at 54th), 212-935-2200,
saintpeters.org
Salon at Rue 57, 60 W. 57th St, 212-307-5656, rue57.com
Sasa’s Lounge, 924 Columbus Ave, Between 105th & 106th St.
NY, NY 10025, 212-865-5159, sasasloungenyc.yolasite.com
Savoy Grill, 60 Park Place, Newark, NJ 07102, 973-286-1700
Schomburg Center, 515 Malcolm X Blvd., 212-491-2200,
nypl.org/research/sc/sc.html
Session Bistro. 245 Maywood Ave, Maywood. 201-880-7810.
Shanghai Jazz, 24 Main St., Madison, NJ, 973-822-2899,
shanghaijazz.com
ShapeShifter Lab, 18 Whitwell Pl, Brooklyn, NY 11215
shapeshifterlab.com
To Advertise CALL: 215-887-8880
Showman’s, 375 W. 125th St., 212-864-8941
Sidewalk Café, 94 Ave. A, 212-473-7373
Silver Spoon, 124 Main St., Cold Spring, NY 10516, 845-265-
2525, silverspooncoldpspring.com
Sista’s Place, 456 Nostrand Ave. (at Jefferson Ave.), Brooklyn,
NY, 718-398-1766, sistasplace.org
Skippers Plane St Pub, 304 University Ave. Newark NJ, 973-
733-9300, skippersplaneStpub.com
Smalls Jazz Club, 183 W. 10th St. (at 7th Ave.), 212-929-7565,
SmallsJazzClub.com
Smith’s Bar, 701 8th Ave, New York, 212-246-3268
Sofia’s Restaurant - Club Cache’ [downstairs], Edison Hotel,
221 W. 46th St. (between Broadway & 8th Ave), 212-719-5799
Somethin’ Jazz Club, 212 E. 52nd, NY, 212-371-7657
Sophie’s Bistro, 700 Hamilton St., Somerset. nbjp.org
South Gate Restaurant & Bar, 154 Central Park South, 212-
484-5120, 154southgate.com
South Orange Performing Arts Center, One SOPAC
Way, South Orange, NJ 07079, sopacnow.org, 973-313-2787
South St Seaport, 207 Front St., 212-748-8600
Spectrum, 2nd floor, 121 Ludlow St.
Spoken Words Café, 266 4th Av, Brooklyn, 718-596-3923
Stanley H. Kaplan Penthouse, 165 W. 65th St., 10th Floor,
212-721-6500, lincolncenter.org
The Stone, Ave. C & 2nd St., thestonenyc.com
Strand Bistro, 33 W. 37th St. 212-584-4000
SubCulture, 45 Bleecker St., subculturenewyork.com
Sugar Bar, 254 W. 72nd St, 212-579-0222, sugarbarnyc.com
Swing 46, 349 W. 46th St.(betw 8th & 9th Ave.),
212-262-9554, swing46.com
Symphony Space, 2537 Broadway, Tel: 212-864-1414, Fax:
212- 932-3228, symphonyspace.org
Tea Lounge, 837 Union St. (betw 6th & 7th Ave), Park Slope,
Broooklyn, 718-789-2762, tealoungeNY.com
Terra Blues, 149 Bleecker St. (betw Thompson & LaGuardia),
212-777-7776, terrablues.com
Theatre Row, 410 W. 42nd, 212-714-2442, theatrerow.org
Tito Puente’s Restaurant and Cabaret, 64 City Island Avenue,
City Island, Bronx, 718-885-3200, titopuentesrestaurant.com
Tomi Jazz, 239 E. 53rd St., lower level. 646-497-1254, tomi-
jazz.com
Tonic, 107 Norfolk St. (betw Delancey & Rivington), Tel: 212-
358-7501, Fax: 212-358-1237, tonicnyc.com
Town Hall, 123 W. 43rd St., 212-997-1003
Trash Bar, 256 Grand St. 718-599-1000. thetrashbar.com
Triad Theater, 158 W. 72nd St. (betw Broadway & Columbus
Ave.), 212-362-2590, triadnyc.com
Tribeca Performing Arts Center, 199 Chambers St, 10007,
info@tribecapac.org, tribecapac.org
Steve Maxwell Vintage Drums, 723 7th Ave, 3rd Floor, New
York, NY 10019, 212-730-8138, maxwelldrums.com
SCHOOLS, COLLEGES, CONSERVATORIES
92nd St Y, 1395 Lexington Ave, New York, NY 10128
212.415.5500; 92ndsty.org
Brooklyn-Queens Conservatory of Music, 42-76 Main St.,
Flushing, NY, Tel: 718-461-8910, Fax: 718-886-2450
Brooklyn Conservatory of Music, 58 Seventh Ave., Brooklyn,
NY, 718-622-3300, brooklynconservatory.com
City College of NY-Jazz Program, 212-650-5411,
Columbia University, 2960 Broadway, 10027
Drummers Collective, 541 6th Ave, New York, NY 10011,
212-741-0091, thecoll.com
Five Towns College, 305 N. Service Rd., 516-424-7000,
ext.163, Dix Hills, NY
Greenwich House Music School, 46 Barrow St., Tel: 212-242-
4770, Fax: 212-366-9621, greenwichhouse.org
Juilliard School of Music, 60 Lincoln Ctr, 212-799-5000
LaGuardia Community College/CUNI, 31-10 Thomson Ave.,
Long Island City, 718-482-5151
Lincoln Center — Jazz At Lincoln Center, 140 W. 65th St.,
10023, 212-258-9816, 212-258-9900
Long Island University — Brooklyn Campus, Dept. of Music,
University Plaza, Brooklyn, 718-488-1051, 718-488-1372
Manhattan School of Music, 120 Claremont Ave., 10027,
212-749-2805, 2802, 212-749-3025
New Jersey City University, 2039 Kennedy Blvd., Jersey City,
NJ 07305, 888-441-6528
New School, 55 W. 13th St., 212-229-5896, 212-229-8936
New York University-Jazz/Contemporary Music Studies, 35
West 4th St. Room#777, 212-998-5446, 212-995-4043
NY Jazz Academy, 718-426-0633 NYJazzAcademy.com
Princeton University-Dept. of Music, Woolworth Center Musi-
cal Studies, Princeton, NJ, 609-258-4241, 609-258-6793
Queens College — Copland School of Music, City University
of NY, Flushing, 718-997-3800
Rutgers Univ. at New Brunswick, Jazz Studies, Douglass
Campus, PO Box 270, New Brunswick, NJ, 908-932-9302
Rutgers University Institute of Jazz Studies, 185 University
Avenue, Newark NJ 07102, 973-353-5595
newarkrutgers.edu/IJS/index1.html
SUNY Purchase, 735 Anderson Hill, Purchase, 914-251-6300
Swing University (see Jazz At Lincoln Center, under Venues)
William Paterson University Jazz Studies Program, 300 Pomp-
ton Rd, Wayne, NJ, 973-720-2320
“Every great and commanding
moment in the annals of the world is
the triumph of some enthusiasm.”
— Ralph Waldo Emerson
RADIO
WBGO 88.3 FM, 54 Park Pl, Newark, NJ 07102, Tel: 973-624-
8880, Fax: 973-824-8888, wbgo.org
WCWP, LIU/C.W. Post Campus
WFDU, http://alpha.fdu.edu/wfdu/wfdufm/index2.html
WKCR 89.9, Columbia University, 2920 Broadway
Mailcode 2612, New York, NY 10027, Listener Line: (212) 854-
9920, columbia.edu/cu/wkcr, jazz@wkcr.org
PERFORMINGS
Orpheus Chamber Orchestra, 490 Riverside Drive, 11th Floor
New York, NY 10027, 212-896-1700, orpheusnyc.com
Westchester Jazz Orchestra, Emily Tabin, Director, PO Box
506, Chappaqua, NY 10514, 914-861-9100, westjazzorch.org
ADDITIONAL JAZZ RESOURCES
Big Apple Jazz, bigapplejazz.com, 718-606-8442,
gordon@bigapplejazz.com
Louis Armstrong House, 34-56 107th St, Corona, NY 11368,
718-997-3670, satchmo.net
Institute of Jazz Studies, John Cotton Dana Library, Rutgers-
Univ, 185 University Av, Newark, NJ, 07102, 973-353-5595
Jazzmobile, Inc., jazzmobile.org
Jazz Museum in Harlem, 104 E. 126th St., 212-348-8300,
jazzmuseuminharlem.org
Jazz Foundation of America, 322 W. 48th St. 10036,
212-245-3999, jazzfoundation.org
New Jersey Jazz Society, 1-800-303-NJJS, njjs.org
New York Blues & Jazz Society, NYBluesandJazz.org
Rubin Museum, 150 W. 17th St, New York, NY,
212-620-5000 ex 344, rmanyc.org.




ARE YOU BUYING RESULTS OR JUST

Trumpets, 6 Depot Square, Montclair, NJ, 973-744-2600,
trumpetsjazz.com
Tumulty’s Pub, 361 George St., New Brunswick
Turning Point Cafe, 468 Piermont Ave. Piermont, N.Y. 10968

MARKETING & PROMOTIONAL SERVICES?

(845) 359-1089, http://turningpointcafe.com/
Village Vanguard, 178 7th Ave S., 212-255-4037,
villagevanguard.net
Vision Festival, 212-696-6681, info@visionfestival.org,
visionfestival.org
Watchung Arts Center, 18 Stirling Rd, Watchung, NJ 07069,
Straight-Up Professionals Delivering Breakthrough
908-753-0190, watchungarts.org Internet Marketing, Advertising & Publicity Solutions
Watercolor Café, 2094 Boston Post Road, Larchmont, NY
10538, 914-834-2213, watercolorcafe.net
Weill Receital Hall at Carnegie Hall, 57th & 7th Ave,
212-247-7800
Williamsburg Music Center, 367 Bedford Avenue, Brooklyn,
NY 11211, (718) 384-1654 wmcjazz.org
Zankel Hall, 881 7th Ave, New York, 212-247-7800
Zebulon, 258 Wythe St., Brooklyn, NY, 11211, 718-218-6934,
zebuloncafeconcert.com
Zinc Bar, 82 West 3rd St.

RECORD STORES
Academy Records, 12 W. 18th St., New York, NY 10011, 212-
242-3000, http://academy-records.com
Downtown Music Gallery, 13 Monroe St, New York, NY
10002, (212) 473-0043, downtownmusicgallery.com
Jazz Record Center, 236 W. 26th St., Room 804,
212-675-4480, jazzrecordcenter.com
Princeton Record Exchange, 20 South Tulane St, Princeton,
NJ 08542, 609-921-0881, prex.com
Scotti’s Records, 351 Springfield Ave, Summit, NJ, 07901,
908-277-3893, scotticd.com
MUSIC STORES Comprehensive Online & Offline Media & Marketing Campaigns & Reporting
Drummers World, Inc., 151 W. 46th St., NY, NY 10036, 212-
840-3057, 212-391-1185, drummersworld.com For CD Releases  Events  National Campaigns  Consultations
Roberto’s Woodwind & Brass, 149 West 46th St. NY, NY
10036, 646-366-0240, Repair Shop: 212-391-1315; 212-840- Web  Social  Mobile  Video  Press Releases  eMail  SEO  List Building
7224, robertoswoodwind.com
Rod Baltimore Intl Woodwind & Brass, 168 W. 48 St. New

215-887-8880
York, NY 10036, 212-302-5893
Sam Ash, 333 W 34th St, New York, NY 10001
Phone: (212) 719-2299 samash.com
Sadowsky Guitars Ltd, 2107 41st Avenue 4th Floor, Long
Island City, NY 11101, 718-433-1990. sadowsky.com

To Advertise CALL: 215-887-8880 September 2014  Jazz Inside Magazine  www.JazzInsideMagazine.com 29

 Interview
Marshall Allen
More Than A Memory
Interview & Photo by Ken Weiss
Visit the Sun Ra Arkestra
www.sunraarkestra.com
Hear Marshall Allen & Sun Ra Arkestra
September 12 at Roulette, Brooklyn, NY
Today it’s virtually impossible to pick up a
jazz magazine and not find Sun Ra mentioned
somewhere as an influence on a recording or on
an artist’s career. No one questions his musical
genius now but back in 1958, when alto saxo-
phonist, multi-instrumentalist, composer, band-
leader, arranger, Marshall Belford Allen, (born
May 25, 1924, Louisville, KY) joined the Sun Ra
Arkestra, there were many questions and little
work. Through all the hard times though, Allen
remained a trusted member of the Arkestra, serv-
ing as Ra’s even-tempered and patient wingman
when another band member needed tutoring or
direction and leading the reed section for over
40 years. It was Allen who’s led the big band
since 1995, following Sun Ra’s “ascension” in
1993, and kept the band true to Ra’s vision in
order to avoid morphing into a mere “ghost”
band. Each Arkestra performance remains a
work of art, a colorful sharing of wisdom extend-
ing through the history of jazz, stretching back to
the 1920’s and ahead into the cosmic future.
Allen started clarinet lessons at age 10 and
enlisted in the Army’s 92nd Infantry Division
(known as the Buffalo Soldiers) at age 18. Sta-
tioned in Paris during World War II, he played
with artists such as Don Byas and James Moody
during the late ‘40s. Postwar, he studied clarinet
at the Paris Conservatory of Music, before re-
turning to the States (Chicago) in 1951, where
he eventually discovered Sun Ra living nearby.
Allen helped pioneer the avant-garde jazz move-
ment and the introduction of world music.
This interview took place on February 7,
2014 at the Sun Ra residence in Philadelphia’s
Germantown section where Allen has lived, with
other Arkestra members, since 1968. While pre-
“The money went to the business folks and all
the record companies and the [Sun Ra] family
got the inheritance. I went to the family and
asked them who they wanted to be the bandleader
and they said me. But how can I run the band
with no money so I had to start from scratch.”
30 September 2014  Jazz Inside Magazine  www.JazzInsideMagazine.com
vious Allen interviews have focused on Sun Ra
rather than the extremely humble Allen, the goal
here was to spotlight the soon to be 90-year-old
Marshall Allen, a legend in his own right.
Jazz Inside Magazine: You’re not one to talk
about yourself. I know it’s not comfortable for
you but how would you describe yourself?
Marshall Allen: I don’t know. I’m just some-
body who likes to play music. I found something
that I wanted to do and I found a band that I
liked and wanted to be in. I devote my time to
that.
JI: I knew that would be hard for you. How
would you describe your personality?
MA: I can get along and whatever I want, and
can’t get, doesn’t bother me. I like money and
spend it but I don’t worry about it. I’m easy
going and I like to help people anyway I can—
moneywise or by teaching them something that I
know. I like practicing and instruments. I’m a
jack-of-all-trades and master of none. [Laughs]
JI: You’re 89-years-old, you smoke a pack of
cigarettes a day, you don’t go to a doctor, yet
you have more energy and agility than most
others a third of your age. It’s spooky, what’s
your secret?
MA: A lot of things I did when I was younger I
don’t do now. I don’t waste a lot of energy
partying and drinking. The only thing I do is
smoke because I be by myself a lot. I used to like
to drink but I got tired of that. I’m using the
music for my well-being. They say the music
can make you happy and do all kinds of things to
you so I’m trying it. I’ve got some discipline and
I like to practice. I take my tools and hammer
and nails and I always like to watch people
building things. On the street, I like to watch
builders working. There’s not much more to me.
As you can see, I’m a kind of packrat, [Laughs]
I’ve got all these things that have come along in
my life [we’re sitting in his office with jam-
packed shelves of instruments, tools and memen-
tos] and it looks like I can’t throw nothing away.
People give me all these little things and I put
them up and the next thing you know, I ain’t got
no space for myself. I’ve got stacks of music in
here and twelve to fifteen horns. I’ve got a con-
trabass clarinet, bassoon, piccolo flute, oboe,
English horn, alto clarinet, B-flat clarinet, two
sopranos, three altos, five to six keyboards, an
accordion, and a guitar and an electronic valve
instrument (E.V.I.) and many small pianos. I’ve
got four koras, African instruments, and an alp-
horn. I collect things and whoever wants to use
them is welcome.
JI: Sun Ra left the planet in 1993, how close did
the Arkestra come to disbanding at that time?
MA: That wasn’t going to happen. Sun Ra died
but the band was together, just some of the band
started to die and that made a difference. So
many of them left, there was only a handful left
of the original band, so I decided to rebuild the
band. I gathered up some of the musicians who
had been in the band in the past to come back
and play.
JI: You transitioned to the Arkestra’s musical
director roll after John Gilmore passed in ‘95.
That’s a title you weren’t looking for. How diffi-
cult was that new position for you?
MA: It was hard because I had to be the band-
leader too. I never even thought about being a
bandleader. I had to gather up all of the music
and take care of it. It was scattered all over the
place. It took me a whole year. There was no-
body to do it but me. Nobody was interested in
doing it and I knew where everything was so I
did it. There was no bandleader so I was the
bandleader and we kept going. That’s all.
JI: How does the process of electing a new mu-
sical director work in the Arkestra?
MA: I was here so I did it. John Gilmore did it
before me but he was sick and couldn’t do too
much. I gathered the music, wrote out the parts,
and all I needed was the musicians to play. No-
body else was interested in doing it and having
the devotion to fix all the music.
JI: What’s been the most difficult aspect of lead-
ing the band?
MA: Being a bandleader and writing the music.
I had musicians in the band who could write
music but they were too busy to write so that
forced me to do it myself. The first thing I start
on is writing simple melodies. I had to unscram-
ble Sun Ra’s music because he played so many
parts on a composition. If you don’t stay with it,
you forget all these different parts that go with it
but he always had the melodies and the main
theme, but he had a lot of different parts going
different ways. I had to work on this while it was
(Continued on page 32)
To Advertise CALL: 215-887-8880
 Marshall Allen
September 12
Sun Ra Arkestra
Roulette, Brooklyn, NY
Photo by Ken Weiss

September 2014  Jazz Inside Magazine  www.JazzInsideMagazine.com


Marshall Allen
(Continued from page 30)
still fresh in my mind, get all the books and work
on all the horn parts. A lot of the music had been
taken away by the musicians so I had to do a lot
of hand copying to get the book back. I had all
my music and John [Gilmore] had his but much
of it was lost as musicians left with it and lost it.
I had to write constantly and make up another
book. When I didn’t have the music, I had to
listen to the rehearsal tapes and get the parts off
of them.
JI: What’s your philosophy regarding leadership
and how does it differ from that of Sun Ra’s?
MA: Sun Ra knew more about what he was
doing than I did. He knew more about being a
bandleader, he was a natural leader. I was always
a good follower. I do as I’m told.
JI: How do you resolve conflict amongst band
members?
MA: I don’t have no conflict. I got a job to do
and I go do it.
JI: So everybody gets along? There’s no need
for you to…
MA: No, because this is a job and they know
their music. If they have any ideas on the music,
“Here you get to play music and do
something different. It’s not an ordinary
band. This band is for creations of all
ideas that people come up with,
regardless of what it is, we make it
work. We play music that is changed
every day and unlike other people’s
bands, you can express yourself.”
I welcome it, but there’s no leader. If they want
to be the leader, they could. They can go right
ahead and I’ll step right back and do my job, but
I don’t know if they will put in as much time,
energy and effort. I said I was gonna’ do it and I
kept my word. I went from scratch. Every sheet
of music in this room I rebuilt, one at a time.
JI: Any thoughts on who should take over lead-
ership of the band after you?
MA: Oh, I don’t know. Whoever wants to put
the energy and the time in it. Whoever it is,
32 September 2014  Jazz Inside Magazine  www.JazzInsideMagazine.com
straight ahead, good luck! [Laughs] Well, if I’m
not there, it don’t make no difference to me as
long as they put the energy in it and don’t let the
stuff go and just be a ghost band.
JI: Money has never been plentiful for the Sun
Ra Arkestra. How tough has it been through the
years financially for you personally?
MA: I told the fellows when I started, we started
from scratch—so go get a job and we can all live
and pay for our own things, because nobody’s
giving us any money and they taking all the
money that we have already worked for and
made albums for and they got it all tied up and
won’t give us any of it. The money went to the
business folks and all the record companies and
the [Sun Ra] family got the inheritance. I went to
the family and asked them who they wanted to
be the bandleader and they said me. But how can
I run the band with no money so I had to start
from scratch. They trying to get their money
from the lawyers but they’re not trying to get it
for the band. They said to take the band and pay
the bills and don’t bother us. This house is in
Sun Ra’s name but they let us live in it but we
have to pay for it, pay the taxes, and fix it.
JI: Wasn’t the house originally your father’s?
MA: Yes, but he sold it to Sun Ra for a dollar
when Sun Ra needed a house. I didn’t want it
because I had another house where my kids are
living. I didn’t need another house and the re-
sponsibility that came with it because I’m with
Sun Ra. This house was right for Sun Ra so he
could live and work and other members of the
band could stay with him.
JI: How difficult is it to maintain a big band in
this day and age?
MA: Very difficult. You have to make the foun-
dation first by having those who want to keep
Sun Ra’s music alive.
JI: There’s been an abundant reissuing of Sun
Ra Arkestra recordings over the past 20 years.
Has the band been compensated fairly for all
these releases?
MA: The band? No! We don’t get anything from
all the recordings of Sun Ra. It goes past us to
the people who produce them and sell them and
the family gets their part of it but the members of
the band who are on those records don’t get
anything. If we do get anything, it’s very little,
like a few hundred dollars, and it’s not enough to
give to everyone, we use it to pay the bills. The
only way we get paid is from my own little pub-
lishing company called Arkestra Music. When I
write my own music I put it in the company and
we play my music along with Sun Ra’s and we
get the dividends for the music with my name on
it. Most of the stuff we play though is Sun Ra’s
music.
JI: Sun Ra had the band abide by certain pre-
cepts including the avoidance of drugs. Appar-
ently, he also thought that dating and personal
time with family was a distraction, and he in-
sisted on daily practicing. Would you talk about
his precepts and what he asked of musicians
regarding their private lives?
MA: The thing is, we’re already doing all of
that, and you do it all your life. You run, run,
run, run. It seemed like that because we were
doing all our running and wasting our time in-
stead of trying to build something. You under-
stand? If you’re going to build something, you
can’t be wasting your time, and nothing against
your family, but if you do too much of that then
you can’t build nothin’. So that was his idea, to
get people to devote more time to building this
rather than devoting all their time to other things
that accomplished nothing. It’s very simple. You
have to concentrate on the program to build the
foundation and then the building. If you’re out
having a good time, you’re doing nothing. Quit
wasting all that energy and focus more on what
we have to do. Men who want to build things
demand discipline. It’s like putting the time in
and watching your child grow up to be the Presi-
dent.
JI: Are Sun Ra’s precepts still in use?
MA: The members of this band do it because
they want to do it. I don’t have to get people to
buy in, they do it on their own. I do my part to
keep things rolling. It’s the same as it was with
Sun Ra. I went with him because I wanted to
come. He didn’t tell me to come with him. You
see? He made it so hard for me, he wanted to see
if I was gonna’ run but I didn’t. I joined right
with him and then he lived so poor and hard and
I still didn’t run. That’s how it is. Everyone in
this band can leave when they want to. That’s
the way it was and that’s the way it’s been.
JI: Some people through the years have looked
at this tightly joined connection and said that this
is a cult. How do you respond to those who look
upon the Sun Ra Arkestra as a cult?
MA: You can call it what you like but the plan
was to get down to business and build something
for your future and play some music, play what
you really feel. Here you get to play music and
To Advertise CALL: 215-887-8880

