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 Silver
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 Feature
By Eric Nemeyer
Hailing from Chicago, saxophonist and com-
poser Frank Catalano has performed and re-
corded with Tony Bennett, Louie Bellson,
Charles Earland, Ira Sullivan, Tito Puente,
David Sanborn, Betty Carter, members of
N’Sync and Blue Man Group, John Medeski, DJ
Logic, Von Freeman, Randy Brecker and oth-
ers. He earned a Bachelors Degree in Classical
Composition from DePaul University in Chi-
cago. In addition to constantly performing and
recording, Frank conducts clinics as a Yamaha
Artist. He owns a patent for a Keyboard/
Saxophone attachment he invented. He has been
nominated for Grammy® awards and has gar-
nered awards from various media polls. Frank
has recorded as a leader for Columbia, Savoy,
Delmark and others. His current recordings are
the Love Supreme Collective and a duo which
2 November 2015  Jazz Inside Magazine  www.JazzInsideMagazine.com
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page 2
features Jimmy Chamberlin of Smashing Pump-
kins.
JI: What’s your performance schedule like?
FC: Well, I just got back from Paris, and I
played the Sunset Club, did two shows there. I
was actually in the Sunside, the top part, and
Chris Potter was playing the Sunset, the bottom
part of the club. It’s pretty much my favorite
club in Paris so that was really cool and that
was last week. Then this last weekend, I was
one of the headliners for the Jazz Festival in
Seattle. Last night I played with Jimmy Cham-
berlain from Smashing Pumpkins the band that
we have together that’s done the last couple of
CDs that I’ve been touring for. We played at
Cliff Bell’s in Detroit and that was really fun,
went well. Tomorrow I’m playing a party for
Playboy Magazine at the Soho House here in
Chicago and they’ll be some Playboy Playmates
there and Hugh Hefner’s daughter and some
burlesque dancers. I’m basically going to play a
lot of my normal songs and do a set for that, so
that should be really fun. We have a show No-
vember 6 at a new place called HVAC which is
a new club in Chicago, and that’s also with
Jimmy Chamberlain. November 14th I have in
St. Louis at the Saxophone Museum called Sax-
quest, I’m doing a concert clinic there. And then
starting January, our schedule gets really busy
again. I have the Manhattan Winter Jazz Festi-
val in January. I’m going back to Europe in
February. And then the CD that me and Jay
Chamberlin did with David Sanborn and guitar-
ist Nir Felder is coming out. So I know we’ll be
doing a bunch of touring for that starting March
when that comes out.
(Continued on page 4)
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 JI: Talk about your current album release.

FC: Okay. The current album is called God’s Gonna Cut You Down,
and that is a 150 year old Gospel song and I like the way that Johnny
Cash sang it so I wanted to do a cover of it. Pretty much all the other
songs are original, and that features Jimmy Chamberlain again on the
drums. We’ve been doing quite a few gigs a year together. He was on
tour with The Smashing Pumpkins this summer and also did a week at
the Seth Meyers TV Show. But he does stuff on his own outside of me
and him playing together it seems to me. But we have a lot of stuff
planned for next year. Tony Fitzpatrick who is a good friend and famous
artist who’s in the Museum of Modern Art—he pretty much does all my
album covers for me and he came up with the cover art. We’ve probably
sold at least a few hundred vinyls, just because everyone likes the cover
so much. It looks pretty impressive in vinyl format, so that’s been fun.
Ropeadope did a red and kind of a golden colored vinyl. The gold one
was limited to 50 editions. Jimmy and I signed and numbered it and those
are all sold. The next release would be Sanborn’s and it’s going to be
called Bye Bye Blackbird. It’s a little more standard oriented, and a trib-
ute to Eddie Harris and Von Freeman who are two Chicago saxophone
players that were big mentors to me growing up. Eddie Harris would
come sit in at the Green Mill when I’d be playing there with Charles
Earland. Von Freeman always had me sit in with them since I was ten
years old. We did an album together almost 20 years ago for Delmark
Records. I wanted to do something that was kind of a thank you slash
tribute to them. Dave Sanborn, since I first met him in 1996 while I was
playing in Charles Earland’s band, was always so nice to me and had had
me open up for him on a few occasions. I think we’re going to go with
the green see thru vinyl for the Bye Bye Blackbird album—and obviously
we’ll have the song “Bye Bye Blackbird.” It’ll also have a song that I
wrote for Eddie Harris that I’m calling “Chicago Eddie.”

JI: I still have an album with three vibes players, Terry Gibbs and oth-
ers, Mel Lewis on drums. It is on yellow see thru vinyl.

FC: Cool, very cool. I love the kind of retro-ness. I just think it’s cool.
I’m 38 years old. I got in there at like the tail end, started playing saxo-
phone like 1984. That was the time where you could still get a lot of
vinyls real cheap like a dollar because they were kind of phasing them
out. Cassettes, and then CDs were coming in. So I started trying to tran-
scribe stuff off of vinyl. And then it seems like people that are any
younger than me never bought even one vinyl. Now there are all these
young people that are in their teens and early twenties that are 20 or so
years younger than me who are just really excited about vinyl and think
of it as something cool and new. I brought a whole box of vinyl with me
last night to Cliff Bell’s in Detroit. And a box has 35 albums in it. And I
came home with three. So I sold 32 of the 35. And I know I go to some
places and you don’t even sell one vinyl that night, especially France
when I was there. I brought some but nobody was interested. A lot of
people bought CDs but nobody wanted the vinyl. I just thought it was so
cool that you could go to a little bit more hipster-ish type place or a little
bit younger place, where the average age person in the crowd listening to
me and Jimmy Chamberlain is in their twenties and they just are in love
with the vinyl … not only because of the sound but that look and the
artwork. I’m real excited that it’s making a big come back. And ironi-
cally, it’s 31 years ago when I started playing the saxophone, and that
was what I was listening to when I first heard Charlie Parker. My
grandpa gave me this vinyl of Charlie Parker that was probably pressed
sometime in the 1960s. Vinyl definitely has a friendlier, warmer and
different sound than CDs or for sure MP3s.

JI: Frank, you have a noteworthy log of influential jazz artists with
whom you’ve played that goes back to your teenage years. Could you
talk about some of those players some of the words of wisdom or advice
that they shared with you?

FC: Okay, great. Well I would wholeheartedly like to say that the person
that really made all these various awesome interactions happen was Von
Freeman. I first met him at Andy’s Jazz Club when I was nine years old.
My dad took me to go hear him at a suggestion of a friend of his. And I
(Continued on page 7)

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page 4 Magenta
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Frank
Catalano
Saxophonist, Composer

NEW
Release

Performance & Recordings with Tony Bennett, Louie Bellson, Charles Earland,
Ira Sullivan, Tito Puente, David Sanborn, Betty Carter, Von Freeman, Randy Brecker,
members of N’Sync and Blue Man Group, John Medeski, DJ Logic, and others.
Yamaha Artist
www.catalanomusic.com Savoy / Columbia Recording Artist
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 Frank Catalano
(Continued from page 4)
was just blown away. He talked to me for like 20
minutes, offered to have me come back and sit in
with him anytime, was giving me all types of
advice ... even just took his mouthpiece and was
showing me where to put the reed at, saying that
the reed goes a little bit jagged, make sure to
push it up a little bit beyond the facing so that
you can get a little more life out of it, because it
makes it seem like it’s maybe a quarter strength
stronger ... all these little tips the very first time I
met him. And I remember most of them. I was
just so happy to be talking with him and kind of
in awe. It was about a month or two after that
that I came back and I brought my saxes home,
and he let me sit in on a blues song. And he did-
n’t play. He played the melody and then he had
me solo. And then he scat sang, and then scat
sang fours with me playing saxophone and him
scat singing. I wasn’t a very good saxophone
player at age ten. But he thought that I had some
fire and some guts and I was trying hard. So in
looking back at it, it was a nice way to not try to
lock in a studio saxophone battle because he
would have annihilated me. But teaching in a
loving way, singing some lines … and then he
really trusted me that you had to able be sing
pretty much everything that you played. So I can
say that he really instilled a real solid core in my
beliefs of the saxophone as far as how I hear
lines and harmony, but also the sound. When I
was in Seattle playing, DJ Jim Wilke introduced
me and he just kind of said how the Chicago
tenor saxophone school is very special and how
it is definitely a big sound that you had to pro-
duce. When I started playing in Charles Ear-
land’s band at age sixteen at the Green Mill,
you’re playing tenor, and you’re competing
against the Hammond B3 with two Leslie speak-
ers which are very capable of pumping out a lot
of volume, not to mention the volume of the
guitar and drums that were also in the band. So
you had to have a big sound to compete. That at
least for me was conceptualized probably at age
ten or so thanks to Von Freeman … and just
from hanging out with them so much. He intro-
duced me to so many people because he knew
everybody when they’d come into town. So
Betty Carter, Elvin Jones, Miles Davis—I got to
meet him at the Chicago Jazz Festival. He actu-
ally invited me over to the jazz bowl to sit in
with him on an impromptu thing and he actually
helped produce a demo tape for me that never
ended up coming out or amounting to anything.
But just the fact that these legendary people—
largely because Von Freeman vouched for me—
were beyond nice and took me under their
wings, and helped me, and passed my name
around. I just can’t even say what that means,
and that’s the type of stuff that I would say is
almost like fairy tale stuff meaning it doesn’t
happen anymore. Then there was another situa-
tion where I was fortunate enough at age four-
teen to start playing at Elgin Community College
in their band, even though I was just a freshman
in high school. They had all these wonderful
guest artists, like Louie Bellson, and he was
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playing with the trio. He asked, “Does anybody
know the song ‘Cherokee”. There were about
200 high school and college musicians in the
audience. I was the only one that raised my
hand. He told me to come up. I sat in on
“Cherokee” and then he asked if I knew
“Cottontail.” I said, “Yeah.” Then he said, “Do
you know ‘Sophisticated Lady?’” … and I’m
like, “Yeah.” I love Duke Ellington and I knew
the songs. He asked me for my phone number
after that, and he asked, “How old are you?” I
said, “I’m 14.” He was talking with my mom,
and said he was going to start calling me for gigs
when I turn 16. I was about a year and a half
away from there so I would call him to keep in
touch. I’d come see him when he’d come to
town for the Jazz Showcase. When I turned six-
teen, he started hiring me and he was flying me
around. He introduced me to Tony Bennett, had
me play with him on quite a few gigs, wrote the
liner notes to my first CD on Delmark the fol-
lowing year. I was lucky enough to sit in with
Charles Earland one time at Andy’s Jazz Club
because saxophonist Eric Alexander had just
moved to New York. He was supposed to play
that night with Charles, and I was going to hear
Eric Alexander and Charles Earland. Eric wasn’t
there. I had my saxophone with me, and Charles
invited me to sit in with him on the last set. The
owner of Andy’s Jazz Club heard me play and
then started hiring me regularly. So about the
time I was sixteen, I had a pretty much weekly
gig at Andy’s Jazz Club in Chicago. I was play-
ing once a week with Charles Earland at the
Green Mill. So that was two A-list clubs in Chi-
cago to be playing at. Then when Louie Bellson
or other people would come to town, a lot of
times they would hire me as the sideman at the
Jazz Showcase. So I was really, really, really
busy in Chicago, starting to lead my own group,
getting signed to Delmark, playing with Charles
Earland, and then backing up other people while
I was still in high school. So it kind of just natu-
rally and organically developed from there. But I
definitely was playing full time even before I
graduated from high school.
JI: Did Louie Bellson or Charles Earland pro-
vide any instruction or suggestions either about
music or about the business?
FC: With Louie Bellson, I really learned the
importance of time. I remember one time him
taking out some brushes and trying to teach me
how to play brushes a little bit and stressing the
importance of having an internal pulse. Coming
from a legendary drummer like that, I think
that’s why a lot of other drummers—Jimmy
Chamberlain or Paul Wertico or Elvin Jones or
Louie—appreciated playing with me. We lock in
well. I think I kind of hear things like drummers
do. That’s really helped me out in so many situa-
tions …. from fun, hip-hop pop track. I’ve
played on tracks for John Legend and Beyoncé.
The pulse is a little different than in a jazz situa-
tion. Or maybe I’m having to play in a classical
saxophone quartet where you really have to keep
your own time but you don’t necessarily want it
to be swinging, you want it to be more regi-
mented. So having that type of control, I can say
is thanks to Louie Bellson. Then not only that
but getting to play in different small group set-
tings or big band settings where maybe Pete
Christlieb is the other tenor player, who’s amaz-
ing, and you’re trying to match their styles and
phrasing. So it really is the school of being out
there and doing it and learning firsthand like all
of my favorite players did. With Charles Ear-
land, I learned about record deals. I did get
signed to Delmark because Bob Koester, the
owner of Delmark, came to sign Charles Ear-
land, who had just ended his contract with Muse
Records. Bob ended up talking to me that night
and signing me. The record industry today is
much different than it was in 1995, when this
was all happening for me. There was no iTunes,
there was no Apple Music, there was no Spotify,
there was no MP3s. What I did learn pretty
quickly is as an artist, you have to be able to be
in control of the music you’re making and you
have to be very proud of it. I had gotten into a
couple of bigger label record deals that were
more lucrative. But you can end up signing away
sometimes a lot of your rights, as far as your
creative control goes, and that was something
that I learned to never do again. All the albums
that I’ve been making recently, I have 100% say
in how they turn out—which means a lot to me.
Ropeadope has been a great record label. I got to
play with so many of the great Hammond B3
organ players—Dr. Lonnie Smith, Jimmy
McGriff, Jimmy Smith. I was on a live re-
cording, Charles Earland’s Jazz Organ Summit
which featured Johnny Hammond Smith’s last
recording. I played on a couple tracks with him
as well as Dr. Lonnie Smith and Jimmy McGriff.
The God’s Gonna Cut You Down album is the
first time I recorded with the Hammond B3 or-
gan on any of my recordings—partially because
I felt kind of like it’s almost sacrilegious after
playing with so many great organ players, par-
ticularly Charles Earland. I kind of wanted to
step away from it for a while. Charles passed
away in ‘99, so I figured I waited about 16
years—hopefully being proper and respectful.
The next one with Dave Sanborn also has
Hammond B3 on it.
JI: Uou have played with a number of pop stars
and recorded with them, including John Legend
and Jennifer Lopez and Destiny’s Child—which
have sold millions of albums. How have your
experiences on the pop side of things supported
or challenged your pursuits as a jazz player and
your creativity?
FC: Well, I think I was fortunate to have met
Randy Brecker at the Elgin Community College
when I was 15. Randy took a liking to me and
we’ve been playing and recording together on
and off for the last twenty some years. I think of
him as a role model big brother, because he kind
of did the same thing –playing with pop stars—
whether it was playing with Blood, Sweat and
Tears, and then maybe playing with Jaco Pastori-
ous, and then maybe playing with Joni Mitchell.
When those similar things started happening to
me, I really looked at him as a role model—an
amazing player who can play in any style and
regardless of what style or what gig he goes to,
he’s going to give it 110% and make sure to put
(Continued on page 8)
7
Friday, November 06, 2015 00:06
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 Frank Catalano
(Continued from page 7)
his own style and persona into the music. Any-
time I hear him on the radio, I immediately know
it’s him by his style, his phrasing, note choices. I
want to bring that type of integrity to pop songs.
So I feel lucky that I’ve actually had significant
solos that many people have gotten to hear. I
remember playing with Seal on the Oprah Win-
frey Show five or six years ago. Worldwide,
about 30 to 40 million people get to see you. It’s
a live TV show, so you don’t get a chance to do
something over again if you don’t like it, and it
is ridiculously early in the morning. That’s an
issue after maybe traveling for a couple of weeks
straight, where you maybe have an ear infection
and you can only hear out of one side of your
head. The show must go on, and 40 million peo-
ple are going to either hear you be really good or
not. So there’s a certain level of just making sure
to do your best all the time—not just for your
own pride, but to make sure to not let anybody
on the bandstand down. It is important to me to
bring a certain level of artistry and uniqueness so
that people say “I want to hire Frank Catalano
for this again” or “I just heard Frank and I want
to use him on my project.” Unfortunately musi-
cians get hung up and obsessed with technical
things—and they don’t develop their own sound
and personality as much as maybe the first gen-
eration of jazz players did. When you here Les-
“...these legendary people, largely
because Von Freeman vouched for
me, were beyond nice and took me
under their wings and helped me and
passed my name around. I just can’t
even say what that means, and that’s
the type of stuff that I would say is
almost like fairy tale stuff meaning
it doesn’t happen anymore.”
ter Young, he sounds completely different than
Coleman Hawkins—and they were maybe the
two biggest tenor players at the time. There
weren’t music schools pumping out players. And
I love teaching but the clinics I do have replaced
the formal college teaching I was doing in the
past. It’s important to me to be for students the
way Randy Brecker, Louie Bellson and Von
Freeman were for me—as good role models who
give you guidance. The number one thing that
they instilled in me is that if you want to have a
8 November 2015  Jazz Inside Magazine  www.JazzInsideMagazine.com
Jazz Inside-2015-10_007-...
page 8
good career, where you’re always busy, and
there are plenty of gigs and creative projects
coming up, you have to develop your own voice.
You can’t just hope to follow some syllabus,
graduate, and now go do a bunch of gigs. You
really have to hear, feel it’s coming from your
heart, know what you want to sound like, and
what you want to bring to the table as an artist.
For me, a lot of that actually changed unexpect-
edly and unfortunately about 20 years ago. I had
my finger cut off while working on my car, and
it had to be re-attached. So I had to totally re-
learn a lot of stuff. I invented this little keyboard
attachment that would clip on the saxophone so I
could play some saxophone with my left hand
which doesn’t do all the notes but I could still
play some simple horn lines. My sound hadn’t
changed but obviously my technique was in
trouble. I could trigger some samples and play
some other ideas with my right hand—simple
things but it kept me not only focused mentally.
Some actual really good things came out of it,
and including endorsements because Yamaha
and other companies saw that I created this thing
and had it patented and thought that was really
cool. Then unfortunately, I had another really
bad accident about four years ago.
JI: How did your finger get cut off?
FC: No. It was a generator of a Volkswagen
Beetle. The car was barely running and I had to
get to the airport to do a show. I was a teenager,
I didn’t want to turn off the car. I wasn’t think-
ing well. I was kind of nervous. I went to get the
dip stick to see how much oil I maybe needed to
add because the oil light was on, and I did not
know that that belt when it goes, it doesn’t just
stay in the same formation, it flops back and
forth in and out. And one of the rubber teeth on
the belt just snagged my middle finger I guess
because it’s the longest and I was grabbing for
the dip stick around the generator pulley and it
just ripped my finger off.
JI: How did you get help?
FC: I went inside and it was January outside and
there was snow everywhere. The car was still
sputtering, I didn’t even shut it off. I dialed 911.
They came. I had passed out because I lost so
much blood. But luckily the paramedics saw the
finger. It was repairable although dirty. I guess it
took about seven hours to clean it. And then it
was about a nine hour surgery to reattach it. And
basically, if it hadn’t have been January and so
cold out, it probably wouldn’t have been able to
be reattached. If it would have been summer
where it was warm the way stuff breaks down
and what not, I was told it probably wouldn’t
have worked. So they were able to get to me in
time and they were able to package the finger ….
and I was lucky to have a really great surgeon
who I became friends with. I eventually gave
saxophone lessons to his son after that. I don’t
have a lot of feeling in my finger, but it works
great. I feel like I have at least 95% function and
flexibility and strength. I don’t have all the feel-
ings and nerve stuff in it. But I am very fortunate
how it turned out. Then about four years ago, I
was at the light and a drunk driver plowed into
me… I was actually coming from College of
Lake County where I used to teach. It was mid-
dle of the afternoon. I was at a red light and a
drunk driver in a landscaping truck plowed into
me, tore the ligaments and cartilage in my left
rib because it was on the steering wheel, horribly
messed up my neck, back, shoulder. Even
though it wasn’t to some people as dramatic as
having a finger cut off and put back on, it was
almost worse because having all this soft tissue
damage and all these other things and swelling,
it was just brutal. For most of 2011, my hand just
looked like a catcher’s mitt it was so swollen the
whole time. The lull in my schedule enabled me
to re-connect with Jimmy Chamberlain. We
developed our Love Supreme Collective which
was a Coltrane tribute. It was definitely very
difficult to not be able to have a regular gig
schedule and not as much income is coming in,
and all these unexpected medical bills going out.
Then you have booking agents and managers
saying, “Well if you can’t do any gigs this year, I
guess I maybe have to move on to another per-
son. My wife is awesome and encouraged me
through all this. She actually owns a travel com-
pany. We first met via a friend of mine that
comes to hear me at the Green Mill all the time.
It was his birthday party, and as soon as we had
started talking, she mentioned her travel com-
pany. We share mutual passions—I mean she
loves music and she had Miles Davis and John
Coltrane in her music collection long before we
ever met. But she’s not a musician. Our mutual
connection, at least immediately when we first
met and started talking was both of our loves of
travel. Her passion led her to start a boutique
travel agency. And I love every excuse I can to
go to any new city or any new country and play
a show. Anyway, the accidents gave me a chance
to take a step back and reflect. Almost all of my
favorite jazz artists – Sonny Rollins, Miles Davis
– went through different periods where they took
time off. The accidents could have meant the end
of my career a few years ago. Then you start
having some more successful things happen, like
last week in France, these last couple of albums,
(Continued on page 10)
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 Frank Catalano
(Continued from page 8)
and you’re like it would have been very possible
for those things to have never happened if my
hand injury would have been much worse. So I
am very thankful for all the stuff that’s going on
now. It makes the little things—like maybe your
set is running behind, or the sound man isn’t
doing as good a job as you want, or whatever
those little things are—it makes me not sweat
them now. I just say, “Well I’m pretty thankful
“... musicians get hung up and
obsessed with technical things—and
they don’t develop their own sound
and personality as much as maybe the
first generation of jazz players did.”
to here.” The first thing the cop said to me with
this last accident was that I was lucky to be
alive. I remember thinking that this is not what I
wanted to be hearing at the time. I wanted to be
hearing he was going to go catch the guy. But I
do know what he means and he’s not wrong. I’ve
often had that moment replay itself in my head.
So I am very thankful to be here and glad that
my career stuff is going really well.
JI: Well, it sounds like you’ve learned some
really important lessons in life and you have a
really healthy perspective about a lot of things.
It’s really impressive.
FC: I appreciate you saying that and I hope so. It
did take a year and a half of soul searching to
come to those thoughts. But I can say for sure
the last couple of years I feel like my head is on
properly and I’m very thankful.
JI: Are you currently teaching at the college,
and if you are, how are your activities as an edu-
cator helping and supporting or challenging or
making you think about your artistry and the
other aspects of what you do?
“In times of change,
the learners shall inherit the
earth, while the learned find
themselves beautifully equipped
to succeed in a world that
no longer exists.”
— Eric Hoffer, American Philosopher
10 November 2015  Jazz Inside Magazine  www.JazzInsideMagazine.com
Jazz Inside-2015-10_007-...
page 10
FC: Every month do at least some type of clinic.
Usually one of my endorsers put it together or
somebody else calls me. Mark Overton who
owns Saxquest asked me to do the one Novem-
ber 14th in St. Louis. Every time I go do one of
these, I always get asked really great questions
from the students. I always love demonstrating
stuff. A lot of times maybe it makes me think of
something I haven’t thought of for many, many
years. So it definitely helps reinforce my own
playing that’s for sure. I don’t teach at the col-
lege anymore. I love teaching. I only have a few
private students right now. I can only really keep
a few just because my schedule has gotten so
busy. I haven’t been home really for the last four
weeks. So I know some people try to do some
teaching and then they cancel all their students
for a month, and then they come back and try to
do a couple of makeup lessons and this and that.
I just don’t think that’s fair to the students. I
really do try to schedule some lessons with a few
people that I really think are going to turn out to
be concert players, and whom I believe in a lot.
But unfortunately my teaching at this point has
to be reduced to accommodate the ten or more
clinics a month that I do. It’s always different. In
January between the North Shore Jazz Festival,
DePaul University, Glenbrook High School, all
these things that are coming, I’ll probably do
about seven or eight, nine clinics in January, so
that will be busy. But I pretty much had to at
least for right now give up formally teaching at
any type of college. All of that could change
down the road. But I at least feel lucky that I get
in front of a lot of students every year for the
clinics. I have definitely tried real hard to be
there for a few of my very favorite students on a
private lesson level.
JI: Do you remember any noteworthy interesting
or dramatic or unusual or humorous experiences
that you had when you were either recording or
performing with some of those pop stars?
FC: Well, Seal was married to Heidi Klum at the
time that I was performing with him. I didn’t
have my glasses on and I thought it was Heidi
Klum. So I went up to start talking with her and
it was a very attractive lady that looked almost
exactly the same. I truly could not tell for sure.
They looked to me almost identical, but I did not
have my glasses on—and I definitely need my
classes to see. So I’m talking to her super non-
chalantly and all this other stuff. It turns out that
she was some Princess of Denmark. I could tell
her voice was different. Then I felt so stupid
when I realized it wasn’t Heidi Klum. All I can
say is Seal came up behind me and just started
laughing. I’m sure he thought that I was a com-
plete moron. But I did find that to be funny.
Although I will say the last gig that me and
Jimmy Chamberlain did in Chicago, a lot of
people showed up because they were fans of The
Smashing Pumpkins who had sold millions and
millions and millions of records every year. So
the cast of the Entourage movie came in … Bob
Saget, Adrian Grenier, the main character, and a
bunch of people ... they came and they listened
to our whole show.
JI: You sound like you’re really happy in life.
Some musicians get bogged down with entitle-
ment attitudes, egos, feeling shortchanged be-
cause they feel that they deserve to be further
ahead in their careers—and happiness and peace
of mind seems to elude them.
FC: Well definitely everything you just said has
crossed my path more times than I care to ever
have had happened. I would say the ego thing I
think is a really brutal situation. I remember
being at DePaul University and taking lessons
from pianist Larry Novak, and then also taking
piano lessons with a pianist named Alan Swain
that was teaching at DePaul at the time. And it
was Alan Swain who saw me playing in the big
band and he really liked my playing. He came to
hear me at the Green Mill, and I guess something
I had said he might have determined to be kind
of cocky—even though I didn’t intend for it to
be, and I don’t even remember what it was. I just
remember mid-sentence he stopped me. He said
that all musicians need some form of ego to have
confidence. But be real careful because if your
ego gets too big, it will be the end of you. I’ve
seen that happen with a lot of musicians. And
he’s like don’t confuse a little bit of success as a
young person with the ability to have continued
success and a really strong career for the next 70
years of your life. I remember that and it hit
home with me. That’s over 20 years ago he said
this to me and I remember it as if it was yester-
day. I just kind of said to myself, “Geez, just be
thankful that there are all these nice gigs coming
in.” It was kind of accidentally even as a teen-
ager that I had built up this nice little circuit of
clubs from having played as a sideman with a lot
of people. But the booking people started to like
me so I had kind of a pretty solid little network
built up. Then it kind of dawned on me. The
reason why they’re asking me to do this stuff is
because they like my playing but they also liked
me as a person. At that time as a freshman,
sophomore in college, I had seen some people
that I started there with had started getting jaded
already, or overly competitive and ego-y … like
you’re saying, or disgruntled like, “Hey, why
didn’t I get that gig? I’m better than that guy.”
Well, not everyone can be the best, and if there
are only one or two slots, not everyone can have
those. So my thinking was—just be thankful for
the ones that pop up. I really received that as a
teenager when I got signed to Delmark. I had
several people say that I stole their record deal,
that Bob Koester promised it to them. They were
truly angry people. People became really very
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Friday, November 06, 2015 00:06
Composite
 Frank Catalano
(Continued from page 10)
upset at me even though I had done nothing but
play the saxophone and have the contract offered
to me. Nowadays, a lot of people will record all
their albums themselves. But back then 20 years
ago, I was a broke college kid, and I have a repu-
table record label offering me not a lot of money,
but some money to make an album, plus pay all
the sidemen, plus have it distributed and pro-
moted, plus have it designed. It was hard back
then. If they hadn’t approached me, which has
led to other record deals, I probably would have
never had a solo career. I would have just been
happy as a sideman just playing other things. So
all these things, while I was in college kind of
started clicking—and I really disliked the resent-
ment, anger, jealousy, bitterness, ego, all of
those things that were getting thrown my way.
So I kind of just said to myself recognize it,
recognize that I don’t like it, recognize that I
don’t want to be that way. If somebody has to
overcompensate in that way where they feel the
need to be all ego-y, they’re probably not very
happy with themselves. They’re probably not
very happy with their careers. They might not be
very happy with their family life. So I’ll still be
friendly, but inside I usually kind of just think of
those people as being jokes—and do not really
let it get to me. It’s really super sound great ad-
vice. Many times people are very nice to me—
like last night a couple hundred people come up,
shake your hand, wanting pictures with you,
hugging you saying how great you are. The next
day, there could be a group of musicians who are
like, “Oh man, Frank sucks, I can’t stand him.
He thinks he’s better than me. He’s a jerk.” So I
just kind of take both the good and bad with a
grain of salt, but I so appreciate the kindness and
the good vibes. I really think for the most part,
everything that I’m involved with seems to be
good vibes. If somebody asked me to do some-
thing but they’re already acting ego-y or jerky
off the bat, I just don’t even bother going for-
ward with it or making the performance. A gui-
tar player that I think is a great player, who I’ve
used on stuff before, was acting all jerky and
kind of bitter. He was switching on dates for
recordings and other stuff, and it was almost as if
it was purposeful. He just kind of wanted to yank
my chain. I don’t know why. By the second time
he did that, I’m just like, “That’s okay. Well,
good luck with these other gigs, I can’t hire you
anymore.” Then he got all upset about that.
That’s a perfect example of the ego thing where
they feel like, “It’s Frank Catalano’s recording.
He really, really wants me, but I might have to
switch the dates a few times with him and he’ll
have to work around my schedule because I
don’t want to miss out on some other gigs.” The
reality is that maybe I’m using this guy because I
like his playing and I like him. But if somebody
puts me in a bind and it’s not because of a car
accident or an emergency, but it’s because they
want to make a little more money on another gig
or do a couple of other things—that’s really
disrespectful to me and the other players in the
band, and I just kind of don’t tolerate that at all.
To Advertise CALL: 215-887-8880 November 2015  Jazz Inside Magazine  www.JazzInsideMagazine.com
Jazz Inside-2015-10_007-...
page 11
So if somebody cancels on me for something, I
will probably never hire them again unless it’s
for a true emergency. Then I totally understand.
But if it’s like I’ve got to cancel this recording
because I got asked to play this other thing that’s
paying a little bit more—and I’ve had musicians
do that—I will never work with them again, I
don’t care. To me, it’s a very disrespectful thing
and both Jimmy Chamberlain and I have very
clearly expressed this to each other that that is
kind of the number one thing we look for in
musicians. Obviously, we’re looking for some-
one being a great player, but someone who is
also going to respect each other’s feelings, who’s
going to show up to the gig excited to play, who
is a team player, meaning sometimes you have to
“… the booking people started to
like me so I had kind of a pretty
solid little network built up. Then
it kind of dawned on me. The
reason why they’re asking me
to do this stuff is because they
like my playing but they also
liked me as a person.”
move your car and have some gear. Somebody
should volunteer to watch the gear. Somebody
should volunteer to move the car. It’s a group
effort as a band. A lot of musicians get the vibe
of well I’m me and I got hired to play this show
so I’m not going to help with anything else. I
just know when I was in Charles Earland’s band,
we all helped move stuff, we all helped pitch in.
So I think the idea of being a team player is
really important in all walks of life, especially as
a band in improvised music like jazz, where you
have to have each other’s back. You have to be
listening to what’s going on, you have to com-
plement. If a piano player is a good comper, he’s
listening to all types of stuff that I’m doing as
well as listening to what the drums and the bass
are doing. So why in any nonmusical situation is
it okay to say, “Well, yeah, I’m not going to help
out with any of this stuff. See you at sound
check.” If everyone pitches in a little bit, it
makes it more pleasant for everybody. One time,
a musician playing in my band was so ego-y that
he refused to do a TV show the morning of the
gig, because he said that he wanted to get paid
for it, but that wasn’t part of the original descrip-
tion of the gig. I’m trying to promote us as a
band, and the more people that show up, the
more people pay, and the more money we all
make—because we split stuff up equally in my
band. When he told me that, I’m like, “Okay,
don’t worry about the TV show. Actually, don’t
worry about the gig tonight either. Don’t even
bother playing. You can go home. He was so
freaked out. But it’s really is a group effort from
head to toe—and we all have to do as much as
we can. Otherwise, we might as well only play
wedding band gigs where you clock in at 8:00,
you clock out at 10:00, and maybe do overtime if
you have to play a couple more songs. If it’s a
creative music situation, I think everybody has to
be willing to pitch in as much as they possibly
can. I got probably too long winded with this,
but along the lines of ego and not being a real
pleasant person—I’ve definitely experienced my
share. I’m always so grateful when I find musi-
cians that are really great people, great players,
team players, don’t have an ego. As soon as I
started telling myself I’m not going to stand for
people that aren’t very respectful and are nega-
tive, it was interesting how many great musi-
cians that have the right attitude surfaced. It was
a few years ago that I kind of went through a
couple of major band personnel changes in my
band. But I’m so happy with the current band I
have. It all worked out for the better. But it was-
n’t until I said to myself I’m not going to let
myself be around people that I think are nega-
tive, and who don’t respect other people’s feel-
ings and who are only looking out for them-
selves because unfortunately in every field
whether it’s music or any other field, there are a
lot of those types of people.
  
