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November 2012 Volume 4, Number 4
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Joe Henderson
By John R. Barrett, Jr.
Joe Henderson (April 24, 1937 June 30,
2001 ) is one of the most distinguished and identifiable voices in jazz on the tenor saxophone.
Unlike most of the major tenor saxophone players, there is no clear line of demarcation leading
towards him even though Henderson claimed
Charlie Parker and Stan Getz were his early
influences. It is well known that the influence of

Lester Young, John Coltrane, Sonny Rollins,

Dexter Gordon and others are often cited as
being heard in the sounds of other tenor players. But, Hendersons sound and extemporaneous vocabulary does not bear the apparent, identifiable influence of any one player. Instead, he
draws from severaland if anything his sound
might best be termed Hendersonian for its own

Joe Henderson
75th Birthday Celebration
Jazz At Lincoln Center
November 16-17, 2012, 7:30 PM

page 2

uniqueness. There also does not appear to be a

recognizable heir to his lineage. One of the interesting things is that Henderson adopts to the
moment and the situationwhere he seamlessly
moves from one of his many identities to the
next. Henderson was able to go from a rock hard
biting tenor sound to a whispering, breathy tone
that he would adopt sometime.
Joe Henderson was born in Lima, Ohio, on
April 24, 1937. He attended Wayne University in
Detroit where he met Yusef Lateef, Donald Byrd
and others from that rich community of emerging jazz stylists. In 1960 Henderson toured with
the United States Army Band at Fort Benning,
GA. By the late summer of 1962, he made his
way to New York. Trumpeter Kenny Dorham met
Joe at saxophonist Junior Cooks, and took the
newly arrived tenor saxophonist down to Birdland. Dexter Gordon, one of the most swinging
and identifiable tenor saxophonists was playing
there. Dexter invited Joe to sit in, and according
to Kenny Dorham, was gassed.
A reunion with Grant Green brought about
Solid (Blue Note 33580). Recorded on June 12,
the session was sweet and straightforward: you
get fast tunes, fierce competition, and a sterling
cast. In the horn section, Henderson was paired
with James Spaulding, an underrated alto; the
rhythm consisted of McCoy Tyner, a young Bob
Cranshaw, and the propulsive Elvin Jones.
Joe was the rookie in this ensemble, but you
cant tell from the sound: he is all over Minor
League, driving the theme with restless ease.
Strong to begin, he changes style on his solo a
breathy stream of notes, punctuated by honks.
His tone is pinched but he quickly corrects that,
as the tone goes smoother and higher. Tyner is
simple, marking time with cloudlike chords;
Elvin keeps that mood with a drizzling cymbal.
In the midst of this fury, Green remains subdued:
we hear some Burrell notes on the opening, and
not many of them. This is not true of EzzThetic: Grant keeps pace with the horns as he
floats the theme. His notes are airy, like a vibraphone; I wish he played softer, as Joes tone is
gorgeous. It is tough, raspy, and thick as caramel
McCoy also says much, with just a few keys.
Grants Tune is an interesting amalgam:
nervous chords from Tyner, a theme reminiscent
of Johnny Griffins 63rd Street, a big gutsy
tenor and a guitar line that hints Wives and
Lovers! (That tune was recorded at this session,
but not issued until the CD release.) Solid is
your standard blues, decent but undistinguished.
And theres a new take on The Kicker, sounding like a dry run for the Horace Silver version.
The horns play together, with Green decorating
the top; the payoff comes on the bridge, where
Joe plays counter to the vamp behind him. Softer
than his take on the Hutcherson version, the lines
slither upward with a hint of Confirmation.
After four bars he really takes off, with barwalking squeals and other delightsthis song
would always inspire, as it would again with
Joe was quite busy at this point, appearing
on 15 Blue Note albums in the space of 18
months then his career got into high gear.
Horace Silver had one of the hottest bands in the
country, always on tour with a stream of hit albums. A key to his success was continuity: at a

November 2012  Jazz Inside Magazine

(Continued on page 6)
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Unlike most of the major tenor saxophone players, there is

no clear line of demarcation leading towards him even
though Henderson claimed Charlie Parker and Stan Getz
were his early influences and if anything his sound might
best be termed Hendersonian for its own uniqueness.

(Continued from page 4)

time when groups rarely stayed together, Horace

had the same lineup for five straight years. Most
men would beg for this situation, but Horace was
different: fearing the act would get stale, he fired
his entire Quintetin the midst of recording
their new album! (Those songs, including a trio
version of Que Pasa, had to be scrapped;
theyd later appear on the CD version of Song
for My Father.)
After some major rehearsing, recording
resumed on October 26, 1964. While Joe had
been on the scene for a couple of years, trumpeter Carmell Jones was a relative newcomer, as
were bassist Teddy Smith and drummer Roger
Humphries. Their task was doubly difficult: not
only would they be compared to their predeces-

sors, but Horace was also using the occasion to

explore bossa nova, a style hed never tried before. Or so it seemed at the time: these tunes are
more exotic than specifically Brazilian. The
one exception is the title cut: Smith begins by
playing the baio, a popular South American
bass pattern. If that vamp sounds familiar, it is:
Steely Dan used the same intro for Rikki Dont
Lose That Number. But the bass is nothing
compared to the horns: they come out strong, on
a confident slow spiral. Another deviation from
the Silver formula: its a slow theme, developing
over several minutes. On his first solo with the
group, Henderson stands out: a tough kind of
honk, miles away from the sound of Junior
Cook. Its a brilliant move, keeping the focus
away from hard bop, so the new kids can build a
reputation all their own.
But if you want hard bop Henderson
unleashes The Kicker, in the first time most
fans would have heard it. Faster than earlier
versions (maybe too much so), the soloist no
longer plays on the bridge no problem for Joe,
who says plenty in his choruses. Staying in the
lower register, he works in tightly wound circlesColtranes style is hinted, but never imitated. Humphries is along for the ride, pushing to

keep up with Joe; Horace is quiet until his own

Que Pasa has a slower pace, but maybe a
stronger theme: Silver has a hypnotic chord, and
hammers it constantly. The horns sway into
place, the cymbals simmer and Joe has his
turn. The tone is light but the path is strong:
Henderson creeps along the chord structure, with
ideas at every turn. As this develops, Horace
keeps hitting that chord, louder and louder
until Joe soars above it, like a triumphant bird. If
you needed proof of his greatness, this is the
clarion call. And The Natives Are Restless is
vintage Silver, with a fine solo by Jones. In style
and performance, this is identical to the earlier
group which, of course, is the point. With Song
for My Father (Blue Note 84185), Joe Henderson had made his mark, and on his own terms.
By the time Horace made his sequel to Song
for My Father, Carmell Jones was replaced by
Woody Shaw, perhaps the most modern trumpet Silver ever had. Cut on October 1, 1965, the
Quintet now included Bob Cranshaws bass, and
J.J. Johnson was added for three of the tracks.
Named for his fathers birthplace, The Cape
Verdean Blues isnt: the song is a 64-bar pattern, and the mood is steady sunshine. The horns

(Continued on page 38)


page 4

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Thursday, November 01, 2012 13:43


The Sound

as requested by you.

You asked for the playability and

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With structural changes both
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Mouthpieces for clarinets and saxophones

11/18/09 1:27 PM

Joe Henderson
(continued from page 6)

are crisp, moving in unison; Horace hits blunt

notes behind them, for a charming marimba
effect. His solo is played the same way, with
funk slowly stirred in the mix like what he did
on Que Pasa.
The African Queen belongs to Roger
Humphries, thundering boldly above a soft
theme. The dynamics are great: you barely hear
it at first, so you turn up the volume and
thats when they roar! Its followed by Pretty
Eyes, a waltz thats prim and vibrant at the
same time. Silver sounds airy, with more sustain
than usual; the horns dance above him, growling
just a little bit. (This may have inspired Shaws
Baloo Baloo, recorded two months later.)
When his solo comes, Joe is far from mannered:
his notes get stretched, adorned with a sassy
tinge. This has all the musicianship of Song for
My Father, with nearly as much excitement.
Side Two belongs to J.J. Johnson, and he
gives the charts more heft. This is evident on
Nutville, with sustained notes on the theme: it
lets Woody move upward, free to explore on the
bridge. His solo is good n chewy, at a speed
few trombones can handle. It is an excellent
flagwaver, this albums equivalent to The Natives Are Restless Tonight. The first recording
of Mo Joe also shines, with busy chords from
Horace and hard-driving lines by J.J. Henderson
is not forgotten: he bops along fast, seemingly
between the notes of Silver. Less exotic than its

on the ensembles; Shaw sounds like a trombone,

his notes etched in bronze. Young is rather reservedespecially considering the Coltrane riffs
he was doing on his organ dates. He is stronger
on Obsequious, striking vibe-like notes as the
theme hurries upward. Woody gets the first solo,
and what he does with it: fast notes of striking
purity, all colliding against each other. Hes got
the precision of Clifford Brown, the fire of Lee
Morgan; no wonder he was pegged for greatness.
At a second session, made sometime in
December 1965, Young was replaced by Herbie
Hancock; Joe Chambers remained at the drums,
and Mr. P.C., Paul Chambers, took the bass
chair. It begins with a march: Baloo Baloo has
interlocked horns, in the cadence of the title
phrase. The bridge has a nice samba rhythm, and
Hancock is a big plus: he spreads glissandos
over all, like a happy brook. Shaws solo is more
reserved than previous efforts, but is pleasant
enough. The best composition might be Three
Muses, a waltz built from a single four-note
phrase. Joe loves the theme, blowing it with
extra oomph; Herbies solo is lively and intimate. And Tetragon, in its initial recording,
gets a rollicking takeperhaps stronger than the
67 version. The first solo is Joes, and he lays
back, murmuring some gravelly goodness. Its
less ambitious than the later effort, but perhaps
easier to enjoy.
The disc as a whole is very enjoyable, on a
par with the Blue Notes of the era but somehow the labels didnt see it that way. Despite the
big names involved, Cassandranite went unreleased until 1982 (under the title In the Beginning Muse 6007), was reissued under its in-

When Riverside went bankrupt in 1964, Keepnews

founded a new label, Milestone Joe was the
first saxophonist signed to Milestone for the
next decade theyd build a catalog, with no
two albums alike and no musical stone unturned.
predecessor, the disc was another success but
all was not well.
Woody Shaw would later claim that Horace
was displeased with his playing, complaining he
sounded different than what he expected. If
this was true, Horace was silent about it to the
press, telling DownBeat that he thought thatShaw and Henderson worked well together and
got along. By the time that interview was published, in December 1965, both horns were about
to leave the group. Maybe Shaw was disgruntled, and maybe he was telling the truth.
Woody Shaw was the trumpeter on Cape
Verdean Blues, a powerful voice with an explorative mind. When he left Silver the future
seemed bright, but surprisingly he had a hard
time finding work. To generate interest from
record companies, in late 1965 Shaw recorded
Cassandranite at his own expense; his bandmates were Henderson, organist Larry Young at
the piano, Ron Carter, and the young Joe Chambers, in one of his earliest recordings.
Bop does not get harder than
Cassandranite, with its sharp zigzags and blazing speed. Henderson has a good, burred sound

page 6

tended title, and is now part of the compilation

Last of the Line (32 Jazz 32024).
There is something odd about the ShawHenderson band: its considered one of Silvers
best units, but it recorded next to nothing. Part of
the reason was the groups frantic tour schedule,
so when soundboard recordings were found in
1990, it was a major discovery. Taped sometime
in February 1966, there were two takes of The
African Queen, along with some Carmell Jones
tracks from 1965. The tapes were obtained by
Joel Dorn and released as Re-Entry (Ram
81002), then released legitimately by Horace on
his own label (The Natives Are Restless Tonight
Emerald CD-1003), then re-issued by Dorn
under license from Silver, again called Re-Entry
(32 Jazz 32005). If this seems like overkill, the
music more than justifies it.
Admittedly, the sound is somewhat fuzzy
a natural hazard of home recording. All else is
wonderful: the first African Queen is tight, as
Woody starts the phrases and Joe completes
them. His tone is buzzy, a tad stronger than the
Blue Note version, while Shaw is icy-smooth.

November 2012  Jazz Inside Magazine

(Continued on page 10)

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Thursday, November 01, 2012 13:29


Joe Henderson
(Continued from page 8)

The second take, made a week later, has a

slightly darker cast, with broader harmonies.
Horace tosses in some sourballs at the beginning,
to make things more interestingthis is probably the better of the two Queens.
By a small margin I prefer the tunes from
65, where Joe is paired with Carmell Jones.
Murky sound hurts Song for My Father, but
the performance is prime; Horace laughs at the

start, which adds to the charm. The tempo is

slower than the released version and the horns
are a little loose, but the mood is all right. Que
Pasa is slightly re-harmonized, with more room
for Humphries: hes in exploration mood, with
little brushes everywhere. And if you want to
hear Henderson, check out Natives: hes in
slippery tone, at the top of his range, and very,
very excited. Likewise Jones: his solo is first,
running wild with a crazy stutter. While this set
is mostly for completistsno tune deviates
much from the studio versionit is great to hear
Joe at the start of his fame.
As the Sixties progressed Herbie Hancock,

already known as a pianist, began to be noticed

as a composer. His ability to create instant
moods with his themes was appreciated first by
fellow musicians (who got hits off Watermelon
Man and Cantaloupe Island) and then by
movie studios, to bring their films a touch of
class. His first assignment came in 1966 with
Blow-Up (MGM E-4447/ Rhino 72527), a breakthrough project for director Michelangelo Antonioni. Controversial in its day, it seems tame
35 years laterthat cannot be said of the music.
Played softly through most of the movie, these
short cues are played by a strong octet, including
Ron Carter, Freddie Hubbard and Joe Newman
on trumpets, Jim Hall, Jack DeJohnette, and the
occasional organ by Paul Griffin.
The sax duties are split between Phil
Woods and Joe, who gets heard in a hurry: the
solo on Bring Down the Birds is a model of
delicate strength. Over a two-chord rock vamp
he shouts short phrases, with a tone that almost
whistles. He plays with the tension as it goes,
five notes at a time: pressing the pace, then receding, the tone getting brighter as he turns
rhythmic. Nothing he does is unexpected; how it
all fits together is. (The jagged guitar is a big
plus youve never heard Jim Hall like this!)
Joe turns a darker complexion on The
Naked Camera. where his foghorn spars with a
quiet mute (Newman, I think.) Sounding like a
cornet, these notes are feltlike, floating over
Herbies big chordsHenderson answers
slowly, in raspy authoritative lines. Hall is his
mellow self on Janes Theme, while Griffin
goes wild on The Thief a perfect rendition
of Jimmy Smith. Joe then turns sweet, on the
ballad Curiosity; he doesnt say much but says
it well. And Herbies best moment might be on
The Bed, an elegant blues for the middle of the
night. While the film can be pretentious (and
more than a little obtuse), the soundtrack is direct, lively, and full of fire. Its certainly worth
watching the movie for though you may want
to turn down the picture.
In the world of jazz recording, Orrin Keepnews deserves honor for excellence and persistence. Starting with the Riverside label in the
Fifties, he supervised a raft of memorable albums, often with musicians overlooked by the
larger labels. Players he liked were recorded
often, in different settings and stylesregardless
of short-term success. This approach may seem
risky, but not if you have the right talent: it paid
off handsomely for Thelonious Monk and Bill
Evans, among many others. When Riverside
went bankrupt in 1964, Keepnews stuck to his
guns: he founded a new label, Milestone, with
the same principals as his last. Joe was the first
saxophonist signed to Milestone, for some very
good reasons: Orrin loves a tough tenor sound
(having worked with Johnny Griffin) and has
great admiration for Horace Silver. Henderson
was also eager to explore, another trait of Keepnews; for the next decade theyd build a catalog, with no two albums alike and no musical
stone unturned.
Hendersons first disc for Milestone was the
most conventional: The Kicker (Milestone 9008)
was a mix of standards and Joes originals, performed by a taut sextet. The horns were relative
newcomers (Mike Lawrences trumpet, with
Grachan Moncur III on trombone) with old pros
(Continued on page 12)


page 8

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Thursday, November 01, 2012 13:29



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Kunle Mwanga, Producer

November DONAL FOX, solo piano

Inventions In Blue

Donal is one of a small handful of musicians who embody the promise of jazzs future.
Gary Giddins, jazz journalist


Joe Fonda, bass
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in the rhythm sectionKenny Barron, Ron

Carter, and Louis Hayes. It was recorded on
August 10, 1967 at Plaza Sound Studios, where
most of the Riverside dates were cut.
Mamacita is a funky stew, with simmering
brushes and a great chart; only three horns but
they roar like ten. Barrons comp is skeletal,
with warm but infrequent chords; Henderson
yawns atop this, his tone relaxed but not for
long. He drawls at first, giving each note a big
growl; the tempo speeds and the urgency grows,
but the style remains where it is. He trills and
circles downward, while a big riff works behind
himthis is the good stuff. Barrons solo has a
touch of Silver, and the whole thing has an easy,
effortless groove. And were just getting
Up next is The Kicker, and the last time
Joe would record his signature tune. Faster than
the previous versions, the horns begin with tart
chords and rush through the theme, eager to get
to the solos. Henderson is first, and he is fierce: a
series of zigzags, done in a reedy tone. The intensity is Coltranes, though the style is something else; its a string of well-though ideas, all
trying to say their piece before the chorus ends. I
love Hayes on this tune: silent most of the time,
with massive explosions where they count. Lawrence is also breathless, blowing a pure stream of
Freddie Hubbard. A series of pyramid climbs,
the solo is well-executed if repetitious. Hes
better on Chelsea Bridge, weaving a sad
counter to Joes silky, beautiful lines. Smoother
than Webster, with an elegance few can match,
Joe proves his mark as a balladeer, a skill he
would show all too rarely.


page 10

Nardis comes softly, in an ethereal cloud;

Barron is magnificent, with a comp that is radiant. His chords are like Tyner, as Joe pierces the
air with an insistent trill; hed do this again on
The Elements, but here its more focused. Once
I Loved has a warm, Ammons quality, and
Mo Joe sends it off with a bang: Lawrence is
emphatic, the leader more so. A triumph from
beginning to end, this album has a powerand
urgencyseldom heard on the Blue Note sides.
For all concerned, Joe Henderson had arrived.
(Joe Henderson continued on page 40)

... rationalization
[is] the phenomenon whereby
we believe something, not as a result
of a rational consideration of the facts,
but because we want to believe it,
because it serves some
pre-determined purpose

From the book Burning All Illusions

by David Edwards

November 2012  Jazz Inside Magazine

To Advertise CALL: 215-887-8880

Thursday, November 01, 2012 13:29


Junior Mance Trio

Calendar of Events

Hide Tanaka, bass Michi Fuji, jazz violinist

How to Get Your Gigs and Events Listed in Jazz Inside Magazine
Submit your listings via e-mail to Include date, times, location,
phone, tickets/reservations. Deadline: 15th of the month preceding publication (Nov. 15 for Dec.).
We cannot guarantee the publication of all calendar submissions.

ADVERTISING: Reserve your ads to promote your events and get the marketing
advantage of controlling your own message size, content, image, identity, photos and more. Contact the advertising department:
Thurs 11/1: Arturo OFarrill & Oscar Hijuelos at Symphony Space. 7:30pm. $30; $25 members; $15 under
30. 2537 Broadway @ 95th St. 212-864-5400.
Thurs 11/1: Steve Wexler & The Top Shelf at Drom.
8:00pm. $10; $15 at door. 85 Ave. A. 212-277-1157.
Thurs 11/1: Phil Markowitz/Zach Brock Quartet at
Kitano. 8:00pm & 10:00pm. 66 Park Ave @ 38th St. 212885-7119.
Thurs 11/1: Chembo Corniel at Nuyorican Poets Caf.
8:00pm. 236 E. Third St. (Bet. B & C Ave.) 212-465-3167.
Thurs 11/1, 11/8, 11/15, 11/22, 11/29: Arthurs Tavern.
Eri Yamamoto at 7:00pm. Sweet Georgia Brown at
10:00pm. 57 Grove St. 212-675-6879.
Thurs 11/1: Fat Cat. Kyoko Oyobe Quintet @ 7:00pm.
Ben Meigners Quintet @ 10:00pm. Will Terrill @
1:30am. 75 Christopher St. 212-675-6056.
Thurs 11/1: Caffe Vivaldi. Mike Harry at 9:30pm. 32

To Advertise CALL: 215-887-8880

Jones St. 212-691-7538.

Thurs-Sat 11/1-11/3: Lee Konitz Quartet at Birdland.
8:30pm & 11:00pm. 315 W. 44th St.
Thurs 11/1: Somethin Jazz Club. McCarron Brothers
@ 7:00pm. Chase Experiment @ 9:00pm. 212 E. 52nd
St., 3rd Fl. (Bet. 2nd & 3rd Ave.) 212-371-7657.
Fri 11/2: Rana Farhan at Drom. 7:15pm. $15; $20 at
door. 85 Ave. A. 212-277-1157.
Fri-Sat 11/2-11/3: Don Friedman Quartet at Kitano.
8:00pm & 10:00pm. 66 Park Ave @ 38th St. 212-8857119.
Fri 11/2: Benny Benack Band at The Metropolitan
Room. 11:30pm. $20. 34 W. 22nd St. 212-206-0440.
Fri-Sat 11/2-11/3: Bucky Pizzarelli, Russ Kassoff &
Steve LaSpina at Knickerbocker Bar & Grill. 9:45pm.
Fri-Sat 11/2-11/3: Afro Latin Jazz Orchestra at Symphony Space. 8:00pm. Falafel, Freilach & Frijoles: From
Mambo to Borscht. 2537 Broadway @ 95th St. 212-8645400.

November 2012 Jazz Inside Magazine


Fri-Sun 11/2-11/4: Marianne Solivan at Eats Restaurant & Bar. 9:30pm Fri & Sat;
7:30pm Sun. No cover. 1055 Lexington Ave. @ 75th St. 212-396-3287.
Fri 11/2: Lucian Ban & Mat Maneri at Greenwich House Music School. 8:00pm. $15;
$12 for students.46 Barrow St. 212-242-4770.
Fri 11/2: Fat Cat. Dmitry Baevsky Quartet @ 6:00pm. Naomi Shelton @ 9:00pm.
David Gibson Quintet @ 10:30am. Behn Gillece at 1:30 am. 75 Christopher St. 212675-6056.
Fri-Sat 11/2-3, 11/9-10, 11/16-17, 11/23-24, 11/30: Arthurs Tavern. Eri Yamamoto
Trio at 7:00pm. Sweet Georgia Brown at 10:00pm on Fridays. Alyson Williams at
10:00pm on Saturdays. 57 Grove St. 212-675-6879.
Fri 11/2: Somethin Jazz Club. Line of Sight @ 7:00pm. Hyuna Park Quintet @
9:00pm. Anthony Fung Quartet @ 11:00pm. 212 E. 52nd St., 3rd Fl. (Bet. 2nd & 3rd
Ave.) 212-371-7657.
Fri 11/2, 11/9, 11/16, 11/23, 11/30: Birdland Big Band at Birdland. 5:00pm. 315 W.
Sat 11/3: Jane Monheit with Mark OConnor, Michael Kanan, Neal Miner & Rick
Monalbano at Kaufmann Concert Hall. 8:00pm. $40. Lexington Ave. & 92nd St.
Sat 11/3: Donal Fox at 92Y Tribeca. 8:00pm. 200 Hudson St. 212-601-1000.
Sat 11/3: Family Concert: Who Is John Coltrane? at Rose Theater, Lincoln Center.
1:00pm & 3:00pm. Broadway @ 60th St.
Sat 11/3: Somethin Jazz Club. Ross Kratter Band @ 5:00pm. Hiromi Kasuga Band
@ 7:00pm. Noshir Mody Quintet @ 9:00pm. GGs Nomadic Nature @ 11:00pm. 212
E. 52nd St., 3rd Fl. (Bet. 2nd & 3rd Ave.) 212-371-7657.
Sat 11/3: Fat Cat. David Schnitter Quartet @ 7:00pm. Raphael DLugoff Quintet @
10:00pm. Todd Herbert @ 1:30am. 75 Christopher St. 212-675-6056.
Sat 11/3, 11/10, 11/17: St. Peters Church. Big Band Jazz Workshop at 10:00am. Vocal
Jazz Workshop at noon. 5:00pm. 619 Lexington Ave. @ 54th St. 212-242-2022. (Bet.
53rd & 54th St.)
Sat 11/3: Russ Lossing at Greenwich House Music School. 8:00pm. $12; $10 for
students.46 Barrow St. 212-242-4770.
Sat 11/3: Russell Brown & His G-Slinger Band at The Metropolitan Room. 11:30pm.
$20. 34 W. 22nd St. 212-206-0440.
Sun 11/4, 11/18, 11/25: Birdland. Arturo OFarrill Orchestra at 9:00pm & 11:00pm.
315 W. 44th St.
Sun 11/4: Fat Cat. Afro-Latin Jazz Alliance at noon. Ehud Asherie Trio @ 6:00pm.
Jade Synstelien Band @ 8:30pm. Brandon Lewis @ 12:30am. 75 Christopher St. 212675-6056.
Sun 11/4, 11/11, 11/18, 11/25: Jazz Vespers at St. Peters Church. 5:00pm. 619 Lexington Ave. @ 54th St. 212-242-2022. (Bet. 53rd & 54th St.)
Sun 11/4, 11/11, 11/18, 11/25: Arthurs Tavern. Creole Cooking Jazz Band at 7:00pm.
House Rockin Blues at 10:00pm. 57 Grove St. 212-675-6879.
Sun 11/4, 11/11, 11/18, 11/25: Junior Mance Trio at Caf Loup. 6:30pm. No cover. 105
W. 13th St. @ 6th Ave. 212-255-4746.
Sun 11/4, 11/11, 11/18, 11/25: Nanny Assis Trio at SOBs. Noon. Bossa Nova Brunch
with 3-course menu for $28.99. 200 Varick St. 212-243-4940.
Sun 11/4: Jazz for All at St. Peters Church. 4:00pm. 619 Lexington Ave. @ 54th St.
212-242-2022. (Bet. 53rd & 54th St.)
Sun 11/4, 11/11, 11/18, 11/25: Tony Middleton Trio at Kitano. 11:00am & 1:00pm. $35
for buffet with Bloody Mary, Mimosa or Aperol Spritz. 66 Park Ave @ 38th St. 212-8857119.
Sun 11/4: Frank Senior with Lou Rainone & Paul Beaudry at North Square Lounge.
12:30pm & 2:00pm. 103 Waverly Pl. @ MacDougal St. No cover. 212-254-1200.
Mon 11/5, 11/12: International Women in Jazz at St. Peters Church. 7:00pm. 619
Lexington Ave. @ 54th St. 212-242-2022. (Bet. 53rd & 54th St.)
Mon 11/5: Mark Wingfield & Kevin Kastning at Drom. 7:00pm. $10; $15 at door. 85
Ave. A. 212-277-1157.
Mon 11/5: Fat Cat. Evan Shinners @ 6:00pm. Joe Farnsworth Quartet @ 9:00pm.
Billy Kaye @ 12:30am. 75 Christopher St. 212-675-6056.
Mon 11/5, 11/12, 11/19, 11/26: Iris Ornig Jam Session at Kitano. 8:00pm. 66 Park Ave
@ 38th St. 212-885-7119.
Mon 11/12: The Living Room. Jim Campilongo at 10:00pm. $8. 154 Ludlow St. (Bet.
Stanton & Rivington) 212-533-7234.
Tues 11/6: Somethin Jazz Club. David Jimenez Quintet @ 7:00pm. GKTV Quartet
@ 9:00pm. 212 E. 52nd St., 3rd Fl. (Bet. 2nd & 3rd Ave.) 212-371-7657.
Tues 11/6: Fat Cat. Saul Rubin @ 7:00pm. Maximo @ 9:00pm. Greg Glassman @
12:30am. 75 Christopher St. 212-675-6056.
Tues 11/6, 11/13, 11/20, 11/27: Annie Ross at The Metropolitan Room. 9:30pm. 34 W.

November 2012 Jazz Inside Magazine

To Advertise CALL: 215-887-8880

22nd St. 212-206-0440.

Tues-Sun 11/6-11/11: Dorado Schmitt at Birdland.
8:30pm & 11:00pm. 315 W. 44th St.
Tues 11/6: Mauricio de Souza Quartet at The Lambs
Club. 7:30pm. No cover or min. 132 W. 44th St. 212-9975262.
Tues 11/6, 11/13, 11/20, 11/27: Arthurs Tavern. Yuichi
Hirakawa Band at 7:00pm. House Rockin Blues at
10:00pm. 57 Grove St. 212-675-6879.
Tues 11/6, 11/13, 11/20, 11/27: Michika Fukumori at
Kitano. 8:00pm. 66 Park Ave @ 38th St. 212-885-7119.
Wed 11/7: Omer Avital Band & Gregory Tardy Quintet
at 92Y Tribeca. 8:00pm. 200 Hudson St. 212-601-1000.
Wed 11/7: Hip Hop, Poetry & Jazz at Nuyorican Poets
Caf. 9:30pm. 236 E. Third St. (Bet. B & C Ave.) 212465-3167.
Wed 11/7, 11/14, 11/21, 11/28: Arthurs Tavern. Eve
Silber at 7:00pm. Alyson Williams at 10:00pm. 57
Grove St. 212-675-6879.
Wed 11/7: Fat Cat. Raphael DLugoff Quintet @
7:00pm. Groover Trio at 9:00pm. Ned Goold @
12:30am. 75 Christopher St. 212-675-6056.
Wed 11/7, 11/14: Caffe Vivaldi. Roger Davidson at
9:30pm. 32 Jones St. 212-691-7538.
Wed 11/7, 11/14, 11/21, 11/28: Louis Armstrong Centennial Band at Birdland. 5:30pm. 315 W. 44th St.
Wed 11/7: Somethin Jazz Club. Matt Panayides
Group @ 9:00pm. 212 E. 52nd St., 3rd Fl. (Bet. 2nd &
3rd Ave.)
Wed 11/7, 11/14, 11/21, 11/28: Midtown Jazz at Midday
at St. Peters Church. 5:00pm. 619 Lexington Ave. @

To Advertise CALL: 215-887-8880

54th St. 212-242-2022. (Bet. 53rd & 54th St.)
Wed 11/7, 11/14: Caff Vivaldi. Roger Davidson at
9:30pm. 32 Jones St. 212-691-7538.
Wed 11/7: Mercedes Hall Quartet at Kitano. 8:00pm &
10:00pm. 66 Park Ave @ 38th St. 212-885-7119.
Wed 11/8: Vince Giordano & the Nighthawks at Merkin
Concert Hall. 8:00pm. W. 67th St. 212-501-3330. http://
Thurs-Fri 11/8-11/9: Alexander Abreau & Habana
DPrimera at SOBs. 200 Varick St. 212-243-4940. http://
Thurs 11/8: Fat Cat. Tal Ronen Quartet @ 7:00pm.
Greg Glassman Quintet @ 10:00pm. Avi Rothbard @
1:30am. 75 Christopher St. 212-675-6056.
Thurs 11/8: Somethin Jazz Club. Jeron White Quintet
@ 9:00pm 212 E. 52nd St., 3rd Fl. (Bet. 2nd & 3rd Ave.)
Thurs 11/8: Gilberto Gil at Carnegie Hall, Stern Auditorium, Perelman Stage. 8:00pm. $15-$75. 57th St. & 7th
Ave. 212-247-7800.
Thurs 11/8: Gabriel Alegria Afro-Peruvian Sextet at
Nuyorican Poets Caf. 9:00pm. 236 E. Third St. (Bet. B
& C Ave.) 212-465-3167.
Thurs 11/8, 11/15, 11/22, 11/29: Lapis Luna with John
Merrill, Chris Pistorino & Brian Floody at The Plaza
Hotels Rose Club. 8:30pm. Vintage jazz & classic swing
music. Fifth Ave. @ Central Park S. No cover.
Thurs 11/8, 11/15, 11/22, 11/29: Arthurs Tavern. Eri
Yamamoto Trio at 7:00pm. Sweet Georgia Brown at
10:00pm. 57 Grove St. 212-675-6879.