Marshall Allen
do something different. It’s not an ordinary
band. This band is for creations of all ideas that
people come up with, regardless of what it is, we
make it work. We play music that is changed
every day and unlike other people’s bands, you
can express yourself. Everyone here is supposed
to bring in some ideas. I’m not a Sun Ra, I’ve
got some ideas and so do you so let’s put these
ideas together and keep things going. We play
Sun Ra’s music and we put our ideas in it to
bring it out so it works and it’s the same way
now.
JI: You didn’t record under your name until the
age of 73 in 1998. Was that due to Sun Ra’s
principles?
MA: I’m in Sun Ra’s band. Sun Ra got so much
music that we still haven’t even recorded or
played. I’ve got a closet stocked up with music
that ain’t never been played except at rehearsal.
So I didn’t have to worry about putting nothin’
of mine in there because he was constantly
changing and writing until he left the planet. I
never cared about being a soloist- I wanted to
play in a section when I started out. I’m not
fame-hungry and all of that. I don’t get the big
head. If I got a million dollars I’d still sit here
and do what I do. That’s me. I’ll be here and I’ll
help everybody and do what I can
JI: How many compositions have not been
done?
MA: You see that stack over there? We do all
that and I still have another stack we haven’t
done. Some of the stuff, it’s been so many years
that I kind of forget the combinations because
he’s got so much music combinations on one
chart and he changes the arrangement on some
of the charts. So if you get one arrangement, you
have to be sure that everybody has the same
arrangement because they could be different for
the same tune. That’s what you call “living mu-
sic.” You have to be there every day to play this
music. You can’t come in late [to rehearsal]
because you won’t get the chart that I started
with this morning and you won’t know what we
done. If you out there runnin’, you’re missing
out on the building. That’s what Sun Ra did.
Every day he would deliver new music and if
you weren’t there, you couldn’t play it. We all
had to start together and then you get a part. I
made sure I was there all the time.
JI: Do you feel that today’s generation of musi-
cians could have that kind of single-minded
dedication?
MA: I don’t know what somebody else can do. I
know I can do it. I was ok leaving a lot of other
things aside that were just taking my time up. I
still do other things but I don’t let it get in the
way of most of my time.
JI: At times, Sun Ra gave people a “real name.”
For example, Von Freeman was “Eck-ke-moke.”
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Did you get a “real name?”
MA: That’s nicknames, just like if you’re in
school, you’ve got nicknames. I had many nick-
names. Before I got in here, back in the ‘40s, I
was “Red Allen.” Sonny didn’t give me a name,
he called me Marshall. The musicians give you
names mostly. They call me “The Deputy” be-
cause they shot the sheriff and I don’t want to be
the one who gets shot so I accepted “The Dep-
uty.” I said well, they shot the sheriff, thank you,
I’m not the sheriff. [Laughs] All the band mem-
bers got nicknames.
JI: Let’s talk about some of the groundbreaking
things you’ve done in the past which you’ve not
gotten due credit for. You were the first jazz
saxophonist to play free, even before Ornette
Coleman.
MA: I don’t know. I never claimed no fame. I
ain’t claimed nothin’. All I know, I was playing
my horn and I was playing it straight up with
tone and precision, just like everybody else, until
“Music can change the world, one note, because
there’s a thousand ways you can get a sound on a
note. That’s all I know, I don’t try to analyze all that.
When I play my horn, the most beautiful note is
F-sharp. I don’t know if that’s my note but when-
ever I pick up my horn, I always hit that F-sharp.”
I got with Sun Ra and then began to change it for
what he was talking about and I began to change
gradually, gradually, gradually, changed it,
change it, change it. Before that, I was in the
Army band and we played Count Basie’s charts,
Diz, and all the big band charts. Sun Ra changed
things. He would say, “that was nice but it’s not
what I want. Yeah, you playin’ it but you’re not
playin’ it.” He would teach you about history,
talk philosophy to make your mind expand so
you could understand that music could be differ-
ent from what you were taught. So you could
play anything, anything what you feel but it had
to be put in the right place. It’s just like living
your life. It’s about putting things in the right
place so if you’re at the end of the rainbow, you
know you get the gold if you’re at the right
place. [Laughs] So that’s what he always said.
You could know a whole lot, be the smartest
man, but puttin’ things in the right place. It’s just
like making a puzzle, it has to all fit. You had to
stay and listen to what he wanted and they you
could do it.
JI: So it’s possible that you were playing free
before Ornette Coleman?
MA: I don’t know, I never get into things like
that. When I was going through that process I
didn’t care if they even knew my name.
JI: You were one of the first American musi-
cians to play traditional African music while
working with Babatunde Olatunji and his Drums
of Passion. You even built your own Kora (West
African stringed instrument) and helped intro-
duce it to America.
MA: I don’t know about being the first of any-
thing but I used to love hearing the kora players
that would come through France when I was
studying there so I was always wanting one.
When I got the opportunity with “Tunji” to play
the African highlife music I learned about the
African rhythms and drums and I bought a kora.
I saw how it was made and I made them. I still
don’t play the kora like the Africans, I play it my
way, the way I feel. That was back in the ‘60s. In
the ‘50s, I was fascinated with the bamboo flutes
from around the world and I started making them
as a hobby.
JI: In the ‘60s, you invented a woodwind instru-
ment called the “morrow.”
MA: I took a bamboo flute and a piece of con-
duit pipe, that soft pipe that you bend and put
wire through, and I put a clarinet mouthpiece on
the end so from one end it would sound like a
wooden flute and then I’d turn it over and it
would sound like a muffled clarinet. It was just
for fun. I didn’t have money to buy nothin’ so I
said I’d do stuff myself. I’d go to the gig and
they’d say, “Play that!”
JI: You play many instruments, which are you
formally trained on?
MA: Just clarinet.
JI: You seem to be playing the E.V.I. as much
or perhaps more than your alto these days. Is that
due to a stamina issue?
MA: Look, you wrap that horn around your neck
for years and years and you get what they call
“Saxophone Neck.” And that horn gets heavy
and blowing it for years, I had trouble with my
teeth. I get bored just blowing saxophone. I like
to play different things. When I joined Sun Ra,
he asked if I played flute, which I didn’t, and he
said, “Ain’t nobody’s playin’ flute so go get
one.” So I went and bought one, I was working
of course, and took some lessons with a flute
player who was in the Chicago Symphony and
he had a studio where he taught kids. He said,
“You teach the kids saxophone for me and I’ll
(Continued on page 34)
33

Marshall Allen
(Continued from page 33)
give you lessons at night for free.”
JI: I’ve never seen anyone play the saxophone
the way you do. You strum the keys with a
clawed-hand as if you’re playing a guitar. How
and when did you come up with that technique?
MA: Just like you hear all these different sounds
that you want to duplicate, how do you do it?
Sun Ra told us electronics are coming – “You
don’t have the money to buy electronics but you
can take the instruments you got and sound like
electronic” and he was always taking about do-
ing the impossible which was encouraging. That
made us play all kinds of ugly sounds or what-
ever you want to call it. So I had to create an-
other sound on alto.
JI: You moved to Philadelphia around the age of
13. Philadelphia has such a rich history of pro-
ducing jazz musicians, who were the artists that
you had significant contact with at that time?
MA: Back when I lived in Philadelphia, all I did
was go to the ballrooms they had here and every
big band that played, I was there listening. I just
loved to go see the bands – Cab Calloway,
Benny Goodman, Tiny Bradshaw. I wasn’t
friendly with local musicians. I didn’t stay in
Philly too long, when I turned 18, I volunteered
for the Army and I didn’t come back until with
Sun Ra.
JI: It’s a little known fact that you were one of
“When I heard the music that his band
played and what he had written, that was it.
I wanted to do that and then all this other
stuff came falling down on me – outer
space and the philosophies and the Bible.
All that stuff came with it because
he was trying to open my mind up.”
the Buffalo Soldiers during WWII, after enlist-
ing in the Army in 1942. Would you talk about
your experience as a Buffalo Soldier?
MA: I was in the 92nd Division, yeah. I volun-
teered for the band at Fort Huachuca in Arizona
and that’s where the 92nd Division was so I was
a Buffalo Soldier. I was part of a 28-piece band
until the unit of Buffalo Soldiers had to move
out to Italy after basic training to go to war.
They transferred the band and I went to head-
quarters at Fort Sam Houston and then to Missis-
sippi to another unit. When I went to Europe it
34 September 2014  Jazz Inside Magazine  www.JazzInsideMagazine.com
was with the 201st Army band. We went to
France and Germany and during the VE Day
Parade we played for Eisenhower and all the big
wigs in Reims, France. After VE Day, I stayed
there until 1949 in the 17th Special Service band
and traveled all over Europe.
JI: From what I gather, it doesn’t seem you were
an experienced horn player when you joined the
Army band. How did you get in?
MA: I knew about the clarinet but I couldn’t
play too good, I could play up and down the
scale a little bit but I went out there because the
band needed 28 pieces and when I got out there,
there was about 15 pieces. They had a clarinet
player out there already so the first sergeant said,
“I’ll give you two weeks to play the music and
you can be in the band. I’ll put the clarinet
player in charge of you.” So I got under the tute-
lage of the clarinet player and I was the 4th or
5th clarinet player which meant that I didn’t
have to deal with all those notes and melodies. I
practiced every day for two weeks and I was
progressing and he told the bandmaster that,
”He’s coming along good.”
JI: It’s interesting that you ended up studying
clarinet in Paris (at the National Conservatory on
the GI Bill after discharge) and not in America.
Was that all classical training?
MA: Yes. We also had a dance band and one
time the baritone player got too drunk to play
and I was the band boy, I set up the stands and
took down the horns while you go chase your
girls, so I got a chance to play baritone. I wanted
to play saxophone and the first one I bought was
a baritone. The band leader asked if I could play
baritone and I said, ‘Yeah, I can play baritone,’
but I couldn’t play no baritone. Thankfully, most
of the stuff was whole notes, way down in the
bottom. I really wanted to play alto like Johnny
Hodges.
JI: What were you going to do with your clari-
net training in Paris?
MA: Getting my technique up and then I was
gonna’ play clarinet like Benny Goodman and
all them guys. I wanted to do that but that didn’t
work, the saxophone took that away.
JI: What memories do you have of playing with
European jazz bands along with James Moody
and Don Byas in Paris after graduating?
MA: Those were my teachers. I was friends with
them and they always let me play with them and
they helped me out. We all lived in the same
hotel, them and Annie Ross.
JI: After returning to the States in ’52, you
joined your mother in Chicago and (in addition
to finding work on an assembly line polishing
camera lenses) you formed your first band. What
kind of music were you playing?
MA: I came back to America on a boat to New
York with refugees and they got my name mixed
up, they thought I was a refugee. [The officials]
helped me get a train because they thought I was
a refugee. [Laughs] I had a pickup band in Chi-
cago—vibraphone, tenor player, drummer, bass,
and me. We played little gigs but most of the
time I was just freelancing, playing all the ses-
sions and listening to all the bands playing.
JI: Was that satisfying for you or were you
searching for something different?
JI: You got turned on to Sun Ra’s Jazz in Tran-
sition recording in a Chicago record store around
1956.
MA: Yeah, I used to go into Joe Segal’s record
store to buy records and one day he told me
about Sun Ra. He said he lived on the South Side
and I said, ‘I live up there too!’ He said he prac-
tices on Cottage Grove and 63rd and I said,
‘Shit, that’s about 6 blocks from me. I can walk
over there.’ He said, “He’s over at the ballroom
every day rehearsing and he’s always looking for
talent.” So that’s where I went. I went with my
friend [drummer] Billy Mitchell.
JI: What did you hear in that recording that
changed your life?
MA: That stuff that they played there, “Super
Blonde” and all that? Shit. [Laughs] I said,
‘Man, that band, wooo!” I was thrilled to hear
that, man! That’s the band I wanted to get in. I
heard that music and I broke it, getting’ down
there to get in that band. I heard them sounds
and that stuff was hittin’! That impressed me. So
I went down there and Sun Ra kept me up all
night talkin’, eatin’, and seeing Gene Ammons
play at a club next door. We stayed up all night
and I had to go to work the next day at 8 o’clock.
I listened to all his stories about Egypt, outer
space and all his philosophy, all night long. It
took me a minute but I said, ‘He ain’t gonna’ run
me away.’ That was the first meeting and then he
told me to come over to John Gilmore’s house
and practice [alto] but I needed a flute. So then I
practiced one number at Gilmore’s house with a
flute and we recorded “Simplicity.” I was fea-
tured on that but he made me stand near him at
the piano.
JI: How long did it take you to understand Sun
Ra’s interplanetary concepts and ancient Egyp-
tian mythology?
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Marshall Allen
MA: Through the years. I just shut my mouth
and listened. It wasn’t over night. Look, we
played music, that’s what drew me, not what he
said. When I heard the music that his band
played and what he had written, that was it. I
wanted to do that and then all this other stuff
came falling down on me – outer space and the
philosophies and the Bible. All that stuff came
with it because he was trying to open my mind
up.
JI: What did you make of Sun Ra’s extraterres-
trial abduction experience?
MA: Maybe he was. Who am I to say he wasn’t?
I’ve had experiences too. I’ve traveled through
walls twice while I was sleeping. The first time
happened when I was with Sun Ra, it was a brick
wall, and I didn’t get through with my head be-
cause I got scared and I came back out, real
quick. It didn’t happen again until 2-3 years
later. We were over in [New] Jersey at a house
and I went through the wall again. I levitated and
went through the wall. People were in the other
room, talking, and I went through the wall, into
the room and I heard everything they said and
then I got scared again and I came back. Zoop!
So the next day, they didn’t believe me. I said, ‘I
was in there last night through the wall,’ and I
told them everything they said and they were
amazed.
JI: At what point did you realize that the Ark-
estra would be your life’s work?
MA: I realized it in the beginning, I knew it was
it. I knew I found something and I took it from
there. I wanted it so bad, I wanted to be in that
band. When I went and pursued it, I went
through a whole bunch of other stuff. I got in
there and then I couldn’t play the music. I could
play the music but I couldn’t play the music
‘cause I couldn’t play it like he wanted it ex-
pressed. That’s still how it is now. A lot of peo-
ple come in and play the music but not with the
expression.
JI: What was it like to share the stage with an
artistic genius such as Sun Ra?
MA: When you play with someone like that,
you’re afraid you’re gonna’ mess up but you do
what he taught you to do—express yourself—
and I didn’t have no fear of that. I tried to create
from what he was doing.
JI: Back in the day, when the band was in New
York, struggling to gain acceptance, how diffi-
cult was it seeing lesser musicians playing every
night and making money while you, as a mem-
ber of the Arkestra, were home practicing and
not empowered to play separate gigs?
MA: That’s the way it was. Money was always a
problem, I couldn’t support myself. If you spend
working hours practicing instead of at a job then
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everyone around you is on your case. I practiced
all day and watched the children while my fam-
ily worked. I did little gigs and jam sessions and
sometimes I’d work all night for 10 dollars. I
made a little bit of money from Sun Ra when we
did work.
JI: The band got stranded in New York in 1961
(when Ronnie Boykins smashed his father’s car
into a taxi).
MA: We were coming from Montreal and we
planned to stop in New York to see what was
happening for a few days and we got to New
“You can’t learn anything without
discipline, So come in and get disciplined
in how to attack and play this music, and
what energies you need for that.
Energy makes it work.”
York and the taxi hit the car so we had to find a
place to stay. We had to sue the company to get
money to fix the car. It took a long time, a whole
year went by. We were going to go back to Chi-
cago but we never did that because by time we
got the money, we had to find us a job in the
Village at the coffee houses. We got a gig now
and then.
JI: The band ended up settling in New York’s
East Village, just blocks away from other icono-
clastic artists such as Ornette Coleman, Cecil
Taylor, Archie Shepp, Albert Ayler and Pharoah
Sanders. How much interaction did you have
with those other artists? Did they influence you
or Sun Ra?
MA: I knew all of them. I used to go to their
gigs but I was in Sun Ra’s Arkestra and Sun Ra
was doing his thing. Those guys were playing
their stuff and I appreciated that. I found my
thing, what I wanted to do and so did Sun Ra.
JI: How did the Arkestra end up centered in
Philadelphia since 1968?
MA: We needed some space because we had to
leave New York, it was gettin’ to be too much.
My father had a house for me so I went to Phila-
delphia and then the band wanted to come and
they got this house. My father had 3 or 4 houses.
JI: Sun Ra gave a great quote regarding the
move – “To save the planet, I had to go to the
worst spot on Earth, and that was Philadelphia,
which was death’s headquarters.” Was it really
that bad?
MA: That’s Philadelphia, that’s were America
began. It’s the first capital of the United States.
We came here and stayed here.
JI: So why was it “death’s headquarters?”
MA: Philadelphia was where America began,
the Constitution was written here. This is where
America began, so you go to where the begin-
ning of the thing was.
JI: You’re saying it was because that’s where
this country started, that’s where things started to
go bad?
MA: Yeah, it all started here so you come here
where the Liberty Bell is and all the laws started.
JI: You’ve lived in that house in Philadelphia’s
Germantown section since the move, along with
Sun Ra, John Gilmore, and a changing cast of
band members. Who owns it?
MA: This house was for me but when I brought
my children’s mother here she didn’t want to
walk up all them damn stairs so I had another
house that they stayed in. I didn’t really want to
have the responsibility of having this house to
myself so I said the band could move down here.
I told my dad to just sell it to Sun Ra, I didn’t
want this big ol’ house just for me.
JI: What’s the organization of the house? Is
there a communal cook?
MA: It’s whoever is cooking that night. If
you’re cooking tonight - you go cook a pot. I
don’t cook.
JI: I always got a kick out of the car seat frame
that was repurposed as a bench on your front
porch.
MA: Oh, that was a nice seat. [Laughs] Yeah,
we finally got rid of that and then we put a log
out there. We got rid of the log too, it’s in the
house. It was just a cut off log from one of those
trees over there.
JI: Early on, what did the neighbors think of the
band back when Sun Ra was holding daily prac-
tice sessions there?
MA: They were all nice to us. We practiced and
they liked it. We didn’t have trouble with these
people on the block with the music. One time,
somebody complained about too much noise and
the police came and Sun Ra told them we were
playing joyful noise to God and they left us
alone.
(Continued on page 36)
35

Marshall Allen
(Continued from page 35)
JI: The band started wearing space-age getup in
1960. What’s the purpose of that?
MA: The purpose was sight, sound and all of
that. When the lights are right and you got the
right colors that you vibrate from, that’s all part
of the show. Each personality’s got their own
colors. You also need the scenery and the light-
ing, just like they do in the movies. It all fits.
You’re not gonna’ play that kind of music with a
bowtie on. This is a “show band “where you
entertain the people, give them something to talk
about. We used to have light fixtures on the
stage and strobe lights.
JI: The first costumes came from a defunct op-
era company and, in the past, neighborhood
women made the costumes, along with the musi-
cians. Where are you getting the current outfits?
MA: Sun Ra was looking for color – blues and
gold and purple. He wanted all this color and the
vibrations of the day. He didn’t have anybody
professional to make them so he did the simple
thing – take a piece of cloth, cut a hole, and
drape it over [the head] and next make a hat.
They came up with ideas of space age costumes
all the time. If you’re dancing and you have a
cape on, when the light hits it, it’s something
else.
JI: After performing in costume for over 50
years, how would it feel to play without wearing
one?
MA: I’d still play but when I put the costume
on, something changes.
JI: What’s the most unusual setting that the band
has ever played in?
MA: We’ve played all the places, all the dirty,
raggy places. We’ve played in an abandoned
building in Brooklyn. We’ve done the great ball-
rooms of different countries and palaces. We’ve
played in the best places and the worst.
JI: When’s the last time the Arkestra did a wed-
ding or a similar social event?
MA: We did a Jewish wedding recently for a
neighbor.
JI: At the start of performances, you carry out
what looks like a 6-inch stack of charts. Is every
Sun Ra composition in there along with your
own?
MA: That’s just the parts that we play, not all of
his. With Sun Ra you had to memorize your
chart, most of the book. You didn’t have time to
bend over and look for the music. He had so
many charts so when he played the introduction,
we’d be down there looking for music, and then
he’d change it again. He’d go to another song,
36 September 2014  Jazz Inside Magazine  www.JazzInsideMagazine.com
and you’d straighten up to play that and he’s on
another song. He said, “Y’all too slow,” so it
was best to memorize your music. It was a real
show watching the guys bent over looking for
music.
JI: How do you decide what’s to be played on
stage?
MA: Some things I can’t explain because when
the time comes, it’s there. It’s the vibrations of
the day. I bring a big stack and might not play
any of them! I don’t know what I’m gonna’ do,
you just do it and it comes out. We play our
standard tunes, the one’s that identify us, and
anything in-between.
JI: The Arkestra ends each set by going out into
the audience, playing in the aisles. What’s the
significance of that?
MA: Bring the music to you. Take the music
around.
JI: Why aren’t the names of the musicians and
the song titles announced at performances?
MA: We used to have somebody announce eve-
rything but if you announce one tune and we
play another tune, that’s a mix-up.
JI: So it’s not done to prevent bootleggers from
releasing unauthorized material?
MA: No, no. If I go there with a written pro-
gram, it might not fit tonight.
JI: As time passes, more musicians enter the
band without personally experiencing Sun Ra.
How are the new members indoctrinated? Is
there a schooling process?
MA: No, it’s one rule – you sincere and you
want to play. You can’t learn anything without
discipline, so come in and get disciplined in how
to attack and play this music, and what energies
you need for that. Energy makes it work. You
can’t play laid back. You come in and I’m not
teaching no philosophy of this and that. If you
come in sincere, that’s what I need. Now, if
you’re sincere about playing, I can tell you to
play this way and you do it. If you come in with
things squared in and you gonna’ question why
you want me to play it like that, then that’s an-
other story.
JI: Sun Ra warned that a single note could cause
incalculable harm to the universe. Can you com-
ment on that and also how music can change the
world?
MA: Music can change the world, one note,
because there’s a thousand ways you can get a
sound on a note. That’s all I know, I don’t try to
analyze all that. When I play my horn, the most
beautiful note is F-sharp. I don’t know if that’s
my note but whenever I pick up my horn, I al-
ways hit that F-sharp. There’s something about
that note. Sometimes there’s a certain note that
vibrates through you and you find whatever note
that is. You see, one note can make a difference.
It can change anything. The right sound will
mold the right thing. They use sounds in medi-
cine.
JI: Some personal questions for you. Have you
ever been married or had children?
MA: I’ve never been married but I have two
boys and a girl.
JI: What’s the meaning of the thick red string
that’s kept around your saxophone?
MA: That’s my color. Sometimes it’s gold,
sometimes it’s red, sometimes it’s blue or pur-
ple.
JI: What does it mean?
MA: That’s my necktie for my baby, the banner
for my horn. It’s just like you put on a tie to go
to work. That’s a fire, it’s represented by red –
fire, fire! There’s fire, let’s blow, let’s go! Gold
is like the horn and blue is like the blue skies and
all the planet. I get a different vibration from
each string. My red string is my “go down, get
um’” string. When you see the red string on
there you know I’m ready. Those are my spirit
colors. It’s dressed to go get um’!
JI: You dye your beard orange. Sun Ra also
dyed his beard. What’s the significance of that?
MA: Since my skin color is different from his, it
makes a difference. He would dye his red and I
would dye mine orange. It has to do with the
Egyptians’ henna. The Egyptians had all these
different colors and he [Sun Ra] was talking
about Egypt and he’s got his colors. It’s colorful
and it looks nicer than grey.
JI: What are your interests outside of music?
MA: Oh, I have little hobbies. I like to fix every-
thing, that’s why you see so much stuff in here.
You say, “Where’d all that junk come from?”
I’m fixing half of em’. I watch TV – nice stories.
It depends on my mood. Sometimes I like kung
fu, sometimes I like a nice love [story] or some
kid’s stuff. My thing is like life is – a variety of
things. I’m watchin’ news, or Japanese cultural
things, how they make stuff and what they ob-
serve as a culture. That’s what makes me me. I
like to read, I like sports, all of em’.
JI: I heard you play the lottery every day. Are
you lucky? What happens if you hit the big one?
Will we ever hear from you ever again?
MA: Yeah, I’m lucky I’m still around. I went to
H & R Block and the lady gasped when she saw
how many [winning lottery] receipts I had. She
said she had never seen anybody with that many
receipts. I’m pretty lucky but I’m mad that I
have to pay all the money that I win to the IRS. I
pay everything to support this house and if I
don’t make it working, I’ll gamble for it. I pray
to the Creator to help me get the money and that
I’m not gonna’ squander it. I stand to my word.
I’m gonna’ take the money and use it in the best
position that I can to help us. I don’t make the
kind of money to pay the bills myself. Some-
times I work [perform] and I get less than they
To Advertise CALL: 215-887-8880