“The inherent vice
of capitalism is the unequal
sharing of blessings; the inherent
virtue of socialism is the
equal sharing of miseries.”
— Winston Churchill
11
Friday, November 06, 2015 00:06
Composite
 Jazz Inside Magazine
ISSN: 2150-3419 (print) • ISSN 2150-3427 (online)
November / December 2015 – Volume 7, Number 4
Cover Design by Shelly Rhodes
Cover Photo & photo at right of Frank Catalano
Courtesy of Frank Catalano
The graphic that appears under Jazz At Lincoln Center in the Jazz Music
Dashboard section on the cover is a CD box set of music by Billy Strayhorn
entitled Out Of The Shadows on Storyville Records

Publisher: Eric Nemeyer

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Editor: John R. Barrett, Jr.
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Contributing Artists: Shelly Rhodes
Contributing Photographers: Eric Nemeyer, Ken Weiss
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CONTENTS FEATURES 25 Aaron Irwin DeFrancesco; Scott DuBois;

CLUBS, CONCERTS, EVENTS 2 Frank Catalano — At The Conflu- 26 George Coleman — Maybe I Could Elevations; Amina Figarova; Gerry
13 Calendar of Events, Concerts, Festi- ence of Integrity, Excellence and Have Played Better Gibbs; Edwin G. Hamilton; Scott
vals and Club Performances Caring
REVIEWS OF RECORDINGS Hamilton & Jeff Hamilton; Ben
21 Clubs & Venue Listings INTERVIEWS
35 Bob Albanese; Ron Carter; Chick Monder; Kim Nalley; Nick Russo &
38 How To Connect With Jazz Inside 24 Richard Nelson
Corea & Bela Fleck; Joey Hot Jazz Jumpers

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Jazz Inside-2015-10_012-... Wednesday, November 04, 2015 18:54

page 2 Composite
 CALENDAR OF EVENTS
 Sarah Hayes at Swing 46, 8:30 PM. 349 W. 46th.
 John Zorn’s Dreamers feat. Jamie Saft at Village Vanguard,
178 7th Av S.
 John Pizzarelli/Jessica Molaskey at Cafe Carlyle, 8:45 PM. 35
E. 76th.
 Elio Villafranca 5 at National Sawdust, 9PM. 80 N. 6th St., Bklyn.
How to Get Your Gigs and Events Listed in Jazz Inside Magazine  Saul Rubin Zebtet at Fat Cat, 10PM. 75 Christopher.
 Zinc Nine Psychedelic feat. Nick Didkovsky at The Stone,
Submit your listings via e-mail to info@jazzinsidemagazine.com. Include date, times, location, 10PM. 2nd St. @ Avenue C.
phone, tickets/reservations. Deadline: 15th of the month preceding publication (Sep 15 for Oct)  Brittany Anjou 3 at Threes Brewing, 10PM. 333 Douglass,
(We cannot guarantee the publication of all calendar submissions.) Bklyn.

ADVERTISING: Reserve your ads to promote your events and get the marketing advantage of Friday, November 6
controlling your own message — size, content, image, identity, photos and more. Contact the
advertising department:  Ola Onabule at Minton’s, 6PM. 206 W. 116th.
 Sheryl Bailey 3 at 55 Bar, 7PM. 55 Christopher.
215-887-8880 | Advertising@JazzInsideMagazine.com  Henry Threadgill 3 feat. Vijay Iyer at Jazz Gallery, 7:30 and 9:30
PM. 1160 Broadway.

Sunday, November 1
 Dave Pietro’s NYU Ensemble at Blue Note, 11:30 AM and 1:30
PM. 131 W. 3rd St.
 Henry Butler/ Steven Bernstein 9 at Jazz Standard, 7:30 and
9:30 PM. 116 E. 27th.
 Dave Bromberg Big Band at South Orange Performing Arts
Center, 7:30 PM. 1 SOPAC Way, South Orange NJ.
 Kenny G at Blue Note, 8:00 and 10:30 PM. 131 W. 3rd St.
 Rahsaan Roland Kirk 80th Birthday Celebration feat. Steve
Turre, James Carter & Vincent Herring at Iridium, 8:00 and
10PM. 1650 Broadway.
 Heath Brothers at Village Vanguard, 178 7th Av S.

Monday, November 2
 Eric Person & Meta-Four at Blue Note, 8:00 and 10:30 PM. 131
W. 3rd St.
 Nora McCarthy 3 at Bar Next Door, 8:30 PM. 129 MacDougal.
 David Amram & Company at Cornelia St. Cafe, 8:30 PM. 29
Cornelia.

Tuesday, November 3
 Stanley Clarke at Blue Note, 8:00 and 10:30 PM. 131 W. 3rd St.
 John Zorn & Electric Masada feat. Marc Ribot at Village Van-
guard, 178 7th Av S.
 John Pizzarelli/Jessica Molaskey at Cafe Carlyle, 8:45 PM. 35
E. 76th.
 Jam Session w/Bill Todd at Club Bonafide, 9PM. 212 E. 52nd.
 Daan Kleijn 3 at Flatiron Room, 9PM. 37 W. 26th.

Wednesday, November 4
 Christian Sands 4 at Jazz Standard, 7:30 and 9:30 PM. 116 E.
27th.
 Stanley Clarke at Blue Note, 8:00 and 10:30 PM. 131 W. 3rd St.
 Ben Monder/Andrew Cyrille at Greenwich House, 8PM. 46
Barrow.
 Jazz at Lincoln Center Orchestra at NJ Performing Arts Cen-
ter, 8PM. 1 Center St., Newark NJ.
 John Zorn & Electric Masada feat. Marc Ribot at Village Van-
guard, 178 7th Av S.
 John Pizzarelli/Jessica Molaskey at Cafe Carlyle, 8:45 PM. 35
E. 76th.
 Valery Ponomarev Big Band at Zinc Bar, 10PM and 12:00 AM.
82 W. 3rd St.

Thursday, November 5
 Carol Welsman at Birdland, 6PM. 315 W. 44th.
 Ben Patterson 2 at Cleopatra’s Needle, 7PM. 2485 Broadway.
 Peter Zak 3 at Fat Cat, 7PM. 75 Christopher.
 Reissues & Creation of Mosaic Records: A Talk by Michael
Cuscuna at New School, 7PM. 55 W. 13th.
 Hugh Masekela/Larry Willis at Jazz Standard, 7:30 and 9:30
PM. 116 E. 27th.
 Stanley Clarke at Blue Note, 8:00 and 10:30 PM. 131 W. 3rd St.
 Bob Gingery Group feat. Jon Irabagon at Shapeshifter, 8:15
PM. 18 Whitwell, Bklyn.
 Benny Green 3 at Birdland, 8:30 and 11PM. 315 W. 44th. (Continued on page 14)
 Larry Corban, Harvie S, Bar Next Door, 8PM. 129 MacDougal.

To Advertise CALL: 215-887-8880 November 2015  Jazz Inside Magazine  www.JazzInsideMagazine.com 13

(Continued from page 13)
 Hugh Masekela/Larry Willis at Jazz Standard, 7:30 and 9:30
PM. 116 E. 27th.
 Tom Harrell 5 & BalletNext at NY Live Arts, 7:30 PM. 219 W.
19th.
 Greg Skaff 3 at Smalls, 7:30 PM. 183 W. 10th St.
 Mostly Other People Do the Killing at Barge Music, 8PM. Fulton
Ferry Landing, Bklyn.
 Stanley Clarke at Blue Note, 8:00 and 10:30 PM. 131 W. 3rd St.
 Jazz at Lincoln Center Orchestra at McCarter Theater, 8PM. 91
University Pl., Princeton NJ.
 Nikki Armstrong: Lady Sings the Blues at Trumpets, 8:00 and
10PM. 6 Depot Sq.,Montclair NJ.
 Lindsey Wilson & The Reckoning at Shapeshifter, 8:15 PM. 18
Whitwell, Bklyn.
 Benny Green 3 at Birdland, 8:30 and 11PM. 315 W. 44th.
 Ed Cherry at Jules Bistro, 8:30 PM. 65 St. Mark’s Pl.
 John Zorn’s Dreamers feat. Jamie Saft at Village Vanguard,
178 7th Av S.
 Jared Gold/Dave Gibson Band at Fat Cat, 10:30 PM. 75 Christo-
pher.
 Ian Hendrickson-Smith 4 at Smalls, 10:30 PM. 183 W. 10th St.
 Kevin Dorn & Big 72 at Garage, 10:45 PM. 99 7th Ave. S.
 Hot Jazz Jumpers at Pete’s Candy Store, 11PM. 709 Lorimer,
Bklyn.
Saturday, November 7
 Larry Newcomb 4 at Garage, 12:00 PM. 99 7th Ave. S.
 Dave Wilson 4 at Garage, 6:15 PM. 99 7th Ave. S.
 Emmet Cohen 3 at Shanghai Jazz, 6:15 PM. 24 Main St., Madi-
son NJ.
 James Moody Jazz Festival: Oliver Lake 4 at Bethany Baptist
Church, 7:30 PM. 275 W. Market, Newark NJ.
 Henry Threadgill 3 feat. Vijay Iyer at Jazz Gallery, 7:30 and 9:30
PM. 1160 Broadway.
 Hugh Masekela / Larry Willis at Jazz Standard, 7:30 and 9:30
PM. 116 E. 27th.
 Tom Harrell 5 & BalletNext at NY Live Arts, 7:30 PM. 219 W.
19th.
14 November 2015  Jazz Inside Magazine  www.JazzInsideMagazine.com
 Fukushi Tainaka 5 at Smalls, 7:30 PM. 183 W. 10th St.
 Mobius + Square Peg at Shapeshifter, 7:45 PM. 18 Whitwell,
Bklyn.
 Stanley Clarke at Blue Note, 8:00 and 10:30 PM. 131 W. 3rd St.
 Cyrus Chestnut 3 at Caramoor Center, 8PM. 149 Girdle Ridge
Rd., Katonah NY.
 Denton Darian 3 at Cleopatra’s Needle, 8PM. 2485 Broadway.
 Svetlana Shmulyian w/Seth Weaver Big Band at Club Bon-
afide, 8PM. 212 E. 52nd.
 Benny Green 3 at Birdland, 8:30 and 11PM. 315 W. 44th.
 John Zorn 3 feat. Milford Graves at Village Vanguard, 8:30 PM.
178 7th Ave. S.
 Maurice Brown Group at Sistas’ Place, 9:00 and 10:30 PM. 456
Nostrand, Bklyn.
 Christiania Cobean/Seth Weinstein: Fool’s Play at
Shapeshifter, 9:30 PM. 18 Whitwell, Bklyn.
 David Hazeltine 3 at Mezzrow, 9:30 PM. 163 W. 10th St.
 Crescent City Maulers at Swing 46, 9:30 PM. 349 W. 46th.
 John Zorn’s Asmodeus at Village Vanguard, 10:30 PM. 178 7th
Ave. S.
 Akiko Tsuruga 3 at Garage, 10:45 PM. 99 7th Ave. S.
 Annie Chen 3 at Tomi Jazz, 11PM. 239 E. 53rd.
 Damon Mendes at Blue Note, 12:30 AM. 131 W. 3rd St.
Sunday, November 8
 Juilliard Jazz Brunch at Blue Note, 11:30 AM and 1:30 PM. 131
W. 3rd St.
 Lou Caputo 4 at Garage, 11:30 AM. 99 7th Ave. S.
 Jeff Redd at Minton’s, 12:00 PM. 206 W. 116th.
 Ben Goldberg 3 Plays John Zorn’s Bagatelles at The Stone,
3:00 PM. 2nd St. @ Avenue C.
 James Moody Jazz Festival: Judy Carmichael 3 w/Harry Allen
at NJ Performing Arts Center, 4:00 and 7PM. 1 Center St.,
Newark NJ.
 Ike Sturm & Evergreen at St. Peter’s, 5:00 PM. 619 Lexington.
 Westchester Swing Band at 12 Grapes, 5:30 PM. 12 N. Division,
Peekskill NY.
 Ken Aldcroft 2 at Downtown Music Gallery, 6PM. 13 Monroe.
 Alyson Williams at Minton’s, 6PM. 206 W. 116th.
 Viv Corringham at Downtown Music Gallery, 7PM. 13 Monroe.
 Charles Waters 3 at Whynot Jazz Room, 7PM. 14 Christopher.
 Hugh Masekela/Larry Willis at Jazz Standard, 7:30 and 9:30
PM. 116 E. 27th.
 Pasquale Grasso at Mezzrow, 7:30 PM. 163 W. 10th St.
 Stanley Clarke at Blue Note, 8:00 and 10:30 PM. 131 W. 3rd St.
 John Zorn’s Asmodeus at Village Vanguard, 8:30 PM. 178 7th
Ave. S.
 Charles Waters 4 + Strings at Whynot Jazz Room, 8:30 PM. 14
Christopher.
Monday, November 9
 Jim Campilongo 3 at 55 Bar, 6PM. 55 Christopher.
 Organik Vibe Trio feat. Joel Frahm at 55 Bar, 7PM. 55 Christo-
pher.
 Lou Caputo Not So Big Band at Garage, 7PM. 99 7th Ave. S.
 Matt Kelly 4 at Shrine, 7PM. 2271 7th Ave.
 JMJF: Real Sinatra Songbook feat. Tom Wopat, Sue Raney &
Kevin Mahogany at NJ Performing Arts Center, 7:30 PM. 1
Center St., Newark NJ.
 Avi Rothbard 3 at Smalls, 7:30 PM. 183 W. 10th St.
 Acoustic Alchemy at Blue Note, 8:00 and 10:30 PM. 131 W. 3rd
St.
 Simon Mulligan 3 at Cornelia St. Cafe, 8:30 PM. 29 Cornelia.
 Justin Rothberg 3 at Jules Bistro, 8:30 PM. 65 St. Mark’s Pl.
 Rafal Sarnecki 6 at Whynot Jazz Room, 10PM. 14 Christopher.
 Will Terrill 3 at Garage, 10:30 PM. 99 7th Ave. S.
Tuesday, November 10
 Alicyn Yaffee at Bar Next Door, 6:30 PM. 129 MacDougal.
 Stan Killian 4 at 55 Bar, 7PM. 55 Christopher.
 Danilo Perez 3 at Jazz Standard, 7:30 and 9:30 PM. 116 E. 27th.
 Claudia Acuña at Mezzrow, 7:30 PM. 163 W. 10th St.
 Ehud Asherie 3 at Smalls, 7:30 PM. 183 W. 10th St.
 Stanley Clarke/Lenny White/George Cables at Blue Note, 8:00
and 10:30 PM. 131 W. 3rd St.
 Janice Friedman 3 at NYC Baha’i Center, 8:00 and 9:30 PM. 53
E. 11th St.
 Jon Irabagon 4 at Cornelia St. Cafe, 8:30 PM. 29 Cornelia.
 John Pizzarelli/Jessica Molaskey at Cafe Carlyle, 8:45 PM. 35
E. 76th.
 Peter Brainin Latin Jazz Workshop at Fat Cat, 9PM. 75 Christo-
pher.
Wednesday, November 11
 Frank Perowsky 3 at St. Peter’s, 1:00 PM. 619 Lexington.
 Modern Art Orchestra at Leonard Nimoy Thalia, Symphony
Space, 6:15 and 8:30 PM. 2537 Broadway.
 Dave Juarez 3 at Bar Next Door, 6:30 PM. 129 MacDougal.
 Roger Davidson at Caffe Vivaldi, 7:15 PM. 32 Jones.
 Danilo Perez 3 at Jazz Standard, 7:30 and 9:30 PM. 116 E. 27th.
 JMJF: Dorado Schmitt & Django Festival All Stars at NJ
Performing Arts Center, 7:30 PM. 1 Center St., Newark NJ.
 Hendrik Meurkens 4 at Smalls, 7:30 PM. 183 W. 10th St.
 Stanley Clarke/Lenny White/George Cables at Blue Note, 8:00
and 10:30 PM. 131 W. 3rd St.
 Poncho Sanchez at Birdland, 8:30 and 11PM. 315 W. 44th.
 Mostly Other People Do the Killing at Cornelia St. Cafe, 8:30
PM. 29 Cornelia.
 Angelica Sanchez 3 at Seeds, 8:30 PM. 617 Vanderbilt, Bklyn.
 Harold Mabern 3 at Fat Cat, 9:30 PM. 75 Christopher.
Thursday, November 12
 Charles Turner III at Minton’s, 6PM. 206 W. 116th.
 Dan Furman 3 at Cleopatra’s Needle, 7PM. 2485 Broadway.
 Samba de Gringo at Fat Cat, 7PM. 75 Christopher.
 Renee Manning at B. B. King’s, 7:00 and 9:30 PM. 237 W. 42nd.
 Michael Cuscuna Interviewed by Loren Schoenberg at Na-
tional Jazz Museum, 7PM. 104 E. 126th.
 Angelica Sanchez at Greenwich House, 7:30 PM. 46 Barrow.
 Danilo Perez 3 at Jazz Standard, 7:30 and 9:30 PM. 116 E. 27th.
 Vijay Iyer, Metropolitan Museum of Art, 7:30 PM. 1000 5th Ave.
 Rick Germanson 5 at Smalls, 7:30 PM. 183 W. 10th St.
 Stanley Clarke at Blue Note, 8:00 and 10:30 PM. 131 W. 3rd St.
 JMJF: Tony Bennett w/Antonia Bennett at NJ Performing Arts
Center, 8PM. 1 Center St., Newark NJ.
 Tom Zlabinger 4 feat. Nonoko Yoshida at The Stone, 8PM. 2nd
St. @ Avenue C.
 Steve Coleman at Village Vanguard, 178 7th Av S.
 John Pizzarelli/Jessica Molaskey at Cafe Carlyle, 8:45 PM. 35
E. 76th.
To Advertise CALL: 215-887-8880
JSjim1115 10/28/15 12:55 PM Page 1