Thurs 11/8: Antonio Barbagallo Quartet at Kitano.

8:00pm & 10:00pm. 66 Park Ave @ 38th St.
Fri-Sun 11/9-11/11: Fatum Brothers Trio at Eats Restaurant & Bar. 9:30pm Fri & Sat; 7:30pm Sun. No cover.
1055 Lexington Ave. @ 75th St. 212-396-3287.
Fri 11/9: MSM Jazz Orchestra led by Justin DiCioccio
with special guest Jon Faddis at John C. Borden Auditorium, Manhattan School of Music. 7:30pm. $12; $7
seniors and students. Dizzy Atmosphere: The Big Band
Music of Dizzy Gillespie. 120 Claremont Ave. 212-7492802.
Fri 11/9: David Amram at Symphony Space. 6:30pm.
Presenting Amram with the Power of Song Award. With
Pete Seeger, Paquito DRivera, Peter Yarrow, Tom
Paxton, John Sebastian & Josh White Jr. 2537 Broadway @ 95th St. 212-864-5400.
Fri 11/9: Mark Murphy Quartet at Kitano. 8:00pm &
10:00pm. 66 Park Ave @ 38th St. 212-885-7119.
Fri 11/9: Fat Cat. Ray Gallon Trio @ 6:00pm. Naomi
Shelton @ 9:00pm. Sylvia Cuenca Quartet @ 10:30am.
75 Christopher St. 212-675-6056.
Fri-Sat 11/9-11/10: Alvin Youngblood Hart at The Allen
Room, Lincoln Center. 7:30pm & 9:30pm. Broadway @
60th St.
Fri 11/9: Somethin Jazz Club. Hyeseon Hong Band @
7:00pm. Maya Nova Quintet @ 9:00pm Ray Parker @
11:00pm. 212 E. 52nd St., 3rd Fl. (Bet. 2nd & 3rd Ave.)
Fri-Sat 11/9-11/10: Alvin Youngblood Hart at Rose
Theater, Lincoln Center. 1:00pm & 3:00pm. Broadway
@ 60th St.
Fri-Sat 11/9-11/10: Ehud Asherie & Harry Allen at
Knickerbocker Bar & Grill. 9:45pm. 33 University Pl.

November 2012 Jazz Inside Magazine


Sat 11/10: Fat Cat. Corin Stiggall Quintet @ 7:00pm.

Valery Ponomarev Septet @ 10:00pm. Todd Herbert
@ 1:30am. 75 Christopher St. 212-675-6056.
Sat 11/10: 9th Annual Encuentro NYC Colombian Music
Festival at (le) poisson rouge. 3:30pm. With Gregorio
Uribe Band, Sebastian Cruz Trio, Martin VejaranoChia, Nilko Andreas Guarin, Alejandro Florez-Tibagui,
Alejandro Zuleta Vallenato, Daniel Fetecua, Pablo
Mayors Orchestra & Pajarillo Pintao Dance Company. $20. 158 Bleecker St. 212-505-FISH.
Sat 11/10: Fonda/Stevens Group at 92Y Tribeca.
8:00pm. 200 Hudson St. 212-601-1000.
Sat 11/10: Harry Allen Quartet at Kitano. 8:00pm &
10:00pm. 66 Park Ave @ 38th St. 212-885-7119.
Sat 11/10: Somethin Jazz Club. Aaron Wards NuGen
Jazz Project @ 5:00pm. Cara Campanelli Group @
7:00pm. Sam Mortellaro Trio @ 9:00pm James Robbins Quintet @ 11:00pm. 212 E. 52nd St., 3rd Fl. (Bet.
2nd & 3rd Ave.) 212-371-7657.
Sun 11/11: Elliott Sharps Terraplane at Joes Pub.
9:30pm. $20. 425 Lafayette St. 212-539-8778.
Sun 11/11: Chico Hamilton at Drom. 7:15pm. $12; $15
at door. 85 Ave. A. 212-277-1157.
Sun 11/11: Roz Corral with Ron Affif & Paul Gill at
North Square Lounge. 12:30pm & 2:00pm. 103 Waverly
Pl. @ MacDougal St. No cover. 212-254-1200.
Sun 11/11: Patty Ascher at Baruch Performing Arts
Center, Performing Arts Center. 5:00pm. $25; free to
CUNY students and faculty. 25th St. (Bet. 3rd & Lexington Ave.) 646-312-5073. www.baruch
Sun 11/11: Fat Cat. Stride Piano Session at 4:00pm.
Ehud Asherie Trio @ 6:00pm. Jade Synstelien Quartet
@ 9:00pm. Brandon Lewis @ 12:30am. 75 Christopher
St. 212-675-6056.
Sun 11/11: Golda Solomon, Michael T.A. Thompson,
Will Connell Jr. & Larry Roland at Harlem Arts Salon.
2:30pm. 1925 Seventh Ave., Apt. 7L. $25. 212-749-7771.
Sun 11/11: B.B. King Blues Club & Grill. Hot Lips
Joey Morant at Noon, Sunday Gospel Brunch at
1:30pm. Victor Wooten Band & Jimmy Herring Band at
8:00pm. 237 W. 42nd St. 212-997-4144.
Sun 11/11: Jim Campilongo at 55 Bar. 6:00pm. 55
Christopher St. 212-929-9883.
Sun 11/11: Somethin Jazz Club. Yoshiki Miura Group
@ 5:00pm. Stevie Swaggz @ 7:00pm. Maya Nova
Quintet @ 9:00pm Ray Parker @ 11:00pm. 212 E. 52nd
St., 3rd Fl. (Bet. 2nd & 3rd Ave.) 212-371-7657.
Mon 11/12: Julie Eigenberg at Drom. 7:30pm. $15; $20
at door. 85 Ave. A. 212-277-1157.
Mon 11/12: Fat Cat. PubliQuartet @ 6:00pm. Ned
Goold Quartet @ 9:00pm. Billy Kaye @ 12:30am. 75
Christopher St. 212-675-6056.
Tues 11/13: Edmar Castaeda at Americas Society.
7:00pm. $20; free for Americas Society members. 680
Park Ave. 212-249-8950.
Tues 11/13: Somethin Jazz Club. Troy Roberts Quartet @ 9:00pm 212 E. 52nd St., 3rd Fl. (Bet. 2nd & 3rd
Ave.) 212-371-7657.
Tues 11/13: Fat Cat. Saul Rubin @ 7:00pm. Peter
Brainin Latin Jazz Workshop @ 9:00pm. Greg Glassman @ 12:30am. 75 Christopher St. 212-675-6056.
Tues-Sat 11/13-11/1170: Ivan Lins at Birdland. 8:30pm
& 11:00pm. 315 W. 44th St.
Wed 11/14: Fat Cat. Raphael DLugoff Quartet @
6:00pm. Ryan Berg Quintet @ 9:00pm. Ned Goold @

12:30am. 75 Christopher St. 212-675-6056.
Wed 11/14: Marcus Goldhaber at The Metropolitan
Room. 9:30pm. 34 W. 22nd St. 212-206-0440.
Wed 11/14: Somethin Jazz Club. Yuki Shibata Quartet
@ 9:00pm 212 E. 52nd St., 3rd Fl. (Bet. 2nd & 3rd Ave.)
Wed 11/14: Mike DiRubbo Quintet at Kitano. 8:00pm &
10:00pm. 66 Park Ave @ 38th St. 212-885-7119.
Thurs 11/15: Hector Martignon at Nuyorican Poets
Caf. 9:00pm. 236 E. Third St. (Bet. B & C Ave.) 212465-3167.
Thurs-Fri 11/15-11/16: Pamela Luss & Houston Person
at The Metropolitan Room. 9:30pm. 34 W. 22nd St.
Thurs 11/15: Fat Cat. Brandee Younger Harp Quintet
@ 7:00pm. Program of Deprogramming @ 10:00pm.
Tal Ronen @ 1:30am. 75 Christopher St. 212-675-6056.
Thurs 11/15: Somethin Jazz Club. Deborah Latz @
7:00pm. Ross Kratter Trio @ 9:00pm 212 E. 52nd St.,
3rd Fl. (Bet. 2nd & 3rd Ave.) 212-371-7657.
Thurs 11/15: Leslie Pintchik Trio at Kitano. 8:00pm &
10:00pm. 66 Park Ave @ 38th St. 212-885-7119.
Thurs 11/15: Jill McManus & Boots Maleson at Sofias.
7:00pm. 221 W. 46th St. 212-719-5799.
Fri-Sat 11/16-11/17: The Best of Blue Note at Rose
Theater, Lincoln Center. 8:00pm. Jazz at Lincoln
Center Orchestra with JD Allen. Broadway @ 60th St.
Fri 11/16: Rebeca Vallejo & Hadar Noiberg at Drom.
6:45pm. $10; $15 at door. 85 Ave. A. 212-277-1157.
Fri 11/16: Junior Mance Trio at Kitano. 8:00pm &
10:00pm. 66 Park Ave @ 38th St. 212-885-7119. Fri
11/16: Fat Cat. Alex Hoffman Quartet @ 6:00pm.
Naomi Shelton @ 9:00pm. Dr. Martino Atangana @
10:30am. 75 Christopher St. 212-675-6056.
Fri 11/16, 11/30: Stix Bones at The Metropolitan Room.
11:30pm. 34 W. 22nd St. 212-206-0440.
Fri-Sun 11/16-11/18: Jaron Eames at Eats Restaurant
& Bar. 9:30pm Fri & Sat; 7:30pm Sun. No cover. 1055
Lexington Ave. @ 75th St. 212-396-3287.
Fri-Sat 11/16-11/17: Adam Birnbaum & Sean Smith at
Knickerbocker Bar & Grill. 9:45pm. 33 University Pl.
Fri 11/16: Somethin Jazz Club. Matt Baker Trio @
7:00pm. Harmony Keeney @ 9:00pm Tommaso Gambini @ 11:00pm. 212 E. 52nd St., 3rd Fl. (Bet. 2nd & 3rd
Ave.) 212-371-7657.
Fri-Sat 11/16-11/17: Joe Hendersons 75th Birthday at
The Allen Room, Lincoln Center. Chris Potter, Renee
Rosnes, Bobby Hutcherson, Robert Hurst, Jeremy
Pelt, Lewis Nash & Michael Dease. Broadway @ 60th
Fri 11/16: The Mambo Legends Orchestra at SOBs.
8:00pm & 10:00pm. Former musicians of the Tito Puente
Orchestra. 200 Varick St. 212-243-4940.
Fri 11/16: Rebecca Vallejo & Hadar Noiberg at Drom.
6:45pm. $10; $15 at door. 85 Ave. A. 212-277-1157.
Sat 11/17: Somethin Jazz Club. SambuluS @ 5:00pm.
Brendda Earle Quartet @ 7:00pm. Fredrick Levore @
9:00pm 212 E. 52nd St., 3rd Fl. (Bet. 2nd & 3rd Ave.)
Sat 11/17: University of the Streets at Muhammad
Salahuddeen Memorial Jazz Theatre. Sapphire Adizes
Quintet at 9:00pm. $10. 130 E. 7th St. (just west of Ave.
Sat 11/17: Claudia Acuna Quartet at Kitano. 8:00pm &

November 2012 Jazz Inside Magazine

(Continued on page 19)

To Advertise CALL: 215-887-8880

(Continued from page 18)

10:00pm. 66 Park Ave @ 38th St. 212-885-7119.

Sat 11/17: Michele Rosewoman Trio at 92Y Tribeca.
8:00pm. 200 Hudson St. 212-601-1000.
Sat 11/17: Sylvie Courvoisier & Mark Feldman at
Greenwich House Music School. 8:00pm. $12; $10 for
students.46 Barrow St. 212-242-4770.
Sat 11/17: Gregory Porter at Littlefield. 8:00pm. $15.
622 Degraw St. (Bet. 3rd & 4th Ave.) 718-855-3388.
Sat 11/17: Fat Cat. Eden Ladin Quintet @ 7:00pm.
George Burton @ 10:00pm. Ray Gallon @ 1:30am. 75
Christopher St. 212-675-6056.
Sun 11/18: Magos Herrera at Abrons Arts Center at
Henry Street Settlement. 3:00pm. 466 Grand St. @ Pitt
St. 212-598-0400.
Sun 11/18: B.B. King Blues Club & Grill. Hot Lips
Joey Morant at Noon, Sunday Gospel Brunch at
1:30pm. 237 W. 42nd St. 212-997-4144.
Sun 11/18: Somethin Jazz Club. Heights @ 7:00pm.
212 E. 52nd St., 3rd Fl. (Bet. 2nd & 3rd Ave.) 212-3717657.
Sun 11/18: Fat Cat. Terry Waldos Gotham City Band
@ 6:00pm. Alexi David @ 9:00pm. Brandon Lewis @
12:30am. 75 Christopher St. 212-675-6056.
Sun 11/18: Marianne Solivan with Ethan Mann at North
Square Lounge. 12:30pm & 2:00pm. 103 Waverly Pl. @
MacDougal St. No cover. 212-254-1200. .
Mon 11/19: The Living Room. Tony Scherr Trio at
9:00pm. Charlie Hunter at 11:00pm. $8. 154 Ludlow St.
(Bet. Stanton & Rivington) 212-533-7234.
Sun 11/19: Fat Cat. Johnny ONeal @ 6:00pm. George
Braith @ 9:00pm. Billy Kaye @ 12:30am. 75 Christopher St. 212-675-6056.
Mon 11/19: Edmar Castaeda at Americas Society.
7:00pm. $20; free for Americas Society members. 680
Park Ave. 212-249-8950.
Tues 11/20: Tuck & Patti at B.B. King Blues Club &
Grill. 8:00pm. $25; $30 at door. 237 W. 42nd St. 212997-4144.
Tues 11/20: Magos Herrera Quintet with Celso Duarte
at Greene Space. 105 Greene St. 212-431-8720.
Tues 11/20: Caff Vivaldi. Roger Davidson at 6:00pm.
32 Jones St. 212-691-7538.
Tues 11/20: Fat Cat. Saul Rubin @ 7:00pm. CocoMama
@ 9:00pm. Greg Glassman @ 12:30am. 75 Christopher
St. 212-675-6056.
Tues-Sat 11/20-11/24: Cyrille Aimee at Birdland.
8:30pm & 11:00pm. 315 W. 44th St.
Tues 11/20: Paulo Braga with Juilliards Artist Diploma
Ensemble at Paul Hall, Julliard. 8:00pm. Free. 60 Lincoln Center Plaza. 212-799-5000.
Wed 11/21: Fat Cat. Raphael DLugoff Trio @ 7:00pm.
Don Hahn Sextet @ 9:00pm. Ned Goold @ 12:30am.
75 Christopher St. 212-675-6056.
Wed 11/21: Abe Ovadia Quartet at Kitano. 8:00pm &
10:00pm. 66 Park Ave @ 38th St. 212-885-7119.
Wed 11/21: Mauricio de Souza Quartet at The Lambs
Club. 7:30pm. No cover or min. 132 W. 44th St. 212-9975262.
Thurs 11/22: Gabriel Alegria & the Afro-Peruvian
Sextet at Drom. 7:30pm. $20; $30 at door. 85 Ave. A.
Fri 11/22: Somethin Jazz Club. Yoshino Nakahara
Quartet @ 7:00pm. 212 E. 52nd St., 3rd Fl. (Bet. 2nd &
3rd Ave.) 212-371-7657.
Fri 11/23: Somethin Jazz Club. Terrys Quartet @
To Advertise CALL: 215-887-8880

9:00pm 212 E. 52nd St., 3rd Fl. (Bet. 2nd & 3rd Ave.)
Fri 11/23: Tessa Souter at Joes Pub. 7:30pm. $15; $18
at door. 425 Lafayette St. 212-539-8778.
Fri 11/23: Fat Cat. Todd Herbert Quartet @ 6:00pm.
Naomi Shelton @ 9:00pm. Avi Rothbard Quintet @
10:30am. Jared Gold at 1:30am. 75 Christopher St. 212675-6056.
Wed 11/23: Dee Daniels Quartet at Kitano. 8:00pm &
10:00pm. 66 Park Ave @ 38th St. 212-885-7119.
Thurs 11/24: Ken Peplowski Quartet at Kitano. 8:00pm
& 10:00pm. 66 Park Ave @ 38th St. 212-885-7119.
Sat 11/24: PUBLIQuartet at 92Y Tribeca. 8:00pm. 200
Hudson St. 212-601-1000.
Sat 11/24: Fat Cat. Bobby Porcelli Quartet @ 7:00pm.
Carlos Abadie Quintet @ 10:00pm. 75 Christopher St.
Sun 11/25: Roz Corral Trio at North Square Lounge.
12:30pm & 2:00pm. 103 Waverly Pl. @ MacDougal St.
No cover. 212-254-1200.
Sun 11/25: Dee Pop at Downtown Music Gallery. 13
Monroe St. (Bet. Catherine & Market St.) 212-473-0043.
Sun 11/25: B.B. King Blues Club & Grill. Hot Lips
Joey Morant at Noon, Sunday Gospel Brunch at
1:30pm. 237 W. 42nd St. 212-997-4144.
Sun 11/25: New School Afro-Cuban Jazz Orchestra
directed by Bobby Sanabria at Nuyorican Poets Caf.
8:00pm. 236 E. Third St. (Bet. B & C Ave.) 212-465-3167.
Mon 11/26: Edmar Castaeda at Americas Society.
7:00pm. $20; free for Americas Society members. 680
Park Ave. 212-249-8950.

November 2012 Jazz Inside Magazine


Mon 11/26: Somethin Jazz Club. Angela Davis Quartet @ 7:00pm. 212 E. 52nd St., 3rd Fl. (Bet. 2nd & 3rd
Ave.) 212-371-7657.
Mon 11/26: The Living Room. Tony Scherr Trio at
9:00pm. Campilongo Quartet at 10:00pm. $8. 154
Ludlow St. (Bet. Stanton & Rivington) 212-533-7234.
Mon 11/26: Albare at Ginnys Supper Club. 310 Lenox
Ave. 212-421-3821.
Tues 11/27: Yaron Gershovsky at Drom. 9:30pm. $10.
85 Ave. A. 212-277-1157.
Tues 11/27: Nicole Henry at Joes Pub. 7:30pm &
9:30pm. $20. 425 Lafayette St. 212-539-8778.
Wed 11/28: Yuka Aikawa Trio at Kitano. 8:00pm &
10:00pm. 66 Park Ave @ 38th St. 212-885-7119.
Wed 11/28: Jazz Student Composers Chamber Concert at Ades Performance Space, Manhattan School
of Music. 7:30pm. Free. 120 Claremont Ave. 212-7492802.
Thurs 11/29: Caff Vivaldi. Fred Gilde Ensemble at
8:30pm. 32 Jones St. 212-691-7538. .
Thurs 11/29: Bush Tetras & Sediment Club at (le)
poisson rouge. 8:00pm. $20; $25 at door. 158 Bleecker
St. 212-505-FISH.
Thurs 11/29: Somethin Jazz Club. Strayhorn Tribute
Project @ 7:00pm. Zeke Martin Project @ 9:00pm 212
E. 52nd St., 3rd Fl. (Bet. 2nd & 3rd Ave.) 212-371-7657.
Sun 11/29-11/30: B.B. King at B.B. King Blues Club &
Grill. 8:00pm. 237 W. 42nd St. 212-997-4144.
Thurs 11/29: Lillie Bryant-Howard Quartet Quartet at
Kitano. 8:00pm & 10:00pm. 66 Park Ave @ 38th St. 212885-7119.
Thurs 11/29: Willie Martinez y La Familia Sextet at
Nuyorican Poets Caf. 9:00pm. 236 E. Third St. (Bet. B
& C Ave.) 212-465-3167.
Thurs 11/29: Caffe Vivaldi. Fred Gilde Ensemble at
8:30pm. 32 Jones St. 212-691-7538.
Fri 11/30: University of the Streets at Muhammad
Salahuddeen Memorial Jazz Theatre. Tyler Kaneshiro
Sextet at 9:00pm. $10. 130 E. 7th St. (just west of Ave.
Fri 11/30: Somethin Jazz Club. Songs of Charley
Gerard & Judity Weinstock @ 7:00pm. Matt Baker Trio
@ 9:00pm Reach Sextet @ 11:00pm. 212 E. 52nd St.,
3rd Fl. (Bet. 2nd & 3rd Ave.) 212-371-7657. .
Fri 11/30: Eddie Torres & His Mambo Kings Orchestra
with director Mitch Frohman at SOBs. 8:00pm &
10:00pm. 200 Varick St. 212-243-4940.
Fri-Sun 11/30-12/2: Randy Napoleon at Eats Restaurant & Bar. 9:30pm Fri & Sat; 7:30pm Sun. No cover.
1055 Lexington Ave. @ 75th St. 212-396-3287.
Thurs 11/30: Mark Sherman Quartet at Kitano. 8:00pm
& 10:00pm. 66 Park Ave @ 38th St. 212-885-7119.

Thurs 11/1: Glitter Pomegranate Performance Series
hosted by Cheryl Boyce Taylor at Eves Lounge.
8:00pm. 769 Washington Ave. Free; 2-drink min.
Fri 11/2: Fred Van Hove & Lou Grassi at Shapeshifter
Lab. 9:00pm. $15; $10 students. 18 Whitwell Pl., Park
Slope. 646-820-9452.
Fri 11/2: Chias Dance Party at Barbs. 10:00pm. 376
9th St. @ 6th Ave. 347-422-0248.
Fri 11/2: IBeam Music Studio. Maryanne de Prophetis
Group at 8:30pm. Gene Ess Fractal Attraction at
9:30pm. $10 suggested donation. 168 7th St.
Sat 11/3: Douglass St. Music Collective. Captain for
Dark Mornings at 8:00pm. Gabriel Guerrero at 9:00pm.
$10 suggested donation. 295 Douglass St. (Bet. 3rd & 4th
Ave.) 917-355-5731.

Sat 11/3: Michel Gentile Group & Rob Garcia 4 at

Brooklyn Conservatory of Music. 8:00pm. 58 7th Ave.
@ Lincoln Place. 718-622-3300.
Sat 11/3: Mr. Hos Orchestrotica at Barbs. 8:00pm.
376 9th St. @ 6th Ave. 347-422-0248. .
Sat 11/3: Alembic of Souls at IBeam Music Studio.
8:30pm. $10 suggested donation. 168 7th St. http://
Sun 11/4: The Four Bags at Barbs. 8:00pm. 376 9th St.
@ 6th Ave. 347-422-0248.
Sun 11/4: S.E.M. Ensemble with Roscoe Mitchell,
Conrad Harris & Petr Kotik at Roulette. 5:00pm. Atlantic Ave. & 3rd Ave. 917-267-0363.
Tues 11/6: Korzo. James Carney at 9:00pm. Kris Davis
Trio at 10:30pm. 667 5th Ave. (Bet. 19th & 20th St.) 718285-9425.
Tues 11/6: Baars-Henneman at Shapeshifter Lab.
9:00pm. $15. 18 Whitwell Pl., Park Slope. 646-820-9452.
Wed 11/7: Tyler Blanton Quartet at Shapeshifter Lab.
8:00pm. 18 Whitwell Pl., Park Slope. 646-820-9452.
Thurs 11/8: Andy Statman at Barbs. 8:00pm. 376 9th
St. @ 6th Ave. 347-422-0248.
Fri 11/9: IBeam Music Studio. TranceFormation at
8:30pm. Gene Ess Fractal Attraction at 9:30pm. $10
suggested donation. 168 7th St.
Fri 11/9: Fred Van Hove & Lou Grassi at The Firehouse Space. 8:00pm & 9:30pm. $15; $10 students. 246
Frost St.
Fri 11/9: The Heavens at Barbs. 10:00pm. 376 9th St.
@ 6th Ave. 347-422-0248.
Sat 11/10: IBeam Music Studio. The Moon at 8:30pm.
Daniel Carter & Federico Ughi at 9:30pm. $10 suggested donation. 168 7th St.
Mon 11/12: Ben Holmes Quartet at Shapeshifter Lab.
18 Whitwell Pl., Park Slope. 646-820-9452.
Tues 11/13: Ben Holmes Quartet at Barbs. 7:00pm.
376 9th St. @ 6th Ave. 347-422-0248.
Tues 11/13: Korzo. Angelica Sanchez Quartet at
9:00pm. Lorel Stillman at 10:30pm. 667 5th Ave. (Bet.
Wed 11/14: Cacaw at Barbs. 8:00pm. 376 9th St. @ 6th
Ave. 347-422-0248.
Thurs 11/15: Baby Soda at Barbs. 8:00pm. 376 9th St.
@ 6th Ave. 347-422-0248..
Fri 11/16: IBeam Music Studio. Angelica Sanchez
Quartet at 8:30pm. $10 suggested donation. 168 7th St.
Sat 11/17: Pedro Giraudo Sextet at Barbs. 8:00pm.
376 9th St. @ 6th Ave. 347-422-0248.
Sat 11/17: IBeam Music Studio. Jesse Stacken at
8:30pm. Detrick/Assadullahi/Sarnecki/Bates at 9:30pm.
$10 suggested donation. 168 7th St.
Sun 11/18: International Contemporary Ensemble +
Tyshawn Sorey at Roulette. 8:00pm. Atlantic Ave. & 3rd
Ave. 917-267-0363.
Sun 11/18: Mary Halvorson & Stephan Crump at Barbs. 8:00pm. 376 9th St. @ 6th Ave. 347-422-0248.
Tues 11/20: Korzo. Glenn Zaleski Trio at 9:00pm. 667
5th Ave. (Bet. 19th & 20th St.) 718-285-9425.
Wed 11/21: Jeff Lederer at Barbs. 8:00pm. 376 9th St.
@ 6th Ave. 347-422-0248.
Fri 11/23: IBeam Music Studio. Cat Toren Band at
8:30pm. Jasmine Lovell Smiths towering Poppies at
9:30pm. $10 suggested donation. 168 7th St.
Fri-Sat 11/23-11/24: Henry Threadgill & + ZOOID at
Roulette. 8:00pm. Atlantic Ave. & 3rd Ave. 917-2670363.
Sun 11/25: Stephane Wrembel at Barbs. 9:00pm. 376
9th St. @ 6th Ave. 347-422-0248.
Mon 11/26: Douglass St. Music Collective. For the Mill

November 2012 Jazz Inside Magazine

(Continued on page 23)

To Advertise CALL: 215-887-8880

Friday, November 16 @ 8 pm

Friday, January 11 @ 8 pm

Dickey Betts &

Great Southern


With Special Guest

Jamie McLean Band

Multiplatinum selling
composer, lyricist,
pianist and actress,
Callaway celebrates one of
Americas most enduring
artists, Barbra Streisand.
Ticket Price: Orchestra $45 /
Mezzanine $40

The New York Times has

called Betts one of the
great rock guitarists
who thinks like a
jazz improviser, in
thoughtfully structured,
cleanly articulated, intelligently paced phrases
Ticket Price $75.00

Friday, January 18 @ 8 pm

thursday, february 7 @ 8 pm

Steve Tyrell

Blood, Sweat & Tears

Known for fusing together rock, blues and pop with horn
arrangements and jazz improvisation creating the genre
jazz-rock. Many critics consider the band to be the musical version of Saturday Night Live.Ticket Price $55.00

Grammy Award-winning
vocalist, Steve Tyrell reinvented and re-popularized
classic pop standards for a
modernday audience. With
the grit and soul of a lifetime of experiences, he has
sold hundreds of thousands
of albums and gained a passionate following all over
the world. Hes held top
positions at various outlets.
Ticket Price: $50.00

80 East Ridge, Ridgefield, CT


Calendar of Events

Blue Note
131 W Third St.
(east of 6th Ave)

1 - Thu


2 - Fri


3 - Sat

Chick Corea & Stanley

Clarke Band

4 - Sun

Cleopatras Needle
2485 Broadway
(betw. 92nd & 93rd St.)