Marshall Allen
[the other band members] get ‘cause I told the
manager, ‘Pay the musicians before you pay me.
Give me what’s left.’ Now I don’t know any
other band leaders that do that. I’ll make two to
three thousand dollars and I’ll pay it out and sit
up here with nothing. [At this point, Yahya Ab-
dul-Majid stops in to pick up the money to play
the lottery and says, “Yeah, Marshall’s one of a
kind.”]
JI: You were awarded a 2012 “no-strings at-
tached” $60,000 Pew Fellowship. What became
of that?
MA: The IRS was getting ready to snatch my
house so I paid that. This house is falling down,
ain’t nobody gonna’ take care of it ‘cause no-
body here owns it. The front was falling, the
inside rooms were messed up. I put the money
into the house and paid up all the bills and fixed
some instruments. I don’t worry about money.
JI: Do you have a philosophy of life?
MA: Take things as they come and make the
best of it and don’t cry and worry about every-
thing. If there’s hardship, I do the best to get out
of it and to keep steppin’. If it’s doing without, I
can do without, without fallin’ apart.
JI: What’s your view of death?
MA: You here today and you’re gone tomorrow.
So what? Do what you can do today and tomor-
row it’s done if you do go. I can’t worry like
that. Life is too short, don’t try to kill yourself.
Go on and do what you say you’re gonna’ do
and then you ain’t got time to worry about
nothin’ else.
JI: How would you like to be remembered after
you’ve hung up your horn?
MA: As someone who was sincere and did his
job, didn’t mess with nobody and let everybody
do what they had to do to survive in this thing. I
don’t know everything, in fact, I don’t know
nothin’. That leaves me empty to learn some-
thing. I hope what I’ve done has been useful.
Otherwise I’m just a memory like the rest of
‘em.
JI: The last questions are from other artists.
Danny Thompson (baritone sax) – “You’ve
written about 100 very good tunes. What’s your
inspiration for writing music?”
MA: I’ve all kinds of moods – jolly mood, sad –
all kinds of moods because I take everything as
it comes and I write. I set out to do that and I did
it. There’s no one bringing them to me so I do it
myself. I don’t know how I do it, but I do it.
Dave Davis (tuba) – “Your first recorded solos
and work with James Moody is straight bebop,
and there’s a photo with you dressed like a be-
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bopper in front of Charlie Parker at one of his
shows, but I never hear you listen to bebop, only
more traditional players such as Sidney Bechet
and Johnny Hodges. Did you evolve away from
that style or was that just a music phase you
went through before you became who you are
today?”
MA: Sidney Bechet was nice to me. I met and
heard Charlie Parker before he was beboppin.
When that style came out, I was in Europe. I
came up on Johnny Hodges playin’ a pretty mel-
ody. That was my thing and being in the section
playing with him. It’s not that I don’t listen to
Charlie Parker, he just don’t know I do. But I’m
busy trying to build this.
Dave Davis also asked – “When Sun Ra left the
“Sun Ra was looking for color – blues
and gold and purple. He wanted all this
color and the vibrations of the day. He
didn’t have anybody professional to
make them so he did the simple thing –
take a piece of cloth, cut a hole, and drape
it over [the head] and next make a hat.”
planet, had the Arkestra not survived, what ca-
reer path would you have chosen? Would you
have joined another band, led your own group,
or taught?”
MA: I don’t know. It’s hard to say. I never
thought that way. I might have went to someone
else’s band. I wouldn’t have minded that.
Fred Adams (trumpet) said – “I know Marshall
still has all the old practice session tapes. Those
were such precious days when the early mem-
bers of the band were together and alive. My
question for Marshall is when he listens to those
tapes, what does he think? What can he say
about those musicians that he hears in the tapes?
Do those old tapes inspire him to go on?”
MA: Yes, you hear all the people that you
played with and what they were doing and how
they interpreted the music. I’m able to listen to
multiple arrangements and pick the best one.
Knoel Scott (saxophone) asked – “This year is
the 100th anniversary of Sun Ra, what does that
mean to you?”
MA: That means I’m following him by 10 years.
Knoel Scott also asked – “What does the 100th
anniversary of Sun Ra mean for the planet?”
MA: That means that Sun Ra’s music is still
goin’ on and that’s what he said it would do. He
said not to take away what you know, but add to
that. Be free to express your ideas and develop
them. He said, “Creative music is like doing the
right thing at the right time.” That’s hard but it’s
not hard. Create something for yourself now, not
tomorrow. Tomorrow’s another day and you
have to create something else then. The spirit of
things will always guide you regardless of your
knowledge.
Craig Haynes (drums) – “What’s the greatest
thing you learned from Sun Ra musically and
spiritually?”
MA: I learned all the things I’ve been telling
you. I learned to know that I don’t know nothin’
and not to think that I do. It’s about the vibra-
tions of the day. It doesn’t matter what I know if
I don’t do the right thing today. You might know
the whole world but if you don’t do the right
thing, trouble, trouble, trouble. If I’m doing
things and still standing, I must be doing some-
thing right, but what it is? I don’t know, so I
keep on doin’ what I’m doin’. See, you can’t
know everything, but if you on the right track
and your health is good, what am I gonna’ do?
Break the code and just do anything? No. I’m
not greedy and I don’t know nothin’ so the
whole world stays new because I don’t know
nothin’. I’ve walked around all these years not
knowin’ anything, no money, and I’m still
walkin’. Others have had all the money, all the
glory, and they ain’t even here to enjoy it. I’m
driving to see if I can get something that’s good
for this planet and for the people. I’m trying to
contribute something and trying to stand for my
wellbeing. If it kinda’ works for me, it probably
works for some more folks. I’m gonna’ keep
steppin’, life is up and down and I’m flowin’
with it.

“You can easily judge
the character of a man by
how he treats those who can
do nothing for him.”
— James D. Miles
37
 Interview
Rotem Sivan
Guitar
Interview by Eric Nemeyer
Visit Rotem SIvan online at
RotemSivan.com
JI: With all of the diverse early interests and
influences that surrounded you as you were
growing up in Israel - including Led Zeppelin,
J.S. Bach, Jimi Hendrix, Pat Metheny, Leonard
Cohen, John Schofield, Erik Satie, W.A. Mozart,
Bill Evans, Ahmad Jamal and Brad Mehldau -
what was it about jazz that provided you with
such magnetic attraction to pursue this direction?
RS: There seems to be a lot of freedom in jazz,
freedom to create music in the moment while
responding to the other musicians on the band-
stand. Different genres of music use different
dialects to communicate and there was some-
thing very special for me in the way jazz incor-
porates various elements from other traditions.
In the beginning I felt music was a hidden world
waiting to be discovered. Jazz was the platform
where I felt I could express myself and experi-
ment the most. It is a very open art form, but still
there is a lot a tradition and deep roots to explore
before and while working on your craft.
JI: How did your studies at Tel-Aviv University
Music Academy, majoring in Classical Compo-
sition support or challenge your artistic pursuits
on guitar during your matriculation?
“In the beginning I felt music was a hidden world
waiting to be discovered. Jazz was the platform
where I felt I could express myself and experiment
the most. It is a very open art form, but still there
is a lot a tradition and deep roots to explore
before and while working on your craft.”
RS: In music, tension and release are paramount.
Tension and release function on several layers:
harmonic, melodic and rhythmic. The study of a
musical tradition like classical music contributes
to having a deeper understanding of how these
layers function. Jazz is real time composition
and so the composition tools I acquired in the
classical world are useful when expressing emo-
38 September 2014  Jazz Inside Magazine  www.JazzInsideMagazine.com
tions and ideas in
the medium of
jazz. Before and
while studying in
Tel Aviv Univer-
sity, I was ac-
tively playing
and transcribing
jazz and learning
its language so
there was no real
transition but
more a parallel development and exploration.
JI: How has earning a B.F.A in Jazz and Con-
temporary Music at New School contributed to
your professional pursuits in jazz?
RS: Moving to NYC and studying at the New
School was always a dream of mine. There is no
doubt that being in an environment that exposes
you to the highest level of musicianship is essen-
tial to craft development. Being able to see live
music on daily basis and to play with fellow
musicians is an important part of learning jazz.
This music is a social form of art that requires
constant interaction with musicians, clubs, audi-
ence members and educators. The New School
was a great setting for me to start my journey.
JI: What are the challenges you currently are
experiencing in developing your career as a jazz
performer?
RS: I think mainly finding the balance between
writing new music, working on new concepts,
working with my trio and the need for “office
time”. “Office time” - what I call having to sit in
front of my computer and communicating with
the world. Even though I have my wonderful PR
team and a few booking agents doing most of the
leg work for me, there are still a lot of leads to
follow and maintain.
JI: Given the nature of the niche that jazz is, the
changing demographics, and the challenges of
selling pre-recorded music, because of illegal
downloading, copyright infringement and so on,
what kind of vision do you have for yourself
about experiencing some of your hopes and
goals in the next five or even ten years?
RS: In the next few years I am planning to grow
and strengthen my connection with the audience.
I really believe in personal relationships with
people and I feel that this is the only true way to
ensure engagement. Distribution channels like
YouTube are becoming central to how we con-
sume content and so I plan to expand my video
presence.
JI: How do you balance your time to devote
ample focus and energy to both the classical side
of performance and jazz—both of which have
their own unique demands to maintain excel-
lence on one’s instrument, and to be constantly
growing and evolving?
RS: I only perform jazz and devote most of my
practice time there. I do practice classical on a
daily basis on both piano and guitar but it is not
where most of my energy is directed.
JI: Talk about your association with Haggai
Cohen Milo and Mark McLean and your creative
activities together?
RS: Mark and Haggai make musical choices that
I really appreciate—we usually know where
each other is heading, and if it is a surprise, it’s a
good one. We are great friends, we like to hang
out together and we understand each other which
feels really, really good.
JI: What were some of the key understandings
(Continued on page 39)
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Rotem Sivan
that made a significant impact on your playing,
that you picked up from influential jazz artists
with whom you have studied?
RS: I think for me rhythm is the most important
element in jazz. Having studied and played with
Ari Hoenig really made an impact on how I per-
ceive and practice music. To be honest that has
been my main focus in the last few years and Ari
is a great teacher and he has great influence on
me.
JI: What are your perspectives about the bene-
fits and or shortcomings of taking the academic
route as you did at the New School versus pursu-
ing the performance and apprenticeship route in
the real world that had been the pathway to a
performance career in the past?
RS: I never chose one or the other. I started as a
performer and at a certain point I was given the
opportunity, in the form of a very generous
scholarship, to add on the academic aspect.
Thurman Barker
(Continued from page 44)
he thought about it for some time and decided it
would be best to have it go on and that it hope-
fully would give people an opportunity to come
together and bless these people who had lost
their lives. So I go down to New York City the
day after 9/11 and I never will forget arriving at
the Port Authority and there was such a gloom
over the city and the stench that was coming
from downtown. It was all in the air, I could
hardly be outside. It smelled like burned rubber.
I went to the rehearsal. We did our best to go
through it but I could feel that everybody was
really affected by what had happened. We went
through with the concert and I think it did help.
We had wonderful attendance and we said a
blessing before.
JI: The last questions are from other artists.
Roscoe Mitchell (reeds) asked — “What advice
would you give to the young aspiring musician
today?”
TB: It’s very simple, if you would like to study
jazz, listen to the early music, read about it and
study it and start thinking of what you can con-
tribute to what has already been done before. If I
would have had that mindset, I would have
started composing and recording a lot earlier
than I did. I thought that music was gonna stay
the same – you go out there and someone would
hear you and it would lead to the next step and
the next thing you know, you’ve become a big
name and you’d be signed up with a record com-
pany. Little did I know that that was coming to
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While at the New School I was “sessioning” and
performing almost every night so for me there
was never this or that. I think the academic is an
addition only to the real world pathway.
JI: Could you talk about some of your musical
associations and the words of wisdom or guid-
ance you may have picked up from a few of
them?
RS: Words of wisdom… Ok, here we go: Bob
Moses once told me “Music is easy, play it till it
sounds good” simple but so true. Ari Hoenig
talked about the “cells” of jazz. Cells are those
small pieces of music that make up the tune you
are playing. Being able to zoom in and play one
cell perfectly in terms of time, groove and feel is
extremely important. When I play with Peter
Bernstein, he often asks me “Up or Down?” The
first time he asked me that, it took me a second
to respond but now I know he can really see the
direction the music as a whole, within the tune
and the set, is headed. That understanding of
directional planning including dynamics is sig-
nificant.
JI: Talk about your new CD—For Emotional
an end. I tell my students today to study the tra-
dition and find out what they can contribute.
Number two—you have to become a business
person and look at how you can have some con-
trol in distributing your music.
Adam Rudolph (percussion) said - “You could
ask Thurman a question from when I was his
neighbor in the early ‘70s. How did he play the
show “Hair” and also play with Muhal and other
AACM members at the same time?”
TB: [Laughs] Adam Rudolph is a beautiful guy.
I really respect him because of his commitment
to creative music and drumming. He was cer-
tainly looking at what he could do as a leader
way before me. I was acting as a sideman during
our days at Hyde Park as neighbors. How I
would play with the AACM and then turn
around and go play “Hair?” What got me
through that was my musicianship, it allowed me
to function in both of these worlds because I was
looking at myself, not as a show drummer or an
experimentalist, I was looking at myself as a
musician and my services were needed in both of
these areas. And my mission was to accomplish
that, it was about the music. Adam was thinking
as a leader back then and I wasn’t. So you might
ask why I wasn’t thinking like that. It was be-
cause I didn’t need to think as a leader because I
was being asked to provide these services and I
was making a living and I enjoyed that. I felt like
I was being a musician.
Douglas Ewart (multi-instrument) asked—
“Why has the AACM been able to thrive for
almost 50 years now when other organizations
formed in the ‘60s and after have failed?”
TB: Very easily. Muhal Richard Abrams, our
Use Only—including your concepts in develop-
ing the repertoire, and selecting the personnel,
and the overall sound and flavor you were seek-
ing?
RS: The trio formed itself over time. I wrote
tunes while having this specific trio in mind. The
recording was conducted without headphones,
with no separation between the players. With a
gathering of friends and followers as an audi-
ence, the session had a live, in-the-moment at-
mosphere. The sound and flavor I was aiming
for, is warm and an in the moment experience.
JI: What are your perspectives on balancing a
purity of purpose about creating music that you
hear and want to see come to life, with the si-
multaneous attractor and consideration of trying
to connect with and or please your current and
potential audiences?
RS: I seek to create music that I hear and feel
inside me. I hope those feelings will resonate
with my audiences.

spiritual leader, created an organization where
we were able to perform our individual music.
Not his music, but the music that was in our own
heads. No one was ordered or was expected to
play someone else’s music. You played the mu-
sic you heard. Also, we were not dependent on
the organization for our livelihood, the organiza-
tion was bigger than we were as individuals. We
all had our lives and our musical scenes that we
created away from the organization and that’s
why I feel the organization remains at large to-
day. I think that’s great and I’ll leave you with
this. I wish we could come together and play
each other’s music more often than we do. Why?
Because I think and feel our supporters would
love that. Every time the Experimental Band,
which is comprised of all of us under the direc-
tion of Muhal, performs, everybody loves that
because they look at us as a movement, they
don’t look at us as an individual. If we could
play together more often, it would just bring
another dimension to our music and the organi-
zation which has lasted 50 years.

“We know what a person
thinks not when he tells
us what he thinks,
but by his actions.”
-- Isaac Bashevis Singer
39
 Interview

Thurman Barker
Mother Earth and the AACM
Interview & Photo by Ken Weiss

the drummer for Joe

Visit Thurman Barker online at
www.upteeproductions.com
Thurman Barker (b. January 8, 1948, Chicago),
a founding member of the AACM (Association
for the Advancement of Creative Musicians), is
an innovative drummer/percussionist who also
excels on marimba and vibraphone. He’d be
better known if not for devoting the majority of
his time to education. Barker designed the jazz
program for Bard College (New York) in 1993
and remains there as an associate professor.
Classically trained, Barker got his professional
start performing with blues legend Mighty Joe
Young and as a member of the pit orchestra of
Chicago’s Schubert Theatre. Everything
changed for Barker at age 16 upon attending a
rehearsal session of AACM leading light Muhal
Richard Abrams’ Experimental Band. Barker
ended up joining the AACM community and
received his indoctrination into the world of
creative jazz music. He’s gone on to record with
groundbreaking musicians Cecil Taylor, Muhal
Richard Abrams, Anthony Braxton, Roscoe
Mitchell, Joseph Jarman, Henry Threadgill, and
Sam Rivers. He also formed his own record la-
bel, Uptee Records, to release five recordings as
a leader. As a composer, he has written a half-
dozen commissioned works for chamber orches-
tra. This interview took place in Philadelphia on
June 29, 2014.
Jazz inside Magazine: At a recent performance
you announced that your concept of music de-
rives from percussion and “Mother Earth.”
Cocker, gave a
drum solo perform-
ance at my school
and from that day
on I knew I wanted
to be a drummer.
There was some-
thing about the way
he played drums. I
didn’t know a drum
set could produce
what he did. Fortu-
nately, my mother
enrolled me at the
American Conser-
vatory of Music and
I was under the
direction of James
Dutton, the head of
the percussion de-
partment. I was exposed to all sorts of music I realized I had this experience in percussion that
including Edgard Varese and Bela Bartok, music could add another dimension by including it. All
that was totally new for me because I grew up music comes out of rhythm and that’s where the
with Billie Holiday and R&B. Mind you, I’m “Mother Earth” comes from, you have to have a
still not in high school yet, and James Dutton rhythm first in order to have a melody and that’s
thought it was a good idea if I studied theory my concept.
before I got to the drum set, so for two years I
worked out of theory books and I listened to JI: How has your relationship with percussion
Western classical music which opened me up to changed through the arc of your career?
the world of percussion. I saw that the role of
percussion is to play more of a melodic role as TB: It certainly has given me a wider range in
well as a rhythmic role. After two years, I was terms of texture. Percussion has always been
introduced to Harold Jones who was the jazz omitted but it’s really very authentic in terms of
drummer in Chicago and I studied drums with music. If somebody wants percussion, they give
somebody a cowbell and that’s it, but if you

“Percussion entered my zone in elementary school in

write a part for tambourine and cowbell and
triangle, that’s scored for, along with clarinet
Chicago … an after school program of tap dancing and flute, then you can really hear the beauty.
That’s what I’m after—bringing those instru-
which my mother signed me up for. I got my shoes, I ments that somehow have been used only as

got my taps, and my first experience with rhythm.”
Thurman Barker: Percussion entered my zone
in elementary school in Chicago when I began
an after school program of tap dancing which my
mother signed me up for. I got my shoes, I got
my taps, and my first experience with rhythm.
Once I discovered this feeling of expression of
myself and got the rhythm in my feet, then I
wanted more. That same year, Roy Robinson,
him. Eventually, he took me around to some of
his gigs and before I knew it, he was asking if I
could sub for him. That’s how my career began.
I realized early on that percussion instruments
could be a symphony within itself. I saw that
percussion plays a huge role in music and when I
thought about what was gonna make my music
different from the rest of the drummers out there,
embellishments but really could be used as lead-
ing instruments if they’re scored for. I’ve been
studying and experimenting with the role of
these percussion instruments and bringing them
to the forefront. On my latest recording, Redis-
covered [Uptee, 2009], I’m using orchestra bells
to highlight the melodies. I’m still studying these
instruments and putting them together.
JI: One of your great strengths as an artist is
(Continued on page 41)