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  Nick Hempton 4 at Smalls, 10:30 PM. 183 W. 10th St.
Friday, November 13
 Brian Owens at Minton’s, 6PM. 206 W. 116th.
 JMJF: All-State Jazz at NJ Performing Arts Center, 7PM. 1
Center St., Newark NJ.
 Danilo Perez 3 at Jazz Standard, 7:30 and 9:30 PM. 116 E. 27th.
 JMJF: Tony Bennett w/Antonia Bennett at NJ Performing Arts
Center, 8PM. 1 Center St., Newark NJ.
 Frank Piombo 5 at Trumpets, 7:30 and 9PM. 6 Depot Sq.,
Montclair NJ.
 Stanley Clarke at Blue Note, 8:00 and 10:30 PM. 131 W. 3rd St.
 Donald Smith 4 + Wallace Roney, Roberta Piket & others at
Cassandra’s, 8:00 and 10PM. 2256 7th Ave.
 Jon Anderson/Jean-Luc Ponty at NJ Performing Arts Center,
8PM. 1 Center St., Newark NJ.
 Matthew Shipp 2 + Ken Silverman 3 at St. John’s, 8PM. 81
Christopher.
 Narada Michael Walden at Iridium, 8:30 and 10:30 PM. 1650
Broadway.
 Brian Charette at Jules Bistro, 8:30 PM. 65 St. Mark’s Pl.
 Steve Coleman & 5 Elements at Village Vanguard, 178 7th Av
S.
 Gilad Hekselman 3 at Cornelia St. Cafe, 9:00 and 10:30 PM. 29
Cornelia.
 Melanie Goerlitz at Caffe Vivaldi, 9:30 PM. 32 Jones.
 Swingaroos at Metropolitan Room, 9:30 PM. 34 W. 22nd.
 Jovino Santos Neto 3 at Club Bonafide, 10PM. 212 E. 52nd.
 Eishin Nose Plays Works by Nonoko Yoshida at The Stone,
10PM. 2nd St. @ Avenue C.
 Rick Germanson 5 at Smalls, 10:30 PM. 183 W. 10th St.
 Peter Valera & The Jump Blues Band at Garage, 10:45 PM. 99
7th Ave. S.
Saturday, November 14
 Daniela Schaechter 3 at Garage, 12:00 PM. 99 7th Ave. S.
 Florian Schantz Jazz Combo at Fairfield Library, 1:00 PM. 261
Hollywood, Fairfield NJ.
 Leslie Pintchik 3 at Alvin & Friends, 7:30 PM. 14 Memorial
Hwy., New Rochelle NY.
 Arnon Palty 3 at Bar Next Door, 7:30 PM. 129 MacDougal.
 Danilo Perez 3 at Jazz Standard, 7:30 and 9:30 PM. 116 E. 27th.
 Sylvia Cuenca 4 at Smalls, 7:30 PM. 183 W. 10th St.
 Flying Home feat. Mike McGinniss: The Music of Benny Good-
man at Barbes, 8PM. 376 9th St., Bklyn.
 Stanley Clarke/Ron Carter at Blue Note, 8:00 and 10:30 PM. 131
W. 3rd St.
 George Coleman 5 + Andy Bey, Charles Davis & Bertha Hope
at Cassandra’s Jazz, 8:00 and 10PM. 2256 7th Ave.
 Lluis Capdevila at Cleopatra’s Needle, 8PM. 2485 Broadway.
 Andy Milne/Kevin Hays at Greenwich House, 8PM. 46 Barrow.
 Ottmar Leibert at Iridium, 8:00 and 10PM. 1650 Broadway.
 JMJF: Sharon Jones & Dap Kings + Dianne Reeves at NJ
Performing Arts Center, 8PM. 1 Center St., Newark NJ.
 Kazzrie Jaxen 4 at Trumpets, 8:00 and 10PM. 6 Depot Sq.,
Montclair NJ.
 Poncho Sanchez at Birdland, 8:30 and 11PM. 315 W. 44th.
 Steve Coleman & 5 Elements at Village Vanguard, 178 7th Av
S.
 John Pizzarelli/Jessica Molaskey at Cafe Carlyle, 8:45 and
10:45 PM. 35 E. 76th.
 Tom Chang 5 at Cornelia St. Cafe, 9:00 and 10:30 PM. 29
Cornelia.
 Victor Lin 2 at Knickerbocker Bar, 9PM. 33 University Pl.
November 2015  Rene McLean at Sistas’ Place, 9:00 and 10:30 PM. 456
Nostrand, Bklyn.
 10th — Janice Friedman Trio  Swingadelic at Swing 46, 9:30 PM. 349 W. 46th.
 17th—The Mike Longo Trio celebrates The Great
American Songbook
December 2015
Sunday, November 15
 JMJF: T.S. Monk 6 at NJ Performing Arts Center, 11:00 AM and
 1st — Pianist Paul Winston
1:00 PM. 1 Center St., Newark NJ.
 8th — Lou Volpe Group  Iris Ornig Reimagines Michael Jackson at Blue Note, 11:30 AM
and 1:30 PM. 131 W. 3rd St.
 Nicole Pasternak 3 at North Square, 12:30 and 2:15 PM. 103
Waverly Pl.
 JMJF: Sarah Vaughan Vocal Competition at NJ Performing
Arts Center, 3:00 PM. 1 Center St., Newark NJ.
 Roswell Rudd 80th Birthday Celebration at (Le) Poisson
Rouge, 3:00 PM. Artists include Steve Swell, Greg Glassman,
Steven Bernstein, Trombone Tribe Tribute, and others. 158
Bleecker.
 Uri Caine/John Medeski Play John Zorn’s Bagatelles at The
16 November 2015  Jazz Inside Magazine  www.JazzInsideMagazine.com
Stone, 3:00 PM. 2nd St. @ Avenue C.
 Jerry Dodgion Big Band at Shea Center, William Paterson
University, 4:00 PM. 300 Pompton Rd., Wayne NJ.
 Anderson Brothers at Smalls, 4:30 PM. 183 W. 10th St.
 Miles Griffith 4 at St. Peter’s, 5:00 PM. 619 Lexington.
 Danilo Perez 3 at Jazz Standard, 7:30 and 9:30 PM. 116 E. 27th.
 Marianne Solivan 4 at Smalls, 7:30 PM. 183 W. 10th St.
 Stanley Clarke/Ron Carter at Blue Note, 8:00 and 10:30 PM. 131
W. 3rd St.
 Honoring Bob Cranshaw at Cassandra’s, 8:00 and 10PM.
Artists include Louis Hayes, Dezron Douglas, Camille Thurman,
Jeremy Pelt, and others. 2256 7th Ave.
 PJF: Gregorio Uribe Big Band feat. Sofia Rei at Drom, 8PM. 85
Avenue A.
 Tim Daisy at I Beam, 8:30 PM. 168 7th St., Bklyn.
 Two of Us feat. Rhiannon at Shapeshifter, 8:30 PM. 18 Whitwell,
Bklyn.
 Felix & The Cats at Swing 46, 8:30 PM. 349 W. 46th.
 Steve Coleman & 5 Elements at Village Vanguard, 178 7th Av
S.
 Michael Attias 3 feat. Tim Daisy at I Beam, 9:30 PM. 168 7th St.,
Bklyn.
 Grant Stewart 3 feat. David Hazeltine at Mezzrow, 9:30 PM. 163
W. 10th St.
 Behn Gillece 4 at Smalls, 10:30 PM. 183 W. 10th St.
Monday, November 16
 Annie Chen 7 at Cornelia St. Cafe, 6PM. 29 Cornelia.
 Kenny Wessel at Lexington Hotel, 6PM. 511 Lexington.
 Bobby Katz 3 at Bar Next Door, 6:30 PM. 129 MacDougal.
 Mike Sariah Big Band at Garage, 7PM. 99 7th Ave. S.
 Nigel Hall feat. Eric Krasno & Guests at Blue Note, 8:00 and
10:30 PM. 131 W. 3rd St.
 Whitney James 3 at Bar Next Door, 8:30 PM. 129 MacDougal.
Tuesday, November 17
 Manuel Valera Electric Trio at 55 Bar, 7PM. 55 Christopher.
 Dominick Fairinacci: Short Stories at Dizzy’s Club Coca Cola,
7:30 and 9:30 PM. 10 Columbus Cir. #10.
 Romero Lubambo 4 at Jazz Standard, 7:30 and 9:30 PM. 116 E.
27th.
 Chano Dominguez 2 at Mezzrow, 7:30 PM. 163 W. 10th St.
 Roy Ayers at Blue Note, 8:00 and 10:30 PM. 131 W. 3rd St.
 Lew Tabackin at Club Bonafide, 8PM. 212 E. 52nd.
 Alicia Olatuja at Harlem Stage Gatehouse, 8PM. 150 Convent
Ave.
 Mike Longo 3: The Great American Songbook at NYC Baha’i
Center, 8:00 and 9:30 PM. 53 E. 11th St.
 Zeena Parkins/Nate Wooley at The Stone, 8PM. 2nd St. @
Avenue C.
 Ingrid Laubrock w/Tom Rainey at Threes Brewing, 8PM. 333
Douglass, Bklyn.
 Chad Taylor/Angelica Sanchez at Shapeshifter, 8:15 PM. 18
Whitwell, Bklyn.
 Satoko Fujii 4 at I Beam, 8:30 PM. 168 7th St., Bklyn.
 Kaspar Galli 3 at Jules Bistro, 8:30 PM. 65 St. Mark’s Pl.
 Tyshawn Sorey 3 at Village Vanguard, 178 7th Av S.
 John Pizzarelli/Jessica Molaskey at Cafe Carlyle, 8:45 PM. 35
E. 76th.
 John Benitez Group at Fat Cat, 9PM. 75 Christopher.
 Ralph Alessi 3 at Korzo, 9PM. 667 5th Ave., Bklyn.
 Mara Rosenbloom 3 at Shapeshifter, 9:30 PM. 18 Whitwell,
Bklyn.
 Lucas Pino No Net Nonet at Smalls, 9:30 PM. 183 W. 10th St.
 Evan Sherman Entourage at Dizzy’s Club Coca Cola, 11:15
PM. 10 Columbus Cir. #10.
Wednesday, November 18
 Maud Hixson/Rick Carlson at St. Peter’s, 1PM. 619 Lexington.
 Art Lillard 3 at Garage, 6PM. 99 7th Ave. S.
 Nicki Parrott/Rossano Sportiello at Shanghai Jazz, 7PM. 24
Main St., Madison NJ.
 Roger Davidson at Caffe Vivaldi, 7:15 PM. 32 Jones.
 James Morrison 4 feat. Marian Petrescu at Dizzy’s Club Coca
Cola, 7:30 and 9:30 PM. 10 Columbus Cir. #10.
 Philip Dizack 5 at Smalls, 7:30 PM. 183 W. 10th St.
 One More Once Big Band at Trumpets, 7:30 PM. 6 Depot Sq.,
Montclair NJ.
 Roy Ayers at Blue Note, 8:00 and 10:30 PM. 131 W. 3rd St.
 Alex LoRe 4 at Cornelia St. Cafe, 8:30 PM. 29 Cornelia.
 Mike Stern Band feat. Dennis Chambers & Randy Brecker at
Iridium, 8:30 and 10:30 PM. 1650 Broadway.
To Advertise CALL: 215-887-8880
 Tyshawn Sorey 3 at Village Vanguard, 178 7th Av S.
 Harold Mabern 3 at Smalls, 10:30 PM. 183 W. 10th St.
 Evan Sherman Entourage at Dizzy’s Club Coca Cola, 11:15
PM. 10 Columbus Cir. #10.
 Ned Goold at Fat Cat, 12:30 AM. 75 Christopher.
Thursday, November 19
 Laurin Talese at Minton’s, 6PM. 206 W. 116th.
 Tobias Meinhart 3 at Bar Next Door, 6:30 PM. 129 MacDougal.


Joel Forrester 2 at Cleopatra’s Needle, 7PM. 2485 Broadway.
NWF: Darcy James Ague’s Secret Society at Brooklyn Acad-
emy of Music, 7:30 PM. 651 Fulton, Bklyn.
 Fernando Knopf 5: Latin Power at Cafe Wha, 7:30 PM. 115
MacDougal.
 Bobby Sanabria Multiverse Big Band at Dizzy’s Club Coca
Cola, 7:30 and 9:30 PM. 10 Columbus Cir. #10.
 Revive Big Band at Ginny’s, 7:30 and 9:30 PM. 310 Lenox.
 Dave Douglas 5 at Jazz Standard, 7:30 and 9:30 PM. 116 E. 27th.
 Oz Noy 4 at Smalls, 7:30 PM. 183 W. 10th St.
 Roy Ayers at Blue Note, 8:00 and 10:30 PM. 131 W. 3rd St.
 Joe Alterman at Caffe Vivaldi, 8:15 PM. 32 Jones.
 Mike Stern Band feat. Dennis Chambers & Randy Brecker at
Iridium, 8:30 and 10:30 PM. 1650 Broadway.
 Taylor Eigsti/Becca Stevens at Mezzrow, 9:30 PM. 163 W. 10th
St.
 Tim O’Dell/Richard Nelson & Pursuit at Shapeshifter, 9:30 PM.
18 Whitwell, Bklyn.
 Brian Charette 3 at Smalls, 10:30 PM. 183 W. 10th St.
 Evan Sherman Big Band at Dizzy’s Club Coca Cola, 11:15 PM.
10 Columbus Cir. #10.
 Avi Rothbard at Fat Cat, 1:30 AM. 75 Christopher.
Friday, November 20
 Pete Rodriguez at Minton’s, 6PM. 206 W. 116th.
 James Hall 6 feat. Sharel Cassity & Jamie Baum at
Shapeshifter, 7PM. 18 Whitwell, Bklyn.
 Michael Valeanu 3 at Bar Next Door, 7:30 PM. 129 MacDougal.
 NWF: Darcy James Ague’s Secret Society at Brooklyn Acad-
emy of Music, 7:30 PM. 651 Fulton, Bklyn.
 Bobby Sanabria Multiverse Big Band at Dizzy’s Club Coca
Cola, 7:30 and 9:30 PM. 10 Columbus Cir. #10.
 Adam O’Farrill 4 at Jazz Gallery, 7:30 and 9:30 PM. 1160 Broad-
way.
 Dave Douglas 5 at Jazz Standard, 7:30 and 9:30 PM. 116 E. 27th.
 David Schnitter 4 at Smalls, 7:30 PM. 183 W. 10th St.
 Roy Ayers at Blue Note, 8:00 and 10:30 PM. 131 W. 3rd St.
 Mike Stern Band feat. Dennis Chambers & Randy Brecker at
Iridium, 8:30 and 10:30 PM. 1650 Broadway.
 Tyshawn Sorey 3 at Village Vanguard, 178 7th Av S.
 George Garzone 5 at Cornelia St. Cafe, 9:00 and 10:30 PM. 29
Cornelia.
 Buster Williams/Renee Rosnes at Mezzrow, 9:30 PM. 163 W.
10th St.
 Michael Weiss Group at Smalls, 10:30 PM. 183 W. 10th St.
 Evan Sherman Entourage at Dizzy’s Club Coca Cola, 11:15
PM. 10 Columbus Cir. #10.
Saturday, November 21
 Jazz at Lincoln Center Orchestra: Who Is Duke Ellington at
Sharp Theatre, Symphony Space, 11:00 AM and 1:00 PM. 2537
Broadway.
 Bobby Sanabria & Ascensión at El Museo del Barrio, 4:00 PM.
1230 5th Ave.
 Bill Stevens at Lexington Hotel, 6PM. 511 Lexington.
 David Schnitter 5 at Fat Cat, 7PM. 75 Christopher.
 Quentin Angus 3 at Bar Next Door, 7:30 PM. 129 MacDougal.
 NWF: Darcy James Ague’s Secret Society at Brooklyn Acad-
emy of Music, 7:30 PM. 651 Fulton, Bklyn.
 Bobby Sanabria Multiverse Big Band at Dizzy’s Club Coca
Cola, 7:30 and 9:30 PM. 10 Columbus Cir. #10.
 Dave Liebman at Jazz Gallery, 7:30 and 9:30 PM. 1160 Broad-
way.
 Dave Douglas 5 at Jazz Standard, 7:30 and 9:30 PM. 116 E. 27th.
 Tom Dempsey/Tim Ferguson at Smalls, 7:30 PM. 183 W. 10th
St.
 Roy Ayers at Blue Note, 8:00 and 10:30 PM. 131 W. 3rd St.
 Yaacov Mayman 3 at Cleopatra’s Needle, 8PM. 2485 Broadway.
 Take Off Collective feat. Matt Garrison at Shapeshifter, 8PM.
18 Whitwell, Bklyn.
 Mike Stern Band feat. Dennis Chambers & Randy Brecker at
Iridium, 8:30 and 10:30 PM. 1650 Broadway.
 Tyshawn Sorey 3 at Village Vanguard, 178 7th Av S.
To Advertise CALL: 215-887-8880 November 2015  Jazz Inside Magazine  www.JazzInsideMagazine.com
 George Garzone & The Fringe at Cornelia St. Cafe, 9:00 and
10:30 PM. 29 Cornelia.
 Akua Dixon 4 at Sistas’ Place, 9:00 and 10:30 PM. 456
Nostrand, Bklyn.
 Buster Williams/Renee Rosnes at Mezzrow, 9:30 PM. 163 W.
10th St.
 Michael Weiss Group at Smalls, 10:30 PM. 183 W. 10th St.
 Evan Sherman Big Band at Dizzy’s Club Coca Cola, 11:15 PM.
10 Columbus Cir. #10.
 Alexis Hightower at Blue Note, 12:30 AM. 131 W. 3rd St.
Sunday, November 22
 Iris Ornig 4 at Garage, 11:30 AM. 99 7th Ave. S.
 Minton’s Players at Minton’s, 12:00 PM. 206 W. 116th.
 NWF: Darcy James Ague’s Secret Society at Brooklyn Acad-
emy of Music, 3:00 PM. 651 Fulton, Bklyn.
 Nate Birkey at 55 Bar, 6PM. 55 Christopher.
 Ben Goldberg 3 at Downtown Music Gallery, 6PM. 13 Monroe.
 Guillermo Gregorio 2 at Downtown Music Gallery, 7PM. 13
Monroe.
 Bobby Sanabria Multiverse Big Band at Dizzy’s Club Coca
Cola, 7:30 and 9:30 PM. 10 Columbus Cir. #10.
 Dave Douglas 5 at Jazz Standard, 7:30 and 9:30 PM. 116 E. 27th.
 Roy Ayers at Blue Note, 8:00 and 10:30 PM. 131 W. 3rd St.
 James Langton’s All Star Band at Swing 46, 8:30 PM. 349 W.
46th.
 Tyshawn Sorey 3 at Village Vanguard, 178 7th Av S.
 Wayne Krantz 3 at 55 Bar, 9:30 PM. 55 Christopher.
 Joel Frahm Group at Smalls, 10:30 PM. 183 W. 10th St.
 Mauricio DeSouza 3 at Garage, 11PM. 99 7th Ave. S.
Monday, November 23
 Gioel Severini 3 at Bar Next Door, 6:30 PM. 129 MacDougal.
 Manhattan School of Music: Maiden Voyage Suite at Dizzy’s
Club Coca Cola, 7:30 and 9:30 PM. 10 Columbus Cir. #10.
 Rale Micic 4 at Smalls, 7:30 PM. 183 W. 10th St.
 Gato Barbieri at Blue Note, 8:00 and 10:30 PM. 131 W. 3rd St.
 Alice Ricciardi 3 at Bar Next Door, 8:30 PM. 129 MacDougal.
 Dave Lopato 4 at Cornelia St. Cafe, 8:30 PM. 29 Cornelia.
 Stanley Jordan Acoustic at Iridium, 8:30 and 10:30 PM. 1650
Broadway.
 David Hazeltine & Guest at Mezzrow, 9:30 PM. 163 W. 10th St.
 Wayne Krantz 3 at 55 Bar, 10PM. 55 Christopher
Tuesday, November 24
 Jorge Sylvester & ACE Collective at Rendall Presbyterian
Church, 12:00 PM. 59 W. 137th.
 Max Johnson 3 feat. Ben Goldberg at Barbes, 7PM. 376 9th St.,
Bklyn.
 Afro Bop Alliance at Club Bonafide, 7:30 PM. 212 E. 52nd.
 Wycliffe Gordon & Friends at Dizzy’s Club Coca Cola, 7:30 and
9:30 PM. 10 Columbus Cir. #10.
 Maria Schneider Orchestra at Jazz Standard, 7:30 and 9:30 PM.
116 E. 27th.
 Bob Dorough 2 at Mezzrow, 7:30 PM. 163 W. 10th St.
 Roy Haynes at Blue Note, 8:00 and 10:30 PM. 131 W. 3rd St.
 Steve Swell Trombone Trio feat. Joe McPhee at The Stone,
8PM. 2nd St. @ Avenue C.
 Stanley Jordan 3 at Iridium, 8:30 and 10:30 PM. 1650 Broadway.
 Jason Moran & The Bandwagon at Village Vanguard, 178 7th
Av S.
 John Pizzarelli/Jessica Molaskey at Cafe Carlyle, 8:45 PM. 35
E. 76th.
 Josh Evans 4 at Smalls, 9:30 PM. 183 W. 10th St.
 Mathis Picard at Dizzy’s Club Coca Cola, 11:15 PM. 10 Colum-
bus Cir. #10.
Wednesday, November 25
 Beegie Adair at St. Peter’s, 1:00 PM. 619 Lexington.
 Marc Devine 3 at Garage, 6PM. 99 7th Ave. S.
 Andrea Veneziani at Lexington Hotel, 6PM. 511 Lexington.
 Michael Vitali 3 at Bar Next Door, 6:30 PM. 129 MacDougal.
 Paul Jost 4 at 55 Bar, 7PM. 55 Christopher.
 Wycliffe Gordon & Friends at Dizzy’s Club Coca Cola, 7:30 and
9:30 PM. 10 Columbus Cir. #10.
 Maria Schneider Orchestra at Jazz Standard, 7:30 and 9:30 PM.
116 E. 27th.
 Ken Peplowski/Rossano Sportiello at Mezzrow, 7:30 PM. 163
W. 10th St. (Continued on page 18)
 Roy Haynes at Blue Note, 8:00 and 10:30 PM. 131 W. 3rd St.
17
(Continued from page 17)
 Diane Marino 4 feat. Ralph Lalama at Club Bonafide, 8PM. 212
E. 52nd.
 Tobias Meinhart 5 feat. Ingrid Jensen at Cornelia St. Cafe, 8:30
PM. 29 Cornelia.
 Jason Moran & The Bandwagon at Village Vanguard, 178 7th
Av S.
 James Ilgenfritz/Steve Swell at The Stone, 10PM. 2nd St. @
Avenue C.
 Lee Metcalf 3 at Garage, 10:30 PM. 99 7th Ave. S.
 Craig Wuepper 4 at Smalls, 10:30 PM. 183 W. 10th St.
 Mathis Picard at Dizzy’s Club Coca Cola, 11:15 PM. 10 Colum-
bus Cir. #10.
Thursday, November 26
 Larry Newcomb 4 at Garage, 1:00 PM. 99 7th Ave. S.
 Bertha Hope/ Kim Clarke at Minton’s, 1:00 PM. 206 W. 116th.
 Champian Fulton 4 at Garage, 6PM. 99 7th Ave. S.
 Wycliffe Gordon & Friends at Dizzy’s Club Coca Cola, 7PM. 10
Columbus Cir. #10.
 Terence Blanchard & E-Collective at Blue Note, 8:00 and 10:30
PM. 131 W. 3rd St.
 Cyrille Aimee at Birdland, 8:30 and 11PM. 315 W. 44th.
 Jason Moran & The Bandwagon at Village Vanguard, 178 7th
Av S.
 John Pizzarelli/Jessica Molaskey at Cafe Carlyle, 8:45 PM. 35
E. 76th.
Friday, November 27
 Melissa Hamilton 2 at Lexington Hotel, 6PM. 511 Lexington.
 Melba Joyce at Minton’s, 6PM. 206 W. 116th.
 Steve Turre 4 at Shanghai Jazz, 6:30 PM. 24 Main St., Madison
NJ.
 Jimi Hendrix Birthday Tribute feat. Larry Coryell’s Eleventh
House at B. B. King’s, 7PM. Artists include Alphonse Mouzon,
Randy Brecker, and others. 237 W. 42nd.
 Wycliffe Gordon & Friends at Dizzy’s Club Coca Cola, 7:30 and
9:30 PM. 10 Columbus Cir. #10.
 Jeff ‘Tain’ Watts & The Strain at Jazz Gallery, 7:30 and 9:30
PM. 1160 Broadway.
 Maria Schneider Orchestra at Jazz Standard, 7:30 and 9:30 PM.
116 E. 27th.
 Wallace Roney at Joe’s Pub, 7:30 PM. 425 Lafayette.
 Ehud Asherie at Mezzrow, 7:30 PM. 163 W. 10th St.
 Sebastián Chames 5 at Smalls, 7:30 PM. 183 W. 10th St.
 Terence Blanchard & E-Collective at Blue Note, 8:00 and 10:30
PM. 131 W. 3rd St.
 C.J. Everett Kazu at Cleopatra’s Needle, 7PM. 2485 Broadway.
 Jason Moran at Village Vanguard, 178 7th Av S.
 Warren Chiasson at Knickerbocker Bar, 9PM. 33 University Pl.
 Steve Swell 4 feat. Larry Ridley at The Stone, 10PM. 2nd St. @
Avenue C.
 Mathis Picard at Dizzy’s Club Coca Cola, 11:15 PM. 10 Colum-
bus Cir. #10.
 Yoojin Park 5 at Blue Note, 12:30 AM. 131 W. 3rd St.
 Lawrence Leathers 3 at Smalls, 1:30 AM. 183 W. 10th St.
Saturday, November 28
 Martina DaSilva 4 at Lambs Club, 11:00 AM. 132 W. 44th.
 Daryl Sherman at Cafe Noctambulo, 12:00 and 2:00 PM. 178 2nd
Ave.
 Marsha Heydt at Garage, 12:00 PM. 99 7th Ave. S.
 Marco Chelo at Lexington Hotel, 6PM. 511 Lexington.
 Simona Premazzi at Minton’s, 6PM. 206 W. 116th.
 Champian Fulton 4 at Garage, 6:15 PM. 99 7th Ave. S.
 Steve Turre 4 at Shanghai Jazz, 6:15 PM. 24 Main, Madison NJ.
 Ann Hampton Callaway Celebrates Women Songwriters at 54
Below, 7PM. 254 W. 54th.
 Yael & Gabriel: Edith Piaf Special at Cafe Wha, 7PM. 115
MacDougal.
 Greg Murphy at Lorenzo’s, 7PM. 1100 South Ave., Staten Island.
 Dinah Vero at Alvin & Friends, 7:30 PM. 14 Memorial Hwy., New
Rochelle NY.
 Jostein Gulbrandsen 3 at Bar Next Door, 7:30 PM. 129 Mac-
Dougal.
 Rio 65 Trio feat. Dom Salvador at Zankel Auditorium, Carnegie
Hall, 7:30 PM. 57th @ 7th Ave.
 Wycliffe Gordon & Friends at Dizzy’s Club Coca Cola, 7:30 and
9:30 PM. 10 Columbus Cir. #10.
 Jeff ‘Tain’ Watts & The Strain at Jazz Gallery, 7:30 and 9:30
PM. 1160 Broadway.
 Maria Schneider Orchestra at Jazz Standard, 7:30 and 9:30 PM.
116 E. 27th.
 Spike Wilner & Guest at Mezzrow, 7:30 PM. 163 W. 10th St.
 Chris Byars Group at Smalls, 7:30 PM. 183 W. 10th St.
 Ben Holmes/Patrick Farrell at Barbes, 8PM. 376 9th St., Bklyn.
 Terence Blanchard & E-Collective at Blue Note, 8:00 and 10:30
PM. 131 W. 3rd St.
 Ken Simon 3 at Cleopatra’s Needle, 8PM. 2485 Broadway.
 Eddie Palmieri Salsa Orchestra, B. B. King’s, 8PM. 237 W.
42nd.
 Wayne Horvitz at Roulette, 8PM. 509 Atlantic, Bklyn.
 Mozayik at Shapeshifter, 8PM. 18 Whitwell, Bklyn.
 Giants Of Jazz: Honoring George Cables at South Orange
Performing Arts Center, 8PM. Guests include Gary Bartz, Larry
Coryell, Jimmy Heath, Vic Juris, Buster Williams, and others. 1
SOPAC Way, South Orange NJ.
 Steve Swell 4 feat. Marty Ehrlich at The Stone, 8PM. 2nd St. @
Avenue C.
 Emi Takada 3 at Tomi Jazz, 8PM. 239 E. 53rd.
 Enrico Granafei 4 at Trumpets, 8:00 and 10PM. 6 Depot Sq.,
Montclair NJ.
 Cyrille Aimee at Birdland, 8:30 and 11PM. 315 W. 44th.
 Luke Franco at Jules Bistro, 8:30 PM. 65 St. Mark’s Pl.
 Jason Moran, Village Vanguard, 178 7th Av S.
 John Pizzarelli/Jessica Molaskey at Cafe Carlyle, 8:45 and
10:45 PM. 35 E. 76th.
 Susan Tobocman at Flatiron Room, 9PM. 37 W. 26th.
 Warren Chiasson 2, Knickerbocker Bar, 9PM. 33 University Pl.
 69th St. Band at Paris Blues, 9PM. 2021 7th Ave.
 Kenny Werner/Scott Colley at Mezzrow, 9:30 PM. 163 W. 10th
St.
 Mitch Woods at Swing 46, 9:30 PM. 349 W. 46th.
 Dawn Drake & Zapote at Silvana, 10PM. 300 W. 116th.
 Steve Swell.Connie Crothers + Poetry by Steve Dalachinsky at
The Stone, 10PM. 2nd St. @ Avenue C.
 George Burton 5 at Smalls, 10:30 PM. 183 W. 10th St.
 Mathis Picard at Dizzy’s Club Coca Cola, 11:15 PM. 10 Colum-
bus Cir. #10.
 Blue Project feat. Frank Lacy at Bitter End, 1:00 AM. 147
Bleecker.
 Brooklyn Circle at Smalls, 1:30 AM. 183 W. 10th St.