Cornelia St. Caf

29 Cornelia St.
(bet. W 4th & Bleecker)

Deer Head Inn

5 Main Street
Delaware Water Gap, PA

Richard Clements 3; Daisuke Abe 3

YoungJoo Song 3; Robert
Rucker 3
Fukushi Tainaka 4; Jesse
Simpson 3

Geoff Vidal 3; Tyler Blanton Bill Goodwin 4

NYU Jazz Brunch, Michael

Rodriguez; Chick Corea &
Stanley Clarke Band
Chick Corea & Stanley
Clarke Band

Keith Ingham 3; Jazz Jam

6 - Tue

Chick Corea & Stanley

Clarke Band

Marc Devine 3; Jam Session

7 - Wed

Chick Corea & Stanley

Clarke Band

Les Kurtz 3; Joonsam Lee 3 Samir Zarif 6

8 - Thu

Ellis Marsalis 4

9 - Fri

Ellis Marsalis 4

10 - Sat

Ellis Marsalis 4; Mauricio


Don Furman 3; Daisuke

Abe 3
Rudi Mwongozi 4; Robert
Rucker 3
Ken Simon 4; Jesse Simpson 3

11 - Sun

Iris Ornig; Ellis Marsalis 4

Keith Ingham 3; Jazz Jam

12 - Mon

Eric Person

Roger Lent 3; Jam Session

13 - Tue

Curtis Stigers

Marc Devine 3; Jam Session

14 - Wed

Curtis Stigers

Les Kurtz 3; Joonsam Lee 3 Jerome Sabbagh 4

15 - Thu

Kenny G

16 - Fri

Kenny G; John Raymond

Keith Ingham 3; Daisuke

Abe 3
Mamiko Watanabe 4;
Robert Rucker 3

17 - Sat

Kenny G; MuthaWit

Ray Blue 4; Jesse Simpson Bobby Avey 5


Najma Parkins 3

18 - Sun

Juilliard Jazz Brunch,

Groove in Time; Kenny G

Keith Ingham 3; Jazz Jam

Bobby Avey 5

19 - Mon

Sheila Jordan & Steve Kuhn Roger Lent 3; Jam Session

20 - Tue

Jacqui Naylor

Marc Devine 3; Jam Session

21 - Wed

Jacqui Naylor

Les Kurtz 3; Joonsam Lee 3 Cage Centennial; Jacam

Manricks 3

22 - Thu

Jacqui Naylor

Kazu 3; Daisuke Abe 3

November 2012

23 - Fri

Manhattan Transfer

Gene Ess 5

Nov 6: Charli Persip Big Band Super Sound

24 - Sat

Manhattan Transfer

Jihye Park 3; Robert Rucker John McNeil & Jeremy

Udden 4
Kuni Mikami 4; Jesse
David Liebman 5
Simpson 3

Nov 13: Chip White Ensemble

25 - Sun

Erika; Manhattan Transfer

Keith Ingham 3; Jazz Jam

Manhattan Klezmer

26 - Mon

Roger Lent 3; Jam Session Joe Alterman 4

Ensemble of COTA All


27 - Tue

Marc Devine 3; Jam Session

28 - Wed

Les Kurtz 3; Joonsam Lee 3 Surface to Air

5 - Mon

All Shows at 8:00 PM

Nov 20: Mike Longo Trio

Nov 27: Cecilia Coleman Quintet


Jason Rigby 3

Nancy Coletti 4

Devin Gray 4

Bill Warfield 8

Manner Effect

Bonnie Childs 3

Roger Lent 3; Jam Session David Amram 4

29 - Thu

Cassandra Wilson

Lonnie Gasperini 3; Daisuke Abe 3

30 - Fri

Cassandra Wilson; Michael Rahn Burton 3; Robert

Rucker 3

November 2012 Jazz Inside Magazine

Abe Ovadia 3

Jess Korman 3

Bill Goodwin 4

Jim Black 2

Spencer Reed Band

Ellery Eskelin 3

Co-Op Bop with Randy

Jesse Green & Joanie

Rosana Eckert; Alison


Peter Evans 4

Bill Goodwin 4

Nasheet Waits-Abraham
Burton 3

Erin McClelland Band

Paul Meyers & Deanna


Eric Doney

Peter Brendler 4

Tom Chang 4

Bill Goodwin 4

Loren Stillman 4

Marcell Bellinger
To Advertise CALL: 215-887-8880

at 8:00pm. Nate Wooley Quintet Alpha at 9:30pm. $10

suggested donation. 295 Douglass St. (Bet. 3rd & 4th
Ave.) 917-355-5731.
Tues 11/27: Michael Dessen Trio at Shapeshifter Lab.
9:30pm. $8. Presenting premiere of Resonating Abstractions, a 7-movement work commissioned by Chamber
Music America. 18 Whitwell Pl., Park Slope. 646-8209452.
Tues 11/27: Leni Stern at Barbs. 7:00pm. 376 9th St.
@ 6th Ave. 347-422-0248.
Tues 11/27: Douglass St. Music Collective. The Gate
at 8:00pm. Nate Wooley Quintet Omega at 9:00pm. $10
suggested donation. 295 Douglass St. (Bet. 3rd & 4th
Ave.) 917-355-5731.
Wed 11/28: Curtis MacDonald Group at Barbs.
8:00pm. 376 9th St. @ 6th Ave. 347-422-0248.
Wed 11/28: Douglass St. Music Collective. Nate Wooley Quintet Alpha at 9:30pm. $10 suggested donation.
295 Douglass St. (Bet. 3rd & 4th Ave.) 917-355-5731.
Thurs 11/29: Douglass St. Music Collective. Nate
Wooley Quintet Omega at 9:30pm. $10 suggested
donation. 295 Douglass St. (Bet. 3rd & 4th Ave.) 917-3555731.
Fri 11/30: Red Hot + Cuba at BAM Howard Gilman
Opera House. 8:00pm. $25+. 30 Lafayette Ave. 718-6364129.
Fri 11/30: IBeam Music Studio. Bob Gluck at 8:00pm.
James Keepnews at 8:30pm. Gluck/Keepnews/Carter/
Filiano at 9:00pm. Maryanne de Prophetis Trio at
9:30pm. $10 suggested donation. 168 7th St. http://
Fri 11/30: Burning Gums at Brooklyn Conservatory of
Music. 8:00pm. 58 7th Ave. @ Lincoln Place. 718-6223300.
Wed-Fri 11/14-11/16: Third Annual Johnny Pacheco
Latin Music and Jazz Festival at Lehman College,
Lovinger Theatre. 250 Bedford Park Blvd. West. Featured performance Friday at 7:30pm with The Lehman
Jazz Band and special guest artists. 718-960-8247.
Wed 11/7: Monthly Jazz Jam at Flushing Town Hall.
7:00pm. $10. Members students & performers free. 13735 Northern Blvd. 718-463-7700, x222.
Fri 11/9: Monthly Jazz Clinic at Flushing Town Hall.
4:00pm. Free. 137-35 Northern Blvd. 718-463-7700,
Fri 11/16: NEA Jazz Masters at Flushing Town Hall.
8:00pm. With Jimmy Heath, Barry Harris, Ron Carter,
Curtis Fuller, Jimmy Owens & Tootie Heath. $40; $32
members; $10 students. Concert dedicated to Phoebe
Jacobs, former executive vice president of the Louis
Armstrong Educational Foundation. 137-35 Northern
Blvd. 718-463-7700, x222.
Fri 11/2: Great Saxophone Tribute to Stan Getz, Cannonball Adderley & Sonny Stitt with Demetrius
Spaneas at Dix Hills Performing Arts Center. 7:30pm.
Five Towns College, 305 N. Service Rd., Dix Hills. 631656-2110.
Sun 11/4: Keb Mo Band at Westhampton Beach
Performing Arts Center. 8:00pm. $100, $80, $60. 76
Main St. 631-288-1500.
Fri 11/2: Alan Broadbent & Don Falzone at Carnegie
Room. 7:30pm. The Nyack Library, 59 S. Broadway,
Nyack. 845-608-3593.
Sun 11/11: Antoinette Montague at First Presbyterian
Church. 5:15pm. $20. 199 N. Columbus Ave., Mount
Vernon. 914-793-7179.
Sun 11/11: Ron Carter with Russell Malone & Donald
To Advertise CALL: 215-887-8880

Vega at Carnegie Room. 7:30pm. The Nyack Library, 59

S. Broadway, Nyack. 845-608-3593.
Wed 11/14: Cecil Bridgewater at Hudson River Museum. 1:30pm. Free. 511 Warburton Ave., Yonkers. 914963-4550.
Sat 11/17: Gato Barbieri at Tarrytown Music Hall.
8:00pm. 13 Main St., Tarrytown, NY. 877-840-0457.
Fri 11/30: Scott Reeves Quintet with Duane Eubanks at
Carnegie Room. 7:30pm. The Music of Clark Terry &
Bob Brookmeyer. The Nyack Library, 59 S. Broadway,
Nyack. 845-608-3593.
Thurs 11/1: Akiko Tsuruga Quartet at Makeda. 7:30pm.
No cover, $5 min. 338 George St., New Brunswick. No
cover, $5 min.
Fri 11/2: Lalo Conversano at Trumpets. 6 Depot Sq.,
Montclair. 973-744-2600.
Sat 11/3: Billy Harper Quintet at Bethany Baptist
Church. 6:00pm. Jazz Vespers. Free. 275 W. Market St.,
Newark. 973-623-8161.
Sat 11/3: Dorado Schmitt & Birdlands Django
Reinhardt Festival All-Stars at New Jersey Performing
Arts Centers Chase Room. 6:00pm & 8:30pm. One
Center St., Newark. 973-642-8989.
Sat 11/3: Gene Bertoncini, Paul Meyers & John Stowell at Trumpets. 6 Depot Sq., Montclair. 973-744-2600.
Thurs 11/4: Mike Lee Family at South Orange Performing Arts Center. 7:00pm. $15. One SOPAC Way, South
Orange. 973-313-2787.
Fri 11/5: Swingadelic at Maxwells. 9:00pm. No cover.
1039 Washington St., Hoboken.
Tues 11/6: Radam Schwartz & Bruce Williams at
Whole Foods Market. 6:00pm. Free. 235 Prospect Ave.,
West Orange. 973-669-3196.
(continued on page 24)


Straight-Up Professionals
Delivering Breakthrough
Internet Marketing,
Advertising & Publicity Solutions
Online & Offline
Media & Marketing
Campaigns & Reporting
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Press Releases e-Mail
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Get The Results You Deserve

November 2012 Jazz Inside Magazine

(Continued on page 24)


(Continued from page 23)

Wed 11/7: Barbara Cook at McCarter Theater.
7:30pm. 91 University Pl., Princeton. 609-258-2787.
Wed 11/7: Jazzmeia Horn at Hyatt. 7:30pm. 2 Albany
St., New Brunswick. No cover.
Wed 11/7: Ted Curson & Trumpets Monthly Jam
Session at Trumpets. 6 Depot Sq., Montclair. 973-7442600.
Wed 11/7: Nicki Parrott & Rosanno Sportiello at
Shanghai Jazz. 24 Main St., Madison. 973-822-2899.
Thurs 11/8: Sharel Cassity Quartet at Makeda.
7:30pm. No cover, $5 min. 338 George St., New Brunswick. No cover, $5 min.
Thurs 11/8: Chick Corea & Gary Burton at McCarter
Theater. 7:30pm. 91 University Pl., Princeton. 609-2582787.
Fri 11/9: Vanessa Perea at Makeda. 7:30pm. No cover,
$5 min. 338 George St., New Brunswick. No cover, $5
Fri 11/9: Burr Johnson at Trumpets. 6 Depot Sq.,
Montclair. 973-744-2600.
Sat 11/10: Aretha Franklin at New Jersey Performing
Arts Centers Prudential Hall. 8:00pm. One Center St.,
Newark. 973-642-8989.
Sat 11/10: Dave Stryker at Trumpets. 6 Depot Sq.,
Montclair. 973-744-2600.
Sun 11/11: Lauren Hooker Quartet at City Green.
2:00pm. $50 suggested donation. Jazz cocktail party
fund-raiser. 171 Grove St., Clifton. 973-869-4086.
Tues 11/13: Judi Silvano & James Weidman at Whole
Foods Market. 6:00pm. Free. 235 Prospect Ave., West
Orange. 973-669-3196.
Tues 11/13: Aaron Weinstein & Warren Vache at
Rutgers University, Dana Library, Dana Room.
2:00pm. Free. 185 University Ave., Newark. 973-3535595.
Tues 11/13: Jazz Knights of West Point at South
Orange Performing Arts Center. 7:00pm. Free. One
SOPAC Way, South Orange. 973-313-2787.
Wed 11/14: Holli Ross & Singers from MSU at Trumpets. 6 Depot Sq., Montclair. 973-744-2600.
Wed 11/14: Gregg Akkerman at Rutgers University,
Dana Library, Dana Room. 7:00pm. Free. Johnny
Hartman: The Voice of Romance Revealed. 185 University Ave., Newark. 973-353-5595. http://
Thurs 11/15: Orrin Evans Quartet at Makeda. 7:30pm.
No cover, $5 min. 338 George St., New Brunswick. No
cover, $5 min.
Thurs 11/15: Blind Boys of Alabama & Dr. John at
Mayo Performing Arts Center. 8:00pm. $39-$59. 100
South St., Morristown. 973-539-8008.
Fri 11/16: Saundra Silliman at Trumpets. 6 Depot Sq.,
Montclair. 973-744-2600.
Fri 11/16: All-State Jazz Ensemble and Jazz Choir at
New Jersey Performing Arts Centers Victoria Theater. 7:00pm. One Center St., Newark. 973-642-8989.
Sat 11/17: Lauren Hooker Quartet at Puffin Cultural
Forum. 8:00pm. 20 Puffin Way, Teaneck. 201-86-8923.
Tues 11/20: Allen Farnham & Paul Abler at Whole
Foods Market. 6:00pm. Free. 235 Prospect Ave., West
O r a n g e .
9 7 3 - 6 6 9 - 3 1 9 6 .
Wed 11/21: Najwa Parkins Trio at Hyatt. 7:30pm. 2
Albany St., New Brunswick. No cover.
Wed 11/21: Dalton Gang at Trumpets. 6 Depot Sq.,
Montclair. 973-744-2600.
Sat 11/24: LLenny White Quartetat Trumpets. 6 Depot
(Continued on page 26)

Calendar of Events

Dizzys Club
Coca Cola

Dizzys Club
After Hours

at Loews Regency

Bdwy &t 60th, 5th Fl.


Bdwy & 60th, 5th Fl


540 Park Ave.


99 Seventh Ave. S
(at Grove St.)

1 - Thu

Wycliffe Gordon

Broadway Ballyhoo; Tamara


Rick Stone 3; Alan Chaubert 3

2 - Fri

Wycliffe Gordon

Tamara Tunie

Doug McDonald 3; Hot


3 - Sat

Wycliffe Gordon

Tamara Tunie

Larry newcomb 3; Evgeny

Lebedev; Daylight Blues

4 - Sun

Wycliffe Gordon

Lindsay Mendez & Marco

Laguia; Magical Nights

Evan Schwam 4; David

Coss 4; Masami Ishikawa 3

5 - Mon

Manhattan School of Music:

Afro-Cuban Jazz Orchestra

Harry Allen

Howard Williams Orchestra;

Ben Cliness 3

6 - Tue

Giacomo Gates All Star

Election Night Special

Pete Zimmer 4

7 - Wed

Molly Johnson

Pete Zimmer 4

Sue Raney & Alan Broadbent Marc Devine 3; Anderson


8 - Thu

Gregory Porter

Pete Zimmer 4

Broadway Ballyhoo; Sue

Raney & Alan Broadbent 3

9 - Fri

Gregory Porter

Pete Zimmer 4

Sue Raney, Alan Broadbent 3 Kyoko Oyobe 3; Kevin Dorn

10 - Sat

Gregory Porter

Pete Zimmer 4

Sue Raney, Alan Broadbent 3 Daniela Schaechter 3;

11 - Sun

Gregory Porter

Beauty & La Biche; Magical


Lou Caputo 4; David Coss

4; Mauricio DeSouza 3

12 - Mon

Manhattan School of Music

Jazz Orchestra

Doo Wop Project

Howard Williams Orchestra;

David Baron

13 - Tue

Lou Donaldson 4

Bruce Harris 5

Peter Gallagher

Eyal Vilner Band; Mayu

Saeki 3

14 - Wed

Lou Donaldson 4

Bruce Harris 5

Peter Gallagher

Dylan Meek 3; Ryan

Meagher 3

15 - Thu

Lou Donaldson 4

Bruce Harris 5

Peter Gallagher; Broadway


Nick Moran 3; New Tricks

16 - Fri

Lou Donaldson 4

Bruce Harris 5

Peter Gallagher

Ben Benack 4; Kevin Dorn


17 - Sat

Lou Donaldson 4

Bruce Harris 5

Peter Gallagher

Larry Newcomb 3; Mark

Marino 3; Virginia Mayhew

18 - Sun

Lou Donaldson 4

Magical Nights; Tommy Tune David Coss 4; Ethan Mann

19 - Mon

Barcelona Jazz Orchestra

Bill Charlap & Sandy Stewart

Howard Williams Band;

Kenny Shanker 4

20 - Tue

Monty Alexander

Ryan Hayden 4

Bill Charlap & Sandy Stewart

Fat Cat Big Band; JT Project

21 - Wed

Monty Alexander

Ryan Hayden 4

Bill Charlap & Sandy Stewart

Rob Edwards 4; Danny

Walsh 4

22 - Thu

Monty Alexander

Ryan Hayden 4

Club Dark

Larry Newcomb 3; Justin

Lees 3

23 - Fri

Monty Alexander

Ryan Hayden 4

Bill Charlap & Sandy Stewart

Michika Fukumori 3; Joey

Morant 3

24 - Sat

Monty Alexander

Ryan Hayden 4

Bill Charlap & Sandy Stewart

Marsha Heydt 4; Champian

Fulton 4; Virginia Mayhew 4

25 - Sun

Monty Alexander

Magical Nights; Tommy Tune Iris Ornig 4; David Coss 4

26 - Mon

Brandi Disterheft

Tommy Tune

Howard Williams Band;

Camille Thurman

27 - Tue

Mary Stallings, Eric Reed 3

Michael Feinstein

Jazz Band Classic; Justin

Lees 3

28 - Wed

Mary Stallings, Eric Reed 3

Michael Feinstein

Josh Lawrence 4; Paul

Francis 3

29 - Thu

Mary Stallings, Eric Reed 3

Michael Feinstein; Scott


Nue Jazz Project; Bryan

Carter 3

30 - Fri

Mary Stallings, Eric Reed 3

Michael Feinstein

Dave Kain; Dre Barnes 3

Kyle Athayde Band

Champian Fulton 4; Andrew

Hadro 4
Brooks Hartell 3; Akiko
Tsuruga 3

November 2012 Jazz Inside Magazine

To Advertise CALL: 215-887-8880

The Iridium


Jazz Gallery

Jazz Standard


290 Hudson St.

(below Spring St.)

116 E 27th St

2271 Adam Clayton

Powell Blvd.

1 - Thu

Gregg Rolie & Alan Haynes


Steve Kuhn 3

Keith Curbow; AC Lincoln; Danny

Switchblade; Stratospheerius;
Muncie; DJ Elbow

2 - Fri

Robbie Dupree

Johnathan Blake

Steve Kuhn 3

Rakiem Walker; Junion Lewis;

DJ Birane

3 - Sat

Leslie West

Steve Kuhn 3

Yacouba Diabate; Sound Frontier; La Mecanica; Kepaar; Hot &


4 - Sun

Leslie West

Steve Kuhn 3

Jazz Jam Session; Shrine Big

Band; Reggae

5 - Mon

Arlen Roth Band

Mingus Big Band

Hyuna Park; Dylan Maida; Emily

& the Ideals; Supremo Massiv

6 - Tue

Shaynee Rainblt

Ben Allison

Nuit Africaine de la Parole; CapNam; Turning Plates from


7 - Wed

Reb Beach Project

Jazz Composers Collective

Elise Wood 2; Thurston Ray;

Jane Lee Hooker; Mark Farmer;
Boom Bits

8 - Thu

Wolff & Clark Expedition

Jazz Composers Collective

Peter Honan; Yahawashi; Fol

Y'all; Uprising Roots; DJ Elbow

9 - Fri

Wolff & Clark Expedition

Ben Allsion: Composers

Collective Reunion; Ted
Nash 4

Rakiem Walker; Andrew Karnavas; Glaz Roas; Preachearman;

DJ Birane

10 - Sat

Billy Cox Band

Ben Allsison: Composers

Collective Reunion; Michael Blake 4

Grace Undergrounde; Yacouba

Diabate; Reina Williams;
Sould'Out; Kakande; Hot & Wild

11 - Sun

Billy Cox Band

Ben Allison: Composers

Collective Reunion; Michael Blake Band

Jazz Jam Session; Reverend

Robert; Reggae

12 - Mon

Steve Stevens

Mingus Big Band

FFP; Tomayasu Ikuta; Natalie


13 - Tue

Bob Malone

Winard Harper & Jeli


Chieko Honda; Lynette Williams;

Fife & Drom

14 - Wed

Tommy Castro Band


Winard Harper & Jeli


Terry Blossom; Maria Davis;

R&B against AIDS

15 - Thu

Tommy Castro Band

Le Boeuf Brothers

Vinicius Cantuaria

Jacques & Marie; Dolly Rocker

Ragdoll; P.I.C.; ROTIMI

16 - Fri

Three Degrees

Steve Coleman & Five


Vinicius Cantuaria

David Caldwell Mason; GASHCAT; Sambalolo & Bouba

17 - Sat

Three Degrees

Vinicius Cantuaria

Yacouba Diabate; Emilie Weibel;

Shelly Bhushan; Isaac Katalay

18 - Sun

Stanley Jordan

Vinicius Cantuaria

Jazz Jam Session; Cannibal

Ramblers; Reggae

19 - Mon

Stanley Jordan

Mingus Big Band

The Gathering; Inconspicuous

20 - Tue

Tanya Holt; Aaron Lee Battle

Maria Schneider Band

Yuko Yamamura; Ay Balazo

21 - Wed

Leni Stern

Maria Schneider Band

Glenn White 4; Natty Dreadz

Rebecca Martin & Larry


Zenon - Colley - Sanchez

Maria Schneider Band

Rakiem Walker; Afro Groove

Collective; Nick Gianni

Sons of Cream

Maria Schneider Band

Yacouba Diabate; Yacine

Boulares; Gibril da African

25 - Sun

Sons of Cream

Maria Schneider Band

Jazz Jam Session; Natty Dreadz

26 - Mon

Robben Ford

Mingus Big Band


23 - Fri


24 - Sat

Gerald Clayton

Kelsey; DRS Organ 3; Jean

Fight; People from Philadelphia

27 - Tue

Gary Hoey

29 - Thu
30 - Fri

Scan the QR Code below

with your mobile device

Isaac Darche; SambuluS;

UkoAfricana; DJ Elbow

22 - Thu

28 - Wed

Jazz Lovers

Lords of the Trumpet Play

Dizzy Gillespie

To Advertise CALL: 215-887-8880

Aaron Parks

Geri Allen Band

Squelch; This Is Not the Radio

Camille Thurman

Geri Allen Band

Yoshiki Miura; Session; Xavier

Cardriche; Billy Conahan

Darcy James Argue &

Secret Society

Geri Allen Band

Rakiem Walker; DecaDence;

Larrama; 6th Degree; DJ Birane

November 2012 Jazz Inside Magazine

Your Own Personal

Lifetime Access!
Jazz Listening,
Enjoyment, Discovery
Limited Availability


(Continued from page 24)

Sq., Montclair. 973-744-2600.
Tues 11/27: Levy & Ray Drummond at Whole Foods
Market. 6:00pm. Free. 235 Prospect Ave., West Orange.
Wed 11/28: B.B. King at Mayo Performing Arts Center.
8:00pm. $69-$99. 100 South St., Morristown. 973-5398008.
Thurs 11/29: Ralph Bowen Quartet at Makeda. 7:30pm.
No cover, $5 min. 338 George St., New Brunswick. No
cover, $5 min.
Fri 11/30: Olli Soikkeli & Vitali Imereli at Trumpets. 6
Depot Sq., Montclair. 973-744-2600.

Thurs 11/1: Akie B. & the Falcons at The Falcon.
7:00pm. 1348 Rt. 9W, Marlboro, NY.
Fri 11/2: Phil Markowitz & Zach Brock Project at The
Falcon. 7:00pm. 1348 Rt. 9W, Marlboro, NY.
Sat 11/3: David Maxwell Maximum Blues at The Falcon. 7:00pm. 1348 Rt. 9W, Marlboro, NY.
Sun 11/4: at The Falcon. Sunday brunch with JBs Soul
Jazz Trio with Myles Mancuso & Lee Falco. Garland
Jeffreys Acoustic Duo at 7:00pm. 1348 Rt. 9W, Marlboro, NY.
Thurs 11/8: Omer Avital Band at The Falcon. 7:00pm.
1348 Rt. 9W, Marlboro, NY.
Fri 11/9: Oz Noy, Will Lee & Anton Fig at The Falcon.
7:00pm. 1348 Rt. 9W, Marlboro, NY.
Fri 11/9: Michele Rosewoman Trio at Firehouse 12.
8:30pm & 10:00pm. $18 & $12. 45 Crown St., New Haven, CT. 203-785-0468.
Sun 11/11: at The Falcon. Sunday brunch with Kelly Ash
& Perry Smith. Bob Malone at 7:00pm. 1348 Rt. 9W,
Marlboro, NY.
Wed 11/14: Club dElf with John Medeski at The Falcon. 7:00pm. 1348 Rt. 9W, Marlboro, NY.
Thurs 11/15: Donny McCaslin at Garde Arts Center.
7:30pm. 325 State St., New London, CT. 860-444-7373.
Fri 11/16: Donny McCaslin Quartet at Firehouse 12.
8:30pm & 10:00pm. $18 & $12. 45 Crown St., New Haven, CT. 203-785-0468.
Fri 11/16: Ann Hampton Callaway at Ridgefield Playhouse. 8:00pm. $45; $40. 203-438-5795. 80 E. Ridge,
Ridgefield, CT.
Fri 11/16: Ben Allison Band at The Falcon. 7:00pm.
1348 Rt. 9W, Marlboro, NY.
Sat 11/24: Edmar Castaneda at The Falcon. 7:00pm.
1348 Rt. 9W, Marlboro, NY.
Sun 11/25: Vic Juris at The Falcon. 7:00pm. 1348 Rt.
9W, Marlboro, NY.
Thurs 11/29: Jim Campilongo Quartet at The Falcon.
8:00pm. 1348 Rt. 9W, Marlboro, NY.
Fri 11/30: Jason Robinson Ensemble at Firehouse 12.
8:30pm & 10:00pm. $18 & $12. 45 Crown St., New Haven, CT. 203-785-0468.

Do the right thing.

It will gratify some people
and astonish the rest.

- Napoleon Hill

Calendar of Events


The Stone

Village Vanguard

183 W. 10th

Ave. C & Second St.

178 Seventh Ave. S

(below W 11th St.)