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Thurman Barker
your ability to adapt to changing musical envi-
ronments. You’ve listed on your website –
“Continually moving in and out of musical
styles” as a description of what you do. Why do
you strive for that?
TB: There’s a lot of American music out here
that I’ve been exposed to and growing up on the
South Side of Chicago, it was an education in
music and of the blues. I’ve embraced so many
different forms of music – classical, R&B,
Broadway. My whole mission is to create some
beautiful music that people can listen to but also
can elevate and stimulate them. I have never
looked at myself as a jazz drummer. I was taught
to be a musician and the education that I re-
ceived gave me the foundation to study and play
Latin music, rock, R&B, jazz, contemporary,
classical, and I thrive off of that. I was very in-
fluenced by Frank Zappa. He experimented with
different time signatures and was very creative. I
thrive off of variety and I stated that quote be-
cause I just don’t put myself into a particular
category. I’m a musician first, I don’t like cate-
gories. And I understand why we have that for
marketing purposes, but it distracts the public
away from the creativity of what an artist does
and artists change, they experiment. And once
you stop experimenting, to me, you’re not an
artist anymore, you have fallen into traps of
marketing.
JI: Certainly some of your musical dexterity
derives from your decade long work in the pit
orchestra of Chicago’s Shubert Theater at the
start of your career in the ‘60s. Playing with
visiting acts such as Billy Eckstine, Bette Mid-
ler, and Marvin Gaye. Do you have any memo-
ries you can share from that time?
TB: Word got out in Chicago that I could read
music and play percussion, and I got the call to
do “Hair,” which was coming to Chicago for an
extended engagement. I auditioned and I got the
job because they needed a percussion player and
that gave me the edge over the other drummers. I
did “Hair,” and then “The Me That Nobody
Knows.” The word got around to the contractors
for the theaters who hired the musicians for the
pit orchestras and I got hired for many shows.
You mentioned Billy Eckstine, he came through
for one night at Orchestra Hall and I got called.
It was a big deal for me because this was one
show that my parents knew who I was working
with and they dressed up and came to this con-
cert. I was paid above scale, I made more money
for that one gig than I’ve ever made in my whole
life, except for Cecil Taylor. Billy Eckstine was
a gentleman. He treated us, not as a pickup band,
but as if we were one of his regular guys. It was
the same way with Marvin Gaye when he came
to town for 3 days. Our first rehearsal, we’re
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setting up on stage and Marvin Gaye comes out
and the first thing he does is say, “Hey man, let
me sit down at the drums!” I said, ‘Really? Oh,
wow!’ And Marvin Gaye sits down at the drums
and he starts cranking out some rhythms. I said,
‘Marvin, how can you do that?’ He said, “You
don’t know this, I was a drummer first.” It turns
out he became a singer by accident. He was a
backup session drummer in Detroit - meaning
that at the studios there were people sitting
around, waiting to help people with their demos.
One day an act came in and the singer couldn’t
make it and they asked for someone who could
sing and that’s how it happened. Here’s another
story, Bette Midler comes to town on the bath-
house circuit around ’73 and before she comes
“Word got out in Chicago that I could read music
and play percussion, and I got the call to do “Hair,”
which was coming to Chicago for an extended
engagement. I auditioned and I got the job
because they needed a percussion player and
that gave me the edge over the other drummers.”
out on stage, her piano player, who is traveling
with her, a long, tall, skinny guy, says, “Hey
guys, come over here, I want to hear what you
think of this new song I’m working on.” So we
listened to it and it had a nice little melody but
nothing special, but he was really going over-
board with this new song. We played the three-
day gig and then came to find out that this guy
was Barry Manilow and about a year later, that
song comes across the radio and it’s a big hit. It
had fragments of Chopin through it and he put a
disco beat under it and suddenly, he’s a big hit,
just like that. These experiences made me realize
that I had to find my own sound. I wanted to
create some music that was earthy and had some
tradition in America and African elements and
combine European music because jazz incorpo-
rates different worlds.
JI: Your involvement with the AACM began
after attending a rehearsal of Muhal Richard
Abrams Experimental Band in 1965. What did
you see that day that changed your life?
TB: I was still in high school, sixteen or seven-
teen years old, and here I am among these musi-
cians who were twice my age and here’s Muhal,
who was very confident in being the conductor
of all these musicians, and the first thing I noted
was the undivided attention that these musicians
were giving to Muhal. I didn’t know Muhal but I
saw that he was in control and treated with re-
spect. Also, this was music I had never heard
before, they weren’t covers or standards. Keep in
mind that the biggest star that I was familiar with
was Eddie Harris. He was the recording artist in
Chicago that Harold Jones played drums for, my
only link to a world-renowned jazz musician, but
listening to the music of the AACM, I knew I
was in the company of some serious musicians.
They had a lot of great drummers there, includ-
ing Alvin Fielder, and all their eyes were on me
because I’m the kid coming at them and they
wanted to see what I was gonna do that was
different than them. I think what got their atten-
tion was that Joseph Jarman gave me a difficult
part to read and I read it by way of my experi-
ence in theory and training, although I had never
played anything like it before. I was asked to
come back. I realized that first day that I was
participating in something that was bigger than
music, and it was. It was an organization that
was about creating new music that was new to
everyone.
JI: What was your level of interest in jazz at the
time you discovered the AACM?
TB: My jazz musical scope was small until I
joined the AACM. It was Eddie Harris mainly.
My range also included The Three Sounds and I
loved Ed Thigpen’s work with Oscar Peterson.
JI: What was your early experience with the
AACM?
TB: I started playing with the Joseph Jarman
Quartet. Most of our gigs took place at art galler-
ies and cafes, not clubs. Clubs would see us and
go, “No, no, no. We don’t want none of that
music in here.” We rehearsed the Experimental
Band on Monday nights and afterwards we
would go to jam sessions in Chicago. As soon as
the other musicians at the sessions saw us com-
ing they wouldn’t want to associate with us and
they’d come down from the stage. I wondered
what was wrong with us. Did we have leprosy?
But Roscoe Mitchell was determined [that we
should have our time to play].
JI: You were classically trained at the American
Conservatory of Music. Was the transition to
playing jazz and learning how to improvise a
difficult process for you?
TB: I have to say the conservatory and studying
theory made the transition easy because I had
(Continued on page 42)
41

Thurman Barker
(Continued from page 41)
gotten used to listening to music and understand-
ing how music develops, how it reaches a cli-
max, and how it subsides. It was actually a natu-
ral transition for me. I stress the importance of
theory right to this day, if you want to be a musi-
cian because it gives you the foundation to lis-
ten. I don’t mean to downplay the difficulty of
playing bebop but this creative music has so
many different colors that the AACM prepared
me for and I am so grateful that they exposed me
to this because that’s where the music is going.
We’re always going to have the traditional jazz
form but this younger generation doesn’t hear
music like that anymore. I know because I have
students, and we have to make those adjust-
ments. I make my students learn the blues and
the jazz tradition to get the idea of what jazz
grew out of, but they’re not committed to that
traditional music, no more than I was. I came up
playing this new music. I had to go back and
study swing and bebop because I had no connec-
tion to it. I came up in the ‘60s, I came up listen-
ing to Cream and Hendrix.
JI: Were there many classically trained members
of the AACM?
TB: Whoa, I would certainly say all the wood-
wind players like Roscoe Mitchell and Anthony
Braxton and some of the other players. They
could certainly read music well. I know that
Muhal and Roscoe were very familiar with the
Schillinger System of Musical Composition
because they spoke of it quite a bit.
JI: How do you feel your classical training im-
pacted on the other artists around you?
TB: I would like to think that it helped their
“You know how he does it? Because he’s got the
right people around him. It’s very difficult getting
musicians to agree on anything because everybody
has their own way of doing and presenting music.
Muhal looks at these differences as a blessing. We’re
not all clones to Muhal, he’s more of a spiritual leader.”
music to be formed and developed because they
had someone there that could interpret the direc-
tion that they were going. They hired me for
many of their concerts and recordings. After
Joseph Jarman, I recorded on Muhal’s first re-
cording Levels and Degrees of Light [Delmark,
1968] and I played bells and percussion on Ros-
coe’s first recording Sound [Delmark, 1966]. I’d
like to think that the way I interpreted their mu-
sic helped their compositions to come to life.
42 September 2014  Jazz Inside Magazine  www.JazzInsideMagazine.com
JI: Muhal Richard Abrams has been described
as more than a musician. Roscoe Mitchell called
him, “A teacher of life.”
JB: No doubt about it. He was certainly an inspi-
ration and teacher for me, I wanted to be like
him. He was like a father figure because he made
me feel worthy even at the times I felt intimi-
dated by these guys because their music had
been formed and they were composing. From
day one, he made me feel like I was supposed to
be there and all throughout high school, and this
whole experience, he always made me feel that I
had something to contribute. He always had this
phrase that he would tell me – “T-Bird you are a
credit to your race.” Muhal was a spiritual
leader. He was the first person that made me feel
that there was something more to life than just
existing. He made me feel you had to have a
purpose. He was the first vegetarian I met and he
was so full of life and energy, you could feel the
radiance coming off of him and it made me feel
good. He didn’t smoke or drink. He always had
something positive to say. I have never heard
him say any derogatory thing about anyone. He
knew how to find the best in a person. Also, he
was and still is, committed to creating original
music. From day one, he has been a shaker and a
mover of creation.
JI: What’s Muhal’s leadership style?
TB: It’s very democratic. I was at the third meet-
ing when they were forming the AACM. I was a
kid. I had no idea, I was just asked to be a part of
it. My mother attended a couple rehearsals to see
what her son was getting involved in and she
walked away saying, “Hey, he seems to be in
good hands.” Muhal was the Chairman and
President of the AACM and he had the Book of
Order. He went by the rules, he was correct.
There was a secretary, a vice president, a treas-
urer and everyone had a voice.
JI: I asked because he’s soft-spoken and not
physically imposing.
TB: You know how he does it? Because he’s got
the right people around him. It’s very difficult
getting musicians to agree on anything because
everybody has their own way of doing and pre-
senting music. Muhal looks at these differences
as a blessing. We’re not all clones to Muhal, he’s
more of a spiritual leader. He gives us fuel to
develop each of our unique styles under the um-
brella of the AACM.
JI: I wanted to hear your viewpoint on the use of
theatrics which was prominent in the perform-
ances of many of the AACM presentations. The
use of face painting, stage props and skits were
often worked into performances. You played
with Joseph Jarmon who certainly used theatrics.
JB: I think it’s a perfect fit because it draws
other art forms into what the music does. The
face painting was a way of taking the emphasis
off the person and putting it on the spirit of the
music. That’s my interpretation. With Jarman,
this was my first experience playing music with
poetry and I liked it because it gave me the op-
portunity to experiment with tom-toms and mal-
lets and percussion. Today, the use of spoken
word in music is commonplace so you see how
the AACM was ahead of its time. During our
concert series, Muhal would create skits and
plays which were great. It was about creativity
coming into play. If you have an idea, let’s ex-
periment. Why not? Musical theater goes to-
gether and this is what a creative musician
should be doing – experimenting. We wouldn’t
have the art form that we have now if we didn’t
have the minds to make it happen. Duke Elling-
ton was experimenting, he was creating some-
thing. He had a purpose larger than jazz and
that’s why jazz can be a negative term because it
locks the music into this category and it can do
harm to the music. Categories can block music
and not allow it to grow.
JI: At one point, you were offered a spot in the
Art Ensemble of Chicago but you declined.
JB: Yeah, gee. In ’71 the Art Ensemble took off
for a cross-country tour. Lester Bowie, Roscoe
Mitchell, Malachi Favors and Joseph Jarman got
a bus and went out to establish themselves and
then they took off and went to Europe. At the
time, I was working at the Schubert Theatre on a
Broadway show and I got a phone call early one
morning from Lester Bowie and he said, “T-
Bird, look, we are in Europe and we’ve given it a
lot of thought and we’d like to recruit you with
the Art Ensemble.” I was totally blown away, I
thought what they were doing was really revolu-
tionary. They were taking the music into their
own hands and making things happen. At the
time, I was working with “Promises, Promises”
and I had to make a decision of whether to leave
my job and Chicago and uproot to Europe sud-
denly. So I asked him, ‘Are you all working?’
Lester was honest and said, “No.” And I asked
what they were doing and he said they were
organizing concerts in France, they had nothing
happening but they wanted me to be a part of the
band. I really thought about it because I knew
they were gonna be stars and I loved their music
and the opportunity to create, but I also like the
world of a controlled environment, playing a
score. I thought about it but it didn’t make any
(Continued on page 43)
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Thurman Barker
sense to quit a job to go and join a band that was
unemployed. I don’t regret that decision. I was
playing music six days a week with an organiza-
tion and I liked the idea of going to work every
day because it made me feel that I was a musi-
cian. So I told Lester I couldn’t do it and he un-
derstood. When I heard that they got Don Moye,
I didn’t know who he was, but when I heard him
play, I knew he was a great fit for the band. I
would have brought something different. I don’t
know what but I think the group would have
really given me an opportunity to explore this
world of percussion that I was not able to do
anywhere else. I was different from Moye. He
didn’t play mallets, but he played hand drums,
and that gave them another dimension in percus-
sion and probably more where they were going.
My approach probably would have been more
European.
JI: Other artists outside of the AACM also val-
ued your work. Sam Rivers sent for you to re-
cord Waves (Tomato, 1978).
TB: The AACM was invited to participate in a
music festival at Columbia University – WKCR
Radio in 1977. This was towards the end of my
time in Chicago, although I didn’t know it at the
time. Many of my friends in the organization had
already left the city but I was still there because
of my employment at Schubert Theatre. I was in
between shows and, as always, I returned back to
participating in the AACM shows, rehearsals
and meetings. So Muhal and the rest of us
bussed out to New York for this 3-day festival.
Sam Rivers happened to be in the audience and
at the end of the festival, he approached me on
stage and asked me to be a part of his group.
Three months later he stunned me by calling and
asking me to do a recording date with him. I
said, ‘Wait a minute, you mean just like that?’
He said, “Yeah, and after the recording we have
some gigs.” There was no word about rehearsal
or anything. So my first experience of playing
music with Sam Rivers was in the studio making
Waves and I have to say that, in addition to all
the beautiful experiences with the members of
the AACM, this experience was different. What
was different was that Sam Rivers covers the
whole range of music, he was more in the tradi-
tion. Nothing was written down, as far as with
the small group. Sam played soprano saxophone,
piano, flute and tenor and on each one of those
instruments he would do a different style of mu-
sic. With tenor, it was more of a bebop style,
with soprano it was more avant-garde, with pi-
ano it was more classical, and with flute it was
more like calypso-Caribbean. He never told me
from day one what to play and how to play,
which was different from the AACM where
there were rehearsals and there were very spe-
cific things they wanted to do and the music was
To Advertise CALL: 215-887-8880 September 2014  Jazz Inside Magazine  www.JazzInsideMagazine.com
scored. That’s fine but with Sam, it was wide
open and that experience helped me to hone in
on my skills as a drummer because I was opened
to play what I heard. With Sam, I felt I was in
the presence of the same stature of Miles Davis
and John Coltrane because we didn’t rehearse,
we just showed up and played and I felt I had
arrived. Evidently, Sam had heard something in
me that was what he was hearing. I’ll never for-
get that on the back of the Waves recording he
said that I was the most sensitive drummer he’s
ever worked with. What I got from Sam was
“With Sam [Rivers], I felt I was in the presence of
the same stature of Miles Davis and John Coltrane
because we didn’t rehearse, we just showed up and
played and I felt I had arrived. Evidently, Sam had
heard something in me that was what he was hearing.”
improvising, open improvisation, but you’re
thinking of composition. It was a beautiful ex-
perience. Probably my most pivotal point in
terms of being a drummer was with that group
and I got to play with Dave Holland (bass) and
Joe Daley (tuba). I played a number of gigs with
Sam in New York which eventually led to my
transition to New York. So, you might ask what
happened to the Schubert Theatre? After the
show “One Mo’ Time,” “Evita” was coming in
and after ten years, the contractor calls me up
and says, “OK, we have a show coming in and
it’s an opera and you have no experience with
that so we’re going to make a change.” I said,
‘Great! Now is my opportunity to make my tran-
sition.’ Also in this period, Anthony Braxton
beckoned me, so between 1977 and 1980, I had
made two dozen trips to Europe with these two
bands and that’s what got me out of Chicago and
into New York.
JI: You also performed with Cecil Taylor.
JB: In 1986, Cecil was creating a new band and
I got a call from Cecil’s agent while I was hav-
ing Thanksgiving dinner with my family. It’s a
funny story. My daughter says there’s a phone
call and I told her to have them call back at an-
other time. So she did and hung up. The call
comes back and this time she says it’s Cecil
Taylor. I didn’t put two and two together so I
told her, ‘Well, tell him I’ll call him back.’ She
told the person on the phone this and they said,
“No, I think he wants to take this call.” So I get
on the phone, and I’m still not putting it together
that it’s the Cecil Taylor, and they say, “This is
the agent of Cecil Taylor.” I said, ‘Cecil Taylor
the pianist?’ She said, “Yes, Cecil Taylor the
pianist!.” Obviously she was getting a little an-
noyed with all this. And I thought, ‘Yes, here I
am, I want to talk.’ She said Cecil wanted me to
play a concert with him and to go to Berlin in the
spring. So we did a few gigs around New York
with Steve McCall (drums), Frank Wright (tenor
sax) and Carlos Ward (alto sax), and spring
comes and we’re going to Berlin for 6 days—a
big concert and workshops. We all planned to
meet in the hotel and I got in a little altercation
with Frank Wright. I got off on the wrong foot
from jump street with him because he’s kind of
loud. We were in the hotel lobby and he was
using some words at a high volume. So, me, I go
over and I asked Frank Wright, ‘Look, keep it
down, there’s a mother here with children in the
lobby,’ and Frank says, “Who the hell are you?
I’m Frank Wright, you’re the new man in the
band, you don’t tell me!” He just goes off imme-
diately so I kept my distance from him after that.
This was my big gig with Cecil Taylor. He hired
me as a percussionist. This was big. It was my
first opportunity as a percussion and marimba
man and my role was to lay down textures and
sounds. My experience with Cecil started in
1986 and continued till 1995. All that would
have not been possible if it wasn’t for the
groundwork of the AACM. They helped me
have the foundation to go from Joseph Jarman,
Muhal and Roscoe, which prepared me for Sam
Rivers and Anthony Braxton, who prepared me
for Cecil Taylor. Meanwhile, through this whole
musical experience, my own musical style was
coming together. I embraced all the music I was
doing but something was missing and I had the
urge to start composing. That’s when I started
thinking about forming a band and making a
contribution like all of my colleagues were do-
ing. After Sam Rivers, I went back and finished
college which was a different experience. Going
back as an adult gave me a better understanding
of being an artist.
JI: There’s a striking YouTube video of your
1995 Germany performance with Cecil Taylor.
TB: Yes, I did a duo with Cecil Taylor in Frank-
furt, Germany in 1995 and with his music I had
all this room to experiment. They called me and
asked what instruments I was going to need and
I asked for a whole list—tympani, orchestra
bells, marimba, vibraphone, tambourine, snare
drum, bass drum, tom-toms. This was one of the
most important performances of my life because
I had this array of percussion all around me that I
could create a score that would work with the
maestro Cecil Taylor. I knew that if I was going
to do a duo with Cecil Taylor I had to have my
arsenal there because he’s coming with his arse-
(Continued on page 44)
43

Thurman Barker
nal and, if you know Cecil, he has plenty.
JI: Although you’ve made many sideman re-
cordings, you’ve only released five albums un-
der your own name. They’ve all been self-
released on your own label, Uptee Productions.
Your last one came out in 2009 [Thurman
Barker Rediscovered], why haven’t you made
more recordings?
TB: I realize that composing is difficult, it’s not
easy. Also, I’m not part of the club scene and
unfortunately, I am not connected with a label. I
just couldn’t get anywhere so I had to produce
myself. It takes a while to write music, arrange
it, and find the right musicians to play it, plus
throwing music together just to make a recording
is not my style. Each one of my recordings is
very different and a lot of work went into each of
them and I take pride in each one. I’m Associate
Professor at Bard College and that takes up time.
I’m doing most of the work myself in addition to
finding a little balance for myself and my family.
JI: Your Thurman Barker Rediscovered re-
cording has you really branching out into differ-
ent genres.
TB: Yeah, that record came about because in
1967 I heard Amina Claudine Myers’ Organ
Trio (Kalaparusha, tenor sax; Ajaramu, drums)
which was very different from Jimmy Smith,
Jack McDuff, and the others who had really
planted the sound of the organ trio. What Amina
played was very creative and different, it wasn’t
in the standard format of soul jazz. They had the
soulful sound but the notes were new and it blew
me away as I listened to the band outside a club I
couldn’t get in because I was underage. That
music struck me, it had the soulful sound but
also was very progressive. In 2009, I went out
looking for organ players in New York. I went to
jam sessions and then to Dr. Lonnie Smith, the
master of organ, and said, ‘Look, I’m looking for
an organ player,’ and come to find out that his
protégé was right there—Lonnie Gasparini. Then
up where I live, upstate in Sullivan County, New
York, I was introduced to a saxophone player,
Sam Morrison, who played on Miles Davis’ last
recordings. They were open to playing new mu-
sic and I wanted to do something different, I
wanted to play drums that no one had heard me
play before. It was more of a personal statement
to say that I could do that. On my other re-
cordings I felt inhibited in a way and I wanted to
make a recording that would show that Thurman
Barker could certainly play in a traditional for-
mat. For some reason, it was really important for
me to create this sound that was in my head that
I had heard almost 50 years ago with Amina’s
band, to create an organ trio in a more creative
setting and to experiment with it. I don’t know
44 September 2014  Jazz Inside Magazine  www.JazzInsideMagazine.com
about anyone else, but I was really moved by
this hip-hop generation and I wanted to see if I
could create music that another generation after
me could identify with. It was more or less a
challenge to myself so I wrote a rap. I was also
always moved by the Motown sound of the ‘60s,
I grew up listening to that, and I wanted to sing
so I wrote a love song and sang it. That’s why I
called it rediscovered because you’re hearing
Thurman Barker play drums and do something
that you’ve never heard him do before. I have
four solos on there which I’ve never done be-
fore. To me, this was also a statement about the
drum set which has been part of the American
music since the turn of the century but it’s
treated as just a backup instrument that gives
support and I wanted to change that concept. I
wanted people to look at the many musical gen-
res that this instrument has been a part of – early
jazz, swing, bebop, hardbop, free jazz, and now
look at it – it’s at the center of hip-hop.
JI: You’ve been teaching at Bard College since
1993 and an associate professor there since 1998
and you actually developed their jazz program.
What was important to you when designing that?
TB: First of all, I reflected on my early experi-
ences and realized that to develop a jazz pro-
gram, certain things needed to be in place – the-
ory, jazz harmony, a jazz ensemble, and the two
courses that I teach – Jazz and Literature l and ll.
My idea in those classes is to bring the reader to
the music by offering all the literature that is
available about jazz and to bring literature to the
listener with the idea that by reading about jazz,
they can understand the music better and under-
stand how important it is to American society.
When people write about something, it must be
important. I also teach a jazz history course
called The Freedom Principle which emphasizes
the role jazz has played in American history. I’m
also the director and conductor of the Bard Col-
lege Community Orchestra, plus I also teach
percussion ensemble. I was doing everything by
myself from ’93 to ’97, at which time I went to
the President and told him it was impossible for
me to continue on my own so I brought in two
wonderful people to teach jazz harmony and jazz
composition. The program has grown tremen-
dously. There’s three of us that make up the jazz
faculty, it’s a big job and I love it because I be-
lieve that creative music is accessible and I think
what the AACM has started is finally catching
on. I must say that I’m very happy and fortunate
to be a part of this institution. When you have a
job where the president is a conductor, it makes
a big difference. I really support the vision of
Bard College in bringing the creative arts into
the curriculum because it gives us a better under-
standing about culture.
JI: There are now many jazz college programs
available. How does Bard compete for students?
What distinguishes its program from the others?
JB: Number one, students have some input in
designing their own curriculum and use critical
thinking, and that’s a big attraction. I think
where Bard sets itself apart is that we have re-
quirements, but the student can replace and sub-
stitute one required class with a painting class, a
dance class, jazz literature or a jazz history class.
This is a way for the student to get an apprecia-
tion for the arts. Number two, I don’t want to say
that we’re a small college, because we have
campuses across America and Europe, and a
sister college in St. Petersburg, Russia, but the
campus in upstate New York is relatively small
compared to other institutions and we happen to
like it that way. The students say they came be-
cause they have the opportunity to have some
quality time with their professors. The campus is
beautiful with new and old buildings blended in
together and the performing arts is very present
on campus.
JI: You wanted to talk about jazz education and
your thoughts on making jazz available to a
wider audience?
TB: Yes, I feel there’s an audience for this mu-
sic which somehow has gotten a bum rap. People
don’t understand it or they think it’s protest mu-
sic and you get all these derogatory terms that
people have labeled this music and it’s not that
way at all. Music represents the way of life, of
where we are as a society. We just need to talk
about the music more, explain to the audience
that this is more than entertainment. We need to
explain that this music is only a continuation of a
long linage of music - from folk songs, to spiri-
tuals, to gospels, to blues and early jazz. Louis
Armstrong was a revolutionary, he was consid-
ered avant-garde when he stepped outside the
circle and became a soloist. That wasn’t the way
jazz was played, jazz was played as an ensemble,
but Armstrong was hearing something else and
that’s how jazz started. Jazz has been a part of
American society since day one and has played a
role in the way our culture has developed.
JI: How did you earn the nickname T-Bird?
TB: Roscoe Mitchell coined me the name be-
cause when he would come to rehearsals, some-
times I was there and sometimes I wasn’t! It’s
like a bird will fly to a branch and you look
away and he’s gone. It stuck and Muhal still
calls me T-Bird, even though I’m 66-years-old
[Laughs]. But I don’t mind because it’s Muhal
and to me, he’s family.
JI: What was your 9/11 experience?
TB: That was tough because we had a concert
scheduled in New York City that Friday and
9/11 happened on a Tuesday. I was to play ma-
rimba with Amina Claudine Myers and a choir
and string ensemble and we had a practice ses-
sion scheduled Wednesday. I called Muhal and
(Continued on page 39)
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 Interview