Sunday, November 29
YOU REALLY COULD BE GETTING A  Kyoko Oyobe 3 at Garage, 11:30 PM. 99 7th Ave. S.
 Lauren Henderson at Minton’s, 12:00 PM. 206 W. 116th.

LOT MORE PRINT, DIGITAL AND  Kelsey Jillette 3 at North Square, 12:30 and 2:15 PM. 103
Waverly Pl.
 Mark Feldman/Sylvie Courvoisier Play John Zorn’s Bagatelles

BROADCAST MEDIA PLACEMENTS

at The Stone, 3:00 PM. 2nd St. @ Avenue C.
 Andrew Hartman 4 at St. Peter’s, 5:00 PM. 619 Lexington.
 Matt Lavelle/Reggie Sylvester at Downtown Music Gallery,
6PM. 13 Monroe.
 Raine Torae at Minton’s, 6PM. 206 W. 116th.
 Carl Burnett at Silvana, 6PM. 300 W. 116th.

Wanna Get Your Next

 Zack Foley 4 at Club Bonafide, 7PM. 212 E. 52nd.
 Dissipated Face feat. Daniel Carter at Downtown Music Gal-
lery, 7PM. 13 Monroe.

Press Release and Video Press Release

 Nona Hendryx Presents Parallel Lives: Billie Holiday & Edith
Piaf at Joe’s Pub, 7:00 and 9:30 PM. 425 Lafayette.
 Take the A Train: Billy Strayhorn Centennial at Dizzy’s Club

Onto Page One Searches

Coca Cola, 7:30 and 9:30 PM. 10 Columbus Cir. #10.
 Maria Schneider Orchestra at Jazz Standard, 7:30 and 9:30 PM.
116 E. 27th.

In 27 Minutes?
 Bucky Pizzarelli/Ed Laub at Mezzrow, 7:30 PM. 163 W. 10th St.
 Ron Aprea Big Band w/Angela DeNiro at Trumpets, 7:30 and
9PM. 6 Depot Sq., Montclair NJ.
 Terence Blanchard & E-Collective at Blue Note, 8:00 and 10:30
PM. 131 W. 3rd St.
 Michael Arenella 5 at Lucey’s Lounge, 8PM. 475 3rd Ave., Bklyn.
 Frode Gjerstad 3 + Steve Swell at The Stone, 8:00 and 10PM.
2nd St. @ Avenue C.
 Mauricio Zottarelli 4 at Cornelia St. Cafe, 8:30 PM. 29 Cornelia.
 Eric Plaks at Jules Bistro, 8:30 PM. 65 St. Mark’s Pl.
 Vanessa Trouble: Red Hot Swing, Swing 46, 8PM. 349 W. 46th.
 Jason Moran at Village Vanguard, 178 7th Av S.

Monday, November 30
 Luca Santaniello at Lexington Hotel, 6PM. 511 Lexington.
 Valentina Marino at Shrine, 6PM. 2271 7th Ave.

VideoPressReleaser.com  215-887-8880
 Joe Breidenstine 5 at Silvana, 6PM. 300 W. 116th.

(Continued on page 20)

18 November 2015  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880
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 NanJo Lee 3 at Bar Next Door, 6:30 PM. 129 MacDougal.
 Eyal Vilner Big Band at Garage, 7PM. 99 7th Ave. S.
 David Aaron 3 at Whynot Jazz Room, 7PM. 14 Christopher.
 Berklee Global Jazz Ambassador feat. John Patitucci at
Dizzy’s Club Coca Cola, 7:30 and 9:30 PM. 10 Columbus Cir.
 Jessica Care Moore at Blue Note, 8PM. 131 W. 3rd St.
 Lionel Hampton Big Band feat. Jason Marsalis at
Shapeshifter, 8:00 and 9:30 PM. 18 Whitwell, Bklyn.
 Johnathan Blake/Joe Dyson at Seeds, 9PM. 617 Vanderbilt,
Bklyn.
 Eric Alexander/Harold Mabern at Mezzrow, 9:30 PM. 163 W.
10th St.
 Funkaholics Anonymous: Funk Jam Session at Silvana, 10PM.
300 W. 116th.
 Burak Bedikyan at Whynot Jazz Room, 10PM. 14 Christopher.
 Jaleel Shaw at Blue Note, 10:30 PM. 131 W. 3rd St.
 Chris Carroll 3 at Garage, 11:30 PM. 99 7th Ave. S.
Tuesday, December 1
 MSM Afro-Latin Jazz Orchestra at Dizzy’s Club Coca Cola,
7:30 and 9:30 PM. 10 Columbus Cir. #10.
 Lionel Hampton Big Band at South Orange Performing Arts
Center, 7:30 PM. 1 SOPAC Way, South Orange NJ.
 Fourplay at Blue Note, 8:00 and 10:30 PM. 131 W. 3rd St.
 Paul Winston at NYC Baha’i Center, 8:00 and 9:30 PM. 53 E.
11th St.
 Christian McBride 3 at Village Vanguard, 178 7th Av S.
 Steve Tyrell at Cafe Carlyle, 8:45 PM. 35 E. 76th.
 Corey Wilcox at Dizzy’s Club Coca Cola, 11:15 PM. 10 Colum-
bus Cir. #10.
Wednesday, December 2
 Javon Jackson at National Jazz Museum, 7PM. 104 E. 126th.
 Etienne Charles’ Creole Christmas at Dizzy’s Club Coca Cola,
7:30 and 9:30 PM. 10 Columbus Cir. #10.
 Arturo Sandoval: Dear Diz – A Tribute to Dizzy Gillespie at
92nd St. Y, 8PM. Lexington @ 92nd.
 Fourplay at Blue Note, 8:00 and 10:30 PM. 131 W. 3rd St.
 Paul Winston at NYC Baha’i Center, 8:00, 9:30 PM. 53 E. 11th St.
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20 November 2015  Jazz Inside Magazine  www.JazzInsideMagazine.com
 Christian McBride 3 at Village Vanguard, 178 7th Av S.
 Emily Wolf Project at Pianos, 9PM. 158 Ludlow.
 Corey Wilcox at Dizzy’s Club Coca Cola, 11:15 PM. 10 Colum-
bus Cir. #10.
Thursday, December 3
 On Sammy Cahn: Harvey Granat & Will Friedwald w/David
Lahm at 92nd St. Y, 12:00 PM. Lexington @ 92nd.
 Allan Harris w/Eric Reed 3: Songs of Strayhorn at Dizzy’s Club
Coca Cola, 7:30 and 9:30 PM. 10 Columbus Cir. #10.
 Fourplay at Blue Note, 8:00 and 10:30 PM. 131 W. 3rd St.
 Aki Ishiguro 3 at Bar Next Door, 8:30 PM. 129 MacDougal.
 Richard Bona at Iridium, 8:30 and 10:30 PM. 1650 Broadway.
 Christian McBride 3 at Village Vanguard, 178 7th Av S.
 Corey Wilcox at Dizzy’s Club Coca Cola, 11:15 PM. 10 Colum-
bus Cir. #10.
Friday, December 4
 Jon Irabagon 3 at Bar Next Door, 7:30 PM. 129 MacDougal.
 Allan Harris w/Eric Reed 3: Songs of Strayhorn at Dizzy’s Club
Coca Cola, 7:30 and 9:30 PM. 10 Columbus Cir. #10.
 Fourplay at Blue Note, 8:00 and 10:30 PM. 131 W. 3rd St.
 Matt Baker 3 at Cleopatra’s Needle, 8PM. 2485 Broadway.
 Richard Bona at Iridium, 8:30 and 10:30 PM. 1650 Broadway.
 Christian McBride 3 at Village Vanguard, 178 7th Av S.
 Steve Tyrell at Cafe Carlyle, 8:45 PM. 35 E. 76th.
 Valerie Capers 2 at Knickerbocker Bar, 9PM. 33 University Pl.
 Corey Wilcox at Dizzy’s Club Coca Cola, 11:15 PM. 10 Colum-
bus Cir. #10.
 James Francies’ Kinetic at Blue Note, 12:30 AM. 131 W. 3rd St.
Saturday, December 5
 Allan Harris w/Eric Reed 3: Songs of Strayhorn at Dizzy’s Club
Coca Cola, 7:30 and 9:30 PM. 10 Columbus Cir. #10.
 Fourplay at Blue Note, 8:00 and 10:30 PM. 131 W. 3rd St.
 Christian McBride 3 at Village Vanguard, 178 7th Av S.
 Steve Tyrell at Cafe Carlyle, 8:45 and 10:45 PM. 35 E. 76th.
 Valerie Capers 2 at Knickerbocker Bar, 9PM. 33 University Pl.
 Charles Tolliver at Sistas’ Place, 9:00 and 10:30 PM. 456
Nostrand, Bklyn.
 Corey Wilcox at Dizzy’s Club Coca Cola, 11:15 PM. 10 Colum-
bus Cir. #10.
REGULAR GIGS
Mon (11/2, 11/9, 11/16, 11/23, 11/30)
 Earl Rose at Bemelmans, 5:30 PM. 35 E. 76th.
 Max Weinberg 5 (except 11/9) at Rainbow Room, 6PM. 30
Rockefeller Plz.
 Mingus Big Band at Jazz Standard, 7:30,9:30 PM. 116 E. 27th.
 Vince Giordano & The Nighthawks (except 11/9) at Iguana,
8PM. 240 W. 54th.
 Max Weinberg Orchestra (except 11/9) at Rainbow Room, 8:30
PM. 30 Rockefeller Plz.
 Swingadelic at Swing 46, 8:30 PM. 349 W. 46th.
 Vanguard Jazz Orchestra at Village Vanguard, 178 7th Av S.
 Woody Allen & Eddy Davis New Orleans Jazz Band at Cafe
Carlyle, 8:45 PM. 35 E. 76th.
 Ari Hoenig 3 at Smalls, 10:30 PM. 183 W. 10th St.
Tuesdays (11/3, 11/10, 11/17, 11/24)
 Chris Gillespie at Bemelmans, 5:30 PM. 35 E. 76th.
 Michael Arenella 4 at Algonquin Hotel, 7PM. 59 W. 44th.
 Spike Wilner 3 at Smalls, 7:30 PM. 183 W. 10th St.
 Vince Giordano & The Nighthawks at Iguana, 8PM. 240 W. 54th.
 David Budway 3 at Bemelmans, 9:30 PM. 35 E. 76th.
 Annie Ross at Metropolitan Room, 9:30 PM. 34 W. 22nd.
Wed (11/4, 11/11, 11/18, 11/25)
 Louis Armstrong Eternity Band, Birdland, 5:30 PM. 315 W. 44th.
 Minton’s Players at Minton’s, 6PM. 206 W. 116th.
 Stan Rubin Orchestra at Swing 46, 7:15 PM. 349 W. 46th.
 Jonathan Kreisberg, Bar Next Door, 8:30 PM. 129 MacDougal.
Thu (11/5, 11/12, 11/19, 11/26)
 Spike Wilner at Mezzrow, 7:30 PM. 163 W. 10th St.
 David Budway 3 at Bemelmans, 9:30 PM. 35 E. 76th.
 Jam Session at Smalls, 1:30 AM. 183 W. 10th St.
Fri (11/6, 11/13, 11/20, 11/27)


Birdland Big Band at Birdland, 5:15 PM. 315 W. 44th.
T. K. Blue (ex 11/13) at Cassandra’s, 9PM, 11PM. 2256 7th Ave.
 Melvin Vines Jazz Machine at Paris Blues, 9PM. 2021 7th Ave.
 David Budway 3 at Bemelmans, 9:30 PM. 35 E. 76th.
Sat (11/7, 11/14, 11/21, 11/28)
 Barbara Carroll (except 11/14) at Birdland, 6PM. 315 W. 44th.
 Eri Yamamoto 3 at Arthur’s Tavern, 7PM. 57 Grove.
 Spike Wilner & Guest at Mezzrow, 7:30 PM. 163 W. 10th St.
 T.K. Blue (except 11/14) at Cassandra’s Jazz, 9:00 and 11PM.
2256 7th Ave.
 David Budway 3 at Bemelmans, 9:30 PM. 35 E. 76th.
Sun (11/1, 11/8, 11/15, 11/22, 11/29)
 Marion Cowings Vocal Class at Smalls, 1:00 PM. 183 W. 10th St.
 Jazz for Kids: Jazz Standard Youth Orchestra at Jazz Stan-
dard, 2:00 PM. 116 E. 27th.
 Keith Ingham at Cleopatra’s Needle, 4:00 PM. 2485 Broadway.
 Terry Waldo at Fat Cat, 6PM. 75 Christopher.
 David Coss 4 at Garage, 6:30 PM. 99 7th Ave. S.
 Johnny O’Neal 3 (except 11/15 and 11/22) at Smalls, 7:30 PM.
183 W. 10th St.
 Peter Mazza 3 at Bar Next Door, 8PM. 129 MacDougal.
 Aimee Allen 3 (except 11/8 and 11/29) at Jules Bistro, 8:30 PM.
65 St. Mark’s Pl.
 Arturo O’Farrill Afro Latin Jazz Orchestra (except 11/22) at
Birdland, 9:00 and 11PM. 315 W. 44th.

To Advertise CALL: 215-887-8880
 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
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
Bar Lunatico, 486 Halsey St., Brooklyn. 718-513-0339.
222.barlunatico.com
Bar Urbo, 42nd St. @ 8th Ave. (212) 842-8950.
www.thesalon.biz/gothamjazz/index.htm
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
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
Cassandra’s Jazz, 2256 7th Avenue. 917-435-2250. cassandras-
jazz.com
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-
“A system of morality
which is based on relative
emotional values is a mere
illusion, a thoroughly vulgar
conception which has nothing
sound in it and nothing true.”
— Socrates — Anton Chekhov
To Advertise CALL: 215-887-8880 November 2015  Jazz Inside Magazine  www.JazzInsideMagazine.com
769-6969, cleopatrasneedleny.com
Club Bonafide, 212 W. 52nd, 646-918-6189. clubbonafide.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, 212-691-1900
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
Gin Fizz, 308 Lenox Ave, 2nd floor. (212) 289-2220.
www.ginfizzharlem.com
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
Green Growler, 368 S, Riverside Ave., Croton-on-Hudson NY.
914-862-0961. www.thegreengrowler.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
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
Indian Road Cafe, 600 W. 218th St. #3, 212-942-7451.
www.indianroadcafe.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
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
Lexington Hotel, 511 Lexington Ave. (212) 755-4400.
www.lexinghotelnyc.com
Live @ The Falcon, 1348 Route 9W, Marlboro, NY 12542,
Living Room, 154 Ludlow St. 212-533-7235, livin-
groomny.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
Maxwell’s, 1039 Washington St, Hoboken, NJ, 201-653-1703
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 West 10th Street, Basement, New York, NY
10014. 646-476-4346. www.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
National Sawdust, 80 N. 6th St., Brooklyn. 646-779-8455.
www.nationalsawdust.org
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
North Square Lounge, 103 Waverly Pl. (at MacDougal St.),
212-254-1200, northsquarejazz.com
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
Orchid, 765 Sixth Ave. (betw 25th & 26th St.), 212-206-9928
Palazzo Restaurant, 11 South Fullerton Avenue, Montclair.
973-746-6778. palazzonj.com
Priory Restaurant & Jazz Club: 223 W Market St., Newark,
NJ 07103, 973-639-7885
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.
21
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
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
Shanghai Jazz, 24 Main St., Madison, NJ, 973-822-2899,
shanghaijazz.com
ShapeShifter Lab, 18 Whitwell Pl, Brooklyn, NY 11215
shapeshifterlab.com
Showman’s, 375 W. 125th St., 212-864-8941
Sidewalk Café, 94 Ave. A, 212-473-7373
Silver Spoon, 124 Main St., Cold Spring, NY 10516, 845-265-
2525, silverspooncoldpspring.com
Sista’s Place, 456 Nostrand, Bklyn, 718-398-1766, sistas-
place.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
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
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
Threes Brewing, 333 Douglass St., Brooklyn. 718-522-2110.
www.threesbrewing.com
Tito Puente’s Restaurant and Cabaret, 64 City Island Avenue,
City Island, Bronx, 718-885-3200, titopuentesrestaurant.com
Tomi Jazz, 239 E. 53rd St., 646-497-1254, tomijazz.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
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
Trumpets, 6 Depot Square, Montclair, NJ, 973-744-2600,
trumpetsjazz.com
Turning Point Cafe, 468 Piermont Ave. Piermont, N.Y. 10968
(845) 359-1089, http://turningpointcafe.com/
Village Vanguard, 178 7th Ave S., 212-255-4037,
villagevanguard.net
Vision Festival, 212-696-6681, info@visionfestival.org,
visionfestival.org
Watchung Arts Center, 18 Stirling Rd, Watchung, NJ 07069,
908-753-0190, watchungarts.org
Watercolor Café, 2094 Boston Post Road, Larchmont, NY
10538, 914-834-2213, watercolorcafe.net
Weill Receital Hall at Carnegie Hall, 57th & 7th Ave,
212-247-7800
Williamsburg Music Center, 367 Bedford Avenue, Brooklyn,
NY 11211, (718) 384-1654 wmcjazz.org
Zankel Hall, 881 7th Ave, New York, 212-247-7800
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
22 November 2015  Jazz Inside Magazine  www.JazzInsideMagazine.com
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
MUSIC STORES
Roberto’s Woodwind & Brass, 149 West 46th St. NY, NY
10036, 646-366-0240, Repair Shop: 212-391-1315; 212-840-
7224, robertoswoodwind.com
Sam Ash, 333 W 34th St, New York, NY 10001
Phone: (212) 719-2299 samash.com
Sadowsky Guitars Ltd, 2107 41st Avenue 4th Floor, Long
Island City, NY 11101, 718-433-1990. sadowsky.com
Steve Maxwell Vintage Drums, 723 7th Ave, 3rd Floor, New
York, NY 10019, 212-730-8138, maxwelldrums.com
SCHOOLS, COLLEGES, CONSERVATORIES
92nd St Y, 1395 Lexington Ave, New York, NY 10128
212.415.5500; 92ndsty.org
Brooklyn-Queens Conservatory of Music, 42-76 Main St.,
Flushing, NY, Tel: 718-461-8910, Fax: 718-886-2450
Brooklyn Conservatory of Music, 58 Seventh Ave., Brooklyn,
NY, 718-622-3300, brooklynconservatory.com
City College of NY-Jazz Program, 212-650-5411,
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
NJ City Univ, 2039 Kennedy Blvd., Jersey City, 888-441-6528
New School, 55 W. 13th St., 212-229-5896, 212-229-8936
NY University, 35 West 4th St. Rm #777, 212-998-5446
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
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“It is curious that physical courage
should be so common in the world
and moral courage so rare.”
— Mark Twain
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
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
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.
To Advertise CALL: 215-887-8880
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 Interview
Richard Nelson
“kindness, humility, and an attentive ear
are the keys to equanimity in both musical
and life endeavors”
Hear Richard Nelson with Tim O’Dell
Shapeshifter Lab, Brooklyn, NY
November 19, 2015
By Eric Nemeyer
Photo by Joanna Morrissey
JI: What were the jazz recordings and or artists
or performances that you were exposed to that
inspired you and magnetized your interest in
jazz? And, years later how, if it is relevant, are
those recordings influential for you today?
RN: As with a lot of guitarists of my generation,
my journey into jazz worked its way back from
being floored by John McLaughlin and the Ma-
havishnu Orchestra to the electric Miles Davis
albums, particularly Live/Evil, and from there
into both the “tradition” and the realm of ex-
ploratory improvisation, in the work of Cecil
Taylor and Ornette Coleman in particular. And,
looking back, I think the counterpoint between
those two strands—compositional structure and
complexity on the one hand, and exploratory,
interactive improvisation on the other—is what
animates and informs my composition and per-
formance practices to this day.
JI: Could you talk about words of advice or
“...improvisation is in the moment, intuitively
following a creative vision wherever it might
lead. Hopefully the tools and supplies come in
handy, but what’s most exciting and rewarding
is heading down a previously untraveled path.”
wisdom you may have received from one or
more mentors—either some influential musi-
cians, or some other people outside of music -
who have made an impact on your life or per-
spectives?
RN: I’ve been based in Maine for many years
now. Trumpeter/composer Don Stratton, a vet-
eran of both the jazz and experimental classical
composition scenes of New York in the 1950s
and 60s, has been a great friend, colleague, and
mentor to me. He performs on two of my al-
24 November 2015  Jazz Inside Magazine  www.JazzInsideMagazine.com
bums, Pursuit and Origin Story. By
example, and the occasional well-
chosen word of advice, he has often
reminded me that kindness, humil-
ity, and an attentive ear are the keys
to equanimity in both musical and
life endeavors.
JI: Could you talk about the charac-
ter and values that guide your busi-
ness and creative endeavors as a professional
musician?
RN: As so many jazz practitioners know, it can
be a struggle keeping the whole operation to-
gether. We want to create, to compose, and/or
play. I guess I’d just say I try to keep my focus
on trying to be a catalyst for worthwhile
events—bringing a group of musicians together
for a positive experience, sharing an uplifting
program with a community of listeners. My cur-
rent project, co-directing the New-York based
fourteen-player Tim O’Dell/Richard Nelson and
Pursuit ensemble, is definitely pushing me to
new levels of operational expertise, and chal-
lenging me to stay focused on the music while
working through all of the business loops. This
ensemble has its debut concert on Thursday,
November 19, at 9:30 pm at ShapeShifter in
Brooklyn.
JI: Could you talk about your association with
the Aardvark Jazz Orchestra and that has influ-
enced your artistic pursuits and development?
RN: I’ve had the pleasure of being Aardvark’s
guitarist for over twenty years. Under Music
Director Mark Harvey’s superb leadership, this
ensemble has developed into a tremendously
versatile unit, in which composition and im-
provisation emerge and interact in an unlimited
number of ways. Mark has taken an Ellingtonian
approach to leading the band and holding it to-
gether for more than 40 years, and I’m informed
by that continuity myself. I was really able to
bring this all together with my recently released
CD Deep River, which was written for and re-
corded by Aardvark. My experiences with Aard-
vark have been foundational in the development
of my own compositional and performance aes-
thetic.
JI: Who are the listeners who you find most
resonate with your music?
RN: My music resonates best with listeners who
are open to musical adventures that range far and
wide, and who don’t have pre-set notions about
genre boundaries. Those who like to share in
exploratory imaginative journeys.
JI: With your immense academic background
and significant immersion in the academic
world, and the methods and codifications of the
discipline and art form that you teach, what do
you do to focus on feeling versus thinking about
improvisation?
RN: For myself, and in my teaching, I empha-
size this approach: everything we learn is part of
an available toolkit or supply case. But in real
practice, improvisation is in the moment, intui-
tively following a creative vision wherever it
might lead. Hopefully the tools and supplies
come in handy, but what’s most exciting and
rewarding is heading down a previously untrav-
eled path.
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?
RN: Since. for better or worse, I haven’t made
commercial success in and of itself a priority,
I’m able to keep my focus on realizing my crea-
(Continued on page 34)
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 Interview