1 - Thu

Jon Roche; Camila Meza; Ruchard

Sussman 5; Bruce Harris/Alex Hoffman

Al Margolis & PAS; Elliott Sharp

2 - Fri

Sam Raderman & Luc Decker; Ralph

LaLama 3; Steve Davis 5; Lawrence

Hazel Rah; Steve Buchanan & Ken Jeff Ballard


3 - Sat

Dwayne Clemons & Sasha Perry; Virginia Idiot Saint Crazy; Anthony Coleman Jeff Ballard
Mayhew; Steve Davis 5

4 - Sun

Marion Cowings; John Merrill; Mike

Victor Poison-Tete; Tamio Shiraishi
Kanan & Peter Bernstein; Johnny O'Neal; & Cammisa Buerhaus
Dmitry Baevsky 4

Jeff Ballard

5 - Mon

Asen Doykin 3; Mike Moreno; Spencer


Vanguard Jazz Orchestra

6 - Tue

Spike Wilner; Joe Sanders 4; Frank Lacy, Brilliant Coroners; XBOP

Josh Evans & Theo Hill

Guillermo Klein 5

7 - Wed

Michela Lerman; Rob Duguay 4; Simona

Premazzi 4

Tom Swafford; Marco Cappelli 3

Guillermo Klein 5

8 - Thu

Jon Roche; Marco Panascia; Sylvia

Cuenca 4; Carlos Abadie

Max Johnson 3; J-Zee-Shushi-Car

Guillermo Klein 5

9 - Fri

Sam Radearman & Luc Decker; Jon

Davis 3; Vincent Gardner; Jeremy
Manasia 3

Molecules; Drum Trio

Guillermo Klein 5

10 - Sat

Dwayne Clemons & Sasha Perry; Pete

Malinverni 3; Vincent Gardner

Jack Wright, Ron Stabinsky & John Guillermo Klein 5

McClellan; PAK

11 - Sun

Marion Cowings; John Merrill; Marti

Mabin; Johnny O'Neal; David Schnitter 4

Blip Vert; Michael Evans & Scott


12 - Mon

Yotam Silberstein; Dayna Stephens 5;

Spencer Murphy

Vanguard Jazz Orchestra

13 - Tue

Spike Wilner; Joe Sanders 4; Frank Lacy, Barrsheadahl; Inzinzac

Josh Evans & Theo Hill

Greg Osby 4

14 - Wed

Michela Lerman; Steve Cardenas; Craig


MJ-12; Daniel Carter, David

Schnug, Will McEvoy & Max Goldman

Greg Osby 4

15 - Thu

Jon Roche; Ehud Asherie; Matt Jorgensen 4; Bruce Harris/Alex Hoffman

Steve Swell

Greg Osby 4

16 - Fri

Sam Raderman & Luc Decker; Ned

Goold 3; Ken Fowser & Behn Gillece;
Lawrence Leathers

Roy Campbell 3; Larry Roland 4

Greg Osby 4

17 - Sat

Dwayne Clemons & Sasha Perry; Nick

Hempton 4; Ken Fowser & Behn Gillece

Golda Solomon 3; Jazz & Poetry

Choir Collective

Greg Osby 4

18 - Sun

Marion Cowings; Lucas Pino 9; Lezlie

Larry Roland 6
Harrison; Johnny O'Neal; Charles Owens

Greg Osby 4

19 - Mon

Dave Kikoski; Ari Hoenig; Spencer


Vanguard Jazz Orchestra

20 - Tue

Spike Wilner; Ben Wolfe 4; Frank Lacy,

Josh Evans & Theo Hill

Tomas Ulrich; Jeremy Carlstedt &

Jim Motzer

Jason Moran 3

21 - Wed

Michela Lerman; Ben Wolfe 4; Jonathan

Lefcoski 3

Music Now Duo; Music Now Extended Unit

Jason Moran 3

22 - Thu

Joel Frahm 4; Carlos Abadie

23 - Fri

Sam Raderman & Luc Decker; Tim

Ferguson; Sacha Perry 6; Anthony
Wonsey 3

John Zorn Improv Night

Jason Moran 3

24 - Sat

Dwayne Clemons & Sasha Perry; Tardo

Hammer 3; Sasha Perry 6

Vincent Chancey & Phat Chance;

Roy Campbell & Louis Belogenis 5

Jason Moran 3

25 - Sun

Marion Cowings; Larry Gelb; Bucky

Pizzarelli & Ed Laub; Johnny O'Neal;
Spike Wilner

Here and Now; Matt Lavelle 5

Jason Moran 3

26 - Mon

Peter Bernstein; Ari Hoenig; Spencer


Vanguard Jazz Orchestra

27 - Tue

Spike Wilner; Joe Sanders 4; Frank Lacy, SAMA; Sabir Mateen

Josh Evans & Theo Hill

Joe Lovano & Dave Douglas 5

28 - Wed

Michela Lerman; Milton Suggs; Philip


Build; Tarana

Joe Lovano & Dave Douglas 5

29 - Thu

Jon Roche; Ehud Asherie/Bob Wilber;

Jay Collins 6; Bruce Harris/Alex Hoffman

Max Johnson 4; Kris Davis, Max

Johnson & Mike Pride

Joe Lovano & Dave Douglas 5

30 - Fri

Sam Raderman & Luc Decker; Bryn

Roberts 3; Ian Hendrickson Smith

Jason Hwang; Andrew Lamb

Joe Lovano & Dave Douglas 5

Jeff Ballard

Guillermo Klein 5

Jason Moran 3

November 2012 Jazz Inside Magazine

To Advertise CALL: 215-887-8880

Clubs & Venues

55 Bar, 55 Christopher St. (betw 6th & 7th Ave.), 212-929-9883,
92nd Street Y, 1395 Lexington Ave, New York, NY 10128
Aaron Davis Hall, City College of NY, Convent Ave., 212-6506900,
Alice Tully Hall, Lincoln Center, Broadway & 65th St., 212-8755050,
Allen Room, Lincoln Center, Time Warner Center, Broadway and
60th, 5th floor, 212-258-9800,
American Museum of Natural History, 81st St. &
Central Park W., 212-769-5100,
Arthurs Tavern, 57 Grove St., 212-675-6879 or 917-301-8759,
Arts Maplewood, P.O. Box 383, Maplewood, NJ 07040; 973-3782133,
Avery Fischer Hall, Lincoln Center, Columbus Ave. & 65th St.,
Backroom at Freddies, 485 Dean St. (at 6th Ave.), Brooklyn, NY,
BAM Caf, 30 Lafayette Ave., Brooklyn, NY, 718-636-4100,
Bar 4, 7 Ave and 15th, Brooklyn NY 11215, 718-832-9800,
Bar on Fifth Jazz at the Bar on Fifth, Music every night 8:00
PM - 11:00 PM, No cover charge, one drink minimum
The Bar on Fifth at the Setai Fifth Avenue Hotel, 400 Fifth Avenue,
New York, NY, 212-695-4005
Barbes, 376 9th St. (corner of 6th Ave.), Park Slope, Brooklyn,
Barge Music, Fulton Ferry Landing, Brooklyn, 718-624-2083,
B.B. Kings Blues Bar, 237 W. 42nd St., 212-997-4144,
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,
Bluestone Bar & Grill, 117 Columbia St., Brooklyn, NY, 718-4037450,
Bourbon Street Bar and Grille, 346 W. 46th St, NY, 10036,
Bowery Poetry Club, 308 Bowery (at Bleecker), 212-614-0505,
Brooklyn Public Library, Grand Army Plaza, 2nd Fl, Brooklyn,
NY, 718-230-2100,
Buttonwood Tree Performing Arts & Cultural Center, 605 Main
St., Middletown, CT. 860-347-4957,
Caf Carlyle, 35 E. 76th St., 212-570-7189,
Caf Loup, 105 W. 13th St. (West Village) , between Sixth and
Seventh Aves., 212-255-4746
Cafe Mozart, 308 Mamaroneck Ave., Mamaroneck, NY
Caf St. Barts, 109 E. 50th St. (at Park Ave.), 212-888-2664,
Caffe Vivaldi, 32 Jones St, NYC;
Carnegie Club, 156 W. 56th St., 212-957-9676,
Carnegie Hall, 7th Av & 57th, 212-247-7800,
Casa Dante, 737 Newark Avenue, Jersey City, NJ,
Cecils Jazz Club & Restaurant, 364 Valley Rd, West Orange, NJ,
Phone: 973-736-4800,
Charley Os, 713 Eighth Ave., 212-626-7300
Chicos 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., 212-6080555.
Cleopatras Needle, 2485 Broadway (betw 92nd & 93rd),
Cobis Place, 158 W. 48th (bet 5th & 6th Av.), 516-922-2010
Copelands, 547 W. 145th St. (at Bdwy), 212-234-2356
Cornelia Street Caf, 29 Cornelia St., 212-989-9319, www.
Creole Caf, 2167 Third Ave (at 118th), 212-876-8838.
Crossroads at Garwood, 78 North Ave., Garwood, NJ 07027,
Crossroads 78 North Avenue, Garwood, NJ
Cutting Room, 19 W. 24th St, Tel: 212-691-1900,
Destino, 891 First Ave. & 50th St., 212-751-0700
Detour, 349 E. 13th St. (betw 1st & 2nd Ave.), 212-533-6212,
Division Street Grill, 26 North Division Street, Peekskill, NY,
Dizzys Club Coca Cola, Broadway at 60th St., 5th Floor, 212-2589595,
DROM, 85 Avenue A, New York, 212-777-1157,
The Ear Inn, 326 Spring St., NY, 212-226-9060,
eighty-eights, 1467 Main Street, Rahway, NJ, 732-499-7100

To Advertise CALL: 215-887-8880

El Museo Del Barrio, 1230 Fifth Ave (at 104th St.), Tel: 212-8317272, Fax: 212-831-7927,
The Encore, 266 W. 47th St., 212-221-3960,
The Falcon, 1348 Rt. 9W, Marlboro, NY., 845) 236-7970,
Fat Cat, 75 Christopher St. (at &th Ave.), 212-675-7369,
FB Lounge, 172 E. 106th St., New York, 212-348-3929,
Feinsteins at Loews Regency, 540 Park Avenue (at 61st Street),
NY, 212-339-4095,
Five Spot, 459 Myrtle Ave, Brooklyn, NY, 718-852-0202,
Flushing Town Hall, 137-35 Northern Blvd., Flushing, NY,
718-463-7700 x222,
For My Sweet, 1103 Fulton St., Brooklyn, NY 718-857-1427
Franks Cocktail Lounge, 660 Fulton St. (at Lafayette), Brooklyn,
NY, 718-625-9339,
Freddys Backroom, 485 Dean St., Brooklyn, NY 11217, 718-6227035
Galapagos, 70 N. 6th St., Brooklyn, NY, 718-782-5188,
Garage Restaurant and Caf, 99 Seventh Ave. (betw 4th and
Bleecker), 212-645-0600,
Garden Caf, 4961 Broadway, by 207th St., New York, 10034,
Ginnys Supper Club, 310 Malcolm X Boulevard Manhattan, NY
10027, 212-792-9001,
Glen Rock Inn, 222 Rock Road, Glen Rock, NJ, (201) 445-2362,
Greenwich Village Bistro, 13 Carmine St., 212-206-9777,
Harlem Tea Room, 1793A Madison Ave., 212-348-3471,
Havana Central West End, 2911 Broadway/114th St), NYC,
Hibiscus Restaurant, 270 S. Street, Morristown, NJ, 973-359-0200,
Highline Ballroom, 431 West 16th St (between 9th & 10th Ave., 212-414-4314.
Hopewell Valley Bistro, 15 East Broad St, Hopewell, NJ 08525,
Hyatt New Brunswick, 2 Albany St., New Brunswick, NJ
IBeam Music Studio, 168 7th St., Brooklyn,
Il Porto Restorante, 37 Washington Avenue, Brooklyn, New York
11205, 718-624-0954 or 718-624-2965, Friday & Saturday 7:30PM 10:30PM
Iridium, 1650 Broadway (below 51st St.), 212-582-2121,
Jazz 966, 966 Fulton St., Brooklyn, NY, 718-638-6910
Jazz at Lincoln Center, 33 W. 60th St., 212-258-9800,
Frederick P. Rose Hall, Broadway at 60th St., 5th Floor
Dizzys Club Coca-Cola, Reservations: 212-258-9595
Rose Theater, Tickets: 212-721-6500
The Allen Room, Tickets: 212-721-6500
Jazz Gallery, 290 Hudson St., Tel: 212-242-1063, Fax: 212-2420491,
The Jazz Spot, 375 Kosciuszko St. (enter at 179 Marcus Garvey
Blvd.), Brooklyn, NY, 718-453-7825,
Jazz Standard, 116 E. 27th St., 212-576-2232,
Joes Pub at the Public Theater, 425 Lafayette St & Astor Pl.,
John Birks Gillespie Auditorium (see Bahai Center)
Jules Bistro, 65 St. Marks Place, Tel: 212-477-5560, Fax: 212-4200998,
Kasser Theater, 1 Normal Avenue, Montclair State College, Montclair, 973-655-4000,
Key Club, 58 Park Place, Newark, NJ, (973) 799-0306,
Kitano Hotel, 66 Park Ave., 212-885-7000 or 800-548-2666,
Knickerbocker Bar & Grill, 33 University Pl., 212-228-8490,
The Knitting Factory, 74 Leonard St., Tel: 212-219-3132,
La Famiglia Sorrento, 631 Central Ave, Westfield, NJ, 07090, 908232-2642,
La Lanterna (Bar Next Door at La Lanterna), 129 MacDougal
Street, New York, 212-529-5945,
Le Grand Dakar Cafe, 285 Grand Ave, Clinton Hill, Brooklyn,
Le Madeleine, 403 W. 43rd St. (betw 9th & 10th Ave.), New York,
New York, 212-246-2993,
Lenox Lounge, 288 Lenox Ave. (above 124th St.), 212-427-0253,
Les Gallery Clemente Soto Velez, 107 Suffolk St. (at Rivington
St.), 212-260-4080
Linn Restaurant & Gallery, 29-13 Broadway, Queens, Astoria,
New York,
Live @ The Falcon, 1348 Route 9W, Marlboro, NY 12542,
Living Room, 154 Ludlow St. (betw Rivington & Stanton),

The Local 269, 269 E. Houston St. (corner of Suffolk St.), NYC
Makor, 35 W. 67th St. (at Columbus Ave.), 212-601-1000,
Lounge Zen, 254 DeGraw Ave, Teaneck, NJ, (201) 692-8585,
Makeda, George St., New Brunswick. NJ,
Maxwells, 1039 Washington Street, Hoboken, NJ, 201-653-1703,
McCarter Theater, 91 University Pl., Princeton, 609-258-2787,
Merkin Concert Hall, Kaufman Center, 129 W. 67th St. (betw
Broadway & Amsterdam), 212-501-3330,
Metropolitan Room, 34 West 22nd Street New York City, NY
10012, 212-206-0440,
MetroTech Commons, Flatbush & Myrtle Ave., Brooklyn, NY,
718-488-8200 or 718-636-4100 (BAM)
Mirelles, 170 Post Ave., Westbury, NY, 516-338-4933
Mixed Notes Caf, 333 Elmont Rd., Elmont, NY (Queens area),
Mo-Bay Uptown, 17 W. 125th St., 212-876-9300,
Moldy Fig Jazz Club, 178 Stanton St., 646-559-2553
Montauk Club, 25 Eighth Ave., Brooklyn, NY, 718-638-0800,
Museum of the City of New York, 1220 Fifth Ave. (between 103rd
& 104th St.), 212-534-1672,
Musicians Local 802, 332 W. 48th St., 718-468-7376 or
Newark Museum, 49 Washington Street, Newark, New Jersey
07102-3176, 973-596-6550,
New Jersey Performing Arts Center, 1 Center St., Newark, NJ,
07102, 973-642-8989,
New School Performance Space, 55 W. 13th St., 5th Floor (betw
5th & 6th Ave.), 212-229-5896,
New School University-Tishman Auditorium, 66 W. 12th St., 1st
Floor, Room 106, 212-229-5488,
New York City Bahai Center, 53 E. 11th St. (betw Broadway &
University), 212-222-5159,
Night of the Cookers, 767 Fulton St., Brooklyn, NY, Tel: 718-7971197, Fax: 718-797-0975
North Square Lounge, 103 Waverly Pl. (at MacDougal St.),
Nublu, 62 Ave. C (betw 4th & 5th St.), 212-979-9925,
Nuyorican Poets Caf, 236 E. 3rd St. (betw Ave. B & C), 212-5058183,
Oak Room at The Algonquin Hotel, 59 W. 44th St. (betw 5th and
6th Ave.), 212-840-6800,
Oceana Restaurant, 120 West 49th Street, New York, NY 10020
Opia, 130 East 57th St, New York, NY 10022, 212-688-3939
Orchid, 765 Sixth Ave. (betw 25th & 26th St.), 212-206-9928
Parlor Entertainment, 555 Edgecomb Ave., 3rd Floor (betw 159 &
160 St.), 212-781-6595,
Parlor Jazz, 119 Vanderbilt Ave. (betw Myrtle & Park), Brooklyn,
NY, 718-855-1981,
Perks, 535 Manhattan Ave, New York NY 10027,
Performance Space 122, 150 First Av., 212-477-5829,
Pigalle, 790 8th Ave. 212-489-2233.
Priory Restaurant & Jazz Club: 223 W Market St., Newark, NJ
07103, 973-639-7885
Private Place, 29 S. Center Street, South Orange, NJ, 973-675-6620
Proper Caf, 217-01 Linden Blvd., Queens, NY 11411, 718-3412233, jazz Wednesdays
Prospect Park Bandshell, 9th St. & Prospect Park W., Brooklyn,
NY, 718-768-0855
Prospect Wine Bar & Bistro, 16 Prospect St. Westfield, NJ,
Puppets Jazz Bar, Puppet Jazz Bar, 481 5th Avenue, NY 11215,
718- 499-2622,
Red Eye Grill, 890 Seventh Ave. (at 56th St.), 212-541-9000,
Richie Ceceres Restaurant and Supperclub, 2 Erie Street
Montclair, NJ 07042, 973.746.7811,
Ridgefield Playhouse, 80 East Ridge, parallel to Main St., Ridgefield, CT;, 203-438-5795
Rockwood Music Hall, 196 Allen St, New York, NY 10002
Rose Center (American Museum of Natural History), 81st St.
(Central Park W. & Columbus), 212-769-5100,
Rose Hall, 33 W. 60th St., 212-258-9800,
Rosendale Caf, 434 Main St., PO Box 436, Rosendale, NY 12472,
Rubin Museum of Art - Harlem in the Himalayas, 150 W. 17th
St. 212-620-5000.
Rustik, 471 DeKalb Ave, Brooklyn, NY, 347-406-9700, www.
St. Marks Church, 131 10th St. (at 2nd Ave.), 212-674-6377

November 2012 Jazz Inside Magazine


Clubs & Venues

St. Nicks Pub, 773 St. Nicholas Av (at 149th), 212-283-9728
St. Peters Church, 619 Lexington (at 54th), 212-935-2200,
Salon at Rue 57, 60 West 57th Street, 212-307-5656,
Sasas Lounge, 924 Columbus Ave, Between 105th & 106th St.
NY, NY 10025, 212-865-5159,
Savoy Grill, 60 Park Place, Newark, NJ 07102, 973-286-1700
Schomburg Center, 515 Malcolm X Blvd., 212-491-2200,
Shanghai Jazz, 24 Main St., Madison, NJ, 973-822-2899,
ShapeShifter Lab, 18 Whitwell Place, Brooklyn, NY 11215
Showmans, 375 W. 125th St., 212-864-8941
Sidewalk Caf, 94 Ave. A, 212-473-7373
Silver Spoon, 124 Main St., Cold Spring, NY 10516, 845-265-2525,
Sistas Place, 456 Nostrand Ave. (at Jefferson Ave.), Brooklyn, NY,
Skippers Plane Street Pub, 304 University Ave. Newark NJ, 973733-9300, skippersplanestreetpub
Smalls Jazz Club, 183 W. 10th St. (at 7th Ave.), 212-929-7565,
Smiths Bar, 701 8th Ave, New York, 212-246-3268
Sofias Restaurant - Club Cache [downstairs], Edison Hotel,
221 W. 46th St. (between Broadway & 8th Ave), 212-719-5799
Somethin Jazz Club, 212 E. 52nd St., NY 10022, 212-371-7657
Sophies Bistro, 700 Hamilton St., Somerset.
South Gate Restaurant & Bar, 154 Central Park South, 212-4845120,
South Orange Performing Arts Center, One SOPAC
Way, South Orange, NJ 07079,, 973-313-2787
South Street Seaport, 207 Front St., 212-748-8600,
Spoken Words Caf, 266 4th Av, Brooklyn, 718-596-3923
Stanley H. Kaplan Penthouse, 165 W. 65th St., 10th Floor,
The Stone, Ave. C & 2nd St.,
Sugar Bar, 254 W. 72nd St., 212-579-0222,
Swing 46, 349 W. 46th St.(betw 8th & 9th Ave.),
Symphony Space, 2537 Broadway, Tel: 212-864-1414, Fax: 212932-3228,

Tea Lounge, 837 Union St. (betw 6th & 7th Ave), Park Slope,
Broooklyn, 718-789-2762,
Terra Blues, 149 Bleecker St. (betw Thompson & LaGuardia),
Theatre Row, 410 W. 42nd, 212-714-2442,
Tito Puentes Restaurant and Cabaret, 64 City Island Avenue,
City Island, Bronx, 718-885-3200,
Tomi Jazz, 239 E. 53rd St., lower level. 646-497-1254,
Tonic, 107 Norfolk St. (betw Delancey & Rivington), Tel: 212-3587501, Fax: 212-358-1237,
Town Hall, 123 W. 43rd St., 212-997-1003
Trash Bar, 256 Grand St. 718-599-1000.
Triad Theater, 158 W. 72nd St. (betw Broadway & Columbus
Ave.), 212-362-2590,
Tribeca Performing Arts Center, 199 Chambers Street, 10007,,
Trumpets, 6 Depot Square, Montclair, NJ, 973-744-2600, www.
Tumultys Pub, 361 George St., New Brunswick
Turning Point Cafe, 468 Piermont Ave. Piermont, N.Y. 10968
(845) 359-1089,
Village Vanguard, 178 7th Avenue South, 212-255-4037,
Vision Festival, 212-696-6681,,
Watchung Arts Center, 18 Stirling Rd, Watchung, NJ 07069,
Watercolor Caf, 2094 Boston Post Road, Larchmont, NY 10538,
Weill Receital Hall at Carnegie Hall, 57th & 7th Ave,
Williamsburg Music Center, 367 Bedford Avenue, Brooklyn, NY
11211, (718) 384-1654
Wolf & Lamb, 10 East 48th Street, New York, NY 10017
Zankel Hall, 881 7th Ave, New York, 212-247-7800
Zebulon, 258 Wythe St., Brooklyn, NY, 11211, 718-218-6934,
Zinc Bar, 82 West 3rd St., 212-477-8337,
Barnes & Noble, 1960 Broadway, at 67th St, 212-595-6859
Colony Music Center, 1619 Broadway. 212-265-2050,
Downtown Music Gallery, 13 Monroe St, New York, NY 10002,
(212) 473-0043,
J&R Music World, 13 Monroe Street, 212-238-9000, www,
Jazz Record Center, 236 W. 26th St., Room 804,
Normans Sound & Vision, 67 Cooper Sq., 212-473-6599
Princeton Record Exchange, 20 South Tulane Street, Princeton,

NJ 08542, 609-921-0881,

Rainbow Music 2002 Ltd., 130 1st Ave (between 7th & St. Marks
Pl.), 212-505-1774
Scottis Records, 351 Springfield Ave, Summit, NJ, 07901,
Mannys Music, 156 W. 48th St. (betw. 6th and 7th Ave),
212-819-0576, Fax: 212-391-9250,
Drummers World, Inc., 151 W. 46th St., NY, NY 10036, 212-8403057, 212-391-1185,
Robertos Woodwind & Brass, 149 West 46th St. NY, NY 10036,
646-366-0240, Repair Shop: 212-391-1315; 212-840-7224,
Rod Baltimore Intl Woodwind & Brass, 168 W. 48 St. New York,
NY 10036, 212-302-5893
Sam Ash, 160 West 48th St, 212-719-2299,
Sadowsky Guitars Ltd, 2107 41st Avenue 4th Floor, Long Island
City, NY 11101, 718-433-1990.
Steve Maxwell Vintage Drums, 723 7th Ave, 3rd Floor, New York,
NY 10019, 212-730-8138,
92nd Street Y, 1395 Lexington Ave, New York, NY 10128
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,
City College of NY-Jazz Program, 212-650-5411,
Columbia University, 2960 Broadway, 10027
Drummers Collective, 541 6th Ave, New York, NY 10011,
Five Towns College, 305 N. Service Rd., 516-424-7000, ext.163,
Dix Hills, NY
Greenwich House Music School, 46 Barrow St., Tel: 212-2424770, Fax: 212-366-9621,
Juilliard School of Music, 60 Lincoln Ctr, 212-799-5000
LaGuardia Community College/CUNI, 31-10 Thomson Ave.,
Long Island City, 718-482-5151
Lincoln Center Jazz At Lincoln Center, 140 W. 65th St.,
10023, 212-258-9816, 212-258-9900
Long Island University Brooklyn Campus, Dept. of Music,
University Plaza, Brooklyn, 718-488-1051, 718-488-1372
Manhattan School of Music, 120 Claremont Ave., 10027,
212-749-2805, 2802, 212-749-3025
New Jersey City University, 2039 Kennedy Blvd., Jersey City, NJ
07305, 888-441-6528
New School, 55 W. 13th St., 212-229-5896, 212-229-8936
New York University-Jazz/Contemporary Music Studies, 35
West 4th St. Room#777, 212-998-5446, 212-995-4043
(718) 426-0633,
Princeton University-Dept. of Music, Woolworth Center Musical
Studies, Princeton, NJ, 609-258-4241, 609-258-6793
Queens College Copland School of Music, City University of
NY, Flushing, 718-997-3800
Rutgers Univ. at New Brunswick, Jazz Studies, Douglass Campus,
PO Box 270, New Brunswick, NJ, 908-932-9302
Rutgers University Institute of Jazz Studies, 185 University
Avenue, Newark NJ 07102, 973-353-5595
SUNY Purchase, 735 Anderson Hill Rd., Purchase, NY
914-251-6300, 914-251-6314
Turtle Bay Music School, 244 E. 52nd St., New York, NY 10022,
William Paterson University Jazz Studies Program, 300 Pompton
Rd, Wayne, NJ, 973-720-2320
WBGO 88.3 FM, 54 Park Pl, Newark, NJ 07102, Tel: 973-6248880, Fax: 973-824-8888,
WCWP, LIU/C.W. Post Campus
WKCR 89.9, Columbia University, 2920 Broadway
Mailcode 2612, New York, NY 10027, Listener Line: (212) 8549920,,
One Great Song, Hosted by Jay Harris, (at 6 on
Saturdays, and at at 11AM Sundays and again
on Monday and Thursday nights at 11PM.)
Lenore Raphaels JazzSpot,
Westchester Jazz Orchestra, Emily Tabin, Exec. Director,
PO Box 506, Chappaqua, NY 10514, 914-861-9100,
Big Apple Jazz,, 718-606-8442,
Louis Armstrong House, 34-56 107th St, Corona, NY 11368,
Institute of Jazz Studies, John Cotton Dana Library, RutgersUniv, 185 University Av, Newark, NJ, 07102, 973-353-5595
Jazzmobile, Inc., 154 W. 126th St., 10027, 212-866-4900,
Jazz Museum in Harlem, 104 E. 126th St., 212-348-8300,
Jazz Foundation of America, 322 W. 48th St. 10036,
New Jersey Jazz Society, 1-800-303-NJJS,
New York Blues & Jazz Society,
Rubin Museum, 150 W. 17th St, New York, NY,
212-620-5000 ex 344,


November 2012 Jazz Inside Magazine

To Advertise CALL: 215-887-8880


John Zorn / Lou Reed

Bill Laswell / Milford Graves
Terry Riley / Gyan Riley
The Joshua Light Show
NYU Skirball Center
for the Performing Arts
September 14, 2012
Review and photo by Ken Weiss
Its astonishing to think how pliant jazz has
been through the years, flexing to social and
cultural climate changes for artistic aims and out
of necessity. Jazz just hasnt been one thing for
a long time and given the right artists, concept
and space, stirring new things can still happen in
a big way. Credit goes to NYU for presenting
four days of the Joshua Light Show, a tenmember outfit headed by founder Joshua White,
the multi-media artist who helped create the
colorful, psychedelic rear projections behind
legendary bands since the late 60s at many venues including Woodstock and the Fillmore East.
September 14 offered a double helping of performances, commencing with revolutionary
minimalist composer/keyboardist Terry Riley
and guitarist son, Gyan Riley, who preceded four
of the most notorious non-conformists in creative music saxophonist John Zorn, the native
New Yorker , MacArthur Fellow and Downtown
music hero, Rock and Roll Hall of Fames Lou
Reed, the luminary songwriter, guitarist, and
founding member of the Velvet Underground,
electric bassist and visionary producer Bill
Laswell, whos put his own spin on nearly 3,000
recording projects by artists such as Mick Jagger, Brian Eno, Pharoah Sanders, Motorhead,
Peter Gabriel and Herbie Hancock, and pioneerTo Advertise CALL: 215-887-8880

ing percussionist for the ages, Milford Graves,

the Guggenheim Fellow and iconoclastic musician and thinker, with interests extending far
beyond rhythms into new martial art forms and
novel medical theories. On the surface, there
might not seem to be a point-to-point connection
between the four but Zorns wide-reaching musical connections and eclectic approach brought
the disparate worlds together to the sold-out 860seat hall.
The powerful set was a triumph of spontaneous improvisation and order over entropy. The
quartet had never played together before, there
wasnt even a sound-check walkthrough as Reed
was too under the weather to come early so even
the musicians had little idea what lay ahead.
Laswells expressive electric bass opened peacefully before Zorn entered with soulful alto and
soon the four were off to worlds unknown,
building to highs and then breaking them down.
Reed, seated behind a fortress of electronics, ran
guitar through the equipment to generate distortion and extreme sounds. He had a good view of
Zorn, who played his horn at times with maniacal passion and, when most inspired, took his
trademark perch, standing with his left leg high
on a chair, allowing his knee to be used as a
mute. Demonstrating great variability, along
with his peers, Zorn led an extraordinary rollercoaster ride of sounds, moods and energies. It
was loud, but appropriate, and despite having
never performed together before, the music was
organically connected and stood as a boldly
artistic meeting ground. Graves, the 71-year-old
percussionist whos never had much use for
fixed rhythms - he deals in mystical life forces
that flow through his sticks, was on fire for the
entire set. Its hard to think of another drummer
that could push the heady mix of players in this
band while maintaining a unique voice. One of

many highlights came with a Laswell Graves

rumbling bass and stretched drums duet.
The nights final segment offered the surprise addition of Terry and Gyan Riley, forming
a sextet of mixed genres. No worries however post-set, Zorn would even talk victoriously of
how none of the six got in each others way.
Terry Riley was given the honor of starting the
impromptu session and he choose to enter into a
raga form that Graves quickly picked up on and
traded back for a fun segment (Graves would
later call it tabla talk) that further demonstrated that talented artists can indeed operate
without borders, a designation that includes the
Joshua Light Show, an omnipotent presence with
its backdrop of visual delights. Armed with reflected light shaped by handmade devices and
novel projection techniques, including its liquid
light effect a combination of oils and water
dyes that constantly morphed shapes the light
crew worked feverishly to improvise along with
the music in order to make it look rehearsed and
relevant. Many of the effects were stunning and
added intrigue and depth to the sounds, challenging the viewer to watch the light show versus the
Pre-set, Nick Hallett, the light shows director, had given the musicians one rule to follow
Dont look at the light show, but Laswell
couldnt help himself, he stole looks during the
set but thankfully was not turned to a pillar of
salt. Also pre-set, Graves revealed to Laswell
that, I always wanted to play with the rock
stuff. Youre in it now, Laswell said.
Whether this was avant-jazz or undergroundrock is open for debate but, along with the light
show, it was really cool. Lets do it again.