Benjamin Lapidus
Interview by Joe Patitucci

JI: Could you discuss your new recording
Ochosi Blues - and how it developed from initial
idea to the completed artwork?
BL: My ongoing goal in making a Latin jazz
record and performing Latin jazz is to unite these
idioms (Latin and jazz) in ways so that both are
on equal footing when performed. With this
record, I wanted to use an instrument, in this
case the Hammond B3 organ, which is so dis-
tinct within jazz but use it in the Latin context.
For some tunes and arrangements, I mixed Cu-
ban melodies and rhythms with jazz harmonies,
and in others, I have jazz melodies and rhythms
played by Cuban instruments like the tres and
the congas. The glue for the whole project is the
Hammond B3 organ, which I can’t get enough of
and which is never used today in the Latin or
Latin jazz context. I also wanted to use the ex-
pected roles of the instruments in a jazz organ
combo and put that framework in the Latin con-
text. So you still have an organist playing bass
and harmony, but in the anticipated bass style of
Latin music; a drummer, but also a conga player
player that is now playing the tumbao (a time
keeping pattern) on 1 and 3 accenting the Latin
groove rather than playing on 2 and 4 as on a
straight-ahead jazz record; and a guitar, and in
this album a Cuban tres, too. The tunes on this
record allow us to experiment with challenging
these roles and shifting the expectations. To push
the concept to its limits, I added the batá drums
and changed the harmonies and tempo. This
record relies on the talent of an amazing group
of musicians, who were able to interpret the idea
of a Latin jazz organ combo and bring it to the
next level. I am indebted to them. And that debt
dealing with jazz
and Latin music
where I can show
how seamless the
two worlds are for
many of us who
play in both. It is
truly a blessing to
be musically flu-
ent in different www.BenjaminLapidus.com
idioms and it’s
good to have fun expressing that. Most jazz try or venue. My Dad also exposed me to a wide
players don’t play Cuban, Puerto Rican, and range of music from Afro-Latin to jazz, classi-
Dominican music, but most of us who play Latin cal, Broadway musicals, and Klezmer. My sister
music are also deep into jazz and can swing, play played great classical piano and cello, too. Our
blues, play changes, and know both Latin dance house was musical and I always feel like music
and folkloric music as well. This recording gath- belongs in the home as a result of that upbring-
ers some of the greatest musicians who have ing.
been doing exactly that for years. Cándido Cam-
ero played with Bird and Diz, and anyone else JI: Your father played in the Catskills summers
you can name, but never stopped playing and in the 1950s ... did he share any of those experi-
recording Cuban music. Gene Jefferson and ences with you?
Frank Anderson may be under the radar for some
folks but they played and recorded with a whole BL: He definitely shared the written music with
lot of people in jazz, Broadway, calypso, Cuban me, especially the Cuban stock arrangements as
music, etc. Bobby Sanabria is a veteran of Mario well as his jazz and Klezmer fakebooks with me.
Bauzá and Mongo Santamaria’s bands in addi- I learned a lot of standards from jazz, Latin,
tion to being a multi-faceted percussionist and Klezmer, and Italian music from either playing
big band leader. Pedrito Martinez is the state of duo with my father, or by hearing him do his
the art in singing, playing, and dancing Cuban solo piano thing. He sounds like Erroll Garner
music. Jared Gold is a ferocious player as are the playing bebop and he was a student of Rector
other musicians who contributed to the CD. It Bailey’s in Brooklyn. He has great stories about
was a lot of fun and I think that comes through traveling back and forth from Brooklyn late at
when you listen. night to play the gigs and eating too much Kasha
Varneshkes [bow ties and barley]. He also
JI: Talk about some of your fond memories and shared some great stories from that time about
experiences growing up. driving to Mexico and Cuba to visit relatives and
catch music. These stories had me interested in

“As a mature adult in my 40’s there are more non- searching out relatives and family history for a
long time.

musical sources that inspire my improvisation. JI: What were some of the seminal moments or

The goal of the improviser is to get what you hear recordings or experiences that ignited your at-
traction to Latin music?

in your head to be played on your instrument.”
extends to the island of Puerto Rico, where I
found further inspiration in the visually stunning
work of Dennis Mario, one of my favorite con-
temporary artist, a great musician and a friend.
The second I saw his painting “Congo Blue Y
Changó” I knew it would be the perfect cover for
the album. Luckily, he agreed.
JI: How is this recording distinctive from your
previous work?
BL: I really wanted to make a statement about
BL: My grandmother played piano and sang,
She had aspirations to be an opera singer and
actually sang at Carnegie Hall. I recently trans-
ferred some acetates she recorded around 1951
and they are pretty amazing! I heard that her
father was a drummer, but I am still learning the
secrets of that part of my family. My father
played piano and accordion professionally until
he was 23 and through his playing at home and
sitting in elsewhere I really saw how musicians
commune with one another no matter what coun-
BL: Besides my father’s records it was really in
high school where I saw a lot of groups play in
New York City, got to know some phenomenal
musicians, and started educating myself with
records. Mario Rivera’s sisters and brothers
worked at my high school and once they knew I
was a music nut they took me to his house.
Mario was the ultimate music nut who played 24
instruments fluently and practiced like no one
else I have met since. He worked for Dizzy Gil-
lespie and Tito Puente at the same time and kept
European hours. I was a pretty annoying adoles-
cent and went to his house as often as I could as
(Continued on page 46)

To Advertise CALL: 215-887-8880 September 2014  Jazz Inside Magazine  www.JazzInsideMagazine.com 45


Benjamin Lapidus
(Continued from page 45)
often as I could (almost always waking him up)
just to be around him, play, ask him questions,
and learn. Lucky for me, he was gracious. There
were many legendary musicians in the neighbor-
hood and they often hung out at his place or
could be seen around. I lived less than a block
from Mikell’s but was way too chicken to play at
the sessions they had in the 1980s.
JI: Could you talk about some of the words of
wisdom or guidance from your mentors in Latin
music that have made a significant impact on
your music and your life perspectives?
BL: In New York City, I think Mario really
imparted the need to study and practice seri-
ously. Sonny Bravo still pushes me today in
good ways to remain humble, pay attention to
clave, don’t forget the past players and work
hard. I had my first gig with Larry Harlow in
1996 and it’s always a fun challenge to read his
book and switch between tres and guitar quickly.
The scope and quality of Larry’s output is deep
and inspiring. I started playing with Bobby
Sanabria around 1997 and one thing that I
learned from him is to be ready for anything on a
gig and I mean that in the best way: never say
you can’t play something whether it’s a genre or
a tune. I have worked pretty intensely with great
musicians like Felix Sanabria and Abraham
Rodríguez starting in 1997 and they really
helped me get my rumba and ocha music to-
gether. Juan Usera has had a huge influence in
my understanding of bomba and plena on many
levels. Román Díaz has been a real source for
musical and historical information and playing,
recording, touring, and hanging with him was
always a great opportunity to explore some very
deep stuff. It is extremely important that I ac-
knowledge people in Guantánamo, Cuba who
have really shared so much with me since my
first visit there in 1997. This includes Ramón
Gómez Blanco, José Cuenca Sosa, Rácifo Du-
rand, Carlos Borromeo Plance “Cambrón”, Gui-
llermo “Bulé” Mustelier, Andrés Fistó Cobas
“Taveras”, and many others. These aforemen-
tioned individuals taught me a lifetime of musi-
cal tricks. Bule would always say the jam ses-
sion isn’t only about playing it’s also about the
food, the drink, and the hang. Pancho Amat has
given me a lot of support whether we play to-
gether or just hang out, especially in finding my
own personal voice on the tres, but I never stud-
ied with him. He is a phenomenon.
JI: In what ways have you observed that your
skills as an improviser developed and enlarged
over the past 10 years?
BL: I think that there are certain harmonies that
I hear now that make more sense in some ways,
and I tend to think a lot less and clear my head
when improvising. I am guilty of still playing off
the sharp four over a dominant chord, but that
will be a jumping off point like a conga player
46 September 2014  Jazz Inside Magazine  www.JazzInsideMagazine.com
who returns to a ride pattern during a solo. When
you are younger there are benchmarks and chal-
lenges to pursue, and when you have been at this
for a while you realize who you are and what
you like to do to express yourself. Many of the
greats were just being themselves. As a mature
adult in my 40’s there are more non-musical
sources that inspire my improvisation. The goal
of the improviser is to get what you hear in your
head to be played on your instrument. That said,
I honestly have a long road ahead in terms of
improvement and the key for me is to keep
working on many things, including improvisa-
tion.
JI: What are your opinions about the benefits or
shortcomings of the academic route versus per-
formance and apprenticeship in the real world
that had been the pathway to a performance ca-
reer in the past?
BL: I think that there is no single correct path
and what works for one person may not be good
for someone else. It’s a lifelong journey with no
guarantees like the gift of life itself. Wendell
Logan used to talk a lot about the university of
the streets vs. academia. Both are powerful in
their own right, but they should not be mutually
exclusive for an aspiring musician. I have
learned more about music from non-reading,
unschooled musicians than in academia. A con-
servatory or college music program can teach
technique, history, and buy you practice time as
well as good guidance in the best-case scenario.
The street, club or real world is where you see
what works and what doesn’t, how you are really
supposed to play in certain situations, and what’s
expected of you, and there is not a lot of praise
given to when you make the gig, especially from
the elders. Either way you go, there is no short-
cut to learning your instrument, the language of
jazz or Latin music. My cohort at Oberlin was
the first group of jazz majors almost 25 years
ago. Many of us have made really good music
around the world and are still playing. The ex-
perience was excellent and Wendell was the real
deal, a musician who went to college and earned
his doctorate on a football scholarship. He kept
us humble and pushed us to have dignity, serve
the music, and always reminded us that the out-
side world worked differently. When I came
back to New York after school, I needed to find
my own voice and develop it. I played all types
of jazz gigs and went to sessions like everyone
does, but I also had part-time jobs to pay bills
and I went back to Latin music with full force. I
remember in 1995, Steve Lacy said he always
followed the music that moved him and he
wound up in Argentina, Italy, and later in France
for a long time. He said you make a scene where
you are and there is a lot more of that now today
in jazz then when I was in my twenties chasing
after Steve Lacy. There are phenomenal players
in most countries and U.S. cities, so a creative
musician has more options in many ways. On the
other hand, there now are fewer live venues to
hear music. In my old neighborhood there were
five clubs within walking distance. Now every-
thing is closing to become a pharmacy chain or a
bank and the entry fees are steep for an upcom-
ing musician to hear a master, which is impor-
tant. Also, DJs work much more than musicians
these days. I used to play in a Cuban wedding
band in the 1990s and we worked all the time in
all types of functions, and then it seemed to
change with the ubiquitousness of MP3s and
laptops
JI: How has earning a doctorate in ethnomusi-
cology made a direct impact on your skills and
development as an improviser?
BL: I am not a fan of the actual term ethnomusi-
cology, but from a formative viewpoint it helps
in understanding that there is so much more than
mere notes that informs a given improvisation.
With Steve Blum and Peter Manuel, I studied
Sub-Saharan West African music, jazz, Latin
American and Caribbean music, European,
North American, and Asian music from this
perspective and it definitely opens the ears and
eyes while getting at the social, historical, and
cultural aspects of the music which are crucial.
Excellent for the transcription chops, too! From
an analytical perspective it’s great to learn how
improvisers in other musical cultures deal with
their expected roles and helps one better under-
stand one’s own chosen improvised tradition.
JI: How have your activities as an educator chal-
lenged or enhanced your pursuits as a per-
former?
BL: I teach college students who are dynamic
and representative of the community from where
my music emanates and resonates. Teaching
something helps me get to the point clearly since
time is limited, but it also forces one to focus on
how the essence of something can have different
interpretations. I have often combined perform-
ances abroad with teaching history, a formal
scholarly presentation or an improvisation/
composition workshop so in that sense it’s great.
Teaching and playing also have a good deal in
common in terms of organization and execution.
Being a player and an educator is challenging
because I have to budget my time and it is my
responsibility to be there for my students, do
administrative work for the school, and conduct
scholarly research like writing books and arti-
cles. The truth is that I really like having my feet
in both worlds. One without the other would
make me unhappy and for me the two inform
each other. Even as a college student I was a
double degree, college and conservatory. It’s
how I am wired for better or for worse.
JI: What do you do to decompress from the
stresses of contemporary life?
BL: Running. I am a runner who races monthly.
I don’t listen to music when I run, I just focus on
what’s ahead of me and my mind becomes clear.
A solution may pop into my head for something
I am working on or even a new tune may come
together. Just finishing a run helps me decom-
press and recharge. I am training for the NY
Marathon right now and the time to myself is a
luxury. I also love family time with my wife and
kids. It helps me focus on the important stuff.