Aaron Irwin
“there is a strong desire for us jazz
musicians to want keep jazz safe as one
would keep a painting safe in a museum.”
Hear Aaron Irwin
CD Release Event at Cornelia Street Café
Tuesday, November 24, 2015
Interview by Eric Nemeyer
Photo by Bryan Murray
JI: Could you discuss your new recording, A
Room Forever, and its development from its
beginning to completed work?
AI: This idea of this project began a few years
ago as a vehicle for me to play clarinet as well as
challenging me compositionally. The idea of
composing pieces based on Breece Pancake’s
stories began a little over two years ago after re-
reading Pancake’s stories. I was so moved by the
writing that I decided I would travel to West
Virginia to visit Breece’s home town to see
where he grew up and get a better feel for the
landscapes that make up his stories. The people I
spoke with helped me get a better picture of who
Breece was and helped me understand the stories
in a deeper way. I found the whole experience
inspiring and began writing for this project in
earnest shortly after.
alto saxophonist: Char-
lie Parker, Sonny Stitt,
Cannonball Adderly,
John Coltrane, Stan
Getz, Lee Konitz, and
others. My roommate
for two years at DePaul
was my good friend Jon
Irabagon, and I remem-
ber we would con-
stantly be practicing,
talking about music,
and challenging each
other’s ideas about
music. This same level
of intensity carried over
with me when I went to
grad school. Whit Sidener, who was the depart- JI: Could you talk about two or three artists with
ment head at The University of Miami, has a whom you have worked or studied whose advice
wonderful jazz program and it attracts many of or wisdom has made a significant impact on your
the country’s best students. To be surrounded in life and or music?
that kind of intense environment pushed me in a
positive way. AI: One of the first people that I tracked down
upon moving to New York was Rich Perry. I
JI: What are some of the key experiences you've have always loved his playing and he has been
had since moving to New York that have been a source of inspiration and support for a very
significant in terms of opportunities that have long time now. I asked him to play on my first
developed for you, and in terms of your growth Fresh Sound/ New Talent record which he gra-
ciously did. Another player that I discovered

“there are so many deserving jazz musicians upon moving here is Chris Cheek. He too has
been a player who I have looked up to musically

all trying to get the same little pool of gigs,

as a source of inspiration.

record labels, publicity, etc. and it sometimes

feels overwhelming, foolish, and discouraging,
and yet most of the musicians I hang around
are some of the funniest, encouraging,
smart, and inspiring people”
JI: Could you discuss some of the specific influ-
ences on your playing as a result of your aca-
demic experiences at DePaul University and
University of Miami—and how those experi-
ences helped or challenged your artistic pursuits?
AI: At both DePaul University and the Univer-
sity of Miami I was allowed the time that I
needed to practice. Specific influences at the
time were what you might expect from a young
as an artist?
AI: New York is a transformative place and
being around so many creative people of all
walks of life, not just jazz musicians, alters your
very being after so many years. It would be hard
to pin down one or two experiences that have
been significant. The relationships I have with
my musician friends and hearing how they are
evolving has been a source of inspiration for my
own growth.
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?
AI: Given that doctoral dissertations have been
written on this exact subject, I don’t think I can
give this question its fair due in this forum nor
would I be able to share an opinion or insight
that hasn’t already been said more eloquently
by someone else. What I can say is that I loved
going to university and being in such a fostering
space. I met many great teachers and peers that
helped and challenged me along the way and feel
grateful for their friendship and guidance.
JI: What do you see as the challenges facing this
music we know as jazz, and the prospects in the
years to come?
AI: I think there is a strong desire for us jazz
(Continued on page 34)

To Advertise CALL: 215-887-8880 November 2015  Jazz Inside Magazine  www.JazzInsideMagazine.com 25

 Interview
George Coleman
“Maybe I Could Have Played Better”
Hear George Coleman 5 + Andy Bey,
Charles Davis & Bertha Hope
Cassandra’s Jazz, 2256 7th Ave.
November 14, 2015
By Ken Weiss
George Coleman [b. March 8, 1935] has long
been one of the most respected and admired jazz
saxophonists and was named an 2015 NEA Jazz
Master – America’s highest honor for a jazz
musician. Coleman grew up in Memphis along-
side such notables as Booker Little, Harold Ma-
bern, Frank Strozier, Charles Lloyd, Hank Craw-
ford and Phineas Newborn Jr. After hearing
Charlie Parker play, Coleman taught himself to
play alto sax at age 15, and less than two years
later, he had played with Ray Charles and was
on the road with B.B. King. After returning
home to woodshed, he rejoined King in 1955,
switching to tenor sax when King needed one in
his band. Coleman ended up in New York City
in 1957 as a member of the Max Roach Quartet
“I always accepted challenges but I
was never really out to embarrass
anybody and that’s what head-cutters
would do. They’d invite you up and
call a fast tempo on a different key
or something like that…”
and was soon working with Slide Hampton, Ron
Carter, Jimmy Cobb and Wild Bill Davis, before
joining Miles Davis’ Quintet [Herbie Hancock,
Ron Carter, Tony Williams] in ’63-’64. Coleman
recorded four classic albums with Davis – Seven
Steps to Heaven, My Funny Valentine, Four &
More, and Miles Davis in Europe – before de-
parting due to friction in the band. Since 1973,
Coleman has focused primarily as a leader. This
interview took place on July 10, 2015 at his
apartment near Washington Square where he has
lived for over 30 years.
26 November 2015  Jazz Inside Magazine  www.JazzInsideMagazine.com
Jazz Inside Magazine: Congratulations on being
named a 2015 NEA Jazz Master. Would you talk
about going through that process, the awards
ceremony at New York’s Lincoln Center, and
spending time with the other Jazz Masters at the
event?
George Coleman: It was enlightening and
somewhat entertaining but it was strenuous but I
knew it had to be done. It was a long day but the
rewards were worth it. I was happy to receive the
award but there are so many other worthy people
that I would like to see get it. One in particular is
Harold Mabern, my good friend from Memphis.
I never pursued this award but a number of peo-
ple came to bat for me including Jimmy Owens,
Jimmy Heath and Lou Donaldson. There was a
petition that went out on my behalf that a lot of
musicians signed.
JI: It must have been very satisfying to have
that groundswell of support from your fellow
musicians.
GC: Fortunately, for me I’ve always had that
support from my peers, although maybe not from
the media so much. I’m not bitter about that, I’m
really not. It’s just a little something that I’ve
noticed through the years, but life goes on and
I’ve been fortunate to be here 80 years. Eighty
years is a milestone as far as a musician is con-
cerned. There’s a few of us still around, guys
that came up in the era of Miles Davis, Art
Blakey, Horace Silver and people like that.
JI: It’s ironic that you and your childhood
friend, Charles Lloyd, were named Masters in
the same year.
GC: Yeah, it is quite ironic but Charles has
always had good support from his sources that
keep him on the map. He gets a lot of play as
they say. When we were coming up, I was some-
what of a teacher to [the area’s young musi-
cians], not really sitting down with them giving
them lessons but I always gave them a direction.
I gave them pointers on music and told them
stories about guys from the past.
JI: Any good stories to share?
GC: Well, the Charlie Parker story about why
they called him Bird. He was on the highway,
they were driving to some gig, and they hit a
chicken. So Charlie Parker got out of the car and
took the chicken somewhere and cooked it.
[Laughs] He loved chicken. They say that’s how
he got his name.
JI: Speaking of names, Lou Donaldson was the
Jazz Master who introduced you to the stage the
night of the ceremony. During his speech, he
said you were known as the “Head-Cutter” back
in the day and that at sessions, where typically
musicians would show up and try to outdo eve-
ryone else, when they found out that you were
the one playing, they’d put their horns away. Is
that how you remember it?
GC: Not really, I was oblivious to all that stuff
but I would suppose some of those things he said
were true. That was the “head-cutting” era, back
in the time when I was coming up, but Sonny
Stitt was “The Head-Cutter” though. I didn’t
never consider myself a head-cutter. I always
accepted challenges but I was never really out to
embarrass anybody and that’s what head-cutters
would do. They’d invite you up and call a fast
tempo on a different key or something like that,
which I did, but not to cut anybody’s head or
embarrass them. I would just do it because I
wanted to do something different. When I came
up in bands, they played fast. Like Max Roach,
you couldn’t play no faster being in his band.
His stuff was extra, extra fast. I grew up with
that so people associated me with playing fast.
It’s just a technique you develop through the
years, like Johnny Griffin, he had fabulous tech-
nique, along with the great masters like John
Coltrane. They played fast. Guys won’t play or
can’t play up-tempo today but back in those
days, everybody was sweating—the drummer
was sweating, the trumpet player was sweating.
Miles used to sweat like crazy, and he just had a
trumpet in his mouth but there was a lot of en-
ergy displayed in his playing. Of course, Horace
Silver had to bring two or three suits to the gig
because after the first set, his suit was drenched.
Elvin Jones was another “sweater.” I remember
being at an evening rehearsal at the [Village]
Vanguard, after playing there the night before,
and I just happened to put my hand on his
(Continued on page 28)
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To Advertise CALL: 215-887-8880 November 2015  Jazz Inside Magazine  www.JazzInsideMagazine.com 27
(Continued from page 26)
“throne” and sweat just squished up like some-
body poured a bucket of water. It was drenched.
[Laughs] That just shows you how hard they
worked. They played hard and it was part of
getting their message across. Playing hard, and
playing long, playing fast, and playing whatever
you wanted to play, that was that era. Now, this
new thing, some of the young kids, my protégés,
are still involved in playing the music the way it
used to be with the tempos and the changes.
That’s what I like to do. I wasn’t involved in the
free stuff too much because I heard a lot of free
players when I was coming up and I wasn’t too
much interested in that. I was trying to get to the
musical aspects of the music – the changes, the
melodies. I figured free? That was easy, I can do
free. You just put a horn in your mouth and
make some noises because that’s basically what
most of the guys were doing. See, but the free
thing went to another level when Sonny Rollins
and Trane came along because they could play
free and create things but still be within the
realm of harmony and changes and rhythm.
Rhythm was one of the elements that was miss-
ing from the so-called free thing. I’m not putting
it down personally because one of the great play-
ers of that music, Ornette Coleman, just passed
away recently. He created a fervor back in the
day and he brought this so-called free music on
the scene which in its own way was good. I’ve
always tried to accept a musician on a profes-
sional level, no matter what he was doing. There
was one guy who would just sit at the piano for a
long time and not play anything.
“I was not involved with my ego
like some guys who would just record
as much as they could. Even to this
day, as far as my playing is concerned,
I always feel like I could maybe have
done better. I could have played better
on the records I made, or I feel
like I should have”
JI: Are you talking about John Cage?
GC: Yeah, that’s the guy, he’d just sit at the
piano with his head down. I would imagine
there’s got to be an audience there just looking at
him.
JI: Well, 4’33” was a very popular composition
28 November 2015  Jazz Inside Magazine  www.JazzInsideMagazine.com
for John Cage.
GC: Isn’t that something? That’s amazing but
was it a tune because nobody heard nothing?
[Laughs]
JI: Or people heard everything. It depends how
you look at it.
GC: I don’t know, I can’t look at it. If I don’t
hear some sound in my ear, I don’t acknowledge
it as being any music because you could get
anybody to do that. You could get some guy
from the Bowery to come up. There’s a story
like that about Monk. He was at the old Five
Spot during the day one time to have a drink and
there was a homeless guy on the piano, just run-
ning his hands all over the piano, banging and
hitting. Everybody in the club was saying, “Hey,
get that guy off of there!” So Monk said, “Hey,
man, go on, keep playin’. Can’t nobody prove
nothin’!” [Laughs] Monk was that sort of player
but Monk’s stuff was always harmonically and
rhythmically correct and off the beat sometimes
with very abstract notes in his themes, relating to
flatted fifths, which was a big thing during that
time.
JI: Did you ever play with Monk?
GC: No, I never did unfortunately. I always
really wanted to because he had some stuff there,
man, that saxophone players loved to play with. I
never played with Art Blakey either, in his band.
I played with him one time in a concert.
JI: You’re not a fan of avant-garde jazz musi-
cians.
GC: I’m not saying all of them but a few of
them figured it was the easy way out and that
includes the Europeans too. They said, “Free
music? Oh shit, I can play jazz.” Yeah, all they
had to do was make some weird sounds, run
their hands over the keys, and blow some air in
the horn and they were playing free jazz.
JI: You’re about to record again, it will be your
first recording as a leader in over 17 years. What
took so long to record again?
GC: I don’t know. It seems that most people
were not interested in what I had to play or my
concept of playing. And plus, the economic
situation. Nobody wanted to pay a decent
amount of money for me to record. That was not
the main thing, it’s just that I never did that
many records. You know, I could have done
them, record after record, like Sonny Stitt used
to do. Sonny Stitt could do three or four records
in a week because his vocabulary was so fast, he
always had something to play. Nobody really
offered me any record dates. Nobody was really
interested in me, so that’s my thing about the
recordings. Nobody was interested. If somebody
had come to me and said, “Look, I want to put a
band behind you with strings or a big band,”
then I would have put more records out. I was
pretty much nonchalant about it. I was not in-
volved with my ego like some guys who would
just record as much as they could. Even to this
day, as far as my playing is concerned, I always
feel like I could maybe have done better. I could
have played better on the records I made, or I
feel like I should have, let’s put it like that. I had
no offers all these years, no offers really, and as
far as the write-ups in the magazines? I don’t
think I was ever even listed in some of the big
magazines. I never made the polls in the maga-
zines except when I started in 1958 and they
gave me the New Star Award, but even to this
day, they don’t put me in the polls. [I know I’m
not the only one.] Here’s a little anecdote told to
me by Harold Mabern about when he spoke with
Mulgrew Miller. He said, “Mulgrew, why is it
that I see all these other piano players listed,
guys who can’t sit in your piano chair, and
you’re never in the polls?” He said, “Well, Mr.
Mabern, I guess I ain’t no polecat!” [Laughs]
That was his remarkable reply. You know, a
polecat is a skunk. None of that never bothered
me, even to this day, recognition and all of that
stuff. The NEA gives me official recognition,
and I’ve got a little placard up there from the
president. One thing they can’t do to me, as far
as keeping me in the background, is the records
I’ve made with all the big stars like Miles Davis
and Chet Baker. That’s history, it’s out there on
wax and tape. So that’s what I have to present to
the critics and to whoever didn’t like what I did.
That’s my legacy.
JI: Is making a new recording still an exciting
process for you at age 80?
GC: Not really. You know I always feel like
I’m not really prepared because I never practice
before a recording, I just go in and do it. I’ve had
some good success with live performances but
the studio stuff, I’m sort of pleased with some of
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George Coleman
the things I’ve made with other people. My re-
cords? Some of them, some things happened that
have been positive as far as I’m concerned but
there’s a lot of stuff that I fell short of. I felt like
I didn’t play to the best of my ability. The live
stuff was a little bit easier because you’re just
out there playing, you ain’t got to think about the
engineer or the sound. You just out there playing
and whatever comes out, comes out. The Miles
Davis recordings were, in a sense, those type of
recordings. We were playing live and in the spur
of the moment and it wasn’t rehearsed, unlike
what most people thought. Miles would intro-
duce the themes and I would just follow him, I’d
try to get as close to what he wanted. I was suffi-
cient, I guess, I never had any complaints out of
him.
JI: How do you decide which songs to record?
GC: There’s a long list of stuff there available.
There’s a couple of things that I really don’t
know but would like to record. I haven’t been
able to get a lead sheet on them as yet but there’s
plenty of stuff out there to record. I told them I
was going to make out a list but you could do
what Sonny Stitt used to do. He would go to the
studio and call out some tunes, put in a few end-
ings, and a couple of tags, and he’s got a record.
It’s really not difficult if you don’t concentrate
too much on what you really want to do. You
just go on and do it. Just pick out a few songs,
record ‘em and see what happens. When you’re
in the studio, you’ve got some second chances.
JI: Are you still actively composing?
GC: Not at the moment. In my mind I have
some things I want to work on. I want to get on a
piano and see if I can get ‘em for this next date.
Nothing really complex, just some simple stuff I
would like to do. My eyes are not great these
days so it’s hard for me to write music down in
the right places. A lot of people think that I’ve
retired because I’ve posted retirement several
times. I’m trying to retire but every time it seems
I’m trying to get out of playing, there’s always
something that comes into the picture. I’ve al-
ways felt good about the music although people
tell me I should have more recognition and every
time I play, I always get somebody to come up
to me and say, “I’m so happy to meet you,” and
then they cite the things that I’ve done and I get
caught up in that. I can still play a few good
notes so why not, why shouldn’t I play? But I
limit it to certain things. I don’t want to be on
planes traveling around like I used to do. I’ve
spent a lot of time on airplanes and in cold hotels
with bad food. These are the negatives but the
positive stuff is always when you get on the
stand and play for the people and they enjoy it.
And then afterwards you go to an Italian restau-
To Advertise CALL: 215-887-8880 November 2015  Jazz Inside Magazine  www.JazzInsideMagazine.com
rant and they have everything laid out for you,
some of the best food in the world. You meet a
lot of people and share a lot of memories. My
career, for most people, would not be considered
too interesting. It’s sort of lackluster, in a sense.
Recognition has never been there but that’s OK
too.
JI: You’ve been quoted in the past to say that
you’re not enthused about your own composi-
tions.
GC: It’s the same for most people, at least other
jazz musicians who don’t really have a tremen-
dous ego. Sometimes when I listen back to an
old recording I’ve made or a rendition from
“I always feel like I’m not really
prepared because I never
practice before a recording,
I just go in and do it.”
someone else doing one of my tunes, I’ll realize
that doesn’t sound too bad, but during the time
that I composed it or recorded it, I didn’t think of
it as being that great. There’s a couple things that
I like that I figure are at least decent composi-
tions. I can say they aren’t bad compositions,
they’ve got form and harmony. I don’t play that
many originals of mine. Most of the time other
people play them. I’m not so enthralled with
having my compositions played although, of
course, it can be lucrative.
JI: Which of your original compositions are you
most proud of?
GC: “Amsterdam After Dark,” “Lo-Joe,” [for
Joe Henderson], “Revival,” and “Father,” [for
Tommy Flanagan].
JI: Are you only performing in New York now
so that you don’t have to travel?
GC: Basically. The last gig I did that I went on
the road was at Harvard, which turned out to be
good. They had a little program there sighting
the Memphis contingency, the guys who had
taught at Berklee.
JI: What’s your view on jazz critics and the jazz
press?
GC: They do what they do. If I’m not too in-
volved in it then that’s cool. I was never really
one of the people that was out there looking for
recognition through the jazz media. I never did
connect with them too well because I just wasn’t
interested in things like that. I always felt that
my own personal endeavors would have carried
me probably up to the point where I am now
which is still not that far, as far as the media is
concerned, which is no big deal. I don’t fault
them for the lack of interest. I’ve had good press
from various sources.
JI: Typically, in your past interviews, what’s
prominently featured is your short time spent
with the Miles Davis Quintet [Herbie Hancock,
Ron Carter, Tony Williams] and the fact that you
left the band because the other sidemen, particu-
larly Tony Williams, decided your playing was
too conventional. Do you feel that part of your
career and why you left Miles is over empha-
sized?
GC: Maybe, in a sense, but as far as the con-
ventional thing about my playing, I eradicated
that concept one night when I decided to show
these guys that I could play this so-called “hip
stuff - free music,” which I did one night. You
know the story [where one night I played wildly
and free and stunned them]. Of course, Miles
was surprised because he had never heard me
play nothing like that before. He rushed up to the
bandstand and said, “What was that?” It was an
awakening for them as well as for Miles too.
They didn’t think I could do that. I just did it to
show them that I could and it worked fine be-
cause I was walking the blues and it was a fast
tempo and I stretched out, so to speak, a little bit,
played some out of character phrases. They
couldn’t believe their ears, actually. [Laughs]
They all said, “Yeah, man, yeah,” even Ron
Carter. It was quite a night, actually, but I never
did play it anymore after that, I went right back
to playing changes and melodies. I didn’t want
to play weird, that was something that was not in
my vocabulary and it still isn’t to this day.
JI: Did Miles want you to stay in the band or
was he looking to make a change?
GC: No, he wanted me to stay. I was in a very,
very precarious position, for want of a better
word, because during that time Miles was ill. He
had bad hip problems, He was in pain most of
(Continued on page 30)
29
the time, so I would end up being upfront in the
band. It was like a quartet, the Miles Davis
Quartet, it was just me and the rhythm section,
and people thought that I was Miles Davis. Peo-
ple who came and had never seen Miles Davis
before would complement me – “Oh, Mr. Davis,
that was a wonderful performance.” But the rest
of the band, when Miles was not there, they
wanted to go in another direction, I’ll put it like
that, and I was trying to stay with the Miles
Davis repertoire – “Blackbird,” “On Green Dol-
phin Street,” and stuff that he played while he
was there. There was a conflict and when we had
that last break, Miles called me up and said, “I
don’t want to see you go,” but I told him, ‘No, I
can’t, I’m not coming back.’ It was with some
regret but I figured that I had probably made my
presence known in the band during that time and
later on I found out that I had from the compli-
ments I got from some of the younger players.
They told me they had transcribed my solos so I
have a lot of good feelings about my time in the
band and with Miles because he was always
there letting you be as free as you wanted to be
without telling you what to do. Later, Herbie
Hancock told me that Miles asked him, “So man,
why don’t you play the same changes behind me
that you play behind George?”
JI: Sam Rivers replaced you in Miles’ band.
GC: Yeah, they were totally against me being in
the band and then they went and hired Sam Riv-
ers, one of Tony’s boys from Boston. I don’t
think that Miles liked that band because they
only stayed together about a week or so. And
then, of course, they got Wayne Shorter, which
was really one of the good things that happened
for the band because they began to play a lot of
Wayne’s music and they had the so-called avant-
garde flavor that they wanted in the band. Tony,
Herbie and Ron, it was perfect for them. They
were happy but then eventually that band split up
when Miles went into his fusion thing. So I
probably left in time. [Laughs] There’s no telling
what would have happened if I had stayed in
there!
JI: How would you have liked doing fusion?
GC: I don’t know, I don’t think I would have
liked that. I don’t know because I never did it. I
had done something similar to that when I was
playing R & B. I had already went through that
with B. B. King, at least the commercial aspect
of the music. I’m not interested in that.
JI: What was it like on a personal level to work
for Miles Davis?
GC: He was a gracious guy, he was very witty
and funny. He had these little anecdotes that
he’d come up with off the top of his head. He
was a very smart guy.
JI: You did a lot of sideman work from the ’50s
30 November 2015  Jazz Inside Magazine  www.JazzInsideMagazine.com
to the ‘70s, playing with B.B. King, Betty
Carter, Max Roach, Herbie Hancock, Lionel
Hampton and Charles Mingus to name a few.
Why were you changing bands so frequently?
Often it was every one to two years?
GC: Well, I was there and my time to go came
around. I always tell people, I was never in
bands more than a year or so. There’s no particu-
lar reasons, some had to do with economics a
little bit because after you play a week and you
don’t get paid, those are the little things that
might make you want to try something else.
Probably my regret, if I had any, was the Miles
Davis thing because I probably would have
stayed there a little bit longer and maybe contrib-
uted with some original music. I can’t forecast
what would have happened if I stayed there or
with any of the other groups for that matter.
None of the bands I was in did a hell of a lot of
rehearsing, you just get up there and play! Let
your intuitiveness and your musicianship just
take over.
JI: Mingus was rather notorious for bullying
other musicians. Did he ever challenge you or
were you too imposing a figure to mess with?
GC: I don’t know because nobody that did mess
with me came out with a good conclusion be-
cause I was very physically involved and body
building. I was dealing with 300 and 400 pound
weights and I was a pretty big guy and muscular
during that time. A couple of times I had some
altercations. I was never the one who started that
kind of negative incidents. They were the ones
who started it but I would always finish it.
Thankfully, nobody really got hurt but they
could have because I would almost go into a
trance when some of these guys would catch up
to me and give me a challenge. I would respond
and sometimes it would not be too pleasant for
them. There were a couple of guys that I almost
strangled to death. I always felt like I didn’t
bother nobody but because of my physicality, a
lot of them felt like they needed to see what I
was made of.
JI: You’re mostly self-trained on saxophone, do
you view that as a benefit, as far as finding your
own voice, or as a hurdle you had to overcome?
GC: My God-given talent got me through a lot
of things that would take people years to figure
out and I’m not just saying that in an egotistical
fashion. It’s just like that, I could learn real
quick. Nobody told me how to learn, I did it on
my own initiative. It just came, it was just there,
plus I was in the company of so many great guys
who knew harmony and how to arrange, so all
that stuff rubbed off on me. I knew what a
graduate of Berklee would know, pretty much, in
my first years of playing. The information was
right there, half-diminished chords, major sev-
enth, minor ninths, all that stuff you hear about
today, I had a book with all those chords in it so
I knew all the stuff about the chords very early. I
applied myself and fortunately, I had some musi-
cal talent. So in answer to your question, I don’t
feel deprived for not being formally trained but,
in retrospect, I kinda wish I had went to school
for it but when I sit down to write, I realize that
I’m able to do it without going to school. I got
my stuff together very early, when I was 18. I
hadn’t been playing but for a couple years when
Ray Charles came through Memphis and he
wanted arrangements for some of his tunes at the
time – including “I Got a Woman” and “Lonely
Avenue.” My biology teacher, who knew I was a
musician, asked me if I could write for Ray. One
thing led to another, and I wrote arrangements
for Ray, for four horns, and a rhythm section.
When I saw my biology teacher years later, he
said, “You know, Ray came through the city
again and he wanted to know who the guy was
who wrote those arrangements for him.” And by
that time, I had established myself, so he told
him, “That was George Coleman,” and Ray said,
“Oh, wow.” So Ray was very impressed. That’s
when I had just started at age 18. I picked up the
horn around age 16. At the time, I was in a saxo-
phone player’s band who was a great arranger
too, Bill Harvey. He taught me about how to
attack notes and not to fluff them. I learned from
others and I’ve been teaching ever since. It
makes me feel good to see people who have
studied with me years ago, playing real good
now. Flatteringly, they now give me the credit
for their success. I’ve had people come to me as
far away as Iceland.
JI: Your biggest idol was Charlie Parker and
you played alto sax until B.B. King bought you a
tenor to play because he needed that for his
band. Why did you remain on tenor and not re-
turn to alto as your featured horn after leaving
King?
GC: Tenor became my forte. I do play alto once
in a while but I don’t really have the fluidity that
I felt like I should have on it. I can get a decent
sound out of it but I felt that tenor was my in-
strument. After B.B., and going with Max Roach
and Miles, I felt like tenor was for me. Tenor
was a popular instrument. Alto is a little bit more
popular now [then it was] since [David] Sanborn
and Hank Crawford, who was one of my high
school associates, but tenor was the instrument.
Everybody was playing tenor. I felt that if I
couldn’t play halfway as good as Charlie Parker,
I should leave it alone. I also tried some soprano.
JI: Did you ever get to see Charlie Parker per-
form live?
GC: No, I never did, regretfully. I was going on
the road with B.B. King that week when he died.
JI: You hit the long, hard touring road at an
early age with B.B. King. What do you recall of
that touring experience?
(Continued on page 31)
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George Coleman
GC: It was a lot of fun and a lot of hardships.
The bad things happened to him after I left,
when he had that accident with the gas truck and
the driver was killed and they sued him. It took
him years to recover from that because he had to
pay out a lot of money to get out of that. I’m
happy that I wasn’t there because I don’t like the
way that turned out. He always was strong and
not caught up in any dope although I heard he
did have a little gambling jones. When I was
with B.B. we’d play two sets and then we’d go
to the next gig. Sometimes we would drive all
day to get to the gig to play that night.
JI: Stanley Crouch, in his book Considering
Genius, wrote that you had played, “Through the
cuttings and stabbings that [you] had seen at
black dances while working as a big kid with
B.B. King.” Is that accurate?
GC: Oh, yeah! There were some stabbings and
some shootings because the guys would be in
there with girls and, I’m not gonna’ say it was
the music, it was just their character. It would
make them go off at these dances, and the jeal-
ous routines. I remember I was on the bandstand
one night and this girl was eyeing me and smil-
ing and I was smiling back at her. I turned my
face for a second and I heard this loud noise –
“Pow!” I looked around and this guy had socked
this woman. She was looking at me so after that
I started looking in the other direction! There
were a lot of funny incidents like that out there
but it was strenuous.
JI: The routine at the time you came to New
York was to play six sets per night. Was it as
abusive as it sounds to play from 9 PM to 4 AM?
GC: Yeah, uptown at Minton’s, places like the
Vanguard, we’d play maybe three or four sets.
Now you’re lucky if you can get in two and you
get out of the club at 11:30. We had a strict rou-
tine up there at Minton’s. It was 40 on and 20 off
for six sets. You get used to it and then you were
playing a lot of music so it was good. You were-
n’t deprived of playing, that’s for sure. Teddy
Hill was the manager of Minton’s during that
time and he was very strict with that. He’d say,
“After 40 minutes, you’re off.”
JI: Before moving to New York, you spent time
in Chicago where you met [saxophonist] John
Gilmore. Did you also have contact with Sun
Ra?
GC: No, not really. I only had contact with John
when I got there. I never had contact with Sun
Ra. First of all, I didn’t want to be in his band
although he had some good players like Charles
Davis. Sun Ra wrote some stuff that was inside
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too, he was a good arranger of what you may
call “mainstream” material. He arranged some
Duke Ellington and Fletcher Henderson. He was
on the “inside,” you know, until he went into
space. He went to Saturn and all those places but
if you heard some of the stuff that Sun Ra wrote
that was harmonically together, you’d would
probably be surprised. Sonny Blount.
JI: Charles Davis is still in the band.
GC: Is Charles Davis still in the band? I didn’t
know that. I knew that Marshall was still in there
but I didn’t know if Marshall was still alive.
John Gilmore is gone though.
“I decided to show these guys that I could
play this so-called “hip stuff - free music”
…. You know the story where one night
I played wildly and free and stunned them
… Miles was surprised because he had
never heard me play nothing like that
before … It was an awakening for them…”
JI: What do you recall about your first re-
cording session – Lee Morgan’s City Lights
[1957, Ray Bryant, Curtis Fuller, Paul Chambers
and Arthur Taylor]? Were you more anxious or
excited?
GC: I don’t know, I was very happy about it.
Lee Morgan heard me in Chicago and brought
me in to do this and while I was there, I did
Jimmy Smith’s House Party, which is one of his
famous recordings. They were interesting be-
cause I played tenor and alto on those. It was
quite entertaining for me and experience wise, it
was really great because it was my first jazz
recording. Prior to that I had did this hit thing
with B.B. in the early ‘50s, Woke Up This Morn-
ing, where I played the alto. I had just started
playing it.
JI: You crossed over to jazz because you felt
more of a kinship with it?
GC: I wanted to be more involved with jazz but
circumstances during that time made you do
whatever you were forced to do. The B.B. King
thing was a good thing for me because it gave
me a chance to travel all over the United States. I
never went to Europe with him but we went to
almost every place in the United States except
maybe not Wyoming or North Dakota. That
travel with B.B. was one of the great things for
me because I got a chance to have my first plane
ride, from Memphis to Houston.
JI: That first recording with Lee Morgan took
place at Rudy Van Gelder’s studio in Hacken-
sack, New Jersey. How was your Rudy Van
Gelder experience through the years?
GC: I stayed away from Rudy because Rudy
had a temper, you know. If you put a soda or
something on his piano, he would get very angry
and cuss you out. I just stayed away from him, I
didn’t get involved with his stuff. People like
Lee Morgan, they could do whatever they
wanted because Alfred Lion was there and as far
as he was concerned, they could do no wrong.
JI: You made a number of recordings with Chet
Baker who was hopelessly addicted to drugs. It
must have been difficult to work with such an
unpredictable leader.
GC: Chet was a real awakening for me because
I never knew he could really play like that. What
we used to do was go into the studio and stay
maybe an hour or two. No more than a couple
hours because his chops would give out and his
“jones” would start getting to him too, so he
would have to go and get his fix. We were in the
studio three sessions total and we recorded five
albums out of those sessions. We hooked up on
some things that were not rehearsed and came
out real good. He was extremely gifted. Chet
Baker was something else, man, in spite of his
addiction, he was a great player. I was really
surprised he could play that way because the
only thing I knew about him was that Chet Baker
Sings stuff but he wasn’t a bad singer. He could
sing with a plain voice and he could play that
trumpet with great technique. He could play that
bebop stuff, the fast stuff, which is indicated by
the “Cherokee” that we did on the record
[Groovin’ with the Chet Baker Quintet]. He was
a phenomenal guy. He would come in early, play
until his “jones” was getting to him, then he
would go and come back another day and do the
same thing.
(Continued on page 32)
31
JI: So you didn’t wait at the studio for him to
return later that day?
GC: He would only be there a couple hours
because that’s all he could make. He didn’t have
any energy or strength but he played strong as
indicated on records. He couldn’t make a whole
session. He could do two or three tunes. It was
easy. There were charts on the stands, we’d read
them and record it.
JI: You came up during the time that drug use
was common amongst jazz musicians.
GC: Yeah, it was a lot of that. Fortunately for
me, I never, I mean I dabbled a little bit, but I
never had any kind of dependency or was
hooked on anything. I did a little drinking, I did
a little smoking weed and a little bit of blow
from time to time, but I stopped in ’90. I came in
one night and I knew it was hurting my wife.
She was worried about me because I was out
there. I would never do that until I would play.
When I wasn’t playing, I’d be in the gym, but
playing in the club, we’d be partying and every-
thing, having fun. Bathroom for the blow and
outside for the joints, or down in the basement. I
was fortunate to get through that without any
real problems because that particular night, I got
deathly ill and throwing up, and my wife was
worried about me. She was a good lady, too.
JI: You also recorded with vocalist Johnny
Hartman. You made your reputation by digging
deep into tunes, how was it to play behind Hart-
“I wasn’t like some people who were
less interested in helping somebody
learn how to play. When I started
playing, that’s what I was doing,
teaching other people how to play.”
man and have you enjoyed playing with vocal-
ists?
GC: It was good. It required some discipline,
that’s all. Look at John Coltrane, you see how
tender he was with Johnny and how minimum he
was. He didn’t play a lot, he played just what
you needed. Nothing to overshadow what
Johnny was doing so, that’s what I did.
JI: That John Coltrane leant you his horn to sit
in one night with Miles Davis is an often told
story. What was your relationship with Coltrane?
GC: All I can tell you about John was that he
was such a wonderful guy. He was a beautiful
32 November 2015  Jazz Inside Magazine  www.JazzInsideMagazine.com
guy, always there to try to help you. He was very
gracious enough to let me have everything – his
horn, his mouthpiece, everything. That’s proba-
bly what sold Miles on me as a player because I
did sit-in with his band one time and I had a
great cast of people there – Philly Joe, Paul
Chambers and Wynton Kelly. [Laughs] You
can’t go wrong with that kind of rhythm section.
I remember the tune I played too – it was an up-
tempo “Lover.” That put me on the map with
them.
JI: What’s been the most inspiring experience
that you’ve ever had in your life as a musician?
GC: Oh, man, I’ve had a lot of different great
experiences in music. One of the great experi-
ences was playing with Billy Higgins and Cedar
[Walton]. I’ve always gotten something out of
every leader that I’ve played with. I got things
from B.B., I used to write a few little blues-type
things for him. In Slide [Hampton’s] band I had
the opportunity to arrange a few things and I
learned from him. He was an elite arranger. Eve-
rybody that I played with I got something and
maybe that’s the reason I was never there too
long. I was there and I got what I thought I really
wanted from the band and then it was time to go,
which was never that long. Some of those guys
were in bands for thirty years, I couldn’t see that.
Probably, I had more wanderlust in me than
most people. But I didn’t look at bands as being
a steady gig. I was just there for a bit of time and
I preferred it that way. Even with Miles because
there were a few negative things there. None
about the music, it’s just that the salaries were a
little bit late sometimes and, of course, I had a
family. I had two children I had to look after. In
answer to your question, there was seldom a gig
that I got absolutely nothing from.
JI: Your more than just a great sax player,
you’ve also made your mark on the big screen,
appearing in a few movies – Freejack [1992]
with Mick Jagger and Anthony Hopkins and The
Preacher’s Wife [1996] with Denzel Washington
and Whitney Houston.
GC: We were commissioned to do that
Preacher’s Wife thing by the director, Penny
Marshall, who wanted some elderly musicians in
that so it wound up being me, Roy Haynes, Jamil
Nasser and Ted Dunbar. We didn’t play any
music, that was done in a Hollywood studio. I
was there mimicking a solo so I did a little bit of
acting. And then for the Freejack thing, I was
down under the Brooklyn Bridge on a big tin can
way up high and they set fire all around me. The
director said, “Now I know you’re one of the
most proficient guys playing changes but I don’t
want you to play any changes. You just play
some noise, some free stuff.”
JI: Was Tony Williams the director by any
chance?
GC: [Laughs] No, he probably would love to
have been. This guy’s name was Geoff Murphy,
a New Zealander. He later hired me to go to
New Zealand to make a movie for him. I never
saw that movie, probably never will because it’s
in New Zealand and it will never be shown here.
I also did some soundtrack to that Sweet Love,
Bitter thing with Dick Gregory. That’s my movie
stuff, some people call me. Woody Allen wanted
me to do something but he wanted to take up to
two months for me to sit in a band and play
nothing and compensation was very sparse, to
say the least, so I reneged on that. I’ll tell you
something about movie making, man, I’m not
anxious to get involved with that because it’s a
very long, tedious process. You get in the studio
at maybe 6 AM and you might be there until 8 at
night. And most of the time you’re not doing
anything. You just be hanging and hanging,
doing nothing.
JI: You’ve also done some modeling gigs.
There were fashion spreads for Ebony and
Travel + Leisure magazines and promotional
photos with Madonna as part of her Truth or
Dare movie. Was that fun?
GC: That was all nice. The thing that I did for
Travel + Leisure was with Corky Hale, the great
harpist. They used a photo of us in the studio
along with two guys just holding violins, they
couldn’t play nothin’. The Madonna thing came
about because she wanted some elderly guys so
it wound up being me, Benny Golson and Joe
Wilder. We didn’t appear in her movie, we just
posed with her for photos. It wound up being on
buses and in airports. As far as me acting, it ain’t
happening.
JI: What was your worst travel experience
while on tour?
GC: There were more than a few of them but I
never look on them as worst because I survived
whatever it was. I try to block it out of my mem-
ory but there were a few airplane things that
happened back in the old days. Once we had to
ditch the fuel because something happened to the
plane. We were going to Goose Bay, Labrador
with Slide Hampton and his big octet. It was 60
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George Coleman
(Continued from page 32)
below there. You go outside and you spit, it’ll
freeze before it hits the ground. We were up
there performing for the military. There were
other incidents but they’re a little too personal to
relate.
JI: When was the last time you did a forwards
flip and do you still have an exercise regimen?
GC: [Laughs] I wish I did still exercise. My
back is in such bad shape that I can’t do any of
the exercises I used to do. I probably haven’t
done a flip since back in the day. I was pretty
athletic and up until 20 years ago, I was an avid
guy in the gym. Even when I was doing all the
partying and staying out late, I would always
find time to go down to the East River and run.
I’d usually do about 2 miles. I did 5 miles one
day but I got too sore. I was very consistent with
that, that’s probably why I never had a stroke –
keep my fingers crossed. In the club, I would
party like crazy but then I was right back in the
gym.
JI: What are your interests outside of music?
GC: Well, to tell you the truth, I don’t have that
many interests outside of music. I used to be
involved with looking at sports but it got to be
too much of a problem with me as far as wanting
my team to win and being nervous so I decided
that was enough of that. I also used to look at the
soaps during the day. Other than that, I wasn’t
too involved with much recreational stuff except
teaching some of the kids and experienced play-
ers that would come to me. That was my routine,
either teaching, playing or going to the gym.
JI: What was your 9/11 experience?
GC: It’s sad. I was on my way to the gym and it
was closed and when I got back, all the details
were on the TV. That particular week, we were
playing at Smoke and most of the other clubs
closed but Smoke stayed open and we had a
huge crowd of people which was inspirational.
We all felt good about that. However, everybody
was in total shock because there were a lot of
people that died and were still dying from it. I
felt bad and angry about that, very angry. I live
very close to the towers and I could smell it. The
next day there was still smoke around and you
could smell the burnt stuff. The streets were
deserted.
JI: The last questions have been given to me by
other artists to ask you:
Sonny Rollins (sax) said - “George, I haven’t
heard you in a while. What kind of mouthpiece
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are you using now? Metal or rubber?"
GC: I’m using a metal mouthpiece.
JI: What’s your history with Sonny Rollins?
Anything you can share?
GC: I wouldn’t say that we were very close,
because I wouldn’t see him that much, but when-
ever we would hook up, we had a great relation-
ship. He was always one whom I admired and
still do. A great player, a great, great innovative
talent. See, they talk about playing inside and
playing outside but what I liked about him was
his flexibility and his harmony and everything
else about him. His forcefulness and his attack,
all the good stuff that a jazz saxophonist would
like to have, he has.
Joe Lovano (sax) said – “I love George Cole-
man. Moving to New York in the mid-seventies
and hearing him countless times with his quartet
at the Vanguard with Harold Mabern, Jamil Nas-
ser and Idris Muhammad, or his nonet with Jun-
ior Cook or Sal Nestico on tenor at Boomer’s,
set me on my way. George plays so much saxo-
phone and music, just thinking about him sends
me to the woodshed to this day. As far as a ques-
tion, I’d like to ask about how he and Booker
Little met and how old they were when they first
started playing together in Memphis?”
GC: I was a little ahead of Booker but Booker
came along and he was a phenom. He had great
technique even then. He practiced all the time
and he had his own style of playing. He had
great facility up in the highs, he played in the
G’s and the F’s, the Dizzy Gillespie type stuff.
He’d play eighth notes up there, he’d be running.
I was amazed how quickly he had learned. I
remember he had transcribed Miles’ solo on
“Star Eyes” with Bird and I was amazed by that.
I played the chords on the piano and he played
the solo. That was one of the first experiences I
had with him. He used to put me to shame be-
cause I’d be laying up in the bed and I would
hear him in his room practicing. He’d practice,
just like Brownie, too long and sometimes his
lips would get sore. But sore lips wouldn’t stop
those guys, they’d play as long as they could.
Joe Lovano also asked – “Did Miles ever come
to hear you and Booker Little play or comment
on Booker’s playing and compositions? Please
give George my best and congratulate him on his
Jazz Masters Award for me as well! I was out of
town or I would have been there. Salute!”
GC: Joe is great. Miles never came but he knew
about Booker because he and Max were close
and he kept a watch on him. All the trumpet
players on the scene knew about Booker.
Ira Sullivan (multi-instrument) asked – “Are
you still practicing “Cherokee” and “Giant
Steps” seven hours a day in all twelve keys as
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you did when you and Booker Little, Harold
Mabern, Frank Strozier, Cleveland Eaton and
Phineas Newborn showed up in Chicago in the
‘50s?” Send George my Love and tell him it
was great seeing and hearing him! Amazing
Grace!!
GC: Yeah, that sounds like Ira. No, I’m not
practicing anymore but I do have the information
of how it’s done and how to do that. ”
Bob Mintzer (sax) said, “George, all your re-
corded work is some of my all-time favorite
music. To my way of thinking, you are one of
the most interesting and deep players as far as
really getting inside the harmonic structures of
tunes. Your use of abstraction as an extension of
basic harmony and the blues is unparalleled
amongst saxophonists in jazz. What skills have
enabled you to develop along these lines?”
GC: I was doing that a long time ago. When I
first started playing, I practiced those things. I
practiced tonalities and different keys and, of
course, I was interested in the so-called bebop
harmony and as I got older. I actually began to
listen to some of his stuff because Bob Mintzer
is a hell of a musician. He’s a good saxophone
player and a hell of an arranger too. His writing
is phenomenal.
Jon Irabagon (sax) asked – “As a product of the
(Continued on page 34)
33