November 2012 Jazz Inside Magazine



Maria Schneider
By Eric Nemeyer

(Photo, courtesy, artist)

MS: If I was to describe my music, I would say

that Im a story teller. I love to share stories. Its
kind of a way to share a story and all its essence
in a much clearer way than maybe words do - or
in some kind of direct emotional way. Its not
through description so much, but I think music
has so much power that way. All the arts are
some special window to soul like that, and thats
what Im doing in my music: hopefully touching
people. And maybe in ways that they intellectually describe but hopefully that they just feel.
Thats my wish. After we recorded this record, I
was really excited. I even made the bold statement, on my website, which might have been,
because I was sharing the whole process. I tend
to share my insecurities as well as my securities.
Vulnerability is the thing that connects people
always. Actually, when I first starting doing the
whole ArtistShare thing and I did my first record, I was in the middle of writing this piece
Concert in the Garden, and I was in a complete
crisis. I was writing some journal stuff on the
website and I was saying how I was really in a
crisis and blah blah blah. My father called me up
and said, Geez, Pinky, nobodys going to want
to buy this record. He kind of panicked me
because, in a way, I felt, Well its true. Then I
said to him, Yeah, but this is about sharing the
process. And Ive gone through this thing every
single time Ive ever written a piece. So part of
me knows and hopes it comes out the other side.
I dont want to create any illusion that this stuff
comes out of me like the baby Mozart.

internal in me: my heart and my imagination. Trying to imagine this journey

myself and always trying to imagine
what its like to hear a piece for the
first time. Trying to create a feeling of
suspense, sometimes beauty, tension,
resolution, lushnessbut not too much
lushness. More and more, I think joy is
an element in my music - wanting to
do that without pushing it over the top.
Like, Oh Im so joyful!. Its trying
to get to notes on the paper to speak
truthfully about the way Im feeling
and trying to be dedicated enough in
every moment to not stop until I get
across what I feel like I want to get
across. Not giving up. Thats the struggle. I tend not to give up, so the frustration is Im not satisfied until Im
satisfied. And that point of satisfaction, sometimes I press that bar pretty
hard and high for myself, so its like, Ahh, God,
am I ever going to get this sounding the way I
want? And if its not exactly what I want, Im
just tremendously disappointed. Its not a little
thing. Kind of make a big deal about it, which
maybe youll understand.
JI: One of my favorite pieces that you wrote is
Lately. I really like how you developed the
thematic material in there and built it.
MS: Its from the live album Days Of Wine And

how important it is and how essential it is that you

maintain being in touch with yourself and your own taste
and your own voice. What may be considered the wrong
way to do something might be your voice.
JI: Do you sketch out the ideas or a direction, or
is it all evolving organically?
MS: Not really at this point, because the material that Im using isnt something that is really
like a chunk of bars or a phrase. Its more like
Im developing something out of a motif. I
mean, here and there therell be something thats
a tune like that and sort of works that way. But
there are a lot of other sections and things that
are very much more like writing classical music.
And so its trying to come up with this balance. I
love tunes. I love the evocativeness of classical
music as opposed to, sometimes, jazz. Sometimes it is fun or its exciting or its beautiful.
But is it taking you on this journey? I want to
take people on this little trip. All those decisions
Im making are really guided by something very

Roses. The band really swings when they play

that. Thats one of the cuts on that record that I
felt like, Wow the rhythm section was slamming.
JI: Are you ever struggling with a voicing or
twisting your fingers at the piano from time to
MS: Oh yeah. Im always trying to figure out
little details. And then theres that other part of it
thats just like, now I know what I want this to

Hear Maria Schneider and her Big Band at

Jazz Standard, 116 E. 27th St.,
November 20-21, 23-25.
Visit Maria on the internet at

feel like. I start to hear how I want it to sound

and now how do I get it? How do I get with
these instruments? How do I get all these lines to
work; and what are these chords. Whats happening at the same time? How do I get it to work
with these instruments, while Im hearing this
color. Its just the technical nuts and bolts.
JI: Gil Evans used sit there for hours, just working on one chord.
MS: Yeah me too. Id see that with Gil too.
Locking the door, he would be playing a cluster
in his underwear, and hed be just sitting there
twenty minutes hitting that little cluster and then
he would turn around and hand it to me and say,
Okay its done. Its like he had to be sure. I
know that. And that attention to detail is what
makes his music just ughits so, its like a
blotch. Nothing extra. You take such care, never
just slopping stuff down on the page.
JI: When you do clinics and work with students
in educational settings, how do those experiences impact your artistry?
MS: I think the aliveness you feel, sometimes
the wish of these students, the freshness, remembering what I was like at that age. I tend to talk
to them about the things have helped me along
the way and things that I think will help them
and help them find themselves in their music. I
try to remind them about what it is to be alive
and how amazing it is to create music and dive
into your feelings and communicate. And how
important it is and how essential it is that you
maintain being in touch with yourself and your
own taste and your own voice. What may be
considered the wrong way to do something
might be your voice.

November 2012 Jazz Inside Magazine

To Advertise CALL: 215-887-8880


Chembo Corniel
By Joe Patitucci
Photo by Jerry Lacay
JI: Could you discuss your new recording release Afro Blue Monk, and the development from
concept to finished product
CC: The development of Afro Blue Monk first
started when I was called to do some percussion
work by Ben Elliott at Showplace Studios in
Dover New Jersey for a tribute to Les Paul CD
Thank You Les in December 2011. At that recording session I was approached by producer
Jack Kreisberg who had asked if I was thinking
of recording another record - which I was preparing to do at the beginning of 2012. I said,

Yes, and needed two tunes to complete the

album. Mr. Kreisberg offered to have a meeting
and was interested in signing me to the Showplace music label. After the meeting I then
agreed to record my new project with his company. Afro Blue Monk is the first CD recorded
outside of my record company Chemboro Records Inc. I still needed two more songs to complete my CD, one tune that I always wanted to
do is Mongo Santamarias Afro Blue. In October 2010 I produced a show at Flushing Town
Hall in Queens, NY Dancing With The Ancestors, and had the privilege to perform Afro

Blue with Mongos daughter Ileana Santamaria

singing her own lyrics in Spanish. I decided that
I had to record Ileana for this project to honor
her father. Mr. Kreisberg suggested that I record
Thelonious Monks tune Blue Monk, and was
curious to hear our take on this great Jazz standard. This would be the tune that I would use to
honor one of the great forefathers of Jazz, Thelonious Monk. Realizing that these titles had the
word blue in common, I combined the two
titles and named my album Afro Blue Monk. The
rest of the tunes on the CD are some standards
with arrangements by Elio VIllafranca, Nicki
Denner, Vince Cherico and me. We also have
some originals from Nicki Denner and our pianist Elio Villafranca who also was the co-musical
producer on this project.
JI: What was it like for you growing up in
Brooklyn in the 1950s and 60s? What were some
of the fondest memories you have from that part
of your life?
CC: The best part for me growing up in the 50
& 60 and through out my life was the diversity
of music that I encountered. I heard Doo Wop,
Soul music, Motown, The Beatles, Stones,
Hendrix, Santana, Sergio Mendez & Brazil 66,
Herb Albert and the Tijuana Brass, Tito Puente
and lots of Latin music. During the 70s and 80s
I heard pop music, blues, orchestral, Aragon,
Irakere, Los Papines, Guaguanco Mantanzeros
and Cuban Music, etc. In the 90s I started to get
into jazz, fusion, Latin jazz, Tango, and so much
more. By growing up around all types of music,
I developed a sense of style in music which continues to influence me as a musician. This for me
was the fondest experience of my childhood.
JI: What initially inspired you to play music and
eventually to take this career path?
CC: One of my uncles had lived next door to us
and had a conga drum in his house. His wife
always had a plant on it like the drum was a
piece of furniture! Everyday after school I would
take the drum to my house and play it, and every
night after work my uncle would take it back to
his house. This went on for months, until I finally was able to afford a drum. I then started
listening to Mongo Santamaria records, Ray
Baretto and Tito Puente recordings and tried to
simulate patterns on the conga drum to sound
like what I was hearing. I would also go to clubs
and see live musicians perform. At that time we
didnt have the Internet to really find the correct
techniques. I started playing with neighborhood
bands when I was 14 years old.
JI: Could you discuss one or two key opportunities you experienced during the earlier period in
your career that were instrumental and fortuitous
in opening things up for you and providing inspiration?
CC: The best opportunity for me was when I
received a call in 1977 to join a hot new young
band that was working all over the Country and
world by the name of Bobby Rodriguez Y La
Compaia. The rest was history. Everyone got to
(Continued on page 32)

To Advertise CALL: 215-887-8880

November 2012 Jazz Inside Magazine


(Contd from page 31)

see me play with this band and then I started to

get calls from many other bands to work.
JI: Talk about some of the associations you have
had with several influential artists and any advice, guidance or words of wisdom they might
have provided for you-such as Chucho Valdez,
Tito Puente, Celia Cruz, Machito, Grady Tate,
Hilton Ruiz, Dave Valentin, Willie Colon, Angela Bofill, Chico Freeman, others?
CC: My association with the artists mentioned,
varies somewhat in different genres such as
straight ahead Jazz, Latin Jazz, Big Band and
Pop. This is the diversity of music that I was
required to play as a percussionist to accompany
each style. As a musician, I learned that you

CC: I had the opportunity to work for Nickelodeons Dora the Explorer with musical director
Steve Sandberg. For years I had an affiliation
with Steve playing with different groups in New
York City, when he landed the gig with Dora the
Explorer. He was programming the music and
needed some percussion work so he called me to
lay down some tracks. Since then, Ive been
heard on the show for over ten years. Ive also
done work on an episode of the Bill Cosby Show,
where I had the opportunity to meet Mr. Cosby.
Did you know that Mr. Cosby was a big fan of
Latin music and Jazz? In some of his episodes,
he had Tito Puente, Patato, Mario Bauza, Slide
Hampton, etc. Bill Cosby was a big fan of all
music. Mr. Cosby is always at the Playboy Jazz
Festival and Ive seen him at the Village Gate in
New York many times since the 80s, on stage

Staying focused even on my downtime is

vital. There is always something new to
learn. Just when you think somethings
been mastered, you find other ways to
build on it and make it your own.
have to play all styles of music accordingly. For
instance, I would not use the same set up playing
with Grady Tate compared to playing with Tito
Puente or Angela Bofill to Willie Colon. Each
genre has its own style and embellishments.
What I have learned throughout my experience
in working with each one is that you have to be
ready to adapt and accommodate each producer
and bandleader and each style of musical situation that you encounter.
JI: Could you share one or more funny or dramatic or surprising or interesting experiences
youve had or observed in your recording or
performing experience with the many artists with
whom youve worked?
CC: One of the most dramatic experiences that I
have had was in 1980 with Bobby Rodriguez &
La Compaia. It was the first time I had ever
performed at Madison Square Garden in New
York City, and I really didnt know what to expect from this experience. I was not mentally
prepared for the sights and sounds of such a
large crowd. I heard friends yelling my name,
but I couldnt see them. I was taken aback by the
thunderous cheering and the bright lights. The
electricity in the air I had never experienced
before in my life.
JI: Youve done work with a number of television shows including the Bill Cosby show and
providing music for Nickelodeons Dora the
Explorer. Could you talk about how those doors
opened up for you? What were some of the highlights of those experiences on the Bill Cosby
show? How did that experience open up your
understanding about television and the music

playing cowbell. The highlight for me at the Bill

Cosby Show was to see how personable and
humble Mr. Cosby was to everyone. Although
my television experiences are very limited there
are technical differences both in television and in
the music business. Both fields required an enormous amount of preparation. When doing television work there are a lot of hours involved to do
one episode. Its done differently from the music
business. For instance, recording a CD requires
weeks, months or even years to complete a recording. You would need arrangers, musicians,
studio time. Then there is the process of mixing
and mastering the CD also the artwork and then
eventually marketing.
JI: What have you learned about business and
leadership from the influential artists with whom
youve worked? How have you incorporated
those concepts into your own role as a leader?
CC: As a leader/musician, Ive been fortunate to
have the influence of strong and professional
artists that I have worked with and learned with.
My experiences have taught me to master my
trade, to set the highest level of music that I
possibly can produce. My journey has taught me
what not to do. As a leader, setting the standard
is key, when working with other talented musicians who can bring their own musical experiences and creativity to my projects.

of the public who either dont know and or dont

care about the music?
CC: Jazz allows for individual musical expression. Theres plenty of cultural diversity expressed throughout Jazz and along with plenty of
improvisation, it could be very intimidating to
many people. My suggestion would be to expose
our youth to the history of jazz. Its very important to incorporate education of jazz early on
through our school systems. This would expose
our youth to the complexities, diversities, and
cultural background that is jazz. People shy
away from it because they dont understand.
JI: Some listeners think that the drummer or
percussionist in a group is accessories to the
music. What would you like to tell listeners who
come out to see you, or any percussionist, about
the role that percussionist play and how your
contributions are valued by those with whom
you play?
CC: Drummers and percussionists have an important role within any orchestra/band. As musicians, we act as a metronome, not only embellishing, we set the pulse that carries the band and
lays down the rhythmic patterns. But also, depending on the genre, we are accessories to the
JI: What do you do when youre not making
CC: When Im not making music, I practice or I
am always thinking of new ideas for future
work. Staying focused even on my downtime is
vital. There is always something new to learn.
Just when you think somethings been mastered,
you find other ways to build on it and make it
your own.
JI: If there is one for you, what is the connection
between music and spirituality?
CC: There is no music without spirituality. Music is far more than practical mechanics. For me
personally, my drum and music has grounded
me. We must respect all music and its roots,
especially as a percussionist. The drum was
founded under the premises of African culture, a
culture deeply rooted in spirituality, where the
drum is used to communicate to the gods. Mastering the drum is almost impossible without
knowledge of its origin. The drum is
the connection between human essence and
spirituality. When I play music or my drum, I
like to attract the soul. The drum is my religion.

JI: Regrettably, the realities of the jazz world from record sales to number of venues, attendees, dollars spent-have made it a shrinking
niche market over the past several years. What
ideas do you have that might contribute to attract
more fans to this music? How or why could the
relevance of jazz be expressed to motivate 98%

November 2012 Jazz Inside Magazine

The degree of
ones emotion varies inversely
with ones knowledge of the
factsthe less you know
the hotter you get.
- Bertrand Russell
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Visit Igor on the Internet at

Igor Butman
Interview and Photo By Ken Weiss
Igor Butman (BOOT-mun) was born on
October 27, 1961 in St. Petersburg, Russia and
is a saxophone virtuoso, bandleader, record
label owner, multi-club owner, television host,
educator, festival organizer, official musical
ambassador and Russias number one jazz personality. Encouraged to play jazz by his father,
an amateur musician, Butman entered the Rimsky-Korsakov college of Music in 19776, switching from classical clarinet to jazz saxophone
after one year. He quickly established a sterling
reputation and made important contacts with
visiting touring American musicians including
Chick Corea, Gary Burton, Dave Brubeck and
Grover Washington Jr., who would later become
an invaluable mentor.
Butman immigrated to America in 1987 to
attend the Berklee College of Music and moved
two years later to New York where he found
work with the Lionel Hampton Orchestra before
returning back to Russia in 1996 to establish a
national presence outstripping Wynton Marsalis
importance to the American jazz scene. Much of
his recent work has been with his big band
(founded in 1999) which was recently appointed
the Moscow State Jazz Orchestra conducted by
Igor Butman.
I interviewed him on July 24, 2012 at
Chris Jazz Cafe in Philadelphia, just prior to
his orchestras last performance on their short
American tour which included six nights at New
York Citys Dizzys Club Coca-Cola. He was off
for the London Olympics the next day to perform
and will be featured at the 2014 Winter Olympic
Games in Sochi, Russia. He speaks excellent
English and presents himself in an endearing
and open manner, its readily apparent to see
how he has been able to form lasting relationships with touring American musicians back in
the day and current Russian politicians.
Jazz Inside Magazine: President Bill Clinton has
called you his favorite living saxophone player
and the internet is filled with items such as
youre Russias greatest export since caviar.
How do you stay centered with all the high
praise? How do you keep it from getting the best
of you?
Igor Butman: All of that is very nice to hear
from the people who like and respect what I do
but that is not why I am in music. I want to put
together nice music and play for a lot of people
as much as I can. Create good music and make
people happy, make myself happy.
JI: What were your thoughts after hearing what
President Clinton said about you?
IB: I was honored. It was in the year 2000 when
Vladimir Putin presented Bill Clinton with a jazz
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concert instead of a classical concert, which was

very unusual for Russia, because he knew Bill
Clinton liked jazz.
JI: Jazz is not a rooted culture in Russia. What
do you feel you, as a Russian jazz artist, bring to
the music that is different or important?
IB: There was a lot of Jazz in Russia in the 20s.
It was very popular and advertised as a good art
form then, but it later became considered a bourgeoisic form of music. I am a Russian jazz musician. I want to bring the best out of what we
have historically in Russia musically. It would
be great if I could be part of the creation of new
music and developing new talent. For example,
Im playing a lot of music, which is great but I
also have this group of young musicians in my
band and Im now starting to teach at the Academy of Music and Im starting my own school
within the Academy of Music in Moscow.

there. Its a big responsibility to bring a big band

with all young Russian musicians to New York.
Its challenging but at the same time, the atmosphere that we get as soon as we get to New York
is so creative, all the guys want to play jam sessions, they all hang out. We get a lot of energy
from New York. I have a very good relationship
with Jazz at Lincoln Center and Wynton Marsalis. Weve been playing there so long it feels
like home. We all can feel more confident in
ourselves because we played to standing ovations in New York. Were not going to get overconfident, were going to raise it to another
level. We have something that not a lot of big
bands have we work a lot. In Russia, we travel
a lot and we have a very good rehearsal space.
JI: Ive had other prominent European jazz musicians admit to playing differently in New York
City. They would never dream of playing, for
example, a Monk standard for fear of not living
up to expectations. What do you think of that?
IB: I could say that I do play maybe differently
but Im not afraid, I lived in New York for six
years and I know all the guys. I was at Berklee
with Mark Turner, Roy Hargrove, Donny

JI: Do you find that you build your improvisations differently than
American performers?

(Continued from page 34)

IB: I dont think so but

I am Russian so I have
because I grew up differently and heard different music growing
up than what American
musicians heard. But
the theory of music and
the way everyone practices is basically the
same, we all have to
learn scales and music.
But in Russia, we have
144 nationalities and
they all have original
music and it is very
interesting to get into
JI: Later tonight your
orchestra is finishing a
short American tour
that included 6 nights in
New York City. You
play all over the world,
how, if at all, does the
experience of playing
New York differ for
you from other locales?
IB: New York is the
capital of jazz and a lot
of great musicians live
there and try to survive

November 2012 Jazz Inside Magazine

(Continued on page 34)


Igor Butman

JI: You founded your big band in 1999, how

difficult has it been to maintain a large group?

(Continued from page 33)

McCaslin, Seamus Blake, Chris Cheeks, and I

played in the same band as Danilo Perez in
Berklee. We do play different because the spirit
there is different and when I play with American
rhythm sections, its different. I cant say better,
its just different.
JI: Did anything especially memorable happen
during this current tour that you can share with
IB: Special was when Randy Brecker came Saturday in New York at Dizzys Club and sat in
with us. He recorded on our first record. It was
funny to sit in Dizzys Club for one set where
the black people were sitting in the whole first
row. So the Russian all-white band is playing
jazz in New York for black people. We felt like
what are we supposed to play? Theyre supposed
to know everything about jazz. We had a kind of
fear but they are just people.
JI: Well thats why I asked you the previous
question about playing in America. I think thats
an under mentioned concern for foreign musicians.
IB: But I think thats a common feeling for everybody for American musicians and for European musicians.
JI: How do you pick your songs to perform?
IB: The problem we have as jazz musicians is
that we are all constantly in search for new songs
to improvise on. How many times can we do
Autumn Leaves and On Green Dolphin
Street? It becomes the same thing so thats why
we try to find something in Russian music or
classical music or write some of our own tunes.
In the past I did a whole record of Russian kids
songs and cartoons. Were looking for new standards. Its a real challenge to play a Monk tune,
its not just the scales or the chords or the
changes, its different. The spirit of that music is
different, you have to get it. Its easier for me to
get Russian music because I grew up with this. I
find that its really hard to play songs by Wayne
Shorter, which everybody wants to play because
they are cool tunes, but Wayne went so deep into
music. When I try to play his songs, Im playing
wrong lines because the style that I play is more
like Cannonball Adderley or Sonny Rollins than
Wayne Shorter.
JI: The Igor Butman Big Band recently got appointed to become the Moscow State Jazz Orchestra conducted by Igor Butman. What exactly
does this change in designation mean?
IB: It means that we are now supported by the
Moscow Government. They all know me in Russia so I said that we need some support and the
Mayor of Moscow arranged for us to get money
and I fixed up a rehearsal space in the center of

IB: I opened my first jazz club and I insisted to

the guy that wanted me to be the art director for
the club that it would have to feature jazz every
night or I wasnt going to do it and on Monday
nights, we would have a big band. So I put together a big band and in the beginning, I wasnt
paying them a salary. They were making like 17
dollars per gig and then it went to 34 dollars per

with in a Moscow jam session so I added him. In

Russia, we dont have enough trumpeters and
not enough good trombonists but theres enough
good young guys to have a band. I wanted to
make sure that jazz music became more and
more popular (in Russia) and we have a lot of
young people coming to the concerts, a lot. Nick
lives in New York but we are getting him to give
arrangement classes in Russia to teach others.
JI: Your 3 orchestra recordings dont include
many Russian elements except for some of She-

The problem we have as jazz musicians is that we are

all constantly in search for new songs to improvise on.
How many times can we do Autumn Leaves and On
Green Dolphin Street? It becomes the same thing so
thats why we try to find something in Russian music
or classical music or write some of our own tunes.
gig and then we got some private gigs and concerts and we were making better money. I later
got some sponsors for some recordings and got
invited by Wynton to play at Jazz at Lincoln
Center. Thats how we got started and now we
are the State Orchestra and all the musicians are
on a salary. They each get 1500 dollars which
comes from the gigs and the sponsors that I
could get, not the State.
JI: In 2009, you released on your own label,
Butman Music, Sheherazades Tales which infused the famous Russian classical work with
jazz big band. How important is classical music
to you and your art?
IB: Lately, its become a big part of what we do,
interpreting classical music into jazz. We are
looking for inspiration for improvisation. What
can we find that people know in the world? We
know this music, it is in our blood.
JI: I listened to three of your big band recordings on the Butman Music label The Eternal Triangle with guest Randy Brecker, Moscow
@ 3 A.M. with Wynton Marsalis, and Sheherazades Tales. Your orchestra is impressively
tight and plays with an extraordinary urgency.
Did you have a hard time finding these musicians or is Russia just so loaded with highly
talented jazz artists?
IB: Not filled but there are some young jazz
musicians. I really wanted trumpeter Alexander
Berenson in the band, who Ive known since we
were 20 years old, but he was in St Petersburg.
So I said I would pay all his transportation. This
guy I knew. Another was (pianist/arranger) Nick
Levinovsky. Ive been dreaming to be in his
band since 1977 and now we work together. And
then I saw a lady trombonist in an Academy of
Music student band and she played with so much
passion and when I looked in her eyes I knew I
had to have her in my band. Then Nick told me
about this young alto saxophonist that he played

herazades Tales. Why dont you incorporate

more of your Russian roots into the music?
IB: I didnt find the Russian elements as well.
[Laughs] But do we really have to do that? Is
there a lot of Russian elements in Tchaikovsky
or Shostakovich? Why should we limit ourselves
just to the folk music? We are a band with a lot
of energy, a lot of passion, maybe thats our
Russian thing. Maybe well get into that, maybe
well grow into a Russian band with Russian
folk music. Were not starting with that but we
might get to that.
JI: I asked that because World Music is so popular now. Everybody is going back to their cultural roots and you have this great wealth of
Russian folk music that few others are using.
IB: We will get into that, Im sure. Russian jazz
has its stereotypes and thats the avant-garde,
radical musicians, not the straight-ahead musicians. Everybody expects the Russian musician
to be in that direction. I played avant-garde when
I was 18 with Sergey Kuryokhin and other people but it wasnt interesting to me. Were going
to get into that with my band but I want to get to
a certain level of musicianship with the band
first. Were not going to hide behind the folk
JI: Your recent recordings have been with your
orchestra, will you be doing smaller group recordings in the future?
IB: Yes, I want to do a recording with my quartet.
JI: Jazz was banned in Russia in the late20s.
Would you talk briefly about why it was banned
and give some history of jazz struggle in the
Soviet Union?
IB: It wasnt really banned. Sidney Bechet

November 2012 Jazz Inside Magazine

(Continued on page 36)

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Peter Rogine
Five Towns College Guitar Program
Interview By Eric Nemeyer
JI: Could you give us a sketch about the history
of the guitar program at Five Towns College?
PR: The whole college started off as a two year
program with an electric guitar and jazz guitar focus. About 75% of the students attending
the college back then were guitar players. That
was from the time that I arrived at the college in
1979 until 1995. It changed because different
programs were introduced and the world
changed a bit. Audio became very popular with
young students. Essentially, the focus of the
college moved into musicall instruments, as
opposed to just guitar. It became a four year
college around 1990. From there we have a Masters Degree and a Doctoral Degree in Jazz Performance, in History, in Composition. Those
degrees were added progressively over 20 years.
Were turning out some good students with some
wonderful theses.
JI: What are some of the topics of those theses?
PR: One recent dissertation was on Jim Hall,
another on The Bridge [the 1960s recording by
Sonny Rollins]. That one is in progress. One of
the dissertations has been turned into a book,
Jazz Lines of Guitar Greatsand it is a bestselling title for Jamey Aebersolds Books. So we
have some nice things going on here. Id like to
let you know that I am the Chair of the Department. I have a quote here from the great guitarist
Johnny Smith. Its a quote we use in meetings
and I let students know about this. If the guitar
is ever to gain a lasting position amongst the
other instruments, a basic foundation of knowledge and technique must be acquired by its players. So we focus on foundation. Our first year is
readingalong the whole fretboard. The second
year is chord-melody studies along with Van Eps
studies, and the third year is combo playing
playing in groups. Students write their own inventions on standards. This entire lesson format
that we use grows out of what was the approach
of the four heavyweight guitar teachers in Manhattan at that time Alan Hanlon, Sal Salvador,
Barry Galbraith and Joe Monk. Everyone goes
through George Van Eps studies, and Bach
Sonatas and Partidas For Solo Violin. One of
our mantras at Five Towns is: can you ever have
enough foundation? Of course, we have sight
singing, ear training and jazz harmony. One of
the unique aspects of our program is our guitar
ensembles. Were putting on a big show on December 13open to the public.
JI: What is that event going to include?
PR: Its a tribute to Les Paul. Were going to
have collectors item Les Paul guitars here on
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display, memorabilia from Les Paul Mike Bronstein is a curator of this collection of memorabilia from Les Paul. Were also going to be playing an hour and half of guitar ensemble music
much of it transcribed from Les Pauls solos and
arranged for five guitars. Some of our groups
have five guitars, some have ten guitars. Were
doing some of the Les Paul and Mary Ford numbersdirectly from the recordings, and some
arranged. Since this is a Gibson [Guitar] tribute,
were doing some Barney Kessel-Oscar Peterson
numbersre-arranged for guitar ensemble.
Were also doing something from the Billy Eckstine Big Band arranged for guitar ensemble
real chords, real music, for real people.
JI: So the five guitar ensemble is the guitar
equivalent of the Supersax ensemble from the
1970swhich initially focused on the orchestration of Charlie Parkers solos for five saxes,
although it was often four part harmony, with the
lead alto doubled an octave or two lower.
PR: Yes. Exactly right. Were also fortunate to
have a couple of arrangements from Peggy Lees
estatefrom when she was using five guitars.
All that people need to do is to call the Dix Hills
Performing Arts Centerand tell them that
theyre readers of Jazz Inside, and Ill make sure
they can get two for one tickets. Going back to
what I said about the foundationand that is so
critical One of the other things that we talk
about here at the college is about something that
people are always asking us young people
and their parents: What should we study music? and the given the economy and so on. And,
of course, thats not the reason to study music.
The study of music gives much more than that.
The study of music, and the need to practice and
focus means you experience being alone getting comfortable with yourself being alone
delayed gratification and working with all
types of people once youre playing.
JI: It also help you develop discipline. Developing proficiency on a musical instrument does not
support the behavior of cutting corners or people
who are used to taking the easy way out. The
discipline that we all are able to develop through
the many hours of daily and routine practicing
also helps intensify our ability to focus.
PR: Yes. And, because not all of our students go
into music, those are valuable skills that they can
take with them and apply wherever they go, after
they graduate. We have students who go into
audiology, psychology, sociology, instrument
repair, or become New York State licensed music instructorswe have that program here. So
not everyone becomes a performer. But the train-

ing is very valuable. And, these studies develop

the soul. Lets face itmusic is a very soulful
JI: How long is this guitar extravaganza going to
last on December 13?
PR: The performance will be an hour and a half
with an intermission. After the concert, were
having a Meet The Artist and Meet The Guitars
which will be displayed in The Upbeat Caf.
They can get right up close to a whole array of
guitarsLes Pauls, DAngelicos, DAquistos.
We expect about 20 guitars on display, plus
record covers, sheet music of Les Paul. Its going to be a nice way to wrap up the concert, to
spend a half hour, forty minutes. There will also
be giveaway stuff from Gibson.
JI: How has the guitar program evolved over the
PR: We have five guitar teachers hereand
each has his own history. Three of the staff
teachers studied with meso they have access
to all of my materials, and all of Joe Monks
materials, Barry Galbraiths material, Sal Salvadors collection of music is here in the library. If
someone were to come here from another school,
theyd say, Boy, you guys are pretty traditional
or mainstream. You have to learn to read, play
chord melodies ala Joe Pass, play solo guitar,
you have to backup a singer as opposed to,
Hey, write your own composition lets
stretch out on a one chord vamp for three hours
That may happen when Im gone, but its
not in our curriculum. I really am a firm believer
in foundationsight singing, Bach Chorales.
This is only four years. When students graduate,
I tell them, Now youre prepared to go anywhere. Dont stop.

For information on Five Towns College

Music Programs and performances, visit

November 2012 Jazz Inside Magazine


Igor Butman
(Continued from page 34)

played in Russia along with other black orchestras from the United States but then our very
famous writer Maxim Gorky wrote a piece
(1929) about America and one of the chapters
described jazz as music for fat, wealthy people.
He wrote it was for the bourgeoisie. Our relationship with America was bad at that time and
some classical musicians who did not really
understand jazz said bad words about it. So it
was not just the government, it was also the people. There was a group called the Russian Association of Proletarian Musicians that was against
jazz but they ended up getting into trouble and
they were sent to Siberia. There were a lot of
people in Stalins concentration camps, not only
musicians but generals, former revolutionaries
and even the classical composers were in trouble. There were some orchestras that played
music that sounded like jazz that people were
enjoying, especially Glenn Miller music, especially after WWII. There remained a lot of bands
all over the Soviet Union but at one point they
banned the word jazz after we had a problem
with America. The word jazz was prohibited and
they called it variety music which literally translated to the music that was played on stage.
What that means I dont know because every
music is played on stage. So they called it stage
JI: You and your brother, drummer Oleg Butman, were turned on to jazz by your father, an
amateur musician. Was it his plan that the two of
you would become jazz musicians?
IB: Maybe to become a musician, perhaps a jazz
JI: So at that time in the 70s, was being a jazz
musician considered to be a promising career in
IB: I dont know what my father was thinking
but maybe he could look much further ahead.
We went to music school and I played clarinet
and there was plenty of work. There was a state
orchestra, you could work in a restaurant, or a
so-called club in Russia and make some decent
money. You could travel and play music, perhaps not jazz, but you could play jazz on the side
and play pop music. Maybe he was thinking that
I could make it big and become a very known
musician or a bandleader which is not a bad
career. As an engineer you make 120 rubles. As
a musician, when I was 18 years old, I was already making like 180 rubles, so thats 60 rubles
more than an engineer and more than doctor.
JI: Was there ever a time when you felt you had
to be careful about what you played or how you
played it in Russia?