To Advertise CALL: 215-887-8880
 CD REVIEWS
Cyrille Aimee
IT’S A GOOD DAY—Mack Avenue Records
MAC 1087. Where or When; It’s a Good Day;
Bamboo Shoots; Twenty-Eight; Caravan; Nuit
Blanche; Young At Heart; Off the Wall; Love Me
Or Leave Me; One Way Ticket; Pourtant; All
Love; Tricolism.
PERSONNEL: Cyrille Aimee, vocals; Michael
Valeanu, guitar; Adrien Moignard, guitar; Sam
Anning, bass; Rajiv Jayaweera, drums; Guil-
herme Monteiro, guitar ( tracks 2-7, 10 &11).
By Eric Harabadian
Perhaps the thing that is so arresting about
this artist from the outset is that smile! Take a
good long look at it because vocalist Cyrille
Aimee’s cover persona is a window to her soul
and her talent. From the very first note she ex-
udes an encompassing positivity that can’t be
denied. Her style is not something saccharin or
fake but rather truly uplifting and real. She is
definitely happy to be here and her ensemble
plays off that vibe and reflects that feeling as
well.
The album is a well crafted blend of origi-
nals and standards, with an amusing curveball or
two. Aimee has a sound that is classic and tradi-
tional, yet in step with what’s on the current
scene and then some. She’s very diverse and
adept at tackling straight-ahead fare like “Where
or When” or the title track which was co-written
by Peggy Lee. In fact, Lee is probably one of the
vocal icons she most sounds like, along with
Rosemary Clooney, Doris Day and Ella Fitzger-
ald. A more contemporary Norah Jones or Amy
Winehouse type vibe enters into view as well.
Save for a few exceptions, the pervasive musical
vehicle for herself and band is gypsy jazz. And
she comes by it honestly as she and the majority
of her current band are French or have some
kind of European connection. Principle guitarists
Michael Valeanu and Adrien Moignard are the
real deal and build a lot of their arrangements
around a heavy gypsy Django Reinhardt type of
aesthetic. Their interplay is seamless as they
weave in and out of solos and vocal cues. The
arrangements are fresh and very clever as well,
with Duke Ellington’s “Caravan” and Michael
Jackson’s “Off the Wall” being prime examples.
In the case of “Caravan” Aimee frames the lyrics
around ever shifting rhythms that alternate be-
tween odd-metered beats and straight-ahead bop.
And who would expect one of Jackson’s early
GetYourCDToPressAndRadio.com
To Advertise CALL: 215-887-8880 September 2014  Jazz Inside Magazine  www.JazzInsideMagazine.com
adult career dance hits to show up on a modern
jazz album? But here it is and Aimee and her
crew give it an appropriate gypsy swing that How to Submit CDs
takes it to an entirely different and exciting level.
This leader and her band like to have fun with
& Products For Review in
music and, while they respect jazz and its tradi- Jazz Inside Magazine
tions, are not slaves to them. There are some
interesting originals here as well like bassist Sam
Anning’s lilting and melodic “Bamboo Shoots” Record labels or individual artists who
and Aimee’s own funky “One Way Ticket.” are seeking reviews of their CD or
Oscar Pettiford’s closer “Tricolism” is, yet, an-
other stylistic direction as it is a duet between
DVD recordings or books may submit
Anning and the vocalist. She unleashes her total CDs for review consideration by fol-
trick bag here; scatting wordless phrases like lowing these guidelines.
there was no tomorrow.
Spending some time with Ms. Aimee—on Send TWO COPIES of each CD or
what is her seventh solo album—is a real pleas- product to: Editorial Dept., Jazz In-
ure and a spiritually uplifting experience. It’s
enough to brighten anyone’s day! side, P.O. Box 30284, Elkins Park, PA
19027. All materials sent become the
property of Jazz Inside, and may or
may not be reviewed, at any time.
phone, bass clarinet; David Cook, acoustic pi-
ano; Anne Mette Iversen, acoustic bass; Owen
Howard, drums, Rob Garcia, drums
Brooklyn Jazz By Alex Henderson
Underground One of the fun things about a collective is
watching the lineups change from album to al-
7X7—BJU Records 046.BrooklynJazz.org. bum or from concert to concert, and that has
BJURecords.com. Burned Out; Our Last Hora; been true of the Brooklyn Jazz Underground
Now What?; Someone’s Blues; Circular; Ex- (BJU). This outfit has been around since 2006,
Communication; Ultralinear; Along the Lines; showcasing different lineups at different times.
The Green Pastures of Brooklyn, NY; Cowboys And on 7x7, there are seven participants alto-
and Indians; Reds and Yellows Too; Fort gether—who include Tammy Scheffer on vocals,
Pierce; Y; This Is Why David Smith on trumpet, Adam Kolker on tenor
PERSONNEL—Tammy Scheffer, vocals; saxophone and bass clarinet, David Cook on
David Smith, trumpet; Adam Kolker, tenor saxo- acoustic piano, Anne Mette Iversen on acoustic
COMPANIES: Advertise Your Products in Jazz Inside
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Jazz Inside Magazine — Print & Digital
Put yourself, your music and products front and center of the jazz community in New
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Reach the buyers and jazz consumers you need to influence — the very decision-
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Take advantage of our wide array of PRINT and DIGITAL marketing options —
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CONTACT us and discover the many ways we can help!
Eric Nemeyer, 215-887-8880, Eric@JazzInsideMagazine.com
Nora McCarthy, 215-887-8880, Nora@JazzInsideMgazine.com(Continued on page 48)
47
bass, and Owen Howard and Rob Garcia on
drums. Some parts of this CD are instrumental,
although most of the selections prominently
feature Scheffer’s expressive vocals. But either
way, the BJU maintains an acoustic post-bop
perspective throughout 7x7.
Scheffer is featured on Howard’s “Burned
Out,” Kolker’s “Someone’s Blues,” Iversen’s
eerie “Now What?” and Scheffer’s own “Our
Last Hora” (a Latin-flavored piece) as well as on
Smith’s “Ex-Communication,” Smith’s
“Ultralinear,” Iversen’s “Along the Lines,” Gar-
cia’s “Reds and Yellows Too,” Garcia’s “Y,”
Cook’s “Fort Pierce” and Howard’s Middle
Eastern-flavored “Cowboys and Indians.” Schef-
fer, however, lays out on Kolker’s “This Is
Why” and Cook’s pensive “Circular.” The songs
that don’t feature Scheffer to some degree are
the exception rather than the rule, and when she
is featured, Scheffer usually offers wordless
vocal improvisations (although she performs
actual lyrics on “Ex-Communication”).
Scheffer’s vocal style inspires comparisons
to Philadelphia native turned New York City
resident Judi Silvano, and like Silvano, she is
quite capable of getting her points across emo-
tionally without lyrics. But Scheffer’s vocals
have a sweeter, softer, more delicate quality.
And the fact that Smith gave her lyrics to per-
form on “Ex-Communication” is a plus because
even though she can be quite expressive without
lyrics, it is good for the listener to hear what she
sounds like when words are involved.
Ever since the BJU got started eight years
ago, participants have been encouraged to com-
pose—which of course, is a different mindset
from the jazz-as-repertory-music approach that
has been common in different areas of jazz (from
post-bop to hard bop to cool jazz to swing to
Dixieland). And 7x7 reflects the BJU’s commit-
ment to composition. All 14 of the songs on this
CD were composed by a BJU participant—there
are no standards or Tin Pan Alley warhorses to
be found—and all seven participants do some
composing, including Scheffer with “Our Last
Hora” (as opposed to “Our Last Hour”) and “The
Green Pastures of Brooklyn, NY,” Smith with
“Ex-Communication” and “Ultralinear,” Kolker
with “This Is Why” and “Someone’s Blues,”
Cook with “Circular” and “Fort Pierce,” Iversen
with “Now What?” and “Along the Lines,”
Howard with “Burned Out” and “Cowboys and
Indians” and Garcia with “Y” and “Reds and
Yellows Too.” That’s two compositions for each
participant, which is by design.
The name “Brooklyn Jazz Underground”
implies that something abstract, experimental or
avant-garde is taking place, but 7x7 is not espe-
cially avant-garde. The album has its more cere-
bral moments, yet on the whole, 7x7 is melodic
and fairly accessible. And this 2014 release is an
engaging demonstration of what the BJU collec-
tive has to offer.
Chicago Jazz Philharmonic
SKETCHES OF SPAIN—316 Records CD
31607. Concierto de Aranjuez; Muerte del Mata-
dor; El Moreno; El Albaicin; Solea.
PERSONNEL: Orbert Davis, conductor, solo
48 September 2014  Jazz Inside Magazine  www.JazzInsideMagazine.com
trumpet & flugelhorn; Kedgrick Pullums, flute,
alto flute & piccolo; Steve Eisen, flute, alto flute
& solo tenor saxophone; Somerlie De Pasquale,
oboe; Anna Najoon, clarinet; Michael Salter,
bass clarinet; David Spencer, trumpet & flugel-
horn; Jessica Pearce, French horn; Henry
Salgado, trombone; Michael Hogg, tuba; Talia
Pavia, violin; Kate Carter, violin; Lynn La
Plante Allaway, viola; Ellen Frolichstein, cello;
Leonardo Lopez Varady, piano; Stewart Miller,
bass; Ernie Adams, drums, cajon, doumbek &
percussion; Suzanne Osman, oud & doumbek;
Sarah Allen, tympani; Jonathan Reed, snare
drum & triangle.
By Eric Harabadian
Orbert Davis had some mighty big shoes to
fill when he accepted the role of performing
Miles Davis’ trumpet solos on this revised ver-
sion of Sketches of Spain. Of course this was the
landmark recording that paired Miles Davis with
conductor/arranger Gil Evans in the early ‘60s.
What we have here is a revisited re-imagining or
reinterpretation of that seminal album. And it is
a re-imagining because some of the music has
been added or altered from the original. There
are five movements in both versions of Sketches
of Spain. This current version begins and ends in
the same manner as the classic recording open-
ing with the third movement “Concierto de
Aranjuez” and concluding with “Solea.” The
three center movements of the original are re-
placed with two new compositions “Muerte del
Matador” and “El Moreno.”
Just as in the original album, the concept is
kind of a musical travelogue that displays vari-
ous aspects of Spanish culture. The leader and
conductor Orbert Davis creates an impressive
homage to Miles Davis and Gil Evans’ vision by
approaching things with a similar aesthetic and
staying true to the mood and tone of the original.
But the liberties that are taken are ones that most
likely would be approved by the duo. Al lot of
the arrangements are paired down from the origi-
nals in terms of orchestration. But the mixture of
European classical, world music, folk and jazz
reflects the initial intent.
The opening movement “Concierto de
Aranjuez” is a rather somber piece, with Orbert
Davis at the forefront playing in a style that
blends dark tonal shadings with lush, well-
placed orchestration. The ensemble frames the
trumpet in a delicate minor kind of manner.
Later in the piece the tempo and dynamics pick
up a bit as the music shifts to a light swing feel.
“Muerte del Matador” is the second movement
and puts emphasis on soloist Suzanne Osman’s
lovely and stoic oud work. This is where the
world music aspect happens bringing in a Medi-
terranean and Arabic flavor to things. When
Davis’ trumpet comes in they create a nice dia-
logue between them. Their call and response
banter is supported subtly by Ernie Adams’ per-
cussion accents. “El Moreno” utilizes the entire
orchestra, with attention to heavy syncopation
and swing from the rhythm section. The pure
marriage of jazz and classical elements really
arise, with tasteful comping and a lyrical sense
from pianist Leonardo Lopez Varady. Overall,
this movement takes on an almost cinematic
texture and paints a vivid picture of the beauty
and immense landscape of Spain. “El Albaicin”
is more strings oriented and spotlights the inter-
action of the violins, viola and cello. There is
kind of a string quartet quality, with additional
buffering from the rest of the ensemble as the
piece develops. The final movement “Solea”
places attention to the rhythm section. As Davis’
trumpet is ever so ebullient, the drums and bass
create a solemn and reflective march that truly
builds to a thrilling and soul-stirring crescendo.
Eliana Cuevas
ESPEJO—Alma ACD 81242. AlmaRe-
cords.com. Estreluta; En Un Pedacito De Tu
Corazon; Nacera; Llego; El Tucusito; Lamento;
Agua, Cangrejo Y Sal; Nueva Vid; Melancolia;
Antito
PERSONNEL: Eliana Cuevas, vocals; Jeremy
Ledbetter, piano, keyboards, mandolin,
melodica, recorder percussion; George Koller,
Ross MacIntyre, Rich Brown or Yoser Rodri-
guez, bass; Mark Kelso, drums, percussion;
Daniel Stone, percussion; Aquiles Baez, cuatro;
Manuel Rangel, maracas; Alexis Baro, trumpet;
Alexander Brown, flugelhorn; Chris Butcher,
trombone; Luis Deniz, alto; Paul Metcalfe, so-
prano; Leila Ledbetter, vocals on “Antito”; On
“Lamento”; Aleksander Gajic, Jennier Burford,
violins; Ivan Ivanovich, viola; Mateusz
Swoboda, cello
By Scott Yanow
Eliana Cuevas has been called “Canada’s
emerging Latin music queen.” Although she
sings exclusively in Spanish throughout Espejo
and not all of the music would be considered
jazz, it is obvious while listening to some of
these selections that Ms. Cuevas could be a tal-
ented jazz singer if that were her main goal.
Born in Venezuela to a family that loved
music, Eliana wrote her first song when she was
nine. Her background was in Brazilian music,
salsa and pop. She moved to Toronto as a teen-
ager with her family and, by using a fake ID, she
had the opportunity to sing in some of Toronto’s
main jazz clubs. She learned to love jazz and
mixed it in with Brazilian, flamenco and salsa
music. Eliana recorded her first EP in 2001
(Cohesion) and made her first of five CDs in
2004 (Ventura). Soon considered one of the most
significant voices in Latin music to be based in
To Advertise CALL: 215-887-8880
Canada, Eliana Cuevas won the 2007 World
Music Artist of the Year from the Toronto Inde-
pendent Music Award and the National Jazz
Award for Latin Jazz Artist of the Year in 2009.
She has performed throughout Canada, South
America and Europe.
On Espejo, Eliana Cuevas wrote nine of the
ten selections (both lyrics and music) with her
producer Jeremy Ledbetter contributing the tenth
song and arranging all of the performances.
Ledbetter is also the main instrumental voice on
piano and keyboards, showing that he has a
background in jazz. Flugelhornist Alexander
Brown and altoist Luis Deniz help out on one
song apiece, “Agua, Cangrejo Y Sal” utilizes
three horns, and “Lamento” has the singer joined
by a string quartet.
Throughout this CD, Eliana Cuevas dis-
plays power, warmth and versatility. The open-
ing “Estrellita” is catchy and rhythmic while “En
Un Pedacito De Tu Corazon” is a pop ballad.
The third song, “Nacera,” is contemporary jazz
with a passionate alto solo from Luis Deniz and
jazz-oriented playing from Ledbetter. One could
imagine “Llego” catching on as a jazz song if the
lyrics were in English. The funky rhythm section
is particularly infectious on that piece.
Ledbetter’s “El Tucusito” has Eliana per-
forming some rapid wordless scat-singing that is
worthy of Cleo Laine. While it was all arranged
beforehand, her execution and swing are impres-
sive. “Lamento” is an emotional ballad with
strings. “Auga, Cangrejo Y Sal” features the
singer romping with a horn section, sounding
like she would be quite comfortable singing
freewheeling jazz. The mood is continued on
“Nueva Vida” which has her spontaneously scat-
ting quite well. Espejo concludes with the pop
ballad “Melancolia” and the Latin groove piece
“Antito.”
It will be quite interesting to see what musi-
cal direction the talented Eliana Cuevas decided
to focus on in the future.
Dr. John
SKE-DAT-DE-DAT: THE SPIRIT OF
SATCH—Concord Records 35187. What a
Wonderful World; Mack the Knife; Tight Like
This; I’ve Got the World on a String; Gut Bucket
Blues; Sometimes, I Feel Like a Motherless
Child; That’s My Home; Nobody Knows the
Trouble I’ve Seen; Wrap Your Troubles in
Dreams; Dippermouth Blues; My Sweet Hunk o’
Trash; Memories of You; When You’re Smiling
(The Whole World Smiles with You)
PERSONNEL—Dr. John, vocals, acoustic pi-
ano; Bonnie Raitt, vocals; Shemekia Copeland,
vocals; Anthony Hamilton, vocals; Ledisi, vo-
cals; Nicholas Payton, trumpet; Eric Lucero,
trumpet; Terence Blanchard, trumpet; Arturo
Sandoval, trumpet; Barney Floyd, trumpet;
To Advertise CALL: 215-887-8880 September 2014  Jazz Inside Magazine  www.JazzInsideMagazine.com
Sarah Morrow, trombone; Ed Petersen, tenor
saxophone; Carl A. Blouin, Sr., baritone saxo-
phone; Oliver Bonie, baritone saxophone; Khari
Allen Lee, alto saxophone; Roderick Paulin, alto
saxophone; Rex Gregory, bass clarinet; Bobby
Floyd, organ; Ivan Neville, organ; Derwin “Big
D” Perkins, electric guitar; Donald Ramsey,
electric bass; Jason Weaver, acoustic bass;
Reginald Veal, acoustic bass; Herlin Riley,
drums; Jamison Ross, drums; Poncho Sanchez,
percussion
By Alex Henderson
Dr. John’s name is as synonymous with
New Orleans as those of Louis Armstrong, Pro-
fessor Longhair, Fats Domino, King Oliver,
Allen Toussaint, Jelly Roll Morton and Buddy
Bolden. Any serious, in-depth discussion of the
history of music in the Crescent City will inevi-
tably include some mention of Dr. John. So
given John’s importance to New Orleans, it
makes perfect sense that he would pay tribute to
one of New Orleans’ most influential musi-
cians—the late trumpeter/singer Louis Arm-
strong—on Ske-Dat-De-Dat: The Spirit of Satch.
Yet John and Armstrong came from different
eras of New Orleans music, and this intriguing
CD underscores that fact.
Remembered for Dixieland and swing,
Armstrong was easily the most celebrated New
Orleans jazzman of all time—which is not to say
that he invented jazz or that there weren’t impor-
tant jazz musicians who came before him. Many
historians and jazz scholars agree that the semi-
nal cornetist Buddy Bolden, one of Armstrong’s
influences, was playing an early version of Dix-
ieland in the 1890s—and Armstrong wasn’t born
until the early 1900s. Bolden was a generation
older than Armstrong; regardless, Armstrong’s
impact was enormous. And 43 years after his
death, Armstrong continues to be the subject of
tributes in the jazz world. Ske-Dat-De-Dat, how-
ever, is not jazz in the strict sense but rather, is
best described as a combination of New Orleans
soul and New Orleans rock & roll with jazz
overtones and an abundance of seasoned jazz
musicians (including, among many others, trum-
peters Terence Blanchard and Arturo Sandoval
and percussionist Poncho Sanchez). Instead of
emphasizing straight-ahead jazz like so many
Armstrong tributes, John (who is now 73) brings
a soul/rock & roll perspective to an abundance of
songs associated with Armstrong—and they
range from King Oliver’s “Dippermouth Blues”
to Eubie Blake’s “Memories of You” to the 19th
Century African-American spirituals
“Sometimes, I Feel Like a Motherless Child”
and “Nobody Knows the Trouble I’ve Seen.”
John does his homework, unearthing some
songs that are often overlooked in Armstrong
tributes. For example, he teams up with singer
Shemekia Copeland for a male/female vocal duet
on the humorous “My Sweet Hunk o’ Trash,”
which Armstrong and Billie Holiday performed
as a male/female vocal duet back in the 1940s.
But while the Armstrong/Holiday version was
pure swing, John and Copeland take the song
into 1970s soul territory. Another inspired male/
female vocal duet occurs when John teams up
with veteran roots rocker Bonnie Raitt on Harold
Arlen’s “I’ve Got the World on a String.”
John puts a funk/hip-hop spin on Kurt
Weill’s “Mack the Knife,” a.k.a. “Die Moritat
von Mackie Messer” or “Threepenny Opera”—
and the fact that he can do something unortho-
dox with such a familiar standard speaks well of
the expressive singer/pianist. “Mack the Knife”
has a fascinating history: written in the late
1920s, the song came out of German cabaret
during the Weimar Republic (the democratic
government that preceded Adolf Hitler’s reign of
terror). Weill’s cabaret music, like jazz, repre-
sented everything that Nazis despised—and in
1933, Weill (who was Jewish) fled Nazi Ger-
many. Weill died in 1950, yet “Die Moritat von
Mackie Messer” found its way to English-
speaking audiences in a big way when, in 1954,
Mark Blitzstein wrote the famous English lyrics
that John performs on this CD (with some new
rap lyrics performed by Mike Ladd). “Mack the
Knife” was a hit for both Armstrong and Bobby
Darin in the 1950s: both of them performed it in
a swing style, and just as that was an interesting
departure from the song’s German cabaret begin-
nings, John’s funkified take on “Mack the
Knife” is an interesting departure from the ways
in which Armstrong, Darin, Ella Fitzgerald and
others envisioned it.
Some swing and Dixieland purists will no
doubt be disappointed that an Armstrong tribute
isn’t strictly jazz, but John’s take on Arm-
strong’s repertoire isn’t any less New Orleans-
sounding—it’s just coming from the R&B/rock
& roll side of New Orleans more than the hard-
core straight-ahead jazz side of New Orleans.
And those who appreciate New Orleans’ musical
diversity will find that Ske-Dat-De-Dat is as
adventurous as it is memorable.
Larry Fuller
LARRY FULLER—Capri 74135.
www.caprirecords.com – At Long Last Love;
Parking Lot Blues; Daahoud; Both Sides Now;
Django; Hymn To Freedom; Medley: Reflections
In D/Prelude To A Kiss; C Jam Blues; Old
Folks; Old Devil Moon; Close Enough For
Love; Celia
PERSONNEL: Larry Fuller, piano; Hassan
Shakur, bass; Greg Hutchinson, drums
By Scott Yanow
When listening to pianist Larry Fuller’s
playing on his self-titled CD, which often pur-
posely sounds very close to that of Oscar Peter-
son, I am reminded of a story that Phil Woods
told about Gene Quill. An altoist who was never
shy about his allegiance to Charlie Parker, Quill
could sound pretty close to his musical idol. One
night while he was performing with a band, he
(Continued on page 50)
49
heard someone in the audience talk to his date
about how Quill was copying Bird too closely.
When the song was over, Quill went up to the
man, handed him his saxophone and said, “Here,
let’s hear you play like Charlie Parker!”
A virtuoso who can play anything he thinks
of on piano, Larry Fuller grew up in Toledo,
Ohio. He began playing the piano when he was
eleven and was playing professionally within
two years. After working throughout the Mid-
west, he got his first big break in 1988 when he
began a five-year stint as Ernestine Anderson’s
pianist. That association made him well known
in the jazz world. In 1994 he joined the Jeff
Hamilton Trio, a six year association. During
2000-2002 he was the last pianist in the Ray
Brown Trio before the bassist’s death and this
was followed by a long period (2005-2013) as a
member of the John Pizzarelli Quartet. In addi-
tion to playing with those groups, Fuller has
performed at many jazz parties and clubs with
such all-stars as Harry “Sweets” Edison, Clark
Terry, Nicholas Payton, Stanley Turrentine, Phil
Woods, Bennie Golson, Eddie Harris, Kevin
Mahogany, Jimmy Witherspoon and Regina
Carter. Larry Fuller has accomplished all of this
and he is still just 49.
On this CD, Fuller pays tribute to Ray
Brown and, through his association with Brown,
to Oscar Peterson. While he is not a strict copy
of Peterson, there are moments on the faster
performances when he could pass as his brother,
which is certainly not an easy feat. Fuller’s tech-
nique is comparable to Peterson’s, he always
swings hard, and he keeps the melody in mind
even during the hottest moments.
Drummer Greg Hutchinson spent a period
as a member of the Ray Brown Trio while bass-
ist Hassan Shakur plays in a style (swinging
while displaying a big tone) that is similar to
Brown’s. One quality that really distinguished
the Ray Brown Trio was its utilization of witty
and colorful frameworks which kept the group
from just playing a predictable series of solos.
While Fuller is the main soloist throughout this
CD, Shakur has his spots and there are some
tradeoffs with Hutchinson, the music is never
predictable except in its excellence.
Starting with a medium-up version of “At
Long Last Love” that has some brilliant double-
time runs by Fuller and ending with a rapid ren-
dition of Bud Powell’s “Celia,” this CD never
lets up. Clifford Brown’s “Daahoud” in particu-
lar is quite a tour-de-force for the pianist who
effortlessly plays octaves at a rapid pace. Among
the surprises are a rare instrumental version of
Joni Mitchell’s “Both Sides Now” (a song that
has been recorded quite often by jazz artists in
recent times), some very individual playing on a
medley of Duke Ellington’s ‘Reflections In D”
and “Prelude To A Kiss,” and Fuller’s hot
boogie-woogie stride and “C Jam Blues.”
Steve Grover
HAIKU — SteveGrover.com. The River’s Edge;
The Waters; Soup; The Ants; Waning Moon;
Enlightenment; The Delusion of Existence;
Haiku; Little Birds; Mist; The Poem
PERSONNEL: Steve Grover, drums; Andrew
50 September 2014  Jazz Inside Magazine  www.JazzInsideMagazine.com
Visit www.JazzMusicDeals.com
Rathbun, tenor saxophone; Frank Carlberg,
acoustic piano; Chris Van Voorst Van Beest,
acoustic bass
By Alex Henderson
In the credits that he offers for Haiku,
drummer Steve Grover explains: “The music on
this CD is an attempt to occupy a space between
musical structures involving the use of language,
and a freer musical language of the moment.”
And that summarizes, in a nutshell, what Grover
is going for on Haiku—an album that has one
foot in the inside and the other foot in the out-
side. When Grover speaks of “language,” he
isn’t referring to actual words or lyrics; Haiku is
instrumental from start to finish. Rather, the
post-bop/avant-garde drummer is referring to
musical “languages” or musical “vocabulary,”
and there is a wide variety of language to be
found in the jazz realm—the language of Dixie-
land (where jazz started with cornetist Buddy
Bolden back in the 1890s), the language of
swing, the language of hard bop and cool jazz,
the language of post-bop, the language of avant-
garde jazz, the language of fusion. And Grover
draws on both post-bop and avant-garde lan-
guage on Haiku, which finds him leading a cohe-
sive acoustic quartet consisting of Andrew
Rathbun on tenor saxophone, Frank Carlberg on
piano and Chris Van Voorst Van Beest on up-
right bass.
Grover expresses himself through both
improvisation and composition on Haiku, which
is devoted exclusively to his own material. This
is not an album of atonal chaos: Grover offers
his share of post-bop melodies, which can lead
to either inside improvisation or outside improvi-
sation. And the material is diverse, ranging from
the melodic post-bop contemplation of “The
River’s Edge,” “The Delusion of Existence” and
the “The Waters” to abstract, angular, cerebral
offerings such as “Enlightenment,” “Waning
Moon,” “The Ants,” “Mist” and “Soup.” Thank-
fully, Grover’s sidemen are quite capable of
handling both the inside and the outside. Carl-
berg, as a pianist, can be either melodic or disso-
nant—it all depends on what a particular tune
calls for—and Rathbun (whose influences on the
tenor include, among others, Wayne Shorter,
John Coltrane and Joe Henderson) certainly has
no problem playing inside one minute and out-
side the next. Rathbun, it should be noted, has
been making his mark as both a leader and a
sideman. The New York City-based saxman
serves Grover well in a supportive role on
Haiku, but he has also recorded some albums of
his own (most recently, Numbers & Letters on
the Denmark-based Steeplechase Records). And
Rathbun’s flexibility is clearly one of his strong
points.
Some people in the jazz world have an ei-
ther/or mentality when it comes to the inside
versus the outside. They believe that either one
is a totally straight-ahead musician focused on
the gems of Charlie Parker, Thelonious Monk,
Clifford Brown and Dizzy Gillespie or a totally
outside musician who is following the incendiary
paths of Charles Gayle, Albert Ayler and Cecil
Taylor. But the problem with that either/or think-
ing is that there are so many jazz musicians who
are neither totally inside nor totally outside, but
rather, an appealing combination of the two. And
Grover is a prime example. Haiku thrives on the
integration of the inside and the outside, making
it an album that is appealing from both a post-
bop perspective and an avant-garde perspective.
Ali Jackson
AMALGAMATIONS—AliDrums.com. Ali Got
Rhythm; Cachita; Done Tol’ You Fo’ Five
Times; Praise; Cherokee; Just A Closer Walk
With Thee; I Love You; Thelonious; Kentucky
Girl; Fee Fi Fo Fum; Inner Urge
PERSONNEL: Ali Jackson, drums; Wynton
Marsalis; trumpet; Vincent Gardner, trombone;
JD Allen, tenor; Ted Nash, alto; Jonathan Ba-
tiste; electric piano; Shedrick Mitchell, organ;
Aaron Goldberg, Eldar Djangirov, piano; Omer
Avital, Carlos Henriquez, Phillip Keuhn, bass;
Bobby Allende, percussion
By Scott Yanow
Ali Jackson is a tasteful drummer whose
versatility and understated technique make him a
very supportive player in any group in which he
appears. For Amalgamations, he put together
several intimate groups and simply let the musi-
cians play spontaneously in uncomplicated
frameworks.
Jackson, who is now 38, was two when he
began playing drums. By the time he was eight,
he was playing professionally with his father on
the streets of Detroit. He first met and impressed
Wynton Marsalis when he was just twelve. Jack-
son has been very busy as a musician ever since
he graduated from high school in 1993. He had
opportunities to study with Max Roach and
Elvin Jones when he was attending the New
School University. In his career, Jackson has
played with many major names including Aretha
Franklin, James Morrison, Dee Dee Bridgewater,
George Benson, Harry Connick Jr, Marcus Rob-
erts, Joshua Redman and James Carter. He has
also developed into a skilled writer who com-
posed a ballet that was premiered in 2011. Jack-
son’s best known association has been with the
Jazz At Lincoln Center Orchestra which he
joined in 2005.
The personnel and instrumentation changes
on each performance included on Amalgama-
tions, ranging from a duo to a quintet. The open-
ing “Ali Got Rhythm” sets the standard for the
set. Performing an original based on “I Got
Rhythm,” Jackson uses brushes as he interacts
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with pianist Aaron Goldberg and bassist Omer
Avital, both of whom he has played with for How To Connect With Jazz Inside The First Step
nearly two decades. “Conchita” features Jackson
playing Afro-Cuban jazz in a quintet with Wyn-
ton Marsalis, trombonist Vincent Gardner, bass-
Dear Artists, Industry Professionals and Business Owners,
ist Carlos Henriquez and percussionist Bobby In order to help you be more successful, here is how to effectively
Allende. Marsalis sounds excellent even though
this type of music is a slight departure for him. reach us at Jazz Inside Magazine — to buy advertising space, market-
“Done Tol’ You Fo’ Five Times” is a low- ing & promotional services, get your CD reviewed, and for any and all
down blues on which Gardner scats a bit like editorial and feature considerations.
Clark Terry. Jonathan Baptiste (on electric pi-
ano) and bassist Phillip Kuehn are along for the
dirge. “Praise” has Jackson performing a gospel- Please send a letter of interest with complete information and all of
oriented piece with trombonist Gardner, organist your contact data (phone, e-mail, street or P.O. Box mailing address)
Shedrick Mitchell and Henriquez. The organist
steals the show on a piece that sounds very tradi- in an email to Eric Nemeyer at eric@jazzinsidemagazine.com
tional even though it is actually new.
“Cherokee” is taken for an uptempo spin by For immediate attention put “Business Inquiry” in the SUBJECT
Marsalis, Henriquez and Jackson. This themeless
version gives the trumpeter a chance to really field, followed by one or all of the following: “AD”, “CD”,
stretch out and he is typically inventive. “Just A “Marketing/Promotion.”
Closer Walk With Thee” brings back organist
Mitchell and Henriquez for another gospel romp
but this time with funky and danceable bass For example: Business Inquiry – Marketing/Promotion.
lines.
Cole Porter’s “I Love You” is given a warm Thank you for your interest in Jazz Inside Magazine, I am looking for-
rendition by tenor-saxophonist JD Allen, pianist
Eldar Djangirov, Henriquez and Jackson. ward to helping you with your business needs.
“Thelonious” (misspelled on the CD cover as
“Thelonius”) is stretched out a bit and given a In Music, and Continued Success to Your Goals.
fresh spin by Gardner, Batiste, Keuhn and Jack-
son. “Kentucky Girl” is the most intimate per-
formance, music featuring Jackson and Avital Eric
engaging in close interaction. JD Allen and Hen- Eric Nemeyer
riquez return for a straight ahead jam on Wayne
Shorter’s “Fee Fi Fo Fum.” This fine set con-
cludes with a version of Joe Henderson’s “Inner
Urge” in which altoist Ted Nash (joined by Hen-
riquez and Jackson) sounds quite a bit like Eric
Dolphy.
Amalgamations is an easy recording to
enjoy. Ali Jackson does what he loves best
throughout the project, supporting the other
players and inspiring them to play at their best.