George Coleman
jazz-in-schools generation, we are taught that
apprenticeship and studying with the giants of
jazz are the main way students of the music im-
prove and then afterwards, gain enough recogni-
tion to successfully lead their own bands. Was
the perception the same when you were younger
and gaining experience? Was the Miles gig the
ultimate goal for you as a young jazz musician?
How would you say that stint helped/changed
your musical and career direction, if at all?”
GC: Just by playing with him was an experi-
ence in itself, with him being one of the innova-
tors and one of the practitioners of the bebop era.
He didn’t sound like that in his later years. He
was stretching out, but playing with him, and, as
I said, all the guys that I played with, I was able
to acquire some bit of information. My piano
player, Harold Mabern, gave me a lot of con-
cepts about harmony. Bill Lee, the father of
Spike Lee, did some arrangements for Slide’s
octet, is a genius as far as I’m concerned with his
harmony and his playing. I’m getting all this
stuff from these guys. Sonny Stitt, Sonny
Rollins, Johnny Griffin, Eddie Lockjaw Davis,
I’m hearing all these different concepts of play-
ing so that’s how I was able to develop whatever
little skills that I have by listening to them and
applying some of their theories.
Jon Irabagon also asked – “How do you think
the ideas of free playing, formless improvisa-
tions or timbral improvisations have changed the
course of jazz? Has jazz gotten more or less
interesting because of it?”
GC: I’m only one voice, but I won’t say there
was some evolution, as far as the music is con-
cerned, when this free thing came along because
guys have been playing free for years. I mean, if
Richard Nelson
(Continued from page 24)
tive visions, wherever that might lead. I very
much hope my audiences will enjoy taking that
journey with me, and I think a lot about making
Aaron Irwin
(Continued from page 25)
musicians to want keep jazz safe as one would
keep a painting safe in a museum. This feeling
might come from fear that what they hold dear
about jazz will be forgotten or fear that the
evolving music will possibly become something
they no longer recognize within themselves. As
Bill Evans aptly said, "jazz is not a style, it’s a
34 November 2015  Jazz Inside Magazine  www.JazzInsideMagazine.com
you listen to Don Byas and John Coltrane, you
can’t get no freer than that and still remain in the
so-called mainstream of the music – of the har-
mony and the time element and the swinging.
See, they had all of that stuff plus they could
play the stuff on the outside of the chords. They
always say there was a big change when the
avant-garde came along, yeah, it’s a change but
good music is good music, a good player is a
good player, and mediocre players are mediocre.
I won’t say they’re bad but that has prevailed
since the beginning of time. If there were no
such thing as Ornette Coleman bringing in the
concept of free jazz, these guys probably would
still be playing the way they have always played
– good and free. There was a guy back in Mem-
phis, playing on a minstrel show back in the
‘40s, we used to call him Popeye. He was play-
ing the Ornette Coleman concepts so there’s
nothing new under the sun, as they say.
Charles McPherson (sax) said – “Ask George
how he learned to play so good so early on. Was
it the city he lived in and or the people around
him? Whatever the case, he’s one of my favor-
ites, or maybe my favorite tenor player of my
generation.”
GC: In answer to his question, it’s just what I
told you. I was around so many great musicians
and that was the order of the day, learning how
to play at a very early age. Lee Morgan at 17
was ready for the Philadelphia Symphony, he
was playing etudes and stuff. Learning quick
was the order of the day during the era that I
grew up in and I’m sure it was the same thing for
Charlie Parker, Sonny Stitt and all the other
great players. It was a natural thing for these
guys. I bet when Art Tatum was playing for a
couple years that he was playing good. All those
guys were playing good when they first started
playing. All the guys that I knew, coming from
that era, it didn’t take them a lot of time to learn
how to do that. Of course, Charles is right in
that connection. For me, factoring in audience
reception enhances the creative process.
JI: Is there anything you’d like to discuss for
which I haven’t prompted you?
RN: I’d just like to say thanks for the opportu-
nity to converse with you, and to put out an invi-
tation for your readers to catch my new large
process.” I think that jazz will evolve like all
music evolves. Regarding the future of jazz, we
may or may not like how it evolves over time,
but ultimately we have only a short time to say,
or sing, our piece before we leave this earth and
leave it to someone else to make their mark.
JI: What have you discovered about the music
business and human nature as a result of your
dealings with jazz club operators, festival deci-
sion-makers, record labels, promoters, publicists,
etc.
there with all the great players too. He’s one of
my favorites also. His music has changed, he’s
no longer what they used to like to say, that he
was a carbon copy of Bird. He’s unique and we
had some great times playing together.
Phil Woods (sax) said – “How did you develop
your unique musical voice?”
GC: Oh, I don’t know. Probably from listening
to others. Listening to other players. Phil is an-
other one of my favorite musicians. He’s a good
arranger too.
Phil Woods also said – “For me you are a giant
improviser. Why aren't you more famous? My
guess—too original. Nobody, and I mean no-
body, plays more saxophone than you do. God
bless!”
GC: Well, that’s a nice thought and compli-
ment. I have respect from all of my peers and
that’s one thing that I do like. I won’t say all of
them but from most of them, from some of the
important ones like the ones you gave me ques-
tions from. Those guys, all of them, I feel real
close to. The guys you gave me questions from
are really some of my favorites. The only one
that didn’t get a chance to give me a question
was Michael Brecker, whom I liked a lot too. He
was a great player. A friend of mine from years
back said Michael used to ask about me but he
was too shy to come to me. I was open for every-
body, if you came and asked me a question. I
wasn’t like some people who were less inter-
ested in helping somebody learn how to play.
That was my thing. When I started playing,
that’s what I was doing, teaching other people
how to play. So all those guys asked you ques-
tions? That’s really wonderful.
JI: Your work is admired and cherished by
many. You are definitely your toughest critic.
GC: No question about that. [Laughs]

ensemble, Tim O’Dell/Richard Nelson and Pur-
suit, at ShapeShifter on November 19 at 9:30.
We’ll be playing movements from my “Deep
River” suite, which re-imagines American tradi-
tional songs for jazz orchestra, premiering my
composition Cohere, and presenting several
works by my co-leader Tim O’Dell.