IB: The first great musician that I met was Chick

Corea who came to St. Petersburg on a State
Department tour. He was playing at embassies
and ambassadors houses. Actually, Sergey
Kuryokhin gave me the invitation, he asked if
Id like to go to a Chick Corea / Gary Burton
concert and I said, Get out of here! What do you
mean Chick Corea / Gary Burton? Are you
crazy? I went, I was like 20 years old, and people knew me there and they introduced me to
Chick Corea. He was eating and I asked a couple
questions some of them were stupid like, How
is Wayne Shorter? and he said, Thank you,
Wayne Shorter is fine. [Laughs] But then I said,
Mr. Corea, we have 5-6 musicians and we were
wondering if we could play one blues with you
so we can tell our grandchildren that we played
with you. So after we played one blues Chick
said, Igor, we have like 2 hours, we can play
more. The second musician was when Gary
Burton came with his quartet. I played with him
and his group and they were very excited about
my playing and said they were going to get me
to Berklee with a scholarship. I said, Guys,
dont even talk to anybody about that because
its impossible. They said, OH no, well talk to
the State Department, they will let you out, dont
worry Igor. Two days later, I see them really
down and feeling sorry so I told them I knew it
wasnt going to work. They couldnt invite me to
Berklee in 1983. Then I met Grover Washington
Jr. at the time that Gorbachev came to power and
the relationship with the United States had become much better. I ended up playing with
Grover in Riga and the American television was
there and Grover said I would become a star
because he was very impressed with my playing.
Then it was Dave Brubeck in Moscow at a jam
session. He was playing piano with a bunch of
musicians and I played a solo and he just jumped
up off his chair, came to me and shook my hand.
The last American musician I worked with during my Soviet period was in 1987, a few days
prior to my departure to the U.S. There was a
jam session with Pat Metheny and his group
including Lyle Mays and after which they were
calling me bad motherfucker and the lady translator who was working with their group didnt
know if it was a compliment or what.
JI: You ended up immigrating to America in
1987 to study at Berklee College. How was it
possible for you to leave Communist Russia at
that time?
IB: I married an American woman who I had
been seeing since 1980. We married in 1987
when I left. It was love.
JI: What was your first impression of New York
City when you made your way there for the first

IB: Never, never. I never had any problems.

JI: During the 80s, under Regan and Gorbachev, jazz was used to improve relations be36

tween America and Russia. You got the opportunity to meet and build relationships with American stars such as Grover Washington Jr., Dave
Brubeck, Chick Corea, Pat Metheny and Gary
Burton. Did you play with all them or did you
just watch them perform?

where she was from because I wanted to see

America and see all the skyscrapers. But as soon
as I arrived to the United States, as soon as I got
in the car, I fell asleep, so I didnt see New York
until I came with Grover Washington at the Blue
Note 3-4 months later. My impression was that it
was a pretty dirty city. I didnt really realize
what it was at first, but the more I came, I had
the feeling of New York. And when I lived
there, I really enjoyed it.
JI: Did you have trouble getting work in New
York City after moving there in 1989?
IB: No, I got gigs and there were a few Russian
restaurants in Brighton Beach area so I got work
there immediately, but thats not what I was
looking for. I was playing around town at Birdland, Augies, which is now called Smoke, the
Zanzibar. So I was getting gigs but it wasnt
JI: Early on, you worked in Lionel Hamptons
orchestra. Was there anything that surprised you
about Hampton once you got to spend time with
IB: Hampton was already sick so it was really
hard to communicate with him but the good
thing was he invited me to join the band when I
was at the Moscow, Idaho Jazz Festival. He
came to me with his manager and they said they
wanted me to play in the band and to come to a
rehearsal. So I went to the studio for the rehearsal and I see 12 tenor players in different
corners playing their horns and I was like, Oh,
my God, what am I going to do here? So they
told me to sit down and they called a tune and I
played with the band and then I played a solo
and they asked me to be in the band. I worked
with him on and off for a year. It was different
for me because we just played music that had
been played for many, many years but it was a
great experience just to see him.
JI: Did your time spent in Lionel Hamptons
orchestra influence your own orchestra leadership style?
IB: What I wanted to see in my band that was
similar to the band of Lionel Hamptons is that
everybody is fighting for the solo, everybody is
waiting for the solo. So Hamp would play the
blues like Hamps Boogie, and Hamp was just
looking at everybody and thinking who he
should give the solo to and everybodys ready.
When I started my band, we played the blues and
I was looking at the musicians and theyre like
sleeping. They were used to nobody giving them
solos. They didnt fight for the solos. They
wanted to play but in the chart if it would say
second trumpet solo, it would be second trumpet
forever. So that was great about Hamps band,
everybody wanted to play, and in my band today, I spread the solos around. The worst part of
a band is to sit and not have the chance to play a
solo at least a couple times, even if you love the
music you get bored. Once Hamp came to me
and told me he wanted me to play a solo on
Flying Home in place of the tenor player. So

IB: I made my wife come in a car from Boston

November 2012 Jazz Inside Magazine

(Continued on page 38)

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Hear Joe Lovano at the Village Vanguard

November 27 - December 2

Joe Lovano
Interview & Photo by Eric Nemeyer
(This is an excerpt from the
full interview with Joe Lovano)
On the Village Vanguard...
JL: the legacy of the room is a big part of
jazz history. And to be on a stage in a room
where Monk played and Coltrane played and
Miles played, Mingus, Bill Evans, Keith
Jarretts groups, Sonny Rollins, to name some
other people who recorded there too, but just to
be in that room where Dexter and everybody
played and people that you heard play there, of
course, in your experiences. It had this beautiful,
hallowed ground kind of a feeling. And its also
just an intimate, quiet room. Theres not a lot of
traffic. You know youre in New York City.
You feel New York City around you, but theres
not a lot of people running around. Its a still,
peaceful feeling in there. And you can play,
really with the most intimacy, probably of any
club I would say, without distraction.

enced all these pianists that we know today,

Herbie and everybody to be themselves and
to be free to explore. When youre inspired by
someone, they almost give you permission to do
that. And Hanks been the kind of accompanist
and player that has opened up the door for a lot
of people as far as being free in the music, playing standards or whatever kind of songs you
On developing and creating music...
JL: When you live the music its always with
you every day. And the more you develop and

the more relationships you have with people

through the years thats whats really shaped my
whole career and development. Really now
when I look back on it, its all the different circles of people that you play with and explore
music with. Whether its playing standard songs
or very abstract free things, or more structuredtype pieces, or more funky situations where
youre playing with rhythm sections that are
very repetitive and vamp oriented and youre
the component in the group that is free to play
over them. I dont really enjoy that as much. I
like to create music from within and have it be
an experience for everybody instead of having
that feeling that youre playing on a minus-one
situation, which happens a lot. It can happen a
lot. I feel real fortunate that Ive developed a
path that I didnt fall into those traps. And thats
kept me really fresh and free in the music.

On playing with Bill Frisell

JL: Bill and I have been playing with Paul
[Motian] since 1981. And the trio really
emerged around 1984 out of different quartets
and quintets. And we have developed an amazing repertoire of music, from some very abstract
original compositions to tunes from Billie
Hollidays songbook, Bill Evans songbook,
Thelonius Monks repertoire and just some standard songs that Paul loves to play. And from
night to night, set-to-set, the explorations were
just amazing. We could have played the same
tunes in each set. We could have repeated the
same tune in the set and had it been a total new
form and experience just in the approach that we
take, with the rhythm, the way Bill, and I and
Paul play off of each other and create the song
were trying to convey. Ive learned so much
from that. Playing with Paul though the years
has been a real foundation, for me, and a springboard into creative world of creating music
spontaneously within whatever form or structure
youre in.
JI: And, he played with Bill Evans, Charles
Lloyd and many, many others.
JL: Yeah, Charlie Hadens bands and all kinds
of situations. Ive been in a lot of different
groups with Paul too, with The Liberation Music Orchestra and hes taken part on a lot of my
sessions. Hes on my last two records with Hank
Jones. To pair him and Hank Jones together was
total magic, man. Cause they were like
Hank is one of the players that influenced Bill
Evans, that influenced Keith Jarrett and influTo Advertise CALL: 215-887-8880

November 2012 Jazz Inside Magazine


youre much more important to the jazz scene in

Russia than Wynton is here in America. How
important is it to you to build your reputation in

Igor Butman
(Continued from page 36)

he took the solo from the guy whod been in the

band longer and the guy was a great saxophone
player. I took it. I didnt say I wouldnt do it. I
grabbed the solo and played it.
JI: Whats been your interest in avant-garde
jazz? Have you performed in that setting?
IB: They tried to convert me to the avant-garde.
People like Sergey Kuryokhin and the Russian
writer Efim Barban played me Leo Records
recordings, for which I did a recording for when
I was 17. It never impressed me. I really love the
Ornette Coleman and Don Cherry recording with
Lonely Women (The Shape of Jazz to Come)
and I like some (late) Coltrane, very expressive
work, but I couldnt get into that kind of theatrical music where you are creating music on the
spot and you dont really know what you are
doing. I felt that it was bullshit. I know how
much I have to learn after listening to recordings
and some great musicians from Moscow, and
with the avant-garde you are going to another
dimension and you dont know anything. Its
like they give you a jet to fly when you dont
know how to get off the ground with a small
plane. I saw that people really got crazy when I
played really fast on my saxophone or really
loud but I wasnt sure what I was playing and I
see sometimes, when I do that that, I get that
reaction from the people and it works because
Im playing something in the tradition that I
know. Unfortunately, many of the experimental
musicians are not very good. The drummer may
not be able to keep the time, the bass player
doesnt know lines. With my band, I told them a
few months ago that I wanted to get into some
more radical stuff with them. Were getting to
the point where we can do that but they kind of
got scared so I told them, Were going to do
what we do but just sometimes were going to do
something different, something more free. But it
cant be just free out of nothing, you just spread
out the borders of the music but theres got to be
an end. You cant just be without (a framework).
Its border within borders, for music, for life, for
anything. Youre limited to your lifetime, to the
time of anything. You cant be totally free. You
can say you dont want to go to the toilet but you
have to go.
JI: It was a real revelation to research your career. You literally are a one-man bridge to jazz
for your country. Youve been compared to
Wynton Marsalis in that respect but actually

We know what
a person thinks, not when
he tells us what he thinks,
but by his actions.
- Isaac Bashevis Singer

IB: Its very important for us career wise. I want

the band to be heard in the world and I see a lot
of people look to the United States and see what
is going on here and I think it is the right way to
look. So we love to come here and play. We
have something we can show to the American
audience and, you know, our band could be inspirational to other bands. I bring a lot of American musicians to Russia and I want Russian people to not just listen to my band, I want them to
listen to the best in the world and for me, the
best in the world is in the United States. Jazz
was created here and we want to play here to
prove that we are good. Im a big star in Russia
but am I just a big star because nobody else is
around? So its for me too. I think our recordings
are really good and were still working and getting better and better. I want to travel and play at
festivals with my quartet and big band, I want
these young musicians to be heard. I want to
spur Nick Levinovskys career because he hadnt
been working a lot in the past. He was doing
ballet classes in the daytime to make a living and
playing jazz at nighttime but not very often. Hes
one of the arranging geniuses and people should
hear him and now we are together.
JI: How did you help Russia get the 2014 Winter Olympics?
IB: Oh, I really didnt help, I was one of the
people who worked at Guatemala at the moment
when they were making the decision between 3
countries Korea, Austria and Russia. I was
there with the Russian President, I was just part
of the entertainment program. I helped but I was
one of maybe a 100 people in the Russian delegation. Now Im Ambassador of the Olympic
Games in Sochi so I can speak on behalf of the
Olympic Games. I have my festival in Sochi
already for 3 years.
JI: So what do you have planned for the 2014
Russian Olympics music wise?
IB: At this moment, I havent prepared anything.
Im going to be there and were going to play as
part of the cultural program. Well put a jazz day
there but nobody has asked me about the music
JI: Youve played music at every Olympic
Games since Athens 2004. Are there any experiences from the Olympics that stick out for you?
IB: I have some great memories, especially from
Athens when we played in Greece. There was
one guy who participated in a shooting competition and he gave an interview to the press and
they asked him how he managed to win at the
Olympics and he said the first day he was not
shooting very good, he got to fourth place. But
then he went to Russia House and he heard Igor
Butman Quartet and he relaxed. His mind got
clean, and then he got the gold medal. I didnt
even know that he was there, Mikhail Nestruyev.

There were a lot of other moments too. Many

Russian wrestlers are from the Caucasus region,
theyre all very strong and learn young. So 5-6
of them came to the Russia House in Athens and
one of them was the Olympic champion, one
was the silver medalist, so one was happy and
one was not happy. We were playing, I think,
Besame Mucho and I see theres this guy sitting down, really looking depressed. He had won
the silver medal and he was supposed to win the
gold medal, so for the next tune I went into his
regions favorite song, their national dance
rhythm. I improvised a section and my drummer
started playing the right rhythm and the wrestler
straightened up. The depressed wrestler didnt
understand what was going on because he was
hearing his music in this setting and it changed
his mood. All the wrestlers got up and there was
this wild dance with all these great, big, strong
guys doing their special dance. It was fantastic
and thank God there were some cameras there
that filmed that.
JI: Igor Butman is the face of jazz in Russia and
when touring the world, Igor Butman is the face
of Russia to the world. Thats a heavy burden to
carry. Would you talk about how difficult that
IB: It isnt difficult, its much more difficult to
play music and to inspire guys to do certain
things and to believe in themselves. Thats
harder. Just to be a face? No.
JI: One of your compositions on The Eternal
Triangle is called Blues of a Tired Man. Is that
IB: No, a Siberian drummer gave the name for
the tune.
JI: One of your many high profile accomplishments in Russia was playing host to a popular
weekly TV show called Jazzophrenia. What
happened on that show?
IB: I met with people, had interviews with jazz
musicians and movie stars and had interesting
people talk about their relationship with jazz and
if they mentioned, say, Count Basie, Id show
Count Basie clips. It was more of an educational
program but it was very good for 7 years.
JI: Your second Moscow-based Igor Butman
Jazz Club opened up recently which makes you
the head of only the second jazz club network in
the world, after the Blue Note clubs. Whats
been your experience running jazz clubs?
IB: Its hard but I have to do it and make sure
that jazz is heard in Russia, in Moscow. Im
trying to bring the best musicians that I can to
my club. In my first club that I had, Le Club,
there was almost everybody Joe Zawinul,
McCoy Tyner, Ray Brown, Monty Alexander,
George Benson, Take Six, New York Voices,
Ivan Lins, Mike Stern, Randy Brecker, Chick
JI: I looked at your clubs July schedule and in

November 2012 Jazz Inside Magazine

(Continued on page 39)

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IB: The jazz audience is growing. We are getting young men and women which is very good.

Igor Butman

JI: Has President Putin been out to your clubs?

(Continued from page 38)

addition to you performing weekly, youve got

the Jimmy Cobb 5 and then the Alan Harris/Bill
Evans Soul Bop Band booked.
IB: We are working on bringing in some more
guys, its a lot of work. You have to have the
money to pay the musicians.
JI: Are you involved with the booking?
IB: Yes and I have some people that work for
me. I am making the financial decisions and if
the sales are not good, I am on their case.
JI: Whats the cost to see a star musician in your
clubs? Can the average Russian afford it?
IB: In Russia, you know, people do have money.
Moscow is a very expensive city. The most expensive ticket weve had was 200 dollars for
Mike Stern with Dave Weckl and they packed
the place. Weve had some other famous, very
well-known musician, I wont say who, who
didnt pack the place. Usually its from 17 dollars, like 500 rubles, to 2000 rubles, which is like
70 dollars.
JI: Whats the typical audience that comes out to
your clubs?

IB: President Putin has never been to the clubs.

He can appreciate the mastery of people. He
likes me, he knows that Im a good, great musician. He was the first one that told me that Bill
Clinton said to him that Im a great musician.
President Putin told me that Bill Clinton was
telling him many, many, many, many times how
good I am. He wanted to tell me that and he was
very proud. I am one of his representatives.
When there was the election, I was one of 500.
So hes not a great jazz fan but he appreciates
talent. We played for him a month ago. I played
for him and the Russian hockey players that won
the gold medal because I am also a hockey
JI: Has being a club owner changed your perspective as a performer?
IB: No, I just dont want to be an asshole club
owner. Im a musician, I understand if a musician is not acting properly I can tell them that
they should behave themselves, but Im never
going to be rude to musicians or put them down
if they dont sell well.
JI: The last few questions are from other musicians.
Trumpeter Valery Ponomarev said, Please


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ask Igor if he still plays soccer sometimes?

IB: I do, I broke my leg in 2003 playing soccer
but I still do play soccer sometimes. I also play
ice hockey.
Pianist Eugene Maslov said, We talk often over
the phone, I know all about him. Ask is he as in
love with jazz as he was when he was 17? At
that time, he would rehearse with his friends of
jazz, theyd break to play soccer, and then rehearse again. So, is he as excited about jazz and
does he believe jazz will find new ways of surviving?
IB: Certainly I love jazz now as much as I did at
17. At 17, I loved only jazz and Deep Purple.
Now I love classical music, which Eugene taught
and played for me. I love rock and all good,
interesting music. I love talented music which
could be pop or anything. I love jazz and if I
could just rehearse (all the time I would). I
would rehearse and play hockey.
JI: Did you say Deep Purple?
IB: Yes, I love Deep Purple.
JI: Who doesnt love Smoke on the Water?
IB: Yes, I love Smoke on the Water and
Strange Kind of Woman and I love Burn
and Highway Star. You will hear tonight that
we will do some rock. I was thinking with the
quartet a few years back to do a Deep Purple
record but we didnt do it, unfortunately.
Bassist Christian McBride asked, Who is your
favorite Russian saxophonist?
IB: My favorite Russian saxophonist is Gennady
Goldstein. Hes a great, great saxophonist, great
arranger. Hes still alive, hes my teacher and I
think hes a great player. One of the best in the
world and he was appreciated by Phil Woods
and the musicians who came with Benny Goodman in 1962.
Trumpeter Randy Brecker asked, What do
you consider your greatest achievement? Other
than playing with me of course!
IB: [Laughs] I think my greatest achievement is
that Im doing the music that I love. I travel with
my friends and we play this music. We still love
what we do. Were still eager to play better and
looking for something that people will remember
us for.

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November 2012 Jazz Inside Magazine

The intuitive mind

is a sacred gift and the
rational mind is a faithful servant.
We have created a society that
honors the servant and has
forgotten the gift.
- Albert Einstein

Joe Henderson
(continued from page 12)
About a month later, an unusual cast gathered on September 25 at Plaza Sound, the legendary studio on the 9th floor of Radio City Music
Hall. On this session Joe, Richie Kamuca, Marshall Brown, Ray Nance, Jim Hall, Dick Katz,
Eddie Gomez, Elvin Jones, and vibist Karl Berger were playing in support of Lee Konitzbut
on separate tracks. Joe plays on You Dont
Know What Love Is, which finds the tenor on
the left speaker, Konitz alto on the right.
Beginning on a slow descent, the theme is
briefly sketched and leads to simultaneous solos.
Lee honks his part, with a slurred breathy tone;
Henderson answers with wit and precision. Pure
and high, his notes sound more alto-like than
Leesthe leader reacts with a hard edge, gaining strength to match Joes. On the last minute
they coast together: parallel lines turn hummingbird-fast, and evolve into passionate screams.
Joe sounds like Coltrane in this sequence, while
Konitz resembles Steve Lacy. A lot happens
here: in a battle between the melodic and the
abstract, both sides prevail. This tune is a major

vamp, which is cluttered but interesting. In the

midst of this turmoil, Henderson is calm, playing
the ensembles quietly but distinctly. Understated
by his standards, on this date Joe was one voice
among many, decent but uneventful. He would
seldom play this role again.
Two days after the Konitz date, Joe was
back in the studio making Tetragon (Milestone
9017). Made over two sessions, this disc features
Ron Carter on bass, the piano of Don Friedman
or Kenny Barron, and Louis Hayes or Jack DeJohnette at the drums. Invitation comes in a
fog; the reeds tone is dark and adventurous.
Gritty at first, he responds well to Friedmans
comp, volleying little ideas back and forth.
Come his solo, the tone is breathy, sharp, impassion a true invitation to listen further.
R.J. is your typical speed trial (the intro,
where Henderson plays alone, is especially
nice); The Bead Game is more rhythmic, as
Don and Joe spar a few rounds. I really like their
interplay: none is directly commenting on the
other, but you can tell how closely they listen. A
stream of multiphonic frenzy is followed by oldtime honking, then to resume its former course;
hes got about three voices here, using all at the
same time. And if you want, listen to
Tetragon: the theme is Monkish, the track is
fast, and the energy boundless. While not as

...a club date on April 21, 1968 was magic,

yielding two strong albums. While intended as a
Kelly session, Joes work was so strong that the
discs were released under the Henderson name.
reason to buy The Lee Konitz Duets (Milestone
9013), but its not the only one.
On Alphanumeric, Lee was joined by all
the sidemen but Nance, forming a nonet. (Konitz
played in this format often, including its most
famous example, the Miles Davis Birth of the
Cool band.) It opens on tense chords, pounded
by Katz; Elvins cymbals are thick, steady, and
ominous. The theme is pleasant and soon forgottenLees solo spins a nervous circle, soon
followed by Marshall Brown. They chase each
other with repetitive phrases, reminding me of
Lees work with Warne Marsh. Halls solo is
disjointed, while Bergers is splashy; they are
heard only on the right speaker, which takes
getting used to. Konitz switches to his electric
alto, which has a broad, buzzy sound; thanks to
an overdub, his next duet is with himself. Berger
adds a counter-theme, and the tenors begin a

Aspire rather
to be a hero
than merely
appear one.

Baltasar Gracian

strong (or varied) as The Kicker, this shows Joe

at his most straight-ahead, and you cant beat
Wynton Kelly was one of the best, a brainy
pianist who could turn from delicate to funky in
an instant. The consummate sideman, he replaced Bill Evans in Miles group, played support on dozens of Riverside sessions, and did the
same for Verve when he signed in the midSixties. His work always elevated those around
him; a team-up with Wes Montgomery produced
Full House and Smokin at the Half Note, perhaps the best in Wes catalog. Joe also benefited
from the association: a club date on April 21,
1968 was magic, yielding two strong albums.
While intended as a Kelly session, Joes work
was so strong that the discs were released under
the Henderson name.
The Tetragon disc was completed on May
16, 1968; Don Friedman was replaced by Kenny
Barron, and DeJohnette by Louis Hayes. The
difference is immediate: where Friedman played
intellectually (almost detached in places), Barron
is warm, filling Waltz for Zweetie with Tynerlike chords. Joes work is direct and thoughtful;
theres less heat than the earlier session, and a lot
more light. Kennys turn on First Trip is sleek
and bluesy, and Joes take on I Got You Under
My Skin is an endless stream of beauty. This
may not be a great album, but its certainly a
good one; its fun hearing each pianist inspire
Henderson in a different way.
Freddie Hubbard was a big name on trumpet, almost from the day he started recording.

Getting his start in the Jazz Messengers (where

he replaced Lee Morgan), Hubbards early work
was solidly in the mainstream. (With room for
experimentation: he played on Ornette Colemans Free Jazz, Sonny Rollins, East Broadway
Rundown, and Coltranes Ascension.) In 1970,
despite leading several sessions for Blue Note,
he was still mostly known as a sidemanthat
changed when Hubbard signed with CTI Records. His first project for the label (made on
January 27-29) put him in big company: Joe,
Herbie Hancock, Ron Carter, and Lenny White.
A mix of funk and fusion, the disc put Freddies
music in a modern context, with the electric
sound popularized by Miles Davis. (Everyone in
this rhythm section had worked on Bitches Brew,
released around this time.)
It begins with a blast: the horns stalk each
other, a tense circle on top of a chordless background. The drums scatter freely; Hancock, on
Fender Rhodes, plays softly with enduring echo.
After a minute of this, they settle down: Carter
takes a funky walk as the horns slide downward.
Joe is assertive, with an old-fashioned rasp
Freddies tone is creamy, and rather weightless.
He takes the first solo, stretching longer as Herbie percolates. Picking up speed, he repeats a
short fanfare, causing White to drive hard.
Stronger the horn goes, ending in a series of
whoops Hancock follows, hinting Sunny
without actually playing it. He keeps the mood
easy, as the horns breathe a three-note riff; he
ends with spirited chords, and its Hendersons
In he slowly chugs, groaning those notes
pretty hard. He slithers upward, makes a sort of
hover, and hits an overtone squeal that Hubbard
answers. Firmly in Coltrane country, Joe reaches
a hot intensity, then fades into beautiful silence.
Carters turn is contemplative, White gets a short
break, and the theme turns calm as before.
Freddie wanted to call it Mississippi Mud but
there was already a tune by that name; as a result, song and album were titled Red Clay (CTI
Joes flute is put to good use on Delphia,
which is part ballad and part soulful waltz. The
horns begin at low heat, and Freddies notes
tremblethis is fragile, and quite beautiful.
Herbie, on organ, starts on a churchy whisper
and builds up to a Jimmy Smith stutter-riff; the
flute dances above him, humming with a sweet
glow. Hubbards solo is nice, if somewhat averagehe hops between three basic ideas, without
time to develop any of them. Herbies turn is
cool, where tangy riffs emerge from soft surroundings; Joe is only heard on the theme, but
that is sufficient.
As you might expect, Suite Sioux has
nothing to do with Victor Young: the theme is
pure hard-bop, vaguely resembling Cubano
Chant. The bridge takes a delirious climb, and
thats how they do the solos: Freddies lines are
like mountain peaks, each note separate and
firm. Hes spicy on the second chorus, and
quotes Flight of the Bumblebee; Joe has an
earthy buzz, and his clustered notes gain urgency. On the bridge he turns feathery, circling
the wagons before passing it to Hancock. The
piano lays back, White works out the cymbals,
and the theme returns in warm colors eight
minutes long, and its still too short.