Jason Jackson
INSPIRATION—JasonJacksonMusic.com.
Brazilian Bop; Burnin’; Spring Is Here; Salute
to Mandela; El Huesero; The Spot; April in
Paris; Tenderly; Wake Up, Election 2000; My
Friend Sam
PERSONNEL—Jason Jackson, trombone; Slide
Hampton, trombone; John Mosca, trombone;
Luis Bonilla, trombone; Roy Hargrove, trumpet;
Terell Stafford, trumpet; Frank Greene, trumpet;
Earl W. Gardner, trumpet; Shawn Edmonds,
trumpet; Pete Christlieb, tenor saxophone; Dick

Visit www.JazzNewswire.com
To Advertise CALL: 215-887-8880 September 2014  Jazz Inside Magazine  www.JazzInsideMagazine.com 51
Oatts, alto saxophone, flute; Ralph Lalama, tenor
saxophone, clarinet; Rich Perry, tenor saxo-
phone; Frank Basile, baritone saxophone, bass
clarinet; Gary Foster, flute; Bill Easley, clarinet;
Evan Christopher, clarinet; Roger Jones, acous-
tic piano; Jeb Patton, acoustic piano; Monte
Croft, vibes; Rodney Jones, electric guitar;
Rufus Reid, acoustic bass; Jennifer Vincent,
acoustic bass; Lou Bruno, acoustic bass; Dennis
Mackrel, drums; Roger Squittero, percussion
By Alex Henderson
The last 68 years of jazz—that is, jazz’
post-World War II eras—have taught us two
things about big bands. First, big bands will
never again enjoy as prominent a position in jazz
as they did during the 1930s and early to mid-
1940s. And second, quality big bands will con-
tinue to be recorded in jazz even though they are
the exception instead of the rule. Indeed, the
Gerald Wilson Orchestra, the Thad Jones/Mel
Lewis Orchestra, the Vienna Art Orchestra and
the big bands of Dizzy Gillespie and Oliver Nel-
son are among the many outfits demonstrating
that exciting big bands did not end after World
War II even if they became less plentiful. There
is a great deal of history to draw on if one has
the resources to oversee a big band, and trom-
bonist Jason Jackson (not to be confused with
tenor saxophonist Javon Jackson) puts a hard
bop/post-bop spin on orchestral jazz with Inspi-
ration.
Jackson wears different hats on this CD,
including trombonist, bandleader, composer and
arranger. And Jackson isn’t the only noteworthy
soloist on board: he also gives some solo space
to Slide Hampton (trombone), Roy Hargrove
(trumpet), Terell Stafford (trumpet), Dick Oatts
(alto saxophone, flute), Rich Perry (tenor saxo-
phone) Pete Christlieb (tenor saxophone), Rufus
Reid (acoustic bass) and Roger Jones (acoustic
piano). And when Jackson and fellow trombonist
Hampton take turns soloing on “Brazilian
Bop” (a Jackson original), one can hear the ways
in which Hampton was an influence on Jack-
son’s sound (there are also echoes of JJ Johnson
and Curtis Fuller in Jackson’s trombone play-
ing). Nonetheless, Jackson is the one in the
driver’s seat, and he expresses himself with both
standards and original material on Inspiration.
The standards include Vernon Duke’s
“April in Paris,” Richard Rodgers’ “Spring Is
Here” and Walter Gross’ “Tenderly” (which
finds Jackson using a Hampton arrangement).
And Jackson’s own material ranges from the
vibrant “The Spot” and the energetic “Burnin’”
to the good-natured “My Friend Sam” and the
energetic “Wake Up, Election 2000.” On Jack-
son’s “Brazilian Bop,” the trombonist success-
fully combines hard bop with samba—which is
an approach that is more typical of Brazilian
trumpeter Claudio Roditi than the many bossa
nova musicians who have emerged in the last
fifty-plus years. The bossa nova, as envisioned
by João & Astrud Gilberto, Antonio Carlos Jo-
bim, tenor saxophonist Stan Getz, guitarist Char-
lie Byrd and many others in the early 1960s, was
a subtle, gentle, understated blend of cool jazz
and samba. Jobim and the Gilbertos were well
aware of the cool jazz of Miles Davis, Chet
52 September 2014  Jazz Inside Magazine  www.JazzInsideMagazine.com
Baker, Lee Konitz, Dave Brubeck, Paul Des-
mond, Paul Quinichette and the Lighthouse All-
Stars gave us during the 1950s—and their bossa
nova reflected that preference for subtlety and
restraint. But Roditi’s “sambop,” as many people
have described it, blends the samba rhythm with
the passionate aggression of hard bop. Roditi
admires big-toned, hot-blooded trumpeters like
Clifford Brown, Dizzy Gillespie, Freddie Hub-
bard and Lee Morgan, and it shows in his work.
Similarly, “Brazilian Bop” operates on the more
hard-swinging side of Brazilian jazz.
Occasionally, someone in the jazz world
will engage in wishful thinking and insist that a
“big band revival”—one that will rival the glory
days of Artie Shaw, Duke Ellington, Count
Basie, Benny Goodman and Lionel Hampton—is
just around the corner. But pure economics will
prevent that from happening: it is much easier to
pay four, five or six people than 19 or 20 people.
The good news, however, is that big bands will
never disappear from jazz. Some people, inevita-
bly, will ignore the odds and find a way to make
it happen. And Jackson’s passion for the big
band format serves him well on Inspiration.
Mike Longo
CELEBRATES OSCAR PETERSON LIVE -
Consolidated Artists Productions CAP 1048.
Love You Madly; Sweet Georgia Brown; A Child
is Born; Always; Fascinatin’ Rhythm; Love for
Sale; Tenderly; Honeysuckle Rose; Yesterdays;
Work Song; 52nd Street Theme; I Remember
You; Daahoud.
PERSONNEL: Mike Longo, piano; Paul West,
bass; Ray Mosca, drums.
By Eric Harabadian
This was a special night for Mike Longo. It
was the evening of June 25th, 2013 and he and
his crew were slated to play a tribute to the late
great Oscar Peterson at the John Birks Gillespie
Auditorium located within the NYC Bahai Cen-
ter. This had particular significance for Longo
because, back in the ‘60s, he studied for six
months with Peterson. Longo explains in the
liner notes that, as a student, Peterson would
always stress the importance of a pianist ex-
pressing their own musical personality and being
themselves. Well, as a tribute, Mike Longo in-
sists that his intent here was to honor his one-
time teacher and acknowledge a lot of the cata-
log of music that was associated with him.
Duke Ellington’s “Love You Madly” kicks
off this Oscar Peterson love affair in an appropri-
ately easy and moderately swing-filled manner.
The leader pulls out all the stops in terms of
effortless legato phrasing, block chording and
exquisite solo execution. The rhythm section
supports in kind, with a nice feature by bassist
Paul West. The classic and very familiar “Sweet
Georgia Brown” gets jaunty and joyful take as
Longo applies more from the Peterson technique
book. West and drummer Ray Mosca really turn
up the heat here. Thad Jones’ “A Child is Born”
is a lovely tune and its lilting and contemplative
melody is not lost one iota on Longo. He gives
each phrase everything it needs and then some.
Irving Berlin’s “Always” is a pleasant and light-
hearted piece and the pianist blends bits of
stride, with straight ahead bop to create one
playful ride. West and Mosca are right there with
him. It’s like a regular Broadway review as an-
other classic Tin Pan Alley tune “Fascinatin’
Rhythm” takes center stage. Longo’s left hand
comps with assured grace while his right solos
slightly ahead of the beat. This one really in-
creases in tempo and attitude. Cole Porter’s
“Love for Sale” is played at a moderate and
somewhat funky pace. Longo works with space
and a bluesy type approach in the way he exe-
cutes the intro chords. The pattern is interesting
and resolves to a smooth swing. “Tenderly” is
romantic and quite elaborate, with Longo’s overt
keyboard runs and dynamic variations. After a
brief intro the rhythm section comes in for some
nice swinging interplay. Obviously
“Honeysuckle Rose” pays tribute to another
pianist in composer Fats Waller. This one goes
down smooth and relaxed; very nice, indeed!
Jerome Kern’s “Yesterdays” shines the spotlight
on bassist West for an unaccompanied introduc-
tion before the band comes in atempo. Nat Ad-
derley’s “Work Song” has a very pronounced
and direct blues-based head that kicks this one
off in a strong and emphatic manner. The band
swings hard and offers another side of Longo’s
musical acumen once again. Another signature
pianist Thelonius Monk is honored here with his
“52nd Street Theme.” Longo is at the top of his
game here; seamless expression, light and airy
intervals and execution and an endless flow of
ideas. After Monk there’s time for another won-
derful ballad and Victor Schertzinger’s “I Re-
member You” is that tune. Longo plays with
subtlety and style here, with every nuance and
thoughtful phrase shining through. The leader
digs deep into the soul of his artistry and craft.
Clifford Brown’s “Daahoud” concludes this
fantastic live set with a bang. Longo fires the
brief but complex head out there and then it’s
bebop heaven! The rhythm section keeps things
steady but smoldering with a burgeoning energy
and intensity. Longo and Mosca trade fours and
it ends on a very strong and indelible note.
This was a memorable night and one that
those that were there will not forget for some
time to come.
Mack Avenue Superband
LIVE FROM THE DETROIT JAZZ FESTI-
VAL, 2013—Mack Avenue 1086. Soul Sister;
Of Mars and Venus; Speak to My Heart; Blue
Nude; Chick’s Tune; Señor Mouse; Relativity;
Troublant Bolero; I Want Jesus to Walk with
Me; Two Bass Hit; Band Introductions
PERSONNEL—Rodney Whitaker, acoustic
bass; Kirk Whalum, tenor saxophone, soprano
(Continued on page 53)
To Advertise CALL: 215-887-8880
saxophone, flute; Sean Jones, trumpet, flugel-
horn; Aaron Diehl, acoustic piano; Evan Perri,
electric guitar; Gary Burton, vibes; Warren
Wolf, vibes, marimba; Carl Allen, drums
By Alex Henderson
The Mack Avenue Superband is a collective
of musicians who have recorded for the Mack
Avenue label. The first Mack Avenue Superband
lineup was heard at the Detroit Jazz Festival in
2012 and on the resultant CD, Live from the
Detroit Jazz Festival, 2012—and a year later,
another lineup was assembled for the 2013 De-
troit Jazz Festival. The 2013 lineup heard on this
CD consists of Sean Jones on trumpet and flu-
gelhorn, Kirk Whalum on tenor & soprano saxo-
phone and flute, Gary Burton on vibes, Warren
Wolf on vibes and marimba (two instruments
that often go together), Aaron Diehl on acoustic
piano, Evan Perri on guitar and music director
Rodney Whitaker on upright bass. And under
Whitaker’s direction, the collective achieves a
tight, crisp, focused hard bop/post-bop sound
that is reminiscent of Blue Note Records during
the 1950s and 1960s.
The song selection itself is not especially
Blue Note-minded: the collective plays a combi-
To Advertise CALL: 215-887-8880 September 2014  Jazz Inside Magazine  www.JazzInsideMagazine.com
nation of original pieces and material by Chick
Corea, Django Reinhardt and Dizzy Gillespie.
Typically, live or studio performances that are
mindful of 1950s/1960s-era Blue Note will in-
clude a lot of standards from the Blue Note stars
of that period—for example, Horace Silver’s
“Song for My Father,” Wayne Shorter’s “Speak
No Evil,” Herbie Hancock’s “Maiden Voyage”
or Hank Mobley’s “This I Dig of You.” But this
album doesn’t have that “best-of-the-classic-
Blue-Note-repertoire” approach, and the Mack
Avenue Superband doesn’t play any of those
songs. Yet, there is a crispness and a sense of
purpose on these performances that is reminis-
cent of the old-school Blue Note aesthetic. From
Gillespie’s “Two Bass Hit” and Reinhardt’s
“Troublant Bolero” to Jones’ “Of Mars and Ve-
nus” and Diehl’s “Blue Nude,” these perform-
ances are focused in a way that recalls the re-
cordings that Silver, Art Blakey & the Jazz Mes-
sengers, Freddie Hubbard and others made for
Blue Note during the 1950s and 1960s. Blue
Note’s A&R department, in those days, did not
simply throw things against the wall and hope
that perhaps they might stick: Blue Note put a lot
of thought into their A&R, and their 1950s and
1960s releases reflected that. Similarly, it’s obvi-
ous that even though Whitaker left a lot of room
for improvisation during these performances, he
brought a coherent game plan to the Detroit Jazz
Festival in 2013.
The collective includes two Chick Corea
pieces: “Señor Mouse” and “Chick’s Tune,” and
the former becomes a showcase for Burton and
Wolf. It should be noted that whether Whalum is
playing tenor sax, soprano sax or flute on this
CD, it is great to hear him in a hardcore jazz
setting. In the past, Whalum sometimes wasted
his talents on robotic, overproduced, shallow
“smooth jazz” fluff that failed to show what he
was capable of as an improviser. “Thou shall not
improvise” was the cardinal rule on so many of
the smooth jazz albums of the 1980s and 1990s,
but Whalum has plenty of room to stretch out on
Live from the Detroit Jazz Festival, 2013. His
talents as a soloist, thankfully, are not wasted.
The Mack Avenue Superband doesn’t pre-
tend to break any new ground in the Motor City.
But while their performances are derivative, they
are derivative in a consistently enjoyable way.
NYSQ
THE NEW STRAIGHT AHEAD—NYSQ.org
– Intro (Polkadots); The Maze; It Don’t Mean A
Thing; When You Wish Upon A Star; Autumn
Leaves; Misterioso; Ah-leu-cha; Zingaro; Re-
member; Outro (and Moonbeams)
PERSONNEL: Tim Armacost, tenor, soprano;
David Berkman, piano; Daiki Yasukagawa, bass;
Gene Jackson, drums
(Continued on page 54)
53
By Scott Yanow
The NYSQ, which stands for the New York
Standards Quartet, is comprised of four veteran
musicians, each of whom has had impressive
solo careers. The group, which was formed in
2006, has gradually become better known
through its many tours, particularly in Europe.
The musicians enjoy taking standard songs and
altering them in subtle ways, sometimes chang-
ing the time signature, the tempo or altering the
chords a bit so the piece sounds new.
Saxophonist Tim Armacost, who has mus-
cular sounds and fluent styles on tenor and so-
prano, has worked with such notables as Tom
Harrell, Roy Hargrove, Randy Brecker, Kenny
Barron, Don Friedman, Jimmy Cobb, Billy Hart
and Peter Erskine among others and has led eight
albums of his own. Pianist David Berkman, who
helps move the modern mainstream of jazz for-
ward, has led seven CDs and worked with such
greats as Sonny Stitt, Chris Potter, Joe Lovano,
Hank Crawford, Dave Douglas and Eddie Hen-
derson. Bassist Daiki Yasukagawa is one of the
top bassists originally from Japan. He has per-
formed with Eddie Henderson and Marlena
Shaw. Drummer Gene Jackson has a particularly
impressive resume, having uplifted the music of
Kevin Eubanks, Herbie Hancock, Dave Holland,
Branford Marsalis, Gary Thomas, Seamus Blake,
Robin Eubanks, Charles Tolliver and the Mingus
Big Band.
The New Straight Ahead is the group’s
fourth recording and it features the post bop
quartet at its best. The program begins and ends
with brief excerpts from a romantic version of
“Polkadots And Moonbeams.” The first full-
length piece, Herbie Hancock’s “The Maze,” is
at first taken as a ballad featuring bassist Ya-
sukagawa before it becoming a cooking romp
with blazing solos by Armacost on tenor and
Berkman. Duke Ellington’s “It Don’t Mean A
Thing” is reharmonized and taken much slower
than usual although it cooks a bit during the
piano solo. “When You Wish Upon A Star” is
modernized and given a slow dreamy treatment.
“Autumn Leaves” is one of the highpoints
of the set. The rhythm section keeps on changing
its patterns behind the solos, resulting in inspired
improvisations by Armacost and Berkman. No-
tice how the double-time bridge of each chorus
is taken in 7/4 time. Thelonious Monk’s
“Misterioso”, a perfect medium-slow tempo with
Armacost delivering an inventive tenor solo.
“Ah-Leu-Cha,” which has rarely been
played since the Miles Davis groups of the late
1950s, features some appealing soprano-playing,
fine drum breaks, and arguably Berkman’s most
creative piano solo of the set. “Zingaro” is given
a concise and warm treatment. “Remember,”
usually taken fairly slow, is cooked in 7/4 time
except for the 4/4 bridge. Other than the brief
“Outro,” it serves as the perfect closer to an in-
vigorating and spirited set of jazz standards. The
New Straight Ahead is well worth acquiring.
Enrico Pieranunzi
STORIES - Cam Jazz CAM 5052. No Improper
Use; Detras Mas Alla; Blue Waltz; The Slow
54 September 2014  Jazz Inside Magazine  www.JazzInsideMagazine.com
Gene; Which Way is Up; Where Stories Are;
Flowering Stones; The Real You.
PERSONNEL: Enrico Pieranunzi, piano; Scott
Colley, bass; Antonio Sanchez, drums.
By Eric Harabadian
Transformative may be the optimum word
one could use to describe the music of Enrico
Pieranunzi. As with all engaging jazz, it takes
you on a journey filled with hairpin turns, ca-
reening cliffs and a detour or two. All that and
more await you with this trio record. The cau-
tionary titled “No Improper Use” employs this
aesthetic as the leader plays very staccato and
syncopated chords and single note lines. The
rhythms are dense and give way to full swing.
The pianist’s mind seems to be working at a
frenetic pace as manic ideas seem to erupt from
everywhere only to subside into a deep fade.
“Detras Mas Alla” is another turn again and is
more melodic and literal in terms of structure.
The playing overall is very flowing and lyrical.
Both Scott Colley and Antonio Sanchez glide on
a bed of silken accents and a samba-type groove.
There is also a real give and take here between
the musical conversation between Pieranunzi
and his crew on a dynamics level. “Blue Waltz”
is, yet, another side of this ensemble and shows
the European classical sensibility of the leader’s
playing. Pieranunzi’s touch is light and feathery
ala Bill Evans or Oscar Peterson. When the im-
prov sections kick in the drums and bass really
ignite this piece. This is a nice interaction of
traditional old world forms and post bop. Bassist
Colley’s “The Slow Gene” is a serene detour;
beautifully constructed, wonderfully played and
heavy on the lyricism and attention to space. The
leader likes to craft interesting and intrepid mu-
sical exercises and that is never more apparent
than on “ Which Way is Up.” Keyboard pas-
sages ascend and descend with the greatest of
ease. Colley and Sanchez keep things tight and
smoldering with a manageable intensity. The
band brings things down to a whisper for the
atmospheric “Where Stories Are.” This is the
epitome of empathic playing; the mood is calm,
Sanchez’ brush work is transcendent and Colley
lays down one of his best solos on the record.
“Flowering Stones” seems like an alchemical
kind of title and the group’s playing here reflects
that. There are three musicians seemingly per-
forming three different roles at once, yet all
playing as a fully formed and concerted unit.
They conclude their book of “stories” with the
quiet and tranquil “The Real You.” It is a won-
derful ballad that strikes a nice balance between
the classic open ended Keith Jarrett school and
the modern improvisations of Richie Bierach.
This is a fitting and well crafted finale.
Annie Ross
TO LADY WITH LOVE—Red Anchor Pro-
ductions 1047. AnnieRoss.net. To Lady; For All
We Know; I Don’t Stand a Ghost of a Chance
with You; I’m a Fool to Want You; Violets for
Your Furs; You Don’t Know What Love It;
You’ve Changed; When Your Love Has Gone; I
Get Along Without You Very Well; It’s Easy to
Remember; Travelin’ Light; Music Is Forever
PERSONNEL: Annie Ross, vocals; Bucky Piz-
zarelli, guitar; John Pizzarelli, guitar
By Alex Henderson
No less than 55 years have passed since the
death of Billie Holiday, and after all this time,
her performances still resonate with people—
many of whom had yet to be born when she was
alive. Indeed, there are countless jazz and caba-
ret vocalists who weren’t even born until the
1970s or 1980s yet claim Holiday as an influ-
ence. Other Holiday admirers, however, are
veterans who entered the jazz world when she
was still alive: one of them is Annie Ross, who
pays tribute to Holiday on her August 2013 re-
cording To Lady with Love.
The London-born Ross, who is now 84 and
was 83 when this album was recorded, became
famous in the early 1950s thanks to her humor-
ous take on tenor saxophonist Wardell Gray’s
“Twisted.” Along with King Pleasure, Eddie
Jefferson, Mark Murphy, Sheila Jordan and Jon
Hendricks, Ross went down in history as one of
the masters of vocalese; her 1952 version of
“Twisted,” in fact, is a definitive example of that
style. Ross, however, also has a long history of
performing torch ballads, which is what she does
on To Lady with Love.
Unlike many other Holiday tributes, To
Lady with Love doesn’t pay a lot of attention to
Holiday’s 1940s output. Ross does include
Johnny Mercer’s “Travelin’ Light,” which Holi-
day recorded in 1942. But she doesn’t include
“God Bless the Child,” “Lover Man,” “Gloomy
Sunday,” “Don’t Explain” or “My Man,” all of
which are songs that Holiday recorded in the
1940s and typically find their way to Holiday
tributes. Ross’ main emphasis is on Holiday in
the 1950s, and most of the songs were performed
on Holiday’s Lady in Satin album in
1958: Frank Sinatra’s “I’m a Fool to Want
You,” Gene DePaul & Don Raye’s “You Don’t
Know What Love Is,” Bill Carey & Carl
Fischer’s “You’ve Changed,” J. Fred Coots &
Sam M. Lewis’ “For All We Know,” Matt Den-
nis & Tom Adair’s “Violets for Your Furs,”
Richard Rodgers & Lorenz’ Hart’s “It’s Easy to
Remember” and Hoagy Carmichael’s “I Get
Along Without You Very Well.” In his liner
notes, Will Friedwald explains it this way: To
(Continued on page 56)
To Advertise CALL: 215-887-8880
Live Recording at Shapeshifter Labs
18 Whitwell Place, Brooklyn, NY
September 18, 7:00 PM
 (CD Reviews—Continued from page 54)
Lady with Love is “a love letter to Lady Day,
which is not the same thing as The Billie Holi-
day Songbook.” Well said.
By the time she recorded Lady in Satin,
Holiday was past her prime and had a much
weaker voice than she did in the 1930s or 1940s.
Ross, similarly, doesn’t have nearly have the
voc al range she did duri ng he r
1950s/1960s/1970s heyday. Nonetheless, Ross—
much like Ella Fitzgerald, Peggy Lee, Anita
O’Day or Frank Sinatra after their voices had
faded—still has her hardcore followers. And for
many of them, the very fact that this is Annie
Ross paying tribute to Billie Holiday will be
enough—especially in light of the fact that she is
accompanied by Bucky & John Pizzarelli on
guitar.
When Holiday recorded Lady in Satin for
Columbia Records in 1958 (the year before she
died), she enjoyed lavish orchestral backing.
And even though there is a strong Lady in Satin
influence on To Lady with Love, the intimate
two-guitar accompaniment on this album is a
definite departure from the orchestral approach
of Lady in Satin. Yet in terms of the torch-song
ambiance, Lady in Satin and To Lady with Love
have much in common. To Lady with Love is
torch singing all the way.
To Lady with Love is a two-disc set. Disc 1,
an audio CD, is Ross’ Holiday tribute, while
Disc 2 is a DVD that contains interesting inter-
views with Ross as well as with Bucky & John
Pizzarelli. Ross, when interviewed, fondly re-
members the first time she met Holiday back in
the 1950s and the friendship they developed, and
she discusses her decision to pay tribute to her
idol in 2013.
Those who want to hear Ross in her prime
should stick to the great recordings she made in
the 1950s and 1960s (both her solo output and
her stellar work as part of Lambert, Hendricks &
Ross). To Lady with Love is strictly for Ross’
most diehard fans.
Amanda Ruzza
Mauricio Zottarelli
GLASSES, NO GLASSES - Pimenta Music.
PimentaMusic.com. Soundcheck; Glasses; Big
Foot; No Glasses; Fuego; Classic Golden;