AI: I have discovered that there are so many
deserving jazz musicians all trying to get the
same little pool of gigs, record labels, publicity,
etc. and it sometimes feels overwhelming, fool-
ish, and discouraging, and yet most of the musi-
cians I hang around are some of the funniest,
encouraging, smart, and inspiring people I have
ever met. It is these relationships that keep the
fire burning and I feel privileged to make music
with them.

To Advertise CALL: 215-887-8880
 CD REVIEWS
Bob Albanese
TIME REMEMBERED—Mayimba Jazz
851756004794. Time Remembered; Isfahan; El
Raton; Pastels ( Waltz for George); Herbie Lix;
Pensativa; Furmina; The Place; Changes.
PERSONNEL: Bob Albanese, piano and
melodica, vocals, ukulele and assorted percus-
sion; Eddie Gomez, bass; Willard Dyson, drums;
David Meade, percussion.
By Eric Harabadian
The leader Albanese is quoted in the liner
notes as saying that Eddie Gomez was the only
real choice he wanted to play on this album. And
it’s easy to see why after you hear the bouncy
title track “Time Remembered.” Not only does
the tune typify the overall sentiment of the al-
bum but it was written by jazz piano master Bill
Evans. Gomez, of course, was an integral part of
Evans’ trio for 14 years and was one of the ma-
jor progenitors of modern acoustic bass playing.
Gomez steps out on the piece about halfway in
and reels of an amazing and vibrant solo that is
evenly matched by Alabanese’s own musical
acumen. That’s followed by the leader’s pure
solo piano turn on Billy Strayhorn’s “Isfahan.”
It’s a jaunty, somewhat playful stride styled
improvisation that has a lot of spunk and charm.
His chords are deep and rich, with passages of
flurried notes stringing it all together. “El Raton”
is a mid-tempo Latin burner by the leader him-
self. It’s an engaging and fiery legato-tinged
piece, with plenty of kick from David Meade’s
lively percussion and a funky bass and drums
figure. This one has a very challenging melodic
line, with tricky harmonic twists and turns; a lot
of fun! The next one finds Alabanese summon-
ing his own Bill Evans in the very lyrical and
pensive “ Pastels ( Waltz for George).” This tune
has a lot of space and room for the melody and
each member of the trio to truly develop their
role. At times each piece seems a tad disjointed
but it all comes together about mid-point in a
smooth and swinging meeting of the minds.
Albanese likes to mix it up and maintain a bit of
diversity in his approach. A case in point in the
following tune called “Herbie Lix.” It’s a
loosely-based homage to Herbie Hancock’s per-
formance as a member of Miles Davis’ band on
a live date in 1965 at Chicago’s Plugged Nickel.
This piece is hyperactive and moves at a rapid
pace. Alabanese challenges the rhythm section,
with a complex arrangement and stellar leads.
GetYourCDToPressAndRadio.com
To Advertise CALL: 215-887-8880 November 2015  Jazz Inside Magazine  www.JazzInsideMagazine.com
Gomez and Dyson follow him note for note.
Claire Fischer’s “Pensativa” is a beautiful mel- How to Submit CDs
ody impeccably arranged for solo piano by the
leader. His attention to detail and allowance to & Products For Review in
let the piano resonate and breathe makes this
piece really come alive. Alabanese plays soul- Jazz Inside Magazine
fully, thoughtfully and with warmth and grace.
“Furmina” is another unique and interesting Record labels or individual artists who are
piece for its multiple structure and purposeful seeking reviews of their CD or DVD re-
dedications within. The piece is dedicated to
cordings or books may submit CDs for re-
Albanese’s precious beagle as well as his wife.
The shifting rhythms and moods also harken to view consideration by following these guide-
musical references to the chase by paparazzi of lines.
Princess Diana. From semi-classical beginnings
to modern jazz and crooning from Furmina the Send TWO COPIES of each CD or product
dog, this is a very personal and one-of-a-kind to: Editorial Dept., Jazz Inside, P.O. Box
composition, indeed. “The Place” sounds like it 30284, Elkins Park, PA 19027. All materi-
would not be out of “place” on an Arlo Guthrie als sent become the property of Jazz Inside,
or vintage Pete Seeger album. The leader sings, and may or may not be reviewed, at any
plays percussion, ukulele and melodica on this
time.
world beat-oriented folk song. His words are
inspiring and heartfelt and, while not a strong
singer, he emotes and delivers a lyric very well. Ron Carter
The album concludes with another vocal by the
leader where he sounds like a cross between & The WDR Big Band
Mose Allison and Harry Nilsson. “Changes” has
the subtext “Jazz Harmony Lesson in a Song.” MY PERSONAL SONGBOOK—In + Out
And that’s exactly what it is as Albanese vocally Records 77123. Eight; Receipt, Please; Ah, Rio;
describes the literal harmonic changes he is mak- Dom Mood; Blues for D.P.; Wait for the Beep;
ing in the song as it plays. About mid-point he Little Waltz; For Toddlers Only; Sheila’s Song;
moves off the mic and the band goes to town on Cut and Paste.
a swing vehicle. It’s a cute little tune that cer- PERSONNEL: Ron Carter, acoustic bass; John
tainly displays the quirky side of this amusing Marshall, trumpet, flugelhorn; Andy Haderer,
artist. trumpet; Ruud Breuls, trumpet; Andy Hunter,
Bob Albanese plays beautiful piano and is trombone; Ludwig Nuss, trombone; Shannon
harmonically very good. He arranges really well Barnett, trombone; Paul Heller, tenor saxophone;
and is a gifted leader. But he likes to put his Johan Horlen, alto saxophone; Frank Chastenier,
tongue in his cheek from time to time as well acoustic piano; Paul Shigihara, guitar; Hans
and more power to him for it Dekker, drums
By Alex Henderson
COMPANIES: Advertise Your Products in Jazz Inside
MUSICIANS: Advertise Your Music, Your Gigs & Yourself
Jazz Inside Magazine — Print & Digital
Put yourself, your music and products front and center of the jazz community in New
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Take advantage of our wide array of PRINT and DIGITAL marketing options —SOCIAL
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business experiences value that far exceeds their investment.
CONTACT us and discover the many ways we can help!
Eric Nemeyer, 215-887-8880, Eric@JazzInsideMagazine.com
(Continued on page 36)
35

(Continued from page 35)
Like the vast majority of post-bop musi-
cians who became famous during the 1960s,
acoustic bassist Ron Carter has spent most of his
career playing in small groups—sometimes as a
leader, sometimes as a sideman. Small-group
recordings dominate his catalogue, which Carter
began to build when he recorded Where? (his
first album as a leader) for New Jazz/Prestige
Records in engineer Rudy Van Gelder’s New
Jersey studio back in 1961. Yet Carter has ex-
celled with big bands as well: for example, 2011
saw the release of Ron Carter’s Great Big Band.
And My Personal Songbook finds Carter joining
forces with the Cologne, Germany-based WDR
Big Band.
One of the main things that makes My Per-
sonal Songbook stand out is the fact that Carter
and WDR play Carter’s own material exclu-
sively. Typically, one expects to hear Carter
playing some standards in a big band setting:
Ron Carter’s Great Big Band contained familiar
standards such as Duke Ellington’s “Caravan,”
Gerry Mulligan’s “Line for Lyons,” Sonny
Stitt’s “The Eternal Triangle” and Dizzy Gilles-
pie’s “Con Alma.” Yet everything on My Per-
sonal Songbook is a Carter original, from the
Brazilian-flavored “Ah, Rio” to the driving “Cut
and Paste” to the melancholy “Doom Mood.”
One of Carter’s greatest accomplishments
was the time he spent in trumpeter Miles Davis’
mid-1960s quintet, where he played alongside
tenor saxophonist Wayne Shorter, pianist Herbie
Hancock and drummer Tony Williams. Half a
century later, Carter is still revered for his asso-
ciation with Davis. So it isn’t surprising that the
iconic trumpeter is acknowledged on parts of
this release. “Sheila’s Song” has a strong fla-
menco flavor, recalling the Spanish influence
that Davis brought to his great Sketches of Spain
recording of 1959. And some of the improvisa-
tions on Carter’s modal song “Eight” hint at the
Davis standard “So What,” which was unveiled
on Kind of Blue (one of the most essential al-
bums from the golden era of modal jazz).
My Personal Songbook is a two-disc set.
The first disc is an audio CD, while the second
disc is a bonus DVD that contains footage of
Carter playing with WDR in that studio in Co-
logne in July 2014. The DVD also includes brief
interviews with Carter, who discusses how some
of the songs came about. For example, Carter
explains that “Sheila’s Song” was written in
memory of a female friend: a dancer who was
fond of Spanish music. Carter doesn’t actually
mention Davis when discussing “Sheila’s Song,”
but given how important a figure Davis was in
his life, it is hard to listen to the piece without
thinking of Sketches of Spain and how master-
fully Davis fused instrumental jazz and flamenco
when he recorded that classic album 56 years
ago.
Carter celebrated his 78th birthday on May
36 November 2015  Jazz Inside Magazine  www.JazzInsideMagazine.com
4, 2015. Thankfully, he is still keeping busy after
all these years, and Davis’ union with WDR
proves to be an appealing combination on My
Personal Songbook—which reminds us how
skillful he is not only as a bassist, but also, as a
composer.
Chick Corea & Bela Fleck
TWO—Concord Jazz CJA 37992-02. Disc 1:
Senorita; Menagerie; Waltz for Abby; Joban
Dna Nopia; The Climb; Mountain. Disc 2: Bra-
zil; The Enchantment; Bugle Call Rag; Prelude
en Berceuse; Children’s Song No. 6; Spectacle;
Sunset Road; Armando’s Rhumba.
PERSONNEL: Chick Corea, piano; Bela Fleck,
banjo.
By Eric Harabadian
From an undisclosed theater location this is
a snapshot in time of two masters at work in
their natural habitat; performing live. It’s a very
simple and direct approach; a duet recorded
clearly and impeccably where each artist’s con-
tribution are distinct and overlap, where appro-
priate, beautifully. Both Corea and Fleck have
worked together before and seemingly emerge
from different musical worlds; one is, of course,
a jazz piano wizard and the other an eclectic and
progressive banjo playing revisionist. But, each
are daring artists able to bring immense inven-
tion and ingenuity to the table. The results are
astoundingly on display here with the live docu-
ment “Two.”
There is a lot of give and take between the
two musicians from the outset. There is a real
conversation that is set in motion via Corea’s
own “Senorita.” This features a gentle build in
dynamics between the two musicians that really
ignites an incendiary and legato-tinged flurry of
notes between the two. The rhythmic figure has
a decidedly Spanish flair and the mix of unison
and harmonic passages between them is electric.
“Waltse for Abby” is a song dedicated to Fleck’s
banjo-playing wife. It’s a light hearted piece
filled with playful passages and a nice use of
space. The interplay between Fleck’s finger-
picked arpeggios and Corea’s articulate chord
patterns is graceful and transcendent. The amus-
ing anagram –titled piece “Joban Dna Nopia
( Banjo and Piano)” gets an amusing set up from
Fleck to the audience before the two dive into
the tune. It’s a nice mix of dynamics, chord in-
versions and variations on themes within themes.
Acrobatic playing coupled with fluctuating tem-
pos make this a highlight. Two of Fleck’s more
notable pieces “The Climb” and “Mountain”
seem to dovetail nicely back to back. Fleck be-
gins with a solo banjo piece where he pulls out
all the stops employing some of his best classi-
cally-based finger picking. That leads into
“Mountain” which brings in Corea for an Appa-
lachian feel. Disc 2 returns from an intermission,
with the spicy “Brazil.” The mambo meets salsa
rhythms fuel brilliant and buoyant interplay be-
tween the two masters. They each ascend to a
fever pitch near the tune’s finale blending melo-
dies and solos flawlessly. A bit down the pro-
gram list Fleck amusingly sets up the Flat and
Scruggs popularized tune “ Bugle Call Rag” by
telling the audience “ Chick wanted to play some
bluegrass so let’s see what happens.” What hap-
pens is a little over three minutes of pure coun-
trified heaven. Fleck is certainly in his element
here and Corea appropriately lay down some
bluesy filigree that really rounds out and drives
this piece to the stratosphere. Some European-
inspired lullabies, experimental encores and a
hearty take of Corea’s signature “Armando’s
Rhumba” brings the house down.
The liner notes allude that, both Fleck and
Corea brought performances out of each other
that were remarkable and unexpected.
“Improvised music is all about trusting the un-
conscious mind,” says Bela Fleck. This is a point
that is indelibly made with this fantastic live
performance.
Joey DeFrancesco
TRIP MODE—JoeyDeFrancesco.com. Trip
Mode; Who Shot John; Arizona Sunrise; In That
Order; Cuz U No; On Georgian Bay; The Touch
Of Your Lips; Traffic Jam; What’s Your Organ
Player’s Name?
PERSONNEL: Joey DeFrancesco, organ, pi-
ano; keyboards, trumpet, vocal; Dan Wilson,
guitar; Mike Boone, bass; Jason Brown, drums
By Scott Yanow
Joey DeFrancesco has been one of the gi-
ants of the organ ever since his emergence in the
1980s, recording an extensive series of consis-
tently swinging and soulful albums. Trip Mode is
a little different in that it also features
DeFrancesco’s other musical skills.
Joey DeFrancesco, who is now 44, is the
son of organist Papa John DeFrancesco. His
grandfather, Joseph DeFrancesco, played saxo-
phones and clarinet. Unlike most organists who
started out on piano Joey DeFrancesco was play-
ing organ from the age of four. Jimmy Smith
soon became his idol and main influence. When
he was just five, he was already sitting in with
his father’s band. At the age of ten, DeFrancesco
was playing regularly in Philadelphia jazz clubs.
He was a finalist in the first Thelonious Monk
International Jazz Piano Competition even
though piano was never his main instrument.
At 16, DeFrancesco was signed to Colum-
bia, making his recording debut in 1987 with his
album All Of Me. At the time the organ was just
To Advertise CALL: 215-887-8880
beginning to make a comeback after being over-
shadowed for the past 15 years by electric key-
boards. DeFrancesco’s quick success led to
many other young musicians taking up the or-
gan.
At 17, DeFrancesco was part of Miles
Davis’ band for five months, recording Amandla
with Davis in 1989. The organist also worked
with John McLaughlin in The Free Spirits and
recorded with Jimmy Smith late in the latter’s
life. However he has mostly been heard at the
head of his own trios throughout his career, play-
ing blues, ballads, standards and swinging origi-
nals, and releasing over 30 albums as a leader.
On Trip Mode, DeFrancesco (who wrote
seven of the nine songs) is joined on most selec-
tions by the current members of his trio: guitarist
Dan Wilson and drummer Jason Brown. Both of
his sidemen are young players who perfectly fit
into the soul jazz/hard bop setting. “Trip Mode”
features the trio on an uptempo blues that says a
lot within its 4 ½ minutes. The guitarist’s “Who
Shot John” is a funky original climaxed by a fine
guitar-organ tradeoff over the closing vamp. “In
That Order” is an uptempo hard bop original that
gives DeFrancesco to show off his virtuosity.
The blues ballad “Cuz U No” has the trio getting
lowdown and really digging into the bluesy mu-
sic. They also perform the funky vamp “Traffic
Jam.”
Three of the other songs feature Joey
DeFrancesco on trumpet and piano while joined
by drummer Brown and bassist Mike Boone.
While in the past DeFrancesco has shown a
strong Miles Davis influence in his trumpet play-
ing, on this date (particularly on “Arizona Sun-
shine”), he often sounds much more distinctive.
Each of the three trumpet pieces are ballads with
“On Georgian Bay” being particularly atmos-
pheric, highlighted by an impressive piano solo.
“The Touch Of Your Lips” may surprise some of
DeFrancesco’s fans for, in addition to piano and
muted trumpet, he takes a warm vocal that is
quite effective.
The closer, “What’s Your Organ Player’s
Name?” is named after the question that Miles
Davis asked Christian McBride in 1988 when he
first heard DeFrancesco. The only selection to
include guitar, bass and drums, it features
DeFrancesco on organ, keyboards and trumpet,
sounding a bit like Davis’ mid-1980s band on a
groove tune.
Trip Mode is the latest in a long string of
easily recommended Joey DeFrancesco CDs.
Scott DuBois
WINTER LIGHT—ACT Music. ScottDu-
bois.com. First Light Tundra; Early Morning
Forest; Late Morning Snow; Noon White Moun-
tain; Afternoon Ice Fog; Evening Blizzard; Night
Tundra.
To Advertise CALL: 215-887-8880 November 2015  Jazz Inside Magazine  www.JazzInsideMagazine.com
PERSONNEL: Scott DuBois, electric guitar;
Gebhard Ullmann, tenor saxophone, bass clari-
net; Thomas Morgan, bass; Kresten Osgood,
drums.
By Alex Henderson
During its long history, jazz has often had a
decidedly urban perspective. Jazz started in an
urban environment, New Orleans, with cornetist
Buddy Bolden in the 1890s, and it went on to
flourish in a variety of major cities ranging from
New York, Chicago, Philadelphia, Los Angeles
and Boston in the United States to Amsterdam,
Paris, Rome, Stockholm and Munich in Europe.
Indeed, jazz has often thrived on urban imagery
whether it was the East Village in Manhattan,
Montmartre in Paris or London’s West End. But
on Winter Light, New York City-based guitarist
Scott DuBois draws inspiration from nature—
specifically, nature as one would experience it in
a colder climate.
DuBois recorded Winter Light in January
2015 during a visit to Copenhagen, Denmark,
where he oversees a cohesive quartet that in-
cludes Gebhard Ullmann on tenor saxophone
and bass clarinet, Thomas Morgan on bass and
Kresten Osgood on drums. Together, the four of
them deliver an evocative, atmospheric blend of
avant-garde jazz, post-bop and fusion. Of course,
avant-garde jazz comes in many different fla-
vors, from scorching, brutally atonal free jazz to
nuanced inside/outside performances—and Win-
ter Light is clearly of the inside/outside variety.
In fact, the performances are more inside than
outside. And while this 68-minute CD has its
dissonant moments, DuBois pays a lot more
attention to melody and harmony than he does to
outside improvisation. Structure and form are
not merely an afterthought on Winter Light: they
are a crucial part of the album.
Winter Light is totally instrumental, and
DuBois (who composed all of the material) uses
melody, harmony and improvisation to paint his
musical pictures of nature. Titles like “Noon
White Mountain,” “Afternoon Ice Fog” and
“Late Morning Snow” demonstrate that DuBois
was thinking about the colder parts of Europe
when he recorded this album, and there are two
song titles that have the word “tundra” in them:
“Night Tundra” and “First Light Tundra.” This is
not nature as one experiences it in a tropical
environment or in the Amazon Rain Forest of
Brazil, but native as one experiences it in North-
ern Europe during the colder months of the year.
And Ullmann’s expressive solos on the tenor sax
and the bass clarinet help DuBois bring his win-
ter-minded material to life. Ullmann is a defini-
tive asset throughout Winter Light, and DuBois
is lucky to have him on board.
The fact that DuBois recorded Winter Light
in Denmark in the dead of winter is no coinci-
dence. DuBois had snowstorms, ice and fog on
his mind, and he paid homage to that side of
nature in a Scandinavian country that is known
for cold winters.
Listeners who flat-out hate winter and made
a permanent move to Miami or Acapulco to get
away from it might have a hard time relating to
the pro-winter perspective on Winter Light: in-
stead of cursing the cold, snow, ice and fog,
DuBois finds beauty and inspiration in them.
Regardless, DuBois’ composing and improvising
are excellent. All of the performances sound
quite personal, making Winter Light a compel-
ling listen.
Elevations
TO THE STARS—Corona Music CD-70652.
Planet Earth; El Gran Arado; Someone Like
Mulgrew; Mr. Walton; Talkin’ With “Tain”;
Letting Go; Coming Home to Pittsburgh; RH
Thursday ( for Roger Humphries); Stellar Colli-
sions; Not So Serious; Beyond; Roylike; To the
Stars.
PERSONNEL: Brett Williams, piano & synthe-
sizer; Benny Benack III, trumpet & flugelhorn;
Anton DeFade, bass; Michael Stephenson, tenor
& soprano saxophone; George Heid III, drums;
Guest Artists: Warren Wolf, vibraphone; Sean
Jones,trumpet; George Jones, percussion; Evan
Hertrick, flute; Carolyn Perteete, vocals; George
Heid, Sr. , percussion.
By Eric Harabadian
Elevations is a young quintet from the Pitts-
burgh area, I believe. This full length album
features original compositions from the group
that explore a wide range of jazz influences and
styles. A lot of what they do is very individualis-
tic and reflective of a band with members that
have compositional depth and vision. They are
joined by guests such as vibist Warren Wolf and
trumpeter Sean Jones who offer moral as well as
artistic support to the proceedings.
Many of the tracks here are very soulful and
bear strong ties to classic jazz and swing as well
as modern idioms and modes. Cuts like album
opener “Planet Earth” and its follow up “El Gran
Arado” have tight arrangements and unique
structures that recall Art Blakey’s Jazz Messen-
gers or some of Miles Davis’ early bands. Drum-
mer George Heid III’s “Mr. Walton” is a spirited
dedication to pianist Cedar Walton, with a nice
flute spotlight by guest Evan Hertrick. “Talkin’
With ‘Tain’” is another original piece by the
talented Heid III dedicated to drummer Jeff
“Tain” Watts and featuring a cool melody line
and progressive modal-like horn line. Bassist
Anton DeFade’s “ RH Thursday ( for Roger
Humphries)” is a tight swing number that is cool
as well and features guest and mentor Warren
Wolf’s brilliant vibes patterns and accompani-
ment. Another one of DeFade’s sweet swing
vehicles is the tune “Stellar Collision.” It’s a mid
tempo straight ahead piece written for the pri-
mary group and spotlights them at the height of
their improvisational powers. It’s interesting
when Elevations can branch out and put the em-
phasis on certain elements of the group such as
(Continued on page 38)
37
on keyboardist Brett Williams’ piece “Beyond.” drums; Sarah Elisabeth Charles, vocals; Salhiya
It’s written for a trio and features the pianist Bilal Tumba, vocals; Shamiyl Bilal Tumba, vo-
along with DeFade and Heid III. Williams’ lyri- cals;
cism here really shines through, with strong
melody and simple, yet mutli-layered accompa- By Alex Henderson
niment from the rhythm section. Horn man
Benny Benack III’s “Roylike” is special for its Post-bop musicians often use post-bop stan-
blend of straight ahead swing and funk. And the dards to express themselves as improvisers. A
album finale and title track “To the Stars” high- post-bop album with a repertory outlook might,
lights Michael Stephenson as a stellar lead vo- for example, offer Miles Davis’ “Flamenco
calist, with some range, as a fine tenor saxo- Sketches,” Joe Henderson’s “Black Narcissus”
phonist. Well done! or Wayne Shorter’s “Footprints” alongside Her-
bie Hancock’s “Dolphin Dance,” Cedar
Walton’s “Firm Roots,” Chick Corea’s
“Windows” or John Coltrane’s “Equinox” (all of
which are well known in the acoustic post-bop
realm). It is not uncommon to find post-bop
albums that favor an all-warhorses-all-the-type
approach, which is regrettable because there is a
lot more to post-bop than the warhorses that
have been recorded time and time again. But on
Blue Whispers, there are no warhorses. In fact,
Amina Figarova there are no songs on this self-produced album
that acoustic pianist Amina Figarova did not
BLUE WHISPER—In + Out Records 77128. write herself: she only uses original material to
Blue Whisper; Moving Upwards; Hear My get her emotional points across.
Voice; The Hustler; Pictures; Marians; The One can hear, in Figarova’s playing and
Traveler; Moonrise; Juno; Hewa composing, her affection for the great post-bop
PERSONNEL: Amina Figarova, acoustic pi- pianists, from Tyner to Hancock to Corea. Figa-
ano; Alex Pope Norris, trumpet, flugelhorn; rova, however, does not delve into the Hancock
Ernie Hammes, flugelhorn; Wayne Escoffery, or Walton songbooks: it is her own compositions
tenor saxophone, Marc Mommaas, tenor saxo- that give Blue Whisper its post-bop vitality. And
phone; Bart Platteau, flute; Anthony Wilson, she is a talented composer with an appealing
electric guitar; Luques Curtis, acoustic bass; sense of melody and harmony.
Yasushi Nakamura, acoustic bass; Jason Brown, Figarova shows her funkier side on “The
How To Connect With Jazz Inside The First Step
Dear Artists, Industry Professionals and Business Owners,
In order to help you be more successful, here is how to effectively
reach us at Jazz Inside Magazine — to buy advertising space, market-
ing & promotional services, get your CD reviewed, and for any and all
editorial and feature considerations.
Hustler,” yet she has a more ethereal outlook on
“Pictures,” “Moving Upwards” and “Moonrise”
as well as “Juno” and “The Traveler.” As much
as Figarova swings, there is something undenia-
bly ethereal about much of this album. And Fi-
garova has a talented team of sidemen to help
her bring the material to life, including Alex
Pope Norris on trumpet and flugelhorn, Ernie
Hammes on flugelhorn, Wayne Escoffery on
tenor saxophone and soprano saxophone, Marc
Mommaas on tenor saxophone, Bart Platteau on
flute, Anthony Wilson on guitar, Luques Curtis
or Yasushi Nakamura on bass and Jason Brown
on drums.
Some post-bop albums employ a working
group. If that group is a quartet, all of the selec-
tions on an album might be quartet perform-
ances. And if that working group is a quintet,
that quintet will be employed consistently. But
on Blue Whisper, the personnel varies from one
selection to the next. For example, Wilson is
only heard on “Pictures,” while Hammes’ flugel-
horn is only heard on “Juno.” Escoffery is fea-
tured on four selections: “Moving Upwards,”
“The Traveler,” “Juno” and the title track. And
singer Sarah Elisabeth Charles offers some ex-
pressive, memorable vocals on the haunting
“Hewa,” which is one of the few vocal offerings
on what is primarily an instrumental CD. Some
jazz instrumentalists don’t like to work with
singers at all, but Figarova obviously doesn’t
feel that way—and her decision to feature
Charles on “Hewa” was a wise one. It is good to
see Figarova showing her willingness to work
with talented vocalists.
But whoever is being employed on a par-
ticular track, Figarova is always the one in the
driver’s seat. She shines not only as a pianist on
Blue Whisper, but also, as a composer and a
producer—and the result is a consistently satis-
fying listen.