November 2012 Jazz Inside Magazine

(Continued on page 41)

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Joe Henderson
Many are honored on The Intrepid Fox.
The theme suggests Freedom Jazz Dance, and
Herbie vamps like Tyner. The track is fast and
the horns are toughFreddie weaves intricate
phrases, perfect in purity. The background is
taut, showing Lenny at his best. Joe has a sleepy
tone, sliding downward then he starts moving. This solo is fast, sharp-edged, and strangely
mannered, taking steps rather than leaps. The
lone cover tune was an interesting choice: John
Lennons Cold Turkey, newly released at the
time. Yelping horns call the intro, which is formless and tuneless. This gives way to a rubbery
bassline, parallel horns, and busy, brash solos.
(The best belongs to Henderson, with rusty tone
and a head of steam.) Remarkably strong from
beginning to end, Red Clay would become
Freddies top-selling album, and, in his opinion,
the best he has ever made. He is not alone in that
While his style is far from imitative, Joes
workespecially its emotionowes a debt to
John Coltrane. Given this, it was high praise
indeed to be asked by Coltranes widow to work
on her disc, Ptah the El Daoud (Impulse 9196).
Recorded in Alices basement on June 26, 1970,
Henderson was joined by Pharaoh Sanders, a
band member from Coltranes late period; Alice
played piano and harp, and the group was completed by Ron Carter and Ben Riley. The title
tune starts with Carter, marking time in deep
weighty notes. Coltrane enters, also percussive;
her chords are like Tyners, though not as airy.
The texture is smooth, the colors dark: here the
horns enter, and here the mood deepens.
They sway in unison, with Joe more prominentit develops into a bray, and Alice adds a
wicked tremolo, far in the background. The
theme repeats, then Joe gets his chance, groaning
the high notes as Alice gets turbulent. More
structured than many of her efforts, this tune is a
landscape on which Henderson builds mountains
of sound. Turiya and Ramakrishna starts as a
backroom blues, with piano and bass in a somber
duet. Carter plays little in the opening moments,
but he makes those notes count: he moves to the
side of what Coltrane is playing, for some nice
dissonance. Rileys brushes are augmented by
sleigh bells, which makes it seem sadder; one
reviewer calls it meditative, but this is far from
peaceful. (The bells were played by photographer Chuck Stewart, there to take pictures for the
album.) This is the kind of meditation you get
from a barstool: a sadness that slowly enwraps
Alice turns to her harp on Blue Nile,
spinning an endless glissando. Her accompaniment is a swirling cymbal and a pair of flutes,
sailing calmly in the strings. Joe normally used
the flute as a background flavor; here with a rare
solo, he purrs on the instrument, much as Yusef
Lateef would. After this calm is a storm: horns
crack on Mantra, as Alice brings thunder with
her left hand. The shrieking reeds sound more
like sheet metal than anything else; they give
way to the piano, rumbling as the cymbals whisper. Henderson emerges in a call-and-response
with Pharaoh, sounding more Coltrane-like than
Ive heard anyplace else. Its turbulent, and its
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hopeful it is also the best solo album released

by Alice, by a rather big margin.
The success of Red Clay made a sequel
inevitable: taped at Van Gelders on November
16, Straight Life (CTI 8022) featured the same
groove and a familiar cast of characters. Joe and
Freddie were the only horns, as they were on
Red Clay; joining Carter and Hancock in the
rhythm section were George Benson and Jack
It starts with a bang: staccato phrases from
Freddie, answered by a swarm of cymbals. Moving in fast zigzags, Hubbard flutters downward
and blows the theme, which is more of a vamp.

a strident chord; his own turn is mellow, ruminating on a cluster of notes. A minute in he takes
it faster, and the chords turn sourthe horns
arrive smoothly, soaring over like a sunrise.
Joes playing time may have been limited, but
his imagination was as free, as expansive, as the
album itself.
After his work on Straight Life, Joe took
what might be the most unusual gig in his career:
for a short time in 1971, he joined the horn section of Blood, Sweat, and Tears. (This group was
no stranger to jazzmen, with Lew Soloff and
Fred Lipsius also gracing its ranks.) Like his stay
with the Jones-Lewis big band, it was under-

After his work on Straight Life, Joe took what might be

the most unusual gig in his career: for a short time in 1971,
he joined the horn section of Blood, Sweat, and Tears. (This
group was no stranger to jazzmen) Like his stay with the
Jones-Lewis big band, it was understood hed only be there
for the duration of the tour; he was gone when it ended,
and his time went unrecorded.
On a Fender Rhodes, Herbie works a slight,
hypnotic pattern, soon followed by Carter. Joe
takes the first solo, trilling notes in a thick, nervy
stream. He quotes Freedom Jazz Dance at
length, hovers in mid-range, shouts with multiphonics and does it again at double speed.
As this is happening, a wave of percussion rolls
in, which turns up the heat in small steps. Herbies comp becomes thicker, more ominous; Joe
answers with force, punching his notes like a
drummer. (This gives DeJohnette an idea, and
off he goes, trading flurries with Henderson.)
After the thunder, Freddie brings the sunshine: pure strong notes, and lots of them. On
flugelhorn he begins simply, then shows off in
radiant fashion. One delirious fanfare leads to
another; you rarely hear precision or invention
like this. Slowing down, he ends on a lazy
hum; Hancock is next, dispensing his slow funky
chords. He finds a dissonant phrase, bangs it
repeatedly, and pushes Jack to a higher level.
Benson remains calm, giving his notes a sharp
edge; he sounds like Charlie Christian, with
some Grant Green thrown in. Near the end of
this solo, Herbie finds a wonderful vamp and
plays it to death, all as the drums wreak havoc.
This is a definition of 70s jazz, explorative,
free, and infectious.
Mr. Clean is a sad riff composed by
Weldon Irvine, who plays tambourine on the
track. Benson begins, bouncing a blues lick off a
soft Hancock comp. The horns march together,
with Freddie more prominent; his is the first
solo, with zigzag runs and a chewy tone. A stuttering riff runs down the scale, then to erupt with
amazing power. The background maintains a
steady boil, with weaving drums to match the
keys. Benson is mostly quiet, with a few hammered notes to add spice; Henderson swaggers
his solo, beginning as Houston Person would.
Gritty notes strut with authoritythis gives way
to a manic trill, and screams that come from
nowhere. Miles away from Coltrane, the sound
is fierce, hard, sudden, rippling, passionate
unforgettable. Herbie keeps it strong by crashing

stood hed only be there for the duration of the

tour; he was gone when it ended, and his time
went unrecorded. This is unfortunate: it would
be fun to hear his solos on And When I Die or
You Make Me So Very Happy.
In Los Angeles at the end of 1973, The
Elements (Milestone 9053/OJC-913) would be
Joes most unusual album. Made at Village Recorders over three days (October 15-17), the
four-part work was made by a septet, most of
whom played multiple instruments. Returning
Joes favor from Ptah the El Daoud, Alice Coltrane played harp and pianoher first sideman
date since her husbands quartet. The group was
completed by Michael Whites violin, Charlie
Haden on bass, and three percussionists, one of
whom was Ndugu Leon Chancler. The resulting
disc is explorative, earthy, at times themeless,
and, in its best moments, simply ethereal.
A heady vamp from Haden opens Fire;
the drums arrive in stages, and there is a loud,
persistent breath. Joes entrance is grand: a sharp
descending figure, backed by many flutes (also
Henderson, who is overdubbed often.) Coltrane
is first heard by a thick strum of piano strings;
White decorates the theme but stays in the background. The first solo belongs to Joe, whose
snaking lines are drenched in delay echo. He
stays in the mainstream, strutting atop the bands
drone; its muffled somewhat the echo, and that
hurts. A fast stutter-riff becomes a wall of sound,
made tougher by the sour chords of Alice. The
tone becomes broader, until it resembles a
French hornthe theme is revisited, and White
Taut and metallic, Michaels notes are jagged but preciseas cautious as Henderson was
bold. This solo quotes often: you hear hints of
Dixie, Thelonious, and Freedom Jazz
Dance. In time he skitters downward, submerged in a sea of piano; Alice comes forth on
the harp, and glissandos give way to a meditative
murmur. The drummers converse for a while, we
hear the theme a final time, and the tune dis-

November 2012 Jazz Inside Magazine

(Continued on page 42)


Joe Henderson
(Continued from page 41)

solves in a grand, recurring chord. Bright, flashy,

not easily contained all this describes Fire.
Air has a trembling reed, nestled within
bells and wood blocks. Static in structure, there
is no real melody, only a stream of furious overtones. I hear it as a duet between Haden and
Henderson; all else is extraneous, distractions
from the main activity. Joes work is choppy, for
soft wails to fervid screamsthe volume suddenly drops (perhaps masking an edit) and Alice
comes to the fore. Her broad tremolos meet percussive jabs from a second piano, played by Joe;
Haden stretches a bit and the sax comes back,
groaning phrases that White mimics. The end
piece is lush, at a faster pace than the rest of the
tune; for a moment you think its playing at the
wrong speed. Thats a telling point: there are
plenty of ideas here but they dont quite fit.
The first thing you hear on Water is a
buzz: Coltrane plays a tamboura, a droning
string instrument from India. Tambourines then
pepper the air, and Joe shouts harshly, making
the tenor sound like a soprano. His tone is
pinched, and theres a metallic-sounding twinge
that occurs often. He sounds anguished, out of
breath even; the delay echo from Fire returns,
adding to the drone. Wah-wah effects come next,
and Alice holds the same chord on reed organ
for about two minutes. Charlie has a brief solo,
deep but intense. Joes final solo, resembling a
muezzins call, is the highlight of the song.
Earth starts on a tabla solo, Henderson drawls
a funky theme, and White follows his steps. No
effects, no frills, just an eerie, evocative theme.
Haden goes sitar-like in his solo, Joes flute
floats in, and White recites a little poem.
Children of the soil rejoice! Yesterday was;
tomorrow never is. Time is now, time time is
over now. At times ambitious and other times
aimless, this is the freest Joe Henderson got.
While interesting, I find his other discs more
Kenny Burrell has shown deep admiration
for the work of Duke Ellingtonthe feeling was
mutual, though they only played together on one
occasion. When the guitarist landed a teaching
position at UCLA, he offered a class titled
Ellingtonia, believed to be the first college
course devoted entirely to Dukes music. Designed as a memorial to the composer, Ellington
Is Forever, Volume One (Fantasy 79005) was
planned as the first in an annual series of tribute
albums; as it turned out, only two were ever
Arranged for small group, the tunes (both
hits and obscure) stretched the length of Ellingtons career; the band included Snooky Young
on trumpet, Joe and Jerome Richardson as the
sax section, Jimmy Smith on organ, Jimmy
Jones at the piano, Stanley Gilbert on bass, and
Jimmie Smith with the drums. On February 4,
1975, after their gig in the area, Thad Jones and
Mel Lewis came to Fantasy Studios for a visit,
along with the trumpeter Jon Faddis. All were
invited to sit in, turning Caravan into a feast:
dense rhythms, tart harmonies, a fast-rolling
organ, and Snooky Young, working the plunger
like Bubber Miley.

Faddis takes the first solo: Arabian phrases

move upward, as Jimmy provides a subtle vamp.
(Quiet too, from a man known for his flamboyance.) Burrell pulses lightly, taking a backseat
on his own albumthus the focus stays on
Duke, and his compositions. Joe is sweet as first:
a two-note phrase darts about, gathering strength
and grit. His lines become chewy, in a stream of
strong emotion and Jimmy Jones answers
with a shimmering fanfare. (He does the same on
Thads solo, to slightly less effect.) Jerome runs
fast with a tangy soprano; its moody like an
oboe, and the most exotic of the solos. The organ
is sly, quoting the mules caravan from The
Grand Canyon Suite! Burrell adds a slashing
comp, sounding like Montgomery at times. He
closes it with a liquid solo, and the horns riff on
In a Mellow Tone as the Caravan rides into
the sunset.
Chelsea Bridge starts harsh, in a bitter
blast of piano, but soon it warms up: Joes reed,
blowing fog with Thads mute. Hendersons tone
is light, glowing the way an alto doesKenny
takes the lone solo, snapping round, precise
notes. Dont Mean a Thing has a rousing horn
chart, and each solo improves on the last.
Burrells is easy-going, Youngs a tad raucous
and Joes will make your heart melt. A rusty
yawn leads to a thrilling leap, about an octave
higherand then it turns fast. Theres an elaborate slow ascent, and a passionate scream on the
riff chorusthis solo takes a short time and
packs a big punch.
We go to the early Sixties for I Didnt
Know About YouJimmie clicks a samba,
Kenny adds the pretty chords, and Joe does an
amazing impression of Stan Getz. The mood is
perfect: soft phrases, sweet romance, and noted
covered in gauze. After the theme he quotes
While My Lady Sleeps, pushes the tempo,
moves up the scaleand then he quotes
Moonlight Serenade! His tone now smoky, he
honks in the style of Ammons, does a fast wiggle
upward, and dances on a delicious slow fade
Ben Webster would approve. And the pianist
ends the album with a magnificent A Train,
from languid chords to proud lyricism. On hearing this rendition, Jerome Richardson said He
got everything there was to get out of that. He
has just put it in requiem status.
As good as that was, they still tried to improve it: at the same session the whole group
took their shot at Take the A Train. (This
would make it onto Ellington Is Forever, Volume
Two [Fantasy 79008].) Torrid from the start, the
saxes take the theme while Kenny has the
bridge. Snooky goes first, squawking the mute as
he quotes Beginning to See the Light. Hear
that organ, demanding authority in the lightest of
comps. Henderson begins like Young and grows
faster; his quotes include Things Aint What
They Used to Be. Kenny is elegant, Richardson
rasps a mean tenor, and Jimmy Smith does what
he does best. An absolute success, Joe had a
great affinity for this music, as hed show again
in his Strayhorn tribute, Lush Life.
For a week in December 1978, producer Ed
Michel took six great saxophones and got their
interpretations of the major jazz standards. Many
tunes were repeated, so you could compare the
players stylethe horns were Joe Farrell,
Johnny Griffin, Joe Henderson, John Klemmer,
Harold Land, and Art Pepper, while the rhythm

comprised Stanley Cowell, John Heard, and Roy

Haynes. Sadly the horns never play together
(each came in on a different day), but the music
is strong: Ballads by Five (Galaxy 95003) contains Good Morning Heartache, where Joe
makes a full-throated strut over Cowells lavish
comp. His tone is a bit stronger than usual, almost like Dexter Gordon; a double-time squeal
in the middle is gorgeous. His other work on this
session appeared on Birds and Monks (Galaxy
95002), a pianoless take on Relaxin at Camarillo. This is notable for being Joes first recording in a sax trio; hed do it often in the
Eighties, including the relaunch of his old label.
His run at Milestone ended, Joe spent the
next decade in casual dates, signing no long-term
deals but recording often for a series of labels.
Among the first was Contemporary, which
helped popularize West Coast jazz some 25
years earlier. His sole disc for the label, Relaxin
at Camarillo (Contemporary 14006), gave him a
small-group context and returned him to his
hard-bop roots. Recorded in two sessions
(August and December of 1979), Joe was paired
with Chick Corea, who is almost a co-leader of
this set. Behind them were top-line rhythm sections, a different one for each session: Richard
Davis or Tony Dumas on bass, with Peter Erskine or Tony Williams at the drums.
The disc has two styles, starting with the
fierce: Y Todavia la Quiero takes a simple
theme and runs with it, honking in joyful intensity. Chick is active, following most of Joes
actions...and the drums are everywhere.
Crimson Lake is more of the same: Joe is a tad
more lyrical, but still on fire as he zips through
the changes. Hell play a short phrase, make it a
three-note trill, turns on the speed, and begin the
process again. Chick might have the sustain
pedal down, for behind the reed is a big chorded
haze, spreading ever wider. And the title tune is
all Joe, shrieking like mad over a dense Corea
rainstorm. I wouldnt call it relaxing, but I would
call it thrilling.
Between those gems, we have the ballads:
Yes, My Dear is wistful, a gentle theme that
leaps an octave in the best moments. Joe trembles his solo, resonant like a clarinet; Chicks
turn is nice, though maybe a little plain. And for
dessert, we have My One and Only Love, a
leisurely stroll with big lovely chords. On the
second A section, Henderson ends with a low
hum; this builds to the passionate bridge, doubletime with the quavering growl used by Johnny
Griffin. The saxophone was invented to imitate
the human voicethis track proves it.
Mirror, Mirror (Pausa 7075/Verve 519092) continued the mood of Relaxin at Camarillo, with a slightly different lineup. Recorded
in Germany on January 1980, the executive producer was Joachim Berendt, author of the Jazz
Book reference volume. Joe and Corea were this
time joined by Ron Carter and Billy Higginsa
rhythm section of impressive force. Henderson is
up to the challenge: Joes Bolero is nervous,
with Higgins building steam and Chick tapping
Morse code with his left hand. The horn is raw, a
sound like scraping sheet-metal; he doesnt play
the theme as much as surmount it. It is not in
bolero tempo and it is far from sleepy, but it
works because of the contrasts. I wouldnt try
dancing to it, however.

November 2012 Jazz Inside Magazine

(Continued on page 43)

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Joe Henderson
Bolero proves to be the exception: the
rest of the album is slower, smoother, and
sweeter. Mirror, Mirror, a shimmering waltz,
gets a quiet, Evans-like start from Corea. Joes
notes are clear, held long, and slide through the
changesjust a little rasp, but its all you need.
Rons part is nice, with sudden swoops and assertive notesits a modern touch to this oldfashioned romance. Candlelight is even
slower; Chicks notes are long, and played at the
far end of the room. Joe enters shyly, with the
gentlest tone Ive heard him use: he caresses the
melody, whispering into your ear. While the title
suggests dinner, the music is warmer than
that...this is a fireside, glowing with emotion.
Keystone is calculating: mathematical
notes, played by the leaders in lockstep precision. That is, until the solo: Henderson tweaks
the melody, taking minor steps in wrong directions. He also plays against the beat, while Chick
remains obedient the sax isnt totally wild, but
the deviations make the tune live. From this
tension, the calm returns: Joe holds court on
Whats New, making every note sparkle. Staying close to theme, he personalizes it with little
thingsdouble-time passages, a push in volumeand all of them work. The pianist holds
back, feeding chords but little else; with a horn
like this, you let him play. Essentially a ballad
album, Mirror Mirror gave Henderson the
chance to go soft, a style he used rarely and
excelled every time he did.
On a Swiss stage in 1981, Joe remade the
acquaintance of Chick Corea, in a quartet with
Gary Peacock and Roy Haynes. To call this a
special occasion is an understatement: Joe explodes on Hairy Canary, squiggling his lines
with manic intensity. Most of the time he climbs
stairs, going up three notes and then toneonly
doing it so fast it seems like a trill. He also plays
with overtones, and one point sounds close to A
Love Supreme. Chick stays back and lets him
work, with a few frothy chords in the background; for a short time he wallops the keyboard, matching Joes every move. Haynes is
ecstatic, attacking his kit like thunderthis tune
is more hawk than canary.
For a stronger Corea, hear Folk Song:
under an impossible tempo, he mixes facile
right-hand lines with lush, percussive chords.
This time Joe is subdued, rasping his part so
strong and so warm. Psalm could be mistaken
for Keith Jarrett, with its icy harmonics and classical contours. (Like Jarrett, Chicks training is
in classical music; hearing this, I wish he displayed it more often.) Quintet #2 takes us back
to Canary country: Joes tone, smooth at first,
turns spiky at the slightest provocation. Menace
is just below the surface: Chick plays gently, but
carries the tunes power.
The next tune was a keeper, perhaps the
best of the session: after a languid intro, Chick
plays Trinkle, Tinkle in the purest image of
Monk. He takes the theme faster and faster, in
comes Joe and he sounds like Charlie Rouse!
This gets the crowd going, and me as well. So
in Love has a holiday feel, with a carefree reed,
cloudy comps, and a wonderful restless spirit.
Joes part is amazing, a thousand intertwined
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thoughts in a single run-on phrase. After a while,

Chick sounds superfluous; its a duet between
Henderson and Haynes. Roy has more to say on
Drum Interlude, and it quickly wraps up with
Slippery When Wet, ending in a storm of applause. As much Joes record as it is Coreas,
Live at Montreux (GRP 1112) is a real tour-deforce, with emphasis on the force.
The well-explored life of Donald Byrd remains one of jazz most interesting stories. A
powerful trumpeter with an ever-evolving style,
Byrd was always testing himself, in search of
new challenges. Having made his name in the
Jazz Messengers, he kept extending his reach,
working with choirs, fusing jazz with R&B, and
starting the career of The Blackbyrds, a vocal
group he taught at Howard University. At his
most popular in the Seventies, things took an
abrupt turn: Byrd suffered a stroke, earned a law
degree, taught the subject in college, and abandoned his horn for many years. Returning to the
music in the Eighties, his style veered away
from funk, back toward the hard-bop of his
youth. Two albums stand out: Getting Down to
Business (Landmark 1523) was cut in October
1989 with Joe and Kenny Garrett on reeds.
Donald Brown, a protg of Byrds,
manned the piano and wrote a compelling tune,
Theme for Malcolm. Brown opens with a light
pulsing chord; the horns play as one, moving in
diagonal lines. Byrd starts in the shadows, on a
tone that matches Garretts...barely heard, but it
adds warmth. Kenny solos first, answering the
cymbal with stark, solid notes. His tone is pungent, and edgy at timesit stands out well
against the glittering piano. Byrds effort, on
flugelhorn, is ambitious but spotty: some notes
are rushed and others indistinct. Joe gets an angular vamp going, varies it several times, and
then Brown varies those. This is the best of the
solos, packed with good ides...if only he had the
time to develop them further. Even so, its a
strong effort; just based on this tune, the disc
was aptly titled.
Pomponio, written by Bobby Hutcherson,
had appeared on a recent Landmark album; after
hearing it, Byrd wanted to make his own version.
Al Foster kicks off a Latin beat; sleek harmonies
are stated, then the horns go their own way. Joe
is first, pounding in gruff phrases. His patterns
are copied by Brown, who hits a montuno as the
tenor turns forceful; their interplay is almost
telepathic. Donald slithers along, first with lazy
trombone notes, then with warm tone and rapid
clusters. There are lengthy trills, and a doubletime sequence to make your jaw drop: a labyrinth of sound with plenty of attitude. This is the
Byrd of old, with the knowledge of what to do
and the ability to do it. Garretts turn plays like
Hendersons, tart and abrupt. He sails like a
soprano through gentle passages, then honks up
a storm...this solo is nearly flawless.
That word also applies to The Onliest, a
theme written by Byrd to honor Thelonious
Monk. (They recorded together in 1959, on the
excellent Thelonious Monk Orchestra at Town
Hall.) Henderson gets the theme, soon joined by
the other horns: a creeping decline, with irregular intervals and an air of sadness. Brown is in
his element, mixing splashy chords with eloquent silence; his inflections are different from
Monks, but the spirit is right there. Byrds solo
is edgy, swirling around an insistent bass.

Browns comp is terse and sour, doing just

enough to spur the trumpetJoe arrives next,
throaty as he tumbles downward. On this solo
Brown is mostly silent, as Monk would be for
Charlie Rouse. Slurping his notes, Joe picks up
speed, unleashing a stream that the pianist follows; his own solo moves with caution till it
comes to a boil.
Hendersons Around the Corner opens
with Brown, glistening through a fast blues. The
theme, a cousin to The Kicker, cuts through in
fast anglesGarrett glows on the first solo, hovering on a high note. Byrd is more active,
whooping broadly over Browns lush chords.
His final phrase is Hendersons first, and is varied for three choruses. This tune is eclectic, from
fast scaling to passionate honks; Browns comping, while good, is not needed. Joe ends with a
delicious low spiral, then hands it to Peter Washington for an intimate bass solo. (Hear those
cymbals creep in, like a bubbling kettle.) The
result is a strong, nostalgic album, one that is
sadly out of print. Half of the tracks can be heard
on Landmarks (32 Jazz 32080), a compilation of
Byrds work for the label.
Donald Byrd made his last album for Landmark, A City Called Heaven (Landmark 1530)
on three days in January 1991; joining him were
Joe, Donald Brown, and the vibes of Bobby
Hutcherson. Only one track from this session is
still in print, and its a doozy: King Arthur,
Byrds memorial to Art Blakey. Carl Allen starts
it as a march, pressing the beat as the theme
sways in. The horns are mostly unison, with tart
harmony in the right places...its sloppy but its
spirited. (This reminds me of Byrds Tippin,
recorded in 1957 with Blakey and Coltrane.)
When the solos arrive, Allen unleashes the
cymbals, in thick misty sheets; the trumpet is
soft, snaking around the chords. His phrases are
terse, said with a growlHutcherson follows,
gliding in effortless fashion. Where Byrds notes
were coarse, Bobbys are crystalline...the blues
rarely sound this happy. Brown continues in the
same vein, while Joe works both styles into his
solo. One notes is the anchor, as lines veer out
and head back in short fashion; this work is
seamless, and will make you smile. His sources
are many: Ammons, Lester Young, even a little
Desmond and the warmth is amazing. Rufus
Reids bowed solo is the image of Paul Chambers, Allen marches a bit, and the band goes
home on a different theme; by any standard, its
a winner. This can be found on the compilation
Landmarks (32 Jazz 32080), which is worth
buying for this tune alone.
The Nineties brought Henderson more
work backing vocalists than he ever had previously; the first such job came from an unlikely
source. Rickie Lee Jones, a country-tinged pop
singer with one hit to her name (Chuck E.s in
Love, from 1978) decided to make an album of
standards, from a multiple of genres. (These
include Jimi Hendrix Up from the Skies, and
I Wont Grow Up from the musical Peter
Recorded in August of 1991, Pop Pop
(Geffen 24426) features a main quartet of Charlie Haden on bass, Jones and Robben Ford on
guitars, and the drummer Walfredo de los Reyes,
along with a few special guests. The charts are
good but the main problem is Rickie: her slurred,

November 2012 Jazz Inside Magazine

(Continued on page 44)


Joe Henderson DiscographyDOWNLOAD

Joe Henderson
(Continued from page 43)

simpering voice doesnt fit the material. (She

also tends to oversing, with more emotion than
the song requires.) This makes the disc hard to
enjoy, but not when Joe plays: Bye Bye Blackbird makes a soft hum, over which her voice
sparkles. Shes trying to project simplicity, a
childlike innocence; here is where its most successful. When the verse ends, Joe picks up
steamlonger phrases, raspier tone, and a hint
of multiphonics.
Good as that was, Joe raises the stakes:
Dat Dere has a meaty solo, chugging over cool
bongos. Hadens lines are strong, and the saxophone keeps getting stronger; Rickie Lee tries a
dialect vocal, which I think a mistake. But when
Joe plays like this, who listens to anything else?
With his strong tone and tangy style, Roy
Hargrove may be the most important young
trumpet since Wynton Marsalis. To cement his
position among the greats of today, Hargrove
recorded Tenors of Our Time (Verve 523-019)
with an impressive cast: Stanley Turrentine,
Branford Marsalis, Johnny Griffin, Joshua
Redman and Joe Henderson.
This was made in New York in midJanuary 1994; the horns were joined by
Hargroves working group at the time. On most
tunes, Ron Blake gets his own sax solo on
Shade of Jade he stays in the background,
adding to the themes density. The feel is lighter
than on the 66 version; Hutchersons chords are
replaced by piano, softly jabbed by Cyrus Chestnut. Joe flies out of the gate, a breathy solo with
pressure slowly building. Rodney Whitaker has a
spindly bass part, on which Henderson climbs:
theres a quote of It Dont Mean a Thing, fol-

CD Reviews
(Continued from Page 56)

This was a special night recorded live at the

John Birks Gillespie Auditorium in the NYC
Bahai Center in June of this year. This performance was part of a theme series and the trio
wisely put the spotlight on the music of Dizzy
Gillespie and Miles Daviseither compositions
written by them or recorded versions of standards they had done. According to the liner notes
everything on the program was totally unrehearsed and spontaneous. But I guess that should
be par for the course when you consider the
combined talents and experience of these fine
modern jazz gentlemen. This is jazz as it is
meant to be playedwith love and from the
And the choice of tunes is a no-brainer
when you have a faithful treatment of Davis
All Blues leading the pack. Longo begins very
reverent and reserved, with the melody and
rhythms played close to the vest. But it soon
opens up and the interplay between the three
evolves into lovely conversation. Longo blends a
textbook of runs and ideas that blossoms into
some sweet comping behind Wests bass solos.

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six-page discography of Joe Hendersons recordings, as sideman and leader
(including song lists, personnel, recording dates and more.
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lowed by a fevered ascent. Roy keeps the pace
hot, fluttering notes at the top of his range; a
decent effort, if nothing special. Surprisingly,
Chestnut does not solothe spot goes instead to
drummer Greg Hutchinson, with a fresh, cymbal-filled turn. The ending seems pasted on, but
the whole is very solid...proof Roy can play with
the big boys.
Serenity finds Hargrove in good form,
working his mute like a charm. Meaty in tone,
hes more forceful than Miles, less percussive
than Dizzyarguably the best mute of the
Nineties. Joes solo has overtones, but with a
relaxed gait; Chestnut pumps him with big
chords, and this drives him harder, Cyrus own
solo is a glistening beauty, drenched with sustainthe end is succinct, the musicianship sterling, and the final chord encased in glass. It may
be a short tune, but its definitely a keeper.
Shirley Horns resurgence in jazz came at
the same time Joes did; since they worked for
the same label, a team-up was natural. Taped
over four day in May 1995, The Main Ingredient
(Verve 529-555) puts familiar tunes in the hands
of old pros, who then work gently and warmly.
Her grainy voice is dreamlike on You Go to My
Head, all deep and reminiscent; Joe follows
suit, in a resonant turn that recalls Lester Young.
The first chorus is his alone, where the notes are
long and the vibrato is thickfor counterpoint
we have Shirleys piano, and the endless brushes
of Elvin Jones.

When the vocal arrives, Joe remains: he hits

a trill as she sings spinning round in my brain,
moans like a clarinet at her burgundy brew,
and turns a corkscrew with her words that cast a
spell on me. Horn is completely at home, in all
senses: the album was recorded at her Washington domicile, with some tracks made in her
kitchen. (A recipe is helpfully provided, so you
can eat what the musicians had between tunes.)
She hangs on the lyric, letting the emotions sink
in as Henderson closes with an elegant murmur.
Sleek and exquisitely slow, this is the mark of
after-hours music...and another measure of Joes
The same group takes it fast on All or
Nothing at All, joined by the tenor of Buck
Hill, a Washingtonian who recorded with Charlie Byrd. The horns take opposite speakers, with
Hill heard on the vocal; his tone is rich and full
of swagger. Joe gets the first solo, from the right
speaker: feathery and fast, he moves in zigzags
off Steve Novosels bass. You hear some Trane,
a little Jugthen he defers to Buck, who does
the same with a smoother tone. Elvins role is
expectedly busy, but depressingly short; Joe
plays on the end vocal, in good imitation of Hill.
The last thing we hear is Shirleys laugh, showing satisfaction for a job well done. It is a sentiment you are likely to share.

Con Alma finds Longo beginning the piece

unaccompanied, playing a series of variations on
the head. He soon breaks atempo with the ensemble diving into a smooth yet invigorating
samba. Longo really digs in and ornaments the
piece with gorgeous harmonies and rich chordal
accents. Milestones is appropriately vigorous
and driving in a swinging uptempo fashion. In
particular, Moscas cymbal work is crisp and
lively. This is the ensemble at its optimum where
communication between the three is firing on all
cylinders. Dizzy Gillespies OW is simple and
somewhat whimsical in its approach here. Again,
the rhythm section is huge as Mosca and West
both serve as springboard and platform for
Longos exhilarating and punchy melodic ideas.
Also, West steps out nicely, with a very lyrical
and bluesy solo.
Longo takes a laid back and respectfully
bluesy approach to Freddie Freeloader. He
isnt in a rush and allows the head and subsequent solos to develop and breathe. Building to a
crescendo he volleys to West who adds his own
variations on a theme before returning to a trading fours duel and finale. The Gillespie tune
Here Tiz is kind of similar to Freddie in its
straight ahead blues-based structure and is
equally gritty and compelling. Summertime
finds Longo playing with a relaxed patience and
subtle inner strength. The band is tight here;

really swinging and supporting Longo at his

most playful and inventive. The arrangement of
the Gershwin classic is wide open and comfortable, just like a clear and warm summer night.
Tour de Force is a Gillespie composition that
is aptly titled for its, indeed, tour de force of
movementfrom the driven descending chordal
punctuations from Longos piano to the fiery
swing of the ensemble at full tilt. Mosca takes a
nice solo turn here as well. Don Raye and Gene
de Pauls lovely ballad You Dont Know What
Love Is is a nice departure from most of the
hard and bluesy swing on the program. Longo is
certainly in his wheelhouse here as well offering
luscious slices of delicate melodic confections
and Errol Garner/Oscar Peterson-like lines. The
rhythm section proves just as versatile in their
sensitive support. They resume the up tempo
pace with Davis classic So What. The tunes
simple yet sophisticated key modulated vamps
serve as a strong vehicle for tasty and captivating
improvisation. Again, Moscas cymbal work and
drive come into play. They conclude the show
with Gillespies brilliant A Night in Tunisia.
Longo pulls out all the stops here, bridging the
gap between bop and classical.
All in all, a truly magical night that was
superbly captured and produced by the great Bob

November 2012 Jazz Inside Magazine

(Continued on page 45)

To Advertise CALL: 215-887-8880

Joe Henderson

Joe Henderson Discography

A Chronological Listing of Recordings by Saxophonist Joe Henderson
As A Leader and Sideman Including Recording Dates, Songs, Personnel, Record Label
Aug. 13, 1963 STEP LIGHTLY. Blue Note 4142.
Players: Blue Mitchell (tp), Leo Wright (asx), Joe
Henderson (tsx), Herbie Hancock (p), Gene Taylor
(b), Roy Brooks (dr). Songs: Mamacita, Sweet and
Lovely, Andrea, Step Lightly, Cry Me a River, Bluesville. (Not issued until 1980).
Sep. 9, 1963 OUR THING. Blue Note 84152.
Players: Joe Henderson (tsx), Kenny Dorham (tp),
Andrew Hill (p), Eddie Khan (b), Pete LaRoca (dr).
Songs: Teeter Totter, Pedros Time, Our Thing, Back
Road, Escapade.
Nov. 4, 1963 IDLE MOMENTS. Blue Note 84154.
Players: Grant Green (g), Joe Henderson (tsx),
Bobby Hutcherson (vib), Duke Pearson (p), Bob
Cranshaw (b), Al Harewood (dr). Songs: Idle Moments, Jean de Fleur, Django, Nomad.

Leader of the session is printed in boldface.

Capitol ST-1765.
Apr. 1, 1963 UNA MAS. Blue Note 84127. Players: Kenny Dorham (tp), Joe Henderson (tsx), Herbie Hancock (p), Butch Warren (b), Tony Williams
(dr). Songs: Una Mas (One More Time), Straight
Ahead, Sao Paolo, If Ever I Would Leave You.
May 16, 1963 AM I BLUE? Blue Note 84139.
Players: Grant Green (g), Johnny Coles (tp), Joe
Henderson (tsx), Big John Patton (org), Ben Dixon
(dr). Songs: Am I Blue?, Take These Chains from
My Heart, I Wanna Be Loved, Sweet Slumber, For All
We Know.
June 3, 1963 PAGE ONE. Blue Note 84140. Players: Joe Henderson (tsx), Kenny Dorham (tp),
McCoy Tyner (p), Butch Warren (b), Pete LaRoca
(dr). Songs: Blue Bossa, La Mesha, Homestretch,
Recorda Me, Jinrikisha, Out of the Night.
July 1963 ESO ES LATIN JAZZ MAN. Audio
Fidelity 6117. Players: Antonio Diaz Mena (conga),
Lalo Schrifrin (arr), Alfredo Chocolat Armenteros,
Johnny Coles, Mario Fernandez, Clark Terry, Alejandro Vivar, Richard Williams (trumpets), Britt Woodman (tb), Al Gibbons, Joe Henderson, Seldon Powell,
Jerome Richardson (reeds), Lion Wrong (sx, fl), Duke
Pearson (p), Bob Cranshaw or Frank Schifano (b),
Rudy Collins, Reynaldo Fernandez, or Walter Perkins
(dr), Victor Allende, Miguel Avila, Ramon Sardinas,
Jorge Topia, Carlos Patato Valdes (perc).
July 18, 1963 LITTLE JOHNNY C. Blue Note 4144.
Players: Johnny Coles (tp), Leo Wright (asx, fl), Joe
Henderson (tsx), Duke Pearson (p), Bob Cranshaw
(b), Walter Perkins or Pete LaRoca (dr). Songs:
Little Johnny C, Hobo Joe, Jano, My Sweet Passion,
Heavy Legs, So Sweet My Little Girl.
To Advertise CALL: 215-887-8880

Nov. 8, 1963 BLACK FIRE. Blue Note 84151.

Players: Andrew Hill (p), Joe Henderson (tsx), Richard Davis (b), Roy Haynes (dr). Songs: Pumpkin,
Subterfuge, Black Fire, Cantamos, Tired Trade,
McNeil Island, Land of Nod.
Dec. 21, 1963 THE SIDEWINDER. Blue Note
84157. Players: Lee Morgan (tp), Joe Henderson
(tsx), Barry Harris (p), Bob Cranshaw (b), Billy Higgins (dr).
Dec. 29, 1963 THE KICKER. Blue Note 21437.
Players: Bobby Hutcherson (vib), Joe Henderson
(tsx), Duke Pearson (p), Grant Green (g), Bob Cranshaw (b), Al Harewood (dr). If Ever I Would Lose
You, Mirrors, For Duke P., The Kicker, Step Lightly,
Bedouin. (Not issued until 1999.)
Mar. 18, 1964 BROWN SUGAR. Blue Note 84168.
Players: Freddie Roach (org), Joe Henderson (tsx),
Eddie Wright (g), Clarence Johnston (dr). Songs:
Brown Sugar, The Right Time, Have You Ever Had
the Blues, The Midnight Sun Will Never Set, Nest
Time You See Me, All Night Long.
Mar. 31, 1964 POINT OF DEPARTURE. Blue Note
84167. Players: Andrew Hill (p), Kenny Dorham
(tp), Eric Dolphy (asx, cl, bass cl), Joe Henderson
(tsx), Richard Davis (b), Tony Williams (dr). Songs:
Refuge, New Monastery, Spectrum, Flight 19, Dedication.
Apr. 10, 1964 IN N OUT. Blue Note 84166. Players: Joe Henderson (tsx), Kenny Dorham (tp),
McCoy Tyner (p), Richard Davis (b), Elvin Jones (d).
Songs: In n Out, Punjab, Serenity, Short Story,
Browns Town.
June 6, 1964 LIVE 1964. Emerald 1001. Players:
Horace Silver (p), Carmell Jones (tp), Joe Henderson (tsx), Teddy Smith (b), Roger Humphries (dr).
Songs: Filthy McNasty, The Tokyo Blues, Seor
Blues, Skinney Minnie.
June 12, 1964 SOLID. Blue Note 33580. Players:

Grant Green (g), James Spaulding (ssx, asx), Joe

Henderson (tsx), McCoy Tyner (p), Bob Cranshaw
(b), Elvin Jones (dr). Songs: Minor League, EzzThetic, Grants Tune, Solid, The Kicker, Wives and
Sep. 4, 1964 TROMPETA TOCATTA. Blue Note
84181. Players: Kenny Dorham (tr), Joe Henderson
(tsx), Tommy Flanagan (p), Richard Davis (b), Albert
Tootie Heath (dr). Songs: Trompeta Tocatta, Night
Watch, Mamacita, The Fox.
PARA MEU PAI). Blue Note 84185. Players:
Horace Silver (p), Blue Mitchell or Carmell Jones
(tp), Junior Cook or Joe Henderson (tsx), Gene Taylor or Teddy Smith (b), Roy Brooks or Roger
Humphries (dr). Songs: Song for My Father, The
Natives Are Restless Tonight, Calcutta Cutie, Que
Pasa, The Kicker, Lonely Woman, Sanctimonious
Sam, Que Pasa (trio version), Sighin and Cryin,
Silver Threads Among My Soul.
Nov. 24, 1964 WAHOO. Blue Note 84191. Players: Duke Pearson (p), Donald Byrd (tp), James
Spaulding (asx, fl), Joe Henderson (tsx), Bob Cranshaw (b), Mickey Roker (dr). Songs: Amanda, Bedouin, Farewell Machelle, Wahoo, ESP (Extrasensory
Perception), Fly Little Bird Fly.
Nov. 30, 1964 INNER URGE. Blue Note 84189.
Players: Joe Henderson (tsx), McCoy Tyner (p),
Bob Cranshaw (b), Elvin Jones (dr). Songs: Inner
Urge, Isotope, El Barrio, You Know I Care, Night and
Vortex 2002. (Reissued as Collectables 6365.)
Players: Joe Zawinul (p), Blue Mitchell (tp), Jimmy
Owens (tp, flh), Joe Henderson, Clifford Jordan (tsx),
William Fischer (tsx, arr), Pepper Adams (bsx), Bob
Cranshaw, Richard Davis, or Sam Jones (b), Louis
Hayes or Freddie Waits (dr), Alfred Brown, Selwart
Clarke, Theodore Israel (violins, violas), Kermit
Moore (cello). Songs: Baptismal, The Soul of a
Village, The Fifth Canto; From Vienna, with Love;
Lord, Lord, Lord; A Concerto, Retitled.
Feb. 10, 1965 COSMOS. Blue Note 4459. Players: Andrew Hill (p), Freddie Hubbard, Charles
Tolliver (trumpets), Pat Patrick (asx, bsx, fl), Joe
Henderson (tsx), Bennie Maupin (tsx, fl, bass cl), Ron
Carter or Richard Davis (b), Joe Chambers or Ben
Riley (dr), and strings. Songs: Euterpe, Erato, Pax,
Eris, Calliope, One for One, Diddy Wah, Without
Malice, Poinsettia, Illusion, Fragments.
Feb. 19, 1965 BLUE SPIRITS. Blue Note 84196.
Players: Freddie Hubbard (tp), James Spaulding
(asx, fl), Joe Henderson or Hank Mobley (tsx), Kiane
Zawadi (euphonium), Hosea Taylor (bassoon), Herbie Hancock, Harold Mabern, or McCoy Tyner(p),
Bob Cranshaw or Larry Ridley (b), Clifford Jarvis or

November 2012 Jazz Inside Magazine

(Continued on page B)

Joe Henderson Discography (page 2)

Jazz Inside Magazine Presents A Chronological Listing of Recordings by
Saxophonist Joe Henderson As A Leader and Sideman
Including Recording Dates, Songs, Personnel, Record Label
Pete LaRoca (dr), Big Black (conga). Songs: Soul
Surge, Cunga Black, Blue Spirits, Outer Forces,
Apr. 16, 1965 RE-ENTRY. 32 Jazz 32005. Players: Horace Silver (p), Carmell Jones or Woody
Shaw (tp), Joe Henderson (tsx), Teddy Smith or Larry
Ridley (b), Roger Humphries (dr). Songs: Song for
My Father, The African Queen, The Natives Are
Restless Tonight, Que Pasa, The African Queen.
May 19, 1965 BASRA. Blue Note 84205. Players:
Pete LaRoca (dr), Joe Henderson (tsx), Steve Kuhn
(p), Steve Swallow (b). Songs: Malaguea, Candu,
Tears Come from Heaven, Basra, Lazy Afternoon,

bean Fire Dance, Granted, Free Wheelin.

Feb. 7, 1966 MONEY IN THE POCKET. Atco
3003. Players: Joe Zawinul (p), Blue Mitchell (tp),
Joe Henderson, Clifford Jordan (tenor saxes), Pepper
Adams (bsx), Sam Jones or Bob Cranshaw (b), Roy
McCurdy or Louis Hayes (dr). Songs: If, My One
and Only Love, Midnight Mood, Some More of Dat,
Sharons Waltz, Del Sasser, Money in the Pocket,
Mar. 5, 1966 Second session to complete BLUE

Aug. 21, 1965 THE RUMPROLLER. Blue Note

84199. Players: Lee Morgan (tp), Joe Henderson
(tsx), Ronnie Mathews (p), Victor Sproles (b), Billy
Higgins (dr). Songs: The Rumproller, Desert
Moonlight, Eclipso, Edda, The Lady, Venus Di Mildew.

Apr. 8, 1966 DELIGHTFULEE. Blue Note 84243.

Players: Lee Morgan (tp), Oliver Nelson (arr), Ernie
Royal (tp), Tom McIntosh (tp, tb), Jim Buffington
(French horn), Phil Woods (asx, fl), Joe Henderson or
Wayne Shorter (tsx), Danny Bank (bsx, bass cl, fl)
McCoy Tyner (p), Bob Cranshaw (b), Billy Higgins or
Philly Joe Jones (dr). Somgs: Yesterday; Sunrise,
Sunset; Ca-Lee-So, Zambia, Nite Flight, The Delightful Deggie.


Note 84220. Players: Horace Silver (p), Woody
Shaw (tp), J. J. Johnson (tb), Joe Henderson (tsx),
Bob Cranshaw (b), Roger Humphries (dr). Songs:
The Cape Verdean Blues, The African Queen, Pretty
Eyes, Nutville, Bonita, Mo Joe.

Jul. 14, 1966 STICK-UP! Blue Note 84244. Players: Bobby Hutcherson (vib, marimba), Joe Henderson (tsx), McCoy Tyner (p), Herbie Lewis (b), Billy
Higgins (dr). Songs: Una Muy Bonita, 8/4 Beat,
Summer Nights, Black Circle, Verse, Blues Mind

Nov. 10, 1965 UNITY. Blue Note 84221. Players:

Larry Young (org), Woody Shaw (tp, dr), Joe Henderson (tsx), Elvin Jones (dr). Songs: Zoltan, Monks
Dream, If, The Moontrane; Softly, As in a Morning
Sunrise; Beyond All Limits.

Dec. 7, 1966 SWEET HONEY BEE. Blue Note

84252. Players: Duke Pearson (p), Freddie Hubbard (tp), James Spaulding (asx, fl), Joe Henderson
(tsx), Ron Carter (b), Mickey Roker (dr). Songs:
Sweet Honey Bee, Sudel, After the Rain, Gaslight,
Big Bertha, Empathy, Ready Rudy?

Dec. 1965 IN THE BEGINNING. (Later reissued

under the title CASSANDRANITE.) Muse 6007.
Players: Woody Shaw (tp), Garnett Brown (tb),
Harold Vick (asx, fl), Joe Henderson (tsx), George
Cables, Herbie Hancock or Larry Young (p), Ron
Carter, Paul Chambers, Cecil McBee (b), Joe Chambers (dr). Songs: Cassandranite, Obsequious, Baloo
Bsloo, Tetragon, Medina. (Not issued until 1983.)
BLOW-UP. MGM E-4447. (Reissued as Rhino
Players: Herbie Hancock (p), Freddie
Hubbard, Joe Newman (trumpets) Phil Woods (asx),
Joe Henderson (tsx), Paul Griffin (org), Jim Hall (g),
Ron Carter (b), Jack DeJohnette (dr). Songs: Main
Title from Blow-Up, Verushka (Part One), Verushka
(Part Two), Butchies Tune, Did You Ever Have to
Make Up Your Mind?, Bring Down the Birds, The
Naked Camera, Janes Theme, The Thief, The Kiss,
Curiosity, Thomas Studies Photos, The Bed, Stroll
On, End Title from Blow-Up. (Did You Ever Have
to Make Up Your Mind? performed by The Lovin
Spoonful. Stroll On performed by The Yardbirds.)
Jan. 27, 1966 MODE FOR JOE. Blue Note 84227.
Players: Joe Henderson (tsx), Lee Morgan (tp),
Curtis Fuller (tb), Bobby Hutcherson (vib), Cedar
Walton (p), Ron Carter (b), Joe Chambers (dr).
Songs: A Shade of Jade, Mode for Joe, Black, CaribB

1967 LIVE AT MEMORY LANE. Atlantic 1474.

Players: Nat Adderley (tp), Joe Henderson (tsx),
Herbie Hancock or Joe Zawinul (p), Victor Gaskin (b),
Roy McCurdy (dr). Songs: Cantaloupe Island, Hippodelphia, The Other Side, On My Journey Now,
Fun, In the Good Old Summertime, Lavender
Woman, Painted Desert, The Theme.
Jan. 18, 1967 VIRGO VIBES. Atlantic 1488. Players: Roy Ayers (vib), Charles Tolliver (tp), Joe Henderson or Harold Land (tsx), Jack Wilson or Herbie
Hancock (billed as Ronnie Clark) [p], Reggie Workman or Buster Williams (b), Bruno Carr or Donald
Bailey (dr). Songs: The Ringer, Ayerloom, In the
Limelight, Virgo Blues, Glow Flower.
Apr. 21, 1967 THE REAL McCOY. Blue Note
84264. Players: McCoy Tyner (p), Joe Henderson
(tsx), Ron Carter (b), Elvin Jones (dr). Songs: Passion Dabce, Contemplation, Four by Five, Search for
Peace, Blues on the Corner.
Aug. 10, 1967 THE KICKER. Milestone 9008.
(Reissued as OJC-465.) Players: Joe Henderson
(tsx), Mike Lawrence (tp), Grachan Moncur III (tb),
Kenny Barron (p), Ron Carter (b), Louis Hayes (dr).
Songs: Mamacita, The Kicker, Chelsea Bridge, If,
Nardis, Without a Song, O Amor Em Paz (Once I

Loved), Mo Joe.
Sep. 25, 1967 THE LEE KONITZ DUETS. Milestone 9013. (Reissued as OJC-466.) Players: Lee
Konitz (asx, tsx, bsx), Joe Henderson, Richie Kamuca (tenor saxes), Marshall Brown (tb, valve tb,
euphonium), Karl Berger (vib), Ray Nance (violin),
Dick Katz (p), Jim Hall (g), Eddie Gomez (b), Elvin
Jones (dr). Songs: Struttin with Some Barbecue,
You Dont Know What Love Is, Five Variations on
Alone Together, Checkerboard, Erb, Tickle Toe,
Duplexity, Alphanumeric.
Sep. 27, 1967 TETRAGON. Milestone 9017.
(Reissued as OJC-844.) Players: Joe Henderson
(tsx), Don Friedman or Kenny Barron (p), Ron Carter
(b), Jack DeJohnette or Louis Hayes (dr). Songs:
Invitation, R.J., The Bead Game, Tetragon, Waltz for
Zweetie, First Trip, Ive Got You Under My Skin.
Jan. 18, 1968 SCAVENGER. Milestone 9016.
Players: Nat Adderley (cnt), Joe Henderson (tsx),
Jeremy Steig (fl), Joe Zawinul (p), Victor Gaskin (b),
Roy McCurdy (dr). Songs: Scavenger, Sweet
Emma, Rise Sally Rise, Melnat.
April 21, 1968 FOUR! Verve 523-657. Players:
Joe Henderson (tsx), Wynton Kelly (p), Paul Chambers (b), Jimmy Cobb (dr). Songs: Autumn Leaves,
Four, On the Trail, Stardust/ Old Folks, On Green
Dolphin Street, The Theme. (Not issued until 1994.)
Apr. 21, 1968 STRAIGHT, NO CHASER. Verve
531-561. Players: Joe Henderson (tsx), Wynton
Kelly (p), Paul Chambers (b), Jimmy Cobb (dr).
Songs: Straight, No Chaser, Days of Wine and
Roses, What Is This Thing Called Love?, If You
Could See Me Now, On a Clear Day (You Can See
Forever), Limehouse Blues, Pfrancin (No Blues), The
Theme. (Not issued until 1996.)
May 16, 1968 Second session to complete TETRAGON.
Apr. 18, 1969 THE PRISONER. Blue Note 84321.
Players: Herbie Hancock (p, synth, voc), Johnny
Coles (tp, flh), Garnett Brown (tb), Jack Jeffers or
Tony Studd (bass tb), Joe Henderson (tsx, fl), Hubert
Laws (fl), Jerome Richardson (fl, bass cl), Romeo
Penque (bass cl), Buster Williams (b), Albert Tootie

November 2012 Jazz Inside Magazine

(Continued on page C)
To Advertise CALL: 215-887-8880

Joe Henderson Discography (page 3)

Jazz Inside Magazine Presents A Chronological Listing of Recordings by
Saxophonist Joe Henderson As A Leader and Sideman
Including Recording Dates, Songs, Personnel, Record Label
Heath (dr), Oren Waters (voc). Songs: I Have a
Dream, The Prisoner, Firewater, He Who Lives in
Fear, Promise of the Sun.
Apr. 29, 1969 TELL IT LIKE IT IS. A & M 3020.
Players: George Benson (g, voc), Lew Soloff (tp),
Arthur Babe Clarke, Joe Farrell, Sonny Fortune, Joe
Henderson, Hubert Laws, Bobby Porcelli, Jerome
Richardson (reeds, flutes), Jerry Dodgion (fl), Rodgers Grant or Richard Tee (p), Jerry Jemmott or Jim
Fielder (b), Leo Morris (dr), Paul Alicea, Angel Allende, Johnny Pacheco (congas, perc). Songs: Soul
Limbo, Are You Happy, Tell It Like It Is, Land of 1000
Dances; Jackie, All; Dont Cha Hear Me Callin to Ya,
Water Brother, My Womans Good to Me, Jama Joe,
My Cherie Amour, Out in the Cold Again.
May 23-29, 1969 POWER TO THE PEOPLE.
Milestone 9024. Players: Joe Henderson (tsx),
Mike Lawrence (tp), Herbie Hancock (p), Ron Carter
(b), Jack DeJohnette (dr). Songs: Black Narcissus,
Afro-Centric, Opus One Point Five, Isotope, Power to
the People, Lazy Afternoon, Foresight and Afterthought.
Oct. 3, 1969 FAT ALBERT ROTUNDA. Warner
Brothers 1834. Players: Herbie Hancock (p, synth,
voc), Johnny Coles (tp), Garnett Brown (tb), Joe
Henderson (tsx, alto fl), Buster Williams (b), Billy Hart
or Albert Tootie Heath (dr). Songs: WiggleWaggle, Fat Mama, Tell Me a Bedtime Story, Oh! Oh!
Here He Comes, Jessica, Fat Albert Rotunda, Lil
Oct. 8, 1969 INFINITE SEARCH. (Later reissued
under the title MOUNTAIN IN THE CLOUDS.) Embryo 524. Players: Miroslav Vitous (b, g, synth),
Joe Henderson (tsx), Herbie Hancock (p), John
McLaughlin (g), Joe Chambers or Jack DeJohnette
(dr). Songs: Freedom Jazz Dance, Mountain in the
Clouds, Epilogue, Serecka, Infinite Search, I Will Tell
Him on You, When Face Gets Pale.
VOL. 4: BASEL, 1969. TCB 2042. Players: Thad
Jones (tp, flh, cnt), Danny Moore, Al Porcino, Richard Williams, Snooky Young (trumpets), Eddie Bert,
Cliff Heather, Jimmy Knepper (trombones), Jerome
Richardson (ssx), Jerry Dodgion (asx, fl), Joe Henderson (tsx), Eddie Daniels (tsx, cl), Pepper Adams
(bsx), Sir Roland Hanna (p), Richard Davis (b), Mel
Lewis (dr). Songs: Second Race, Dont Ever Leave
Me, The Waltz You Swang for Me, A-Thats Freedom,
Come Sunday, Dont Get Sassy, Bible Story, Groove
Dec. 1, 1969 JAZZ WAVE LTD. ON TOUR. Blue
Note 89905. Players: Thad Jones (flh), Freddie
Hubbard, Danny Moore, Al Porcino, Marvin Stamm,
Snooky Young (trumpets), Bob Burgess, Jimmy
Knepper, Benny Powell, Julian Priester (trombones),
Pepper Adams, Eddie Daniels, Jerry Dodgion, Joe
Henderson, Jerome Richardson (reeds), Jeremy
Steig (fl), Sir Roland Hanna (p), Jimmy McGriff (org),
Kenny Burrell (g), Ron Carter or Richard Davis (b),
Louis Hayes or Mel Lewis (dr). Songs: Dont Get
To Advertise CALL: 215-887-8880

Sassy, Reza, Greensleeves, Body and Soul, Slow

But Sure, People, Once Around.
Jan. 27, 1970 RED CLAY. CTI 9018. (Reissued as
Epic Legacy 40809.) Players: Freddie Hubbard
(tp), Joe Henderson (tsx), Herbie Hancock (p), Ron
Carter (b), Lenny White (dr). Songs: Red Clay,
Delphia, Suite Sioux, The Intrepid Fox, Cold Turkey.
June 26, 1970 PTAH THE EL DAOUD. Impulse
9196. Players: Alice Coltrane (p, harp), Joe Henderson (tsx, alto fl), Pharaoh Sanders (tsx, alto fl,
perc), Ron Carter (b), Ben Riley (dr). Songs: Ptah,
the El Daoud; Turiya and Ramakrishna, Blue Nile,
Sep. 24-26, 1970 IF YOURE NOT PART OF THE
PROBLEM Milestone 9027. Players: Joe Henderson (tsx), Woody Shaw (tp), George Cables (p),
Ron McClure (b), Lenny White (dr), Tony Waters
(conga). Songs: Mode for Joe, Blue Bossa, Round
Milestone 9034. Players: Joe Henderson (tsx),
Woody Shaw (tp), George Cables (p), Ron McClure
(b), Lenny White (dr), Tony Waters (conga). Songs:
No Me Esqueca, Invitation.
Nov. 16, 1970 STRAIGHT LIFE. CTI 8022.
(Reissued as Epic Legacy 65125.) Players: Freddie
Hubbard (tp, flh), Joe Henderson (tsx), Herbie Hancock (p), George Benson (g), Ron Carter (b), Jack
DeJohnette (dr), Richard Landrum (perc), Weldon
Irvine (tambourine). Songs: Straight Life, Mr. Clean,
Heres That Rainy Day.
May 12, 1971 Second session to complete IN
PURSUIT OF BLACKNESS. Players: Joe Henderson (tsx), George Cables (p), Stanley Clarke (b),
Lenny White (dr). Songs: A Shade of Jade, Gazelle,
Mind Over Matter.

(b), Jack DeJohnette (dr), Airto Moreira (perc), Ralph

McDonald (conga, perc). Songs: Terra Firma, Vis-vis, Forgone Conclusion, Black Is the Color (Of My
True Loves Mind), Current Events.
1973 SUBWAY NIGHT. RCA 4820. Players:
David Amram (p, g, fl, voc), Thad Jones, Marky
Markowitz, Joe Wilder, Wilmer Wise (trumpets), Bill
Watrous (tb), Joe Henderson (tsx), Bobby Jones (tsx,
cl), Pepper Adams (bsx), Souren Baronian (cl), Jim
Buffington, Earl Chapin, Tony Miranda, Brooks Tillotson (French horns), Don Butterfield (tuba), Jane
Cochran, Henry Schuman (oboes), William Arrowsmith (English horn), Marvin Feinsmith (bassoon), Joe
Beck, David Bromberg, Sam Brown, Jack OHara
(guitars),Herb Bushler (b), Al Harewood (dr), Collin
Walcott (tabla), Candido Carmero (bongo, conga),
George Mgrdichian (dumbek), Charles Ganimian, Ali
Hafid (ouds), Kenny Kosek (violin), Midhat Serbaghi
(viola), Randy Peyton Quartet, Macdougal Street
Composers (choir). Songs: Fabulous Fifties, Little
Momma, Credo, Subway Night, Professor and the
Panhandler, Horn and Hardart Succotash Blues,
Neon Casbah, East and West, Ballad for Red Allen,
Message for the Politicians of the World, Mean Dean.

Aug. 4, 1971 JOE HENDERSON IN JAPAN. Milestone 9047. (Reissued as OJC-1040.) Players: Joe
Henderson (tsx), Hideo Ichikawa (p), Kunimitsu
Inaba (b), Motohiko Hino (dr). Songs: Round Midnight, Out n In, Blue Bossa, Junk Blues.

Jan. 30, 1973 MULTIPLE. Milestone 9050.

(Reissued as OJC-763.) Players: Joe Henderson
(ssx, tsx, fl, voc), John Thomas (tp), Larry Willis (p,
synth), James Blood Ulmer (g), Dave Holland (b),
Jack DeJohnette (dr), Arthur Jenkins (perc). Songs:
Tress-Cun-Deo-La, Bwaata, Song for Sinners, Turn
Around, Me Among Others.

1972 FOR THOSE WHO CHANT. Blue Thumb

5985. Players: Luis Gasca (tp, flh), Joe Henderson
(tsx), Hadley Caliman (fl), Jos Chpito Areas (vib),
George Cables, Mark Levine, or Gregg Rolie (p),
Richard Kermode (org), Carlos Santana or Neal
Schon (g), Stanley Clarke (b), Michael Shrieve or
Lenny White (dr), Mike Carabello, Victor Pantoja
(congas), Coke Escovedo (timbales), Cornelius
Snookey Flowers, Joan MacGregor, Rico Reyes
(percussion). Songs: Street Dude, La Raza, Spanish
Gypsy, Little Mama.

Oct. 1973 CANYON LADY. Milestone 9057.

(Reissued as OJC-949.) Players: Joe Henderson
(tsx), Hadley Caliman (tsx, fl), Vince Denham, Ray
Pizzi (flutes), Oscar Brashear, John Hunt (trumpets),
Luis Gasca (tp, p, b, perc), Julian Priester, Nicholas
Ten Broeck (trombones), Mark Levine (p), George
Duke (b, p, perc), John Heard (b), Eric Kamau Gravatt (dr), Francisco Aguabella, Victor Pantoja
(congas), Carmelo Garcia (timbales). Songs: Tres
Palabras, Las Palmas, Canyon Lady, All Things

March 1972 BLACK IS THE COLOR. Milestone

9040. Players: Joe Henderson (ssx, tsx, fl, alto fl,
perc, violin), Pete Yellin (asx, fl, bass cl), Curtis Fuller
(tb), George Cables (p), David Horowitz (synth),
George Wadenius (g), Ron Carter or Dave Holland

Oct. 15, 1973 THE ELEMENTS. Milestone 9053.

(Reissued as OJC-913.) Players: Joe Henderson
(tsx, fl, alto fl, p, perc), Alice Coltrane (p, harp, tamboura, harmonium, perc), Michael White (violin),

November 2012 Jazz Inside Magazine

(Continued on page D)

Joe Henderson Discography (page 4)

Jazz Inside Magazine Presents A Chronological Listing of Recordings by
Saxophonist Joe Henderson As A Leader and Sideman
Including Recording Dates, Songs, Personnel, Record Label
Charlie Haden (b), Leon Ndugu Chancler (dr), Baba
Daru Oshun (tabla, perc), Kenneth Nash (fl, perc,
voc). Songs: Fire, Air, Water, Earth.
Dec. 1973 BUTTERFLY DREAMS. Milestone
9052. (Reissued as OJC-315.) Players: Flora Purim (voc), Joe Henderson (tsx, fl), George Duke (p,
synth), David Amaro (g), David Hood (zither), Stanley
Clarke (b), Airto Moreira (dr, perc). Songs: Doctor
Jive (Part 1), Butterfly Dreams, Dindi, Summer Night,
Love Reborn, Moon Dreams, Doctor Jive (Part 2),
Light as a Feather.
Dec. 11, 1973 LEAVING THIS PLANET. Prestige
66002. Players: Charles Earland (org, synth, ssx),
Freddie Hubbard (tp, flh), Eddie Henderson (tp),
Dave Hubbard (ssx, tsx, fl, alto fl), Joe Henderson
(tsx), Patrick Gleason (synth), Eddie Arkin, Greg
Crockett, or Mark Elf (g), Brian Brake or Harvey Mason (dr), Lawrence Killian (perc), Rudy Copeland
(voc). Songs: Leaving This Planet, Red Clay, Warp
Factor, Brown Eyes, Asteroid, Masons Galaxy, No
Me Esqueca, Tyner, Van Jay, Never Ending Melody.
1974 HIGHER GROUND. CTI 40692. Players:
Johnny Hammond Smith (org), Jon Faddis, John
Frosk, Alan Rubin (trumpets), Marvin Stamm (tp, flh),
Wayne Andre, Tony Studd (trombones), Paul Faulise,
Alan Raph (bass trombones), Ray Alonge (French
horn), Hank Crawford (asx), Joe Henderson (tsx),
Romeo Penque (alto fl, oboe), Eddie Daniels (cl), Bob
James (p, org, synth), George Benson (g), Ron
Carter (b), Jack DeJohnette or Steve Gadd (dr), Phil
Kraus, Ralph McDonald (perc). Songs: Catch My
Soul, Summertime/The Ghetto, Higher Ground, Big
Sur Suite.
1974 -- PRELUSION. Prestige 10089. Players:
Patrice Rushen (p, synth, voc), Oscar Brashear