Sugar High; Everybody’s Talking.
PERSONNEL: Amanda Ruzza, electric bass &
pedals; Mauricio Zottarelli, drums, percussion &
cajon; Leo Genovese, keyboards & saxophones.
By Eric Harabadian
Both Amanda Ruzza and Mauricio Zot-
tarelli have been steadily establishing them-
56 September 2014  Jazz Inside Magazine  www.JazzInsideMagazine.com
selves, in the last few years, as one of the “go to”
rhythm sections in the New York area. No doubt
they’ve developed a rapport and a musical sim-
patico that becomes like a sixth sense between
them. That kind of working relationship really
lends itself to creative spontaneity and improvi-
sation. And that’s the mother of invention in full
effect here. In fact, the first track is called
“Soundcheck” and it literally is a tune born out
of a jam between Ruzza, Zottarelli and Leo
Genovese. It’s a very funky track that relies
heavily on a tasteful use of bass and keyboards
effects held together by Zottarelli’s loose, yet in-
the-pocket drumming. The focused rambling of
Genovese’s wah-wah drenched solos almost
takes on an early Miles Davis fusion quality.
That’s followed by the similarly grooving
“Glasses.” However, this seems even more fo-
cused, with some daring keyboard flights and an
attention to a use of space as well as pure blow-
ing. The softer moments almost have a planetary
rock feel and are accentuated by Zottarelli’s light
snare and cymbal work. “Big Foot” has that
second tier relaxed New Orleans vibe; nice ac-
cents from all involved, great tonality and an
effective use of envelope filtering by Ruzza and
lovely straight-ahead piano stylings. The other
half of the album title “No Glasses” is a little
more experimental and atmospheric than its
“Glasses” counterpart. This is some wild and
wacky stuff, with all three musicians going for
broke. Ruzza kicks things off in an open-ended
and syncopated manner that sets up a comfort-
able drumming pocket. Genovese unleashes a
spiraling cascade of keyboard brilliance ala
Larry Young or Alan Pasqua; he takes a real
devil-may-care approach that, for the most part,
is engaging and keeps you involved. Genovese’s
“Fuego” is a departure from a number of the
funky grooves present here. It features a delicate
and somber melody that is played on piano and
embellished with weird synthesizer accents. The
tempo is slow and ponderous and smolders in its
gradual intensity. Ruzza takes a supportive role
as the piece almost becomes a duo between
Genovese and Zottarelli’s well-placed percus-
sion. Ruzza offers another original from her
catalog with the rhythmically dense “Classic
Golden.” This one takes a lot of interesting and
daring twists as well, going from heavy syncopa-
tion to lighter fare and striking a balance be-
tween being harmonically on the fringe and forg-
ing into modern bebop territory. When Genovese
leaps into his piano solo the group is on fire.
“Sugar High” starts out kind of true of its name-
sake as the band opens the floodgates in a manic
overture of sound. The group dynamics some-
what subside as Genovese comes in with a lyri-
cal accordion-laced section. That gives way to
some nice understated interplay between Ruzza
and Zottarelli. The piece is long enough where
everyone gets a chance to explore individual
solo spots and reconvene for a stellar finale. This
takes us to the last track “Everybody’s Talking.”
This one has an ambient dub-flavored quality to
it via Ruzza’s subtle delay effects in concert with
Zottarelli’s vibrant and empathic drum accompa-
niment. Genovese lays this odd electronic glaze
on top that suggests something by Jah Wobble or
Can. Again, this is another track where the mood
and vibe of the music gradually builds to a fever
pitch. The interplay grows intense, yet the play-
ers remain relaxed and create a nice dialogue
between them.
For those that have been following Ruzza
and Zottarelli, in particular, this is kind of a de-
parture from some previous things they have
done. The structural framework of the tunes
appears more modal and based on the spirit of
the moment than something extensively worked
out. But this is the next phase in the careers of
these fine young musicians and they are leading
the way toward new directions in fusion and
jazz.
Jim Stranahan
MIGRATION TO HIGHER GROUND—
Tapestry 76022. CapriRecords.com. Mambo
Facil; Bayou Bounce; Paul And Dave; Migra-
tion To Higher Ground; *Blues and A Half; In
Your Own Sweet Way; *St. Thomas; *Straight
From The Source; *Donna Lee
PERSONNEL: Jim Stranahan, alto, soprano,
tenor; Caleb Starbuck, alto; Joe Anderies, alto
flute, tenor Chuck Schneider, tenor; Brad Goode,
Hugh Ragin, trumpets; Wade Sender, trombone
Justin Adams, piano; Mike Abbott; guitar; Bi-
joux Barbosa, bass Todd Reid, drums; Ben
Faust, sousaphone on “Bayou Bounce”: On *
Stranahan, Goode, Sander; Glen Zaleski, piano;
Rick Rosato, bass; Colin Stranahan, drums
By Scott Yanow
Jim Stranahan is a saxophonist, arranger
and bandleader who has been an important fix-
ture on the Denver jazz scene for over four dec-
ades. He has worked along the way with such
notables as Rosemary Clooney, Lee Konitz and
Bobby Shaw, regularly performs at the Dazzle
Jazz Club in Denver, and is also an educator. In
addition to performing on his own 2010 CD Free
For All (which was comprised of his originals),
he has been a part of two of his son drummer
Colin Stranahan’s recordings (Dreams Untold
and Transformation).
On Migration To Higher Ground,
Stranahan is heard at the head of two different
groups. His Little Big Band, which is featured on
five of the nine selections, is comprised of two
trumpets, one trombone, three reeds and a four-
piece rhythm section. From the start of this CD,
it is obvious that the leader’s arrangements are
quite colorful, reshaping the familiar into some-
thing a bit different than expected. “Mambo
Facil” is an inventive arrangement of a mambo
that musically depicts a bullfight. The mambo
rhythms are not used that much by the rhythm
section but are heard throughout the horn parts.
Featured on this piece are Stranahan on tenor,
Joe Anderson’s alto flute, either Brad Goode or
Hugh Ragin on trumpet, pianist Justin Adams
and drum breaks from Todd Reid. Unfortunately
To Advertise CALL: 215-887-8880
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(Continued from page 56)
it is never stated who the trumpet soloists are on
each selection and, since Goode and Ragin have
complementary styles and are both superior
players, it could be either one on these.
“Bayou Bounce” has the group going off to
New Orleans. Ben Faust, who is added on this
selection, plays some assertive sousaphone that
gives this piece the flavor of a brassy marching
band. Trombonist Wade Sender is full of spirit,
Stranahan’s soprano is quite fluent and the trum-
peter (Ragin?) adds some high note blasts. “Paul
And Dave” is an original tribute to Paul Des-
mond and Dave Brubeck. While it has the feel-
ing of a jazz waltz, it is actually in 5/4 time.
There are fine solos along the way on flute,
trumpet and alto although guitarist Mike Abbott,
playing octaves a la Wes Montgomery, takes
honors. The stormy but often-melodic
“Migration To Higher Ground” is a jazz waltz
blues that has some fiery trumpet, muscular
tenor and good spots for guitar and bass. One
other selection, Dave Brubeck’s “In Your Own
Sweet Way,” concludes the performances of the
Little Big Band with more fine solos including a
boppish one that is probably by trumpeter Brad
Goode.
The other four selections are performed by
a sextet comprised of Stranahan, Goode, trom-
bonist Sander, pianist Glen Zaleski, bassist Rick
Rosato and drummer Colin Stranahan. “Blues
And A Half” is most notable not only for its
Monkish melody on an augmented blues but
some very advanced piano playing by Zaleski.
Sonny Rollins’ “St. Thomas” has Stranahan
using the horns for punctuation and hints of the
melody without actually stating the theme. Lis-
ten to how he has the horns repeat one note for
most of a chorus near the end, allowing one to
“hear” a melody that is not actually played. The
hard bop original “Straight From The Source” is
one of his more memorable originals. Charlie
Parker’s “Donna Lee” has Stranahan overdub-
bing on two sopranos, two altos and two tenors
with the rhythm section for a swinging perform-
ance.
Migration To Higher Ground makes for a
consistently enjoyable listen.
Rotem Sivan
FOR EMOTIONAL USE ONLY - Fresh
Sound New Talent FSNT 451. Intro to Spirals;
Spirals; Blossom Interlude #1; A Dream is a
Wish Your Hearts Make; For Emotional Use
Only; Sefi’s Blues; Useless Landscape; Blossom
Interlude; Pass it On; Blossom.
PERSONNEL: Rotem Sivan, guitar; Haggai
Cohen Milo, bass; Mark Mclean, drums.
By Eric Harabadian
58 September 2014  Jazz Inside Magazine  www.JazzInsideMagazine.com
Israeli guitarist Rotem Sivan has been tak-
ing the NYC club scene by storm with his
smooth blend of straight ahead jazz, Brazilian-
flavored fare and ambient colorations. This is a
great vehicle for the leader to show his wares in
a low key setting, with a couple of key sympa-
thetic players that totally synch well together.
This mix of original tunes and rare standards is
dashing and vibrant; much like the splashes of
paint that comprise the canvas that graces the
album itself.
This may be Sivan’s gig but there is no
question this is a concerted effort. Each member
interacts on a sophisticated level where it feels
like a true meeting of the minds. The simpatico
among the players is engagingly palpable and
the tunes really come alive as a result. You’ve
got a track like “Spirals” which employs a taste-
ful use of dynamics and ambience. Sivan is a
master at less is more and he give a lot of room
for drummer Mark McLean to step out in a bold
fashion. “A Dream is a Wish Your Heart Makes”
is a nice treatment of a standard where the gui-
tarist balances chords and single note lines to
great advantage. The melody is further show-
cased by McLean’s subtle and stealth brush
work. The title track is significant as it offers
another example of this ensemble’s diversity.
Again, Sivan as the leader takes a back seat and
serves the song rather than him. A stark interval-
lic figure is laid down by bassist Haggai Cohen
Milo as Sivan wraps pensive arpeggios around it.
McLean completes the circle with asymmetric
and steady brush strokes. The follow up “Sefi’s
Blues” is a revelation where Sivan erupts from
the gate, with a barrage of Grant Green meets
Kenny Burrell bop ferocity that is truly exciting.
The samba contingent will be pleased with the
leader’s take on AC Jobim, with “Useless Land-
scape.” The rhythm seems open, yet pretty stan-
dard. However, Sivan has some fun with the
head and its solos, getting rubato and extremely
playful. One never knows where the next phrase
is coming from. The head to “Pass it On” is
tricky and based on legato ascending and de-
scending structures. The guitarist plays with
abandon that borders on experimental but stays
within the parameters of melody and traditional
chord construction. When this thing gets into
high gear it is no holds barred for all involved.
This is modern bop at its pinnacle. The album
closer “Blossom” is a beautiful and simple mel-
ody that allows Sivan to play very lyrically and
also delve into some subtle harmonics and
pseudo-African rhythms as well.
Rotem Sivan is a musician that thinks
and plays with total freedom and encourages that
from his musical counterparts as well. The result
is a most enjoyable listening experience for you
the listener.
Roseanna Vitro
CLARITY – Random Act Records RAR 1016 –
RandomActRecords.com. Morning; Web Of
Love (Inquietacao); Love’s Path (Love’s Walk);
Seagull (Gaviota); Swingin’ With the Duke (The
Duke); Pensativa; Life’s Journey (Pavillon);
Sleep My Child (Sleep Sweet Child); Take Your
Breath And Sing (O Canto); I Remember Spring
PERSONNEL: Roseanna Vitro, vocals; Mark
Soskin, piano; Sara Caswell, violin; Dean John-
son, bass; Tim Horner, drums; Mino Cinelu,
percussion; Brent Fischer, vibes on “Take Your
Breath And Sing”
By Scott Yanow
In her career, the adventurous singer Rose-
anna Vitro has recorded tribute albums to the
music of Ray Charles, Bill Evans and Randy
Newman. Clarity is a particularly ambitious
project for she performs songs written by ar-
ranger Clare Fischer, including six that had
never been recorded with a vocalist before.
Clare Fischer (1928-2012) had a wide rang-
ing and episodic career. He started on the piano
when he was 5 or 6 and began writing classical
music and dance band arrangements when he
was a young teenager. He led his first band when
he was 15, playing piano and writing all of the
arrangements. After college and serving in the
Army, Fischer became the pianist and arranger
for the Hi-Lo’s during 1955-60, contributing
vocal charts that used modern harmonies and
were very advanced for the time. He also be-
came interested in both Latin and Brazilian mu-
sic, arranging early bossa-nova albums for Don-
ald Byrd, Dizzy Gillespie and Cal Tjader. In the
1960s, Fischer led his own record dates, playing
piano and organ and leading both small groups
and big bands. During this period he wrote his
two most famous songs, “Pensativa” and
“Morning.”
Fischer, who also did a great deal of studio
work, was a pioneer on the electric piano, led a
Latin jazz group Salsa Picante (later adding four
vocalists), and wrote arrangements for such pop
artists as Rufus, the Jacksons, Paul McCartney,
Prince, and Celine Dion. He stayed busy up until
the end of his life, whether playing solo piano or
leading big bands. As his health declined, his son
Brent Fischer often led the Clare Fischer Orches-
tra in performances.
Roseanna Vitro has long been a top-notch
jazz singer with an open mind and eclectic
tastes. She grew up in a family of gospel and
country singers and sang on the radio with her
sister when she was twelve as The Vitro Sisters.
After a period singing rock and blues, she
switched to jazz when she was 21, moved to
New York, and has been an important part of the
jazz scene ever since.
On Clarity, Ms. Vitro is joined by an excel-
lent quintet. Violinist Sara Caswell and pianist
Mark Soskin take solos on nearly every song
while percussionist Mino Cinelu is a strong asset
on the Latin pieces. Brent Fischer sounds fine
guestings on vibes during “Take Your Breath
And Sing.”
Roseanna Vitro does an excellent job on
“Morning” and “Pensativa” (the latter is a tune
To Advertise CALL: 215-887-8880
that should be sung more often) and really
stretches herself on the other material. Some of
Fischer’s songs are pretty complex but the singer
sounds quite comfortable even on the complex
“Life’s Journey’ and the art music of “Sleep My
Child.” The only non-Fischer song, “Web Of
Love,” was a favorite of the arranger and fits in
well. On some pieces Vitro scats with warmth
while at other times she gives just the right
amount of sensitivity and warmth to the lyrics.
“Swingin’ With The Duke,” a boppish romp, is
one of the highlights.
As with her other tribute albums, Clarity is
a success for Roseanna Vitro, shining some new
light on the music of Clare Fischer.
Ernie Watts
A SIMPLE TRUTH - Flying Dolphin. The
Sound: Morning; No Lonely Nights; The Road
We’re On; Acceptance; Bebop; Hope in the
Face of Despair; A Simple Truth; The Sound:
Evening.
PERSONNEL: Ernie Watts, tenor sax; Christof
Saenger, piano; Rudi Engel, bass; Heinrich
Koebberling, drums.
To Advertise CALL: 215-887-8880 September 2014  Jazz Inside Magazine  www.JazzInsideMagazine.com
By Eric Harabadian
As expressed in the liner notes, Ernie
Watts’ primary purpose behind this latest en-
deavor or for his music in general, is “to make
people feel better when they leave the concert
than they did when they came in, by creating
something beautiful.” Now that is a “simple
truth,” indeed! His philosophy goes on to say
that music is one of those rare things that con-
nects people in a way that circumvents language,
background, ethnicity, culture and history. And
that is certainly true with the world class group
of players the leader has assembled here.
Watts’ program begins with his collabora-
tion with composer Ron Feuer called “The
Sound: Morning.” It is a soothing and contem-
plative piece that focuses on the beauty of the
leader’s tenor tone; robust, bold and resonant,
with a smooth finish. This is an appropriate lead-
in to Keith Jarrett’s “No Lonely Nights.” The
mood remains relaxed but the integration of the
rhythm section and, in particular, Christof
Saenger’s acoustic piano work really blends
superbly with Watts’ Coltrane-esque soloing.
Drummer Heinrich Koebberling offers a very
nice tune here entitled “The Road We’re On.”
And it is a pretty fiery journey, indeed! The
tempo is moderate and the feel has a cross breed
of swing and calypso to it. The rhythms are
tastefully dense and really propel great solos all
around from Watts, Saenger and bassist Rudi
Engel. In addition there is an engaging tension
where the melody and rhythms intertwine that
really ropes the listener in. Another Watts com-
“Those who are fired with an
enthusiastic idea and who allow it to
take hold and dominate their thoughts find
that new worlds open for them. As long
as enthusiasm holds out, so will
new opportunities.”
- Norman Vincent Peale
position “Acceptance” puts his mighty sax out
there in a huge way. The leader utilizes the full
range of his horn here and it succinctly hands the
baton to Saenger who matches the saxophonist’s
intensity, by playing in and out of the changes.
It’s a deceptively laid back tune that burns.
Dizzy Gillespie’s “ Bebop” leaps out of the gate,
with the ferocity of a freight train. Watts is on
top of it as he blows effortlessly and with elegant
legato phrasing. Saenger follows suit and trades
fours with Koebberling. From this highlight they
touch on another cover by Billy Childs called
“Hope in the Face of Despair.” This has a very
lyrical and romantic melody. The notes lan-
guidly drip from Watts’ horn and envelope one’s
ears in a most pleasing way. Here the leader is at
his most evocative and most empathic. There is,
indeed, hope in this theme. Kudos go to the en-
semble that offers support and interaction of the
highest order. Title track “A Simple Life” is
really at the heart of what Watts is trying to con-
vey with his music. This features a very direct
(Continued on page 60)
59
(Continued from page 59)
and uncluttered melody that truly seems to speak
from the heart. The dialogue between Watts and
Saenger is beautifully transparent and their solo
and arrangement ideas seem to flow in a graceful
and orchestral manner. The record concludes
with a companion piece, again by Watts and
Feuer, entitled “The Sound: Evening.” It is a
really nice way to ease into the album finale as
this sax and orchestral fantasia create a very
soothing and dreamy sound scape.
Ernie Watts is truly one of the jazz and
music world’s timeless treasures, and it is an
honor to hear such a legendary master shining in
his element. Bravo!
Miguel Zenón
IDENTITIES ARE CHANGEABLE—Miel
Music 13819. MiguelZenon.com. De Dónde
Vienes? (Overture); Identities Are Changeable;
My Home; Same Fight; First Language; Second
Generation Lullaby; Through Culture and
Tradition; De Dónde Vienes? (Outro)
PERSONNEL: Miguel Zenón, alto saxophone;
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60
Will Vinson, alto saxophone; Michael Thomas,
alto saxophone; Samir Zarif, tenor saxophone;
John Ellis, tenor saxophone; Chris Cheek, bari-
tone saxophone; Mat Jodrel, trumpet; Michael
Rodriguez, trumpet; Alex Norris, trumpet; Jona-
than Powell, trumpet; Ryan Keberle, trombone;
Alan Ferber, trombone, Tim Albright, trombone;
Luis Perdomo, acoustic piano; Hans
Glawischnig, acoustic bass; Henry Cole, drums
By Alex Henderson
Puerto Rican culture has thrived not only in
Puerto Rico, but also, in parts of the Continental
United States. For many years, there have been
large Puerto Rican communities in Philadelphia,
Boston and Chicago. But the city with the largest
Puerto Rican population in the Continental U.S.
is, hands down, New York City. Some of the
great Puerto Rican icons of salsa and/or Afro-
Cuban jazz were not born in Puerto Rico, but
rather, in New York City—including Tito
Puente, Ray Barretto, Willie Colón, Manny
Oquendo and Eddie Palmieri. And that Nuyori-
can culture is what alto saxophonist/composer
Miguel Zenón celebrates on Identities Are
Changeable.
Zenón himself is not a Nuyorican: he was
born and raised in Puerto Rico. But for Identities
Are Changeable, the altoist wanted to hear about
the experiences of Puerto Ricans who grew up in
New York City—and so, he conducted a series
of interviews with Puerto Rican New Yorkers.
Excerpts from those interviews are, thanks to
overdubbing, heard over Zenón’s acoustic post-
September 2014  Jazz Inside Magazine  www.JazzInsideMagazine.com
bop. Zenón originals like “First Language,”
“Second Generation Lullaby,” “My Home” and
“Through Culture and Tradition” would have
been enjoyable even without the interviews;
Zenón’s composing is solid, and so is his accom-
paniment—which includes his quartet (Zenón on
alto sax, Luis Perdomo on piano, Hans
Glawischnig on upright bass and Henry Cole on
drums) and 12 horn players (who include two
alto saxophonists, two tenor saxophonists, four
trumpeters, three trombonists, and baritone sax
from Chris Cheek). But the combination of
Zenón’s music and the interviews makes Identi-
ties Are Changeable special.
The comments from the interviewees—
which are mostly in English, since they grew up
in New York City and speak English as their
primary language—are consistently interesting.
There is much discussion of music, and various
interviewees comment on the music they listened
to growing up in the Big Apple. Some heard
salsa and Afro-Cuban jazz growing up, while
others heard their parents listening to plena (a
traditional style of music from Puerto Rico). One
interviewee comments that the musical tastes of
young Nuyoricans can range from salsa to hip-
hop. And another interviewee addresses the lan-
guage barrier, pointing out that she occasionally
had problems communicating with her father
since he had grown up in Puerto Rico speaking
Spanish and she grew up in the Big Apple with
English as her primary language. Another thing
that comes up in the interviews is how likely
Nuyoricans are to speak Spanish; it isn’t uncom-
mon to find third-generation Nuyoricans who—
much like third-generation or fourth-generation
Mexican-Americans living in California, Nevada
or Arizona—don’t speak Spanish at all. Yet in
his liner notes, Zenón comments on the ways in
which Puerto Ricans in the U.S. have held onto
Puerto Rico’s culture and traditions: “When I
first came into contact with Puerto Rican com-
munities in this country,” Zenón writes, “I was
shocked to meet second- and third-generation
Puerto Ricans who were as connected to the
traditions of their parents/grandparents and as
proud to be Puerto Rican as the people I knew
back home.” The interviews, however, do not
overshadow the music itself, and Zenón has
plenty of room to stretch out on his alto. Other
participants also get in some solo space, includ-
ing Perdomo on piano, Glawischnig on upright
bass, Tim Albright on trombone and John Ellis
on tenor saxophone. Identities Are Changeable
is a fascinating listen.

“There is a
certain enthusiasm in
liberty, that makes human
nature rise above itself,
in acts of bravery
and heroism.”
— Alexander Hamilton
To Advertise CALL: 215-887-8880
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