Please send a letter of interest with complete information and all of

your contact data (phone, e-mail, street or P.O. Box mailing address)
in an email to Eric Nemeyer at eric@jazzinsidemagazine.com Gerry Gibbs
For immediate attention put “Business Inquiry” in the SUBJECT LIVE IN STUDIO - Whaling City Sound WCS
076. Wives and Lovers; The Summer Knows;
field, followed by one or all of the following: “AD”, “CD”, The Look of Love; Spartacus Love Theme; On a
“Marketing/Promotion.” Clear Day; The Surrey With the Fringe On Top;
Alfie; Watch What Happens (instrumental);
Theme From a Man and a Woman; Cast Your
For example: Business Inquiry – Marketing/Promotion. Fate to the Wind; What Are You Doing the Rest
of Your Life?; More ( from Mondo Cane); Watch
Thank you for your interest in Jazz Inside Magazine, I am looking for- What Happens ( vocal); Music to Watch the
Girls Go By; Girl Talk; Charade.
ward to helping you with your business needs. PERSONNEL: Gerry Gibbs, drums; Kenny
Barron, acoustic piano; Ron Carter, acoustic
In Music, and Continued Success to Your Goals. bass; Roy Hargrove, trumpet & flugelhorn
(tracks 5,7,11,16); Cassandra Wilson, vocals
(tracks 3,7,13).
Eric
Eric Nemeyer By Eric Harabadian

38 November 2015  Jazz Inside Magazine  www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880

 (CD Reviews—Continued from page 38)
This is album three on the Whaling City
Sound label for veterans Barron and Carter and
leader Gerry Gibbs. The previous two Thrasher
Dream Trio discs have made significant strides
on the jazz charts. And this new release is certain
to follow right in their footsteps. Gibbs is a great
leader in, not only his masterful command of the
drums, but his stealthily honed session manage-
rial skills. According to the liner notes, Gibbs’
whole concept for this recording was to keep it
as spontaneous as possible. Hence, he accom-
plished that goal by passing out lead sheets for
the tunes just hours before the group was to re-
cord before an invited audience live in the stu-
dio. He also invited vocalist Cassandra Wilson to
contribute to this date, although they had never
worked together before, with her also having
minimal prep time before the session. But when
you get consummate professionals together in
their natural habitat the creative sparks are gonna
fly regardless. And fly they did. Actually “soar”
might be the more optimum word to use here.
The thematic concept of the album came
out of Gibbs and his wife Keyshie’s love for
‘60s Top 40 pop; more accurately, the jazzy
standards of the era written by film and TV com-
posers like Henry Mancini, Burt Bacharach and
the like. A number of these tunes possess harmo-
nies and melodic structures that lend themselves
to improvisational interpretation, but have rarely
been given this prominent a forum to explore
their potential. So, with the minor change of a
chord or two here and there Barron and Carter
laid down the lion’s share of the songs in, pri-
marily, first takes. This album has a loose and
improvisational feel that harkens back to a by-
gone era. Coupled with the vintage format of the
material there was certainly chemistry within
this session that totally worked.
“Wives and Lovers” the Burt Bacharach/
Hal David tune popularized by singer Jack Jones
kicks off the date in full swing, with a cool
groove to set the mood for the album. The sway-
ing to and fro of the rhythms bring out excep-
tional interplay between Barron’s nimble piano
passages and Carter’s swinging bass work. “The
Summer Knows” from the film “Summer of ‘42”
maintains all the drama and romantic charm
despite a brisk group interpretation. Again, the
musical conversation between the core trio is
transcendent and spot on. Another Bacharach/
David classic “The Look of Love” has been
covered by everyone from Dionne Warwick to
Diana Krall. Cassandra Wilson steps up to the
microphone for the first time during this session
and nails it from the outset. Her delivery is so
sultry and reflective that it defines the tune for
the modern era. She takes a great tune and makes
it even better. The same can be said for Roy
Hargrove’s guest contributions to Lerner and
Lane’s upbeat “On a Clear Day.” The trio plays
it pretty much by rote, with Hargrove adding a
certain depth and warmth on the horn that firmly
states the melody and embellishes it. “Alfie” is
another standard, again, that has been interpreted
a myriad of ways. However, Wilson and
Hargrove’s input here avoids any leanings to-
ward smarmy sentimentality. They dovetail
nicely with the trio and deliver a sweet and
40 November 2015  Jazz Inside Magazine  www.JazzInsideMagazine.com
Jazz Inside-2015-11_039-...
page 2
poignant piece. Briefly, some other tunes that
tended to capture the spirit of this endeavor was
the lyricism of Michel Legrand’s “What Are
You Doing the Rest of Your Life?,” the Latin
swing of “Watch What Happens” and the cool
and low key vibe of Neal Hefti and Bobby
Troup’s “Girl Talk.”
With this, his third trio recording venture to
include Barron and Carter, Gibbs proves to be a
consummate team player and really knows how
to elicit the best performances out of his collabo-
rators. He simply gives them great material,
provides indelible musical and moral support
and naturally lets it all happen. The Thrasher
Dream Trio continue to set the musical bar very
high no matter what setting they choose to work
within
Edwin G. Hamilton
THE WHOLE WORLD MUST CHANGE –
EGHM 35629-001 – edwinhamilton.com First
Time; The Shadow Of Your Smile; I Cover The
Waterfront; Prelude To Gospazz; Gospazz; Old
Devil Moon; St. Thomas; We Shall Overcome;
The Whole World Must Change; Straight, No
Chaser; Tenderly; Waltz For Debby; Honey-
suckle Rose; Come Sunday; Until The End Of
Time
By Scott Yanow
Edwin G. Hamilton is certainly a
multi-talented individual. On his debut CD as a
leader, the 24-year old sings lyrics very well, is a
creative scat singer, plays drums, piano, vibes
and organ on various selections, contributed five
songs and arranged all 15 numbers. While much
of the music is bop-based, there are plenty of
surprises to be heard throughout the colorful
program.
The son of a guitarist and a mother who
sang, Hamilton began on drums and piano and
was strongly influenced by the church, playing
both gospel music and jazz. Largely self-taught
on his instruments, Hamilton always loved to
swing while also being open to the influence of
other genres. He has had opportunities early in
his career to perform with such musicians as
Wycliffe Gordon, Charmaine Neville, Wynton
Marsalis, Delfeayo Marsalis, Marcus Printup,
Herlin Riley, Christian Sands, Donald Vega and
Frank Vignola among others.
The Whole World Must Change begins with
“First Time” which in its two minutes has a
quick (and somewhat philosophical) Hamilton
vocal along with brief spots for soprano-
saxophonist Scott Ferguson, guitarist Amos
Hoffman, bassist Travis Shaw and Hamilton on
drums. “The Shadow Of Your Smile” is taken at
a surprisingly fast pace and has some hot scat-
ting from Hamilton, displaying his own fresh
phrasing.
On “I Cover The Waterfront,” Hamilton
sings with plenty of feeling, scats a bit and sings
some interesting notes in the final chorus.
“Prelude to Gospazz” is completely different
with Hamilton playing some dramatic piano; this
song could be its own composition rather than a
prelude. “Gospazz” has Hamilton singing about
his desire to combine gospel music with jazz.
Also featured on this jazz waltz are flutist Rob
Foster, tenor-saxophonist Joel Cruz and bassist
Travis Shaw.
Hamilton next sings “Old Devil Moon”
with just the accompaniment of bassist Shaw,
sounding quite confident. He reinvents “St. Tho-
mas” as an unaccompanied drum solo, playing
the melody and variations during its final few
choruses. Hamilton switches to organ on the
gospellish “We Shall Overcome” which has a
very powerful vocal by Niki Harris. “The Whole
World Must Change” features trombonist Wy-
cliffe Gordon and Amos Hoffman on oud while
Hamilton sings about the importance of loving
one’s neighbor.
The melody of “Straight No Chaser” is
reinvented before there are heated solos from
altoist Gray Mayfield, Hamilton on vibes, guitar-
ist Amos Hoffman and guest pianist Eric Reed.
Hamilton follows this up by singing “Tenderly”
with the backing of Hoffman’s guitar and “Waltz
For Debby” in an assertive trio with trumpeter
Dennis DiSano and pianist David Brown. Edwin
Hamilton takes “Honeysuckle Rose” completely
by himself, singing lead over his overdubbed
vocal bass line and ending the piece with several
voices. The CD finishes with Hamilton’ singing
and playing gospel organ on “Come Sunday”
and leading an r&b-oriented jam with Wycliffe
Gordon and the rock-oriented guitar of Mike
Tanskley for “Until The End Of Time.”
The ambitious The Whole World Must
Change is quite successful and an important
early milestone for Edwin G. Hamilton.
Scott Hamilton
& Jeff Hamilton Trio
LIVE IN BERN – Capri 74139 –
www.caprirecords.com. September In The Rain;
All Through The Night; Watch What Happens;
Soul Eyes; This Can’t Be Love; There’ll Be
Some Changes Made; Sybille’s Day; Key Largo;
Woody ‘n You; The Champ; Ballad For Very
Tired And Very Sad Lotus Eaters; You And The
Night And The Music; Centerpiece
PERSONNEL: Scott Hamilton, tenor; Tamir
Hendelman, piano; Christof Luty, bass; Jeff
Hamilton, drums
By Scott Yanow
(Continued on page 42)
To Advertise CALL: 215-887-8880
Wednesday, November 04, 2015 19:56
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 (Continued from page 40)
Live In Bern features a very logical
matchup, teaming the great swing tenor-
saxophonist Scott Hamilton with the Jeff Hamil-
ton Trio, a very swinging combo based in Los
Angeles.
The comeback of small-group Swing can be
largely traced back to the rise of Scott Hamilton
and cornetist Warren Vache in the mid-1970s. At
the time, very few young jazz musicians were
choosing to play swing, instead deciding to ex-
plore fusion, funk, avant-garde jazz or soul jazz.
There were not even that many (other than
Richie Cole and a few others) playing bebop.
Swing was often associated with nostalgic big
bands and aging survivors. Hamilton, who was
22 when he led his first album in 1977, was a
world class player from the start and he led the
way for future generations of swing players in-
cluding Ken Peplowski and Harry Allen.
Born in Providence, Rhode Island, Hamil-
ton did not even begin playing tenor until he was
16 but he developed quickly. After working
locally (including with Duke Robillard), he
moved to New York in 1976. Hamilton played
briefly with Benny Goodman, was quickly
signed by the Concord label, and created a sen-
sation. A couple of years before Wynton Mar-
salis arrived on the scene, Hamilton led the first
wave of “Young Lions,” mixing together Zoot
Sims and Ben Webster in his own distinctive
swing style.
In the nearly 40 years since, Scott Hamilton
has stuck to his original musical path, seeing no
reason to alter or “modernize” his style. He has
grown from within and, while he plays an occa-
sional bop number (“Woody ‘n You” and “The
Champ” are on this CD), he has continued im-
provising in his own swing style. Hamilton has
appeared on dozens of recordings (often as a
leader), is a regular attraction at jazz parties and
cruises, and is the model of consistency, never
seeming to play or record an unworthy chorus.
Scott Hamilton and Jeff Hamilton have
crossed paths many times through the years,
often sharing the bandstand at jazz parties. It was
long overdue that the tenorman record with the
drummer’s trio, a long-time dream of producer
Tom Burns, the founder and head of the Capri
label. Jeff Hamilton, a superior drummer who is
equally at home with combos and big bands, is
one of the co-leaders of the Clayton-Hamilton
Jazz Orchestra, and has worked in the past with
Woody Herman, Count Basie, Oscar Peterson,
Ray Brown and Monty Alexander. Hamilton’s
long-time trio is modelled a bit after Brown’s in
the way it mixes together arranged sections with
jamming that swings hard.
On Live In Bern, the two unrelated Hamil-
tons, pianist Tamir Hendelman and bassist
Christof Luty perform a dozen jazz standards
plus Jeff Hamilton’s “Sybille’s Day.” They alter-
nate swingers with warm ballads, featuring Scott
Hamilton at his best. The one reservation I have
about this set is that the Jeff Hamilton Trio is
very much part of the supporting cast rather than
sharing the main honors with the tenor-
saxophonist. Tamir Hendelman, one of the top
pianists on the West Coast, is mostly restricted
to one solo chorus a song and is underutilized.
42 November 2015  Jazz Inside Magazine  www.JazzInsideMagazine.com
Jazz Inside-2015-11_039-...
page 4
He should have been allowed to cut loose and
really inspire Scott Hamilton.
However Live In Bern finds Scott Hamilton
at the peak of his powers, and is easily recom-
mended to those who love his always-solid play-
ing.
Ben Monder
AMORPHAE—ECM
ECMRecords.com.
Tendrils; Oh, What a
Beautiful Morning;
Tumid Cenobite;
Gamma Crusis;
Zythum; Triffids; Hemotophagy; Dinosaur Skies
PERSONNEL: Ben Monder, electric guitar;
Pete Rende, synthesizer; Andrew Cyrille, drums;
Paul Motian, drums
By Alex Henderson
Although Amorphae is Ben Monder’s first
album for ECM Records, he is by no means a
newcomer to the jazz world. The New York
City-based guitarist, now 53, is perhaps best
known for his work with the late drummer Paul
Motian, although he has also been a sideman for
alto saxophonist Lee Konitz, harmonica player
Toots Thielemans and bandleader Maria Schnei-
der. Monder has played a variety of jazz, and
Amorphae is best described as an atmospheric,
spacey blend of fusion and avant-garde jazz.
This is the type of jazz that makes extensive use
of space and would rather float than swing,
which makes it perfect for ECM Records.
Founded in 1969, ECM has released every-
thing from fusion to post-bop to avant-garde jazz
over the years. But despite its diversity, ECM
has been known for a particular type of sound—
one that is airy and sounds like it is floating on a
cloud. Saying that Amorphae has some relevance
to jazz’ avant-garde is not to say that Monder’s
performances are abrasive or confrontational.
Actually, Amorphae is the opposite of confronta-
tional. Monder reflects and contemplates, and he
does so with the help of sidemen who include
Pete Rende on synthesizer and Motian or An-
drew Cyrille on drums.
The Philadelphia-born Motian (who played
everything from straight-ahead bop to free jazz
during his long and impressive career) was 80
when he passed away on November 22, 2011,
and the selections on Amorphae that feature him
were recorded in October 2010 about a year
before his death. Motian is heard on “Triffids,”
“Dinosaur Skies” and the Rodgers & Hammer-
stein standard “Oh, What a Beautiful Morning,”
while Cyrille is the drummer on the 2013 per-
formances (which include “Tendrils,” “Zythum,”
“Tumid Cenobite,” “Gamma Crusis” and
“Hemotophagy”). That’s eight selections alto-
gether—three with Motian and five without,
three recorded a year before his death and five
recorded two years after Motian’s death—and
the 2013 performances aren’t much different
from the 2010 performances. Whether Motian or
Cyrille is on board, Monder’s first album as a
leader has a certain continuity to it. Amorphae
does not sound disjointed or unfocused. Monder
gives the impression that in both 2010 and 2013,
he entered the studio knowing exactly what type
of sound he was going for.
Unlike many ECM releases, Amorphae was
not produced by Manfred Eicher (the German
producer who founded ECM in Munich, Ger-
many 46 years ago). Rather, Sun Chung is the
producer on Amorphae, but that does not make
this album any less ECM-sounding. Chung is
quite faithful to the ECM aesthetic, helping
Monder deliver an album that sounds like it was
tailor-made for Eicher’s label.
Jazz labels come and go. Many of the jazz
labels that were formed in the late 1960s or early
1970s have long since gone out of business, but
ECM has endured. And even though ECM has
its dogmatic critics (who argue that jazz should
always swing, not float), the fact is that ECM
has withstood the test of time.
If Amorphae is any indication, Monder is a
welcome addition to the ECM roster of 2015.
Kim Nalley
BLUES PEOPLE –
Kim Nalley Jazz Pro-
d u c t i o n s –
www.kimnalley.net.
Summertime; Big
Hooded Black Man;
Trouble Of The World; Listen Here/Cold Duck/
Compared To What; Movin’ On Up; Never
Make Your Move Too Soon; Sugar In My Bowl;
Trombone Song; Ferguson Blues; Trouble Of
The World; The Chair Song; Sunday Kind Of
Love; Amazing Grace; I Shall Be Released
PERSONNEL: Kim Nalley, vocals; Tammy
Hall, piano, organ; Greg Skaff, guitar; Michael
Zisman, bass; Kent Bryson, drums; Bryan Dyer,
background vocals
By Scott Yanow
It is obvious, listening to her dramatic and
almost-ferocious version of “Summertime,” that
Kim Nalley is a very powerful singer. She acts
out the words at the slow tempo, goes almost
over-the-top, and really puts everything she has
into her vocalizing.
Kim Nalley has long been a major force in
the music scene of the San Francisco Bay area.
She grew up as part of a musical family, being
taught piano by her great-grandmother. She stud-
ied classical music and theatre and, while attend-
ing college, she gained important experience
singing in local clubs and jam sessions. Michael
Tilson Thomas, who was then the conductor for
the San Francisco Symphony, was so impressed
by her singing that he hired her to sing a
Gershwin program with the Symphony.
Nalley has had a wide-ranging and signifi-
cant career ever since, in fact several. After
spending a couple of years living in Switzerland,
she returned to San Francisco to run the Jazz At
Pearl’s club during 2003-2008. She has written
plays (including Ella: The American Dream),
contributed to newspapers, works as an educator
and has been an actress. Among those perform-
ers who she has worked with are the Johnny
Nocturne Band, organist Rhoda Scott, saxophon-
ists David “Fathead” Newman, George Cole-
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 (Continued from page 42)
man, Eric Alexander, James Carter, Hank Craw-
ford, John Handy, Red Holloway and Houston
Person, pianists James Williams and Harold
Mabern, trumpeter Roy Hargrove, violinist
Johnny Frigo, clarinetist Buddy DeFranco, the
Marcus Shelby Jazz Orchestra and most of the
Bay area’s top jazz artists. She has also been an
important contributor behind the scenes.
Blues People, which is named after Amiri
Baraka’s important book of a half-century ago,
finds Kim Nalley (who is joined by a fine
rhythm section) turning everything into the blues
at what could be considered a jazz/blues revival
meeting. After tearing into “Summertime,” she
digs into “Big Hooded Black Man,” an original
folk song worthy of Leadbelly.
“Listen Here,” “Cold Duck Time” and
“Compared To What” are sung as an Eddie Har-
ris/Les McCann medley. “Compared To What”
is the only one of the three songs that originally
had lyrics. The borderline between gospel music
and the blues is broken down during “Movin’ On
Up” which some might recognize as the theme
song for Sanford And Son. It is one of several
songs that benefits from Bryan Dyer’s back-
ground vocals.
Kim Nalley has the ability to take songs
closely associated with other singers and make
them her own. She finds something fresh to say
on Ernestine Anderson’s trademark “Never
Make Your Move Too Soon,” Bessie Smith’s
“Sugar In My Bowl,” Dinah Washington’s
“Trombone Song,” Ruth Brown’s “The Chair
Song” and Mahalia Jackson’s “Trouble Of The
World” which is heard in two versions with
Tammy Hall playing one apiece on piano and
organ. The latter, which pays homage to the
murdered Trayvon Martin and Michael Brown,
along with “Ferguson Blues,” shows her great
concern with current injustice. She also lends her
powerful voice to “Sunday Kind Of Love” (a
tribute to Etta James) and the gospel songs
“Amazing Grace” and “I Shall Be Released.”
Kim Nalley is in top form throughout Blues
People, vocalizing with such intensity and au-
thority that one has no choice but to believe in
everything she sings.
44 November 2015  Jazz Inside Magazine  www.JazzInsideMagazine.com
Jazz Inside-2015-11_039-...
page 6
Nick Russo
Hot Jazz
Jumpers
THE VERY NEXT
THING—On The Bol
Records – hotjazzjump-
ers.com Back Home Again In Indiana; Freight
Train; Caravan; You Are My Sunshine; Nobody
But My Baby Is Getting My Love; In A Mellow
Tone; Jock-A-Mo; Dirty40; Sweet Georgia
Brown; Manha de Carnaval; Jam For Lenny;
Ain’t Misbehavin’; I’ve Got My Mojo Working;
When The Red, Red Robin; This Little Light Of
Mine; Jock-A-Mo; Russo-Griffith Free Improv
PERSONNEL: Nick Russo, guitar, banjo, reso-
nator, baritone resonator; Betrina Hershey, vo-
cal, guitar; Miles Griffith, vocals; Essiet Essiet
or Mamadou Ba, bass; David Pleasant, drums,
harmonica; Gordon Au, trumpet; Josh Holcomb,
trombone; Dennis Lichtman, clarinet; Mike
Russo, guitar on “Dirty40
By Scott Yanow
A quick glance at this CDs cover with its
vintage songs and intriguing instrumentation and
one might quickly conclude that the Nick
Russo’s Hot Jazz Jumpers play 1920s jazz and
Dixieland. But although that is one of the flavors
on The Very Next Best Thing, this is not a reviv-
alist date and it is actually a surprisingly eclectic
set of wide-ranging music that will keep one
guessing throughout.
Nick Russo has been consistently eclectic in
his career. The son of a guitarist who played in
the 1970s heavy metal band Scarecrow, Russo
grew up in New York City. In 2001 he attended
the Jazz Aspen Snowmass Academy, performing
next to Ray Brown and Bobby Hutcherson. In
2002 he led his first CD, utilizing such greats as
trumpeter Eddie Henderson, bassist Essiet Essiet
and drummer Ralph Peterson. He has since
worked with organist Jimmy McGriff, vibra-
phonist Teddy Charles, singers Anastasia Rene,
Jennifer Jade Ladesna and Eve Cornelious, vio-
linist Jim Nolet, bassist Sonny Dallas, guitarist
Frank Vignola and drummer Joe Ascione. Russo
has also been a session guitarist, worked in the
pit bands of several Broadway and off-Broadway
shows, been a busy educator and recorded the
modern jazz album Ro which also features tenor-
saxophonist Mark Turner and singer Miles Grif-
fith.
The wide range of Nick Russo’s musical
interests really show when one realizes that he
plays guitar and banjo with the 1920s hot jazz
group Vince Giordano’s Night Hawks and has
also authored two music books of the music of
Metallica!
For The Very Next Thing, Russo gathered
together some of his favorite musicians and let
them loose on trad and more modern material,
not worrying about sticking to any one style. The
opener, “Indiana,” has an early country groove
with Betina Hershey’s sounding like a hillbilly
singer of the 1920s and Gordon Au contributing
some basic trumpet. It is certainly interesting
hearing bassist Essiet Essiet giving the music a
two-beat feel.
“Freight Train” is closer to vintage folk
music. Drummer David Pleasant sounds quite
credible on harmonica. “Caravan” is a feature for
the eccentric scatting of Miles Griffith who is
very passionate and intense; his second vocal is
certainly unrestrained. “You Are My Sunshine”
contrasts Betina Hershey’s country singing with
the scatting of Griffith.
The highpoint of the set is an excellent
rendition of “Nobody But My Baby Is Getting
My Love” which is excellent 1920s jazz. Her-
shey’s vocal, trombonist Josh Holcomb (who is
very good in this setting) and Russo on banjo are
the stars.
“In A Mellow Tone” has what is probably
Miles Griffith’s best singing of the set. “Jock-A-
Mo,” which is heard in two versions, combines
together funk with World Music while “Dirty40”
has a country blues groove behind Griffith. Her-
shey is in the spotlight during “Sweet Georgia
Brown” and “Ain’t Misbehavin’” while Griffith
dominates “Manha de Carnaval” and “Russo-
Griffith Free Improv.” “Jam For Lenny” is an
all-too-brief excerpt of part of “Tiger Rag” fea-
turing trombonist Holcomb. “I’ve Got My Mojo
Working” has the group singing along with Grif-
fith in the lead and “This Little Light Of Mine”
displays plenty of spirit. Also on this set is a
version of “When The Red Red Robin” that has
Hershey singing and a guest spot for clarinetist
Dennis Lichtman.
Included along with the CD is a DVD that,
in addition to some interviews and background
material, has 11 performances by Hot Jazz
Jumpers. Six of the performances are the same
as the recorded versions (including “Caravan”
and “When The Red Red Robin”) and there are
five additional numbers. Hershey takes vocals on
“How Deep Is The Ocean,” a fine version of
“Five Foot Two,” an alternate “Nobody But My
Baby Is Getting My Love” with Gordon Au’s
plunger-muted trumpet instead of the trombone,
and “Blues My Naughty Sweetie Gives To Me.“
Also included is a one-chord jam starring banjo-
ist Russo and Griffith called “Sweet Potato Ma-
fobey Jam.”
In some ways The Very Next Thing is really
an avant-garde jazz record in disguise with
1920s jazz being used as the basis for the major-
ity of the performances. The music definitely
never gets dull or predictable.
  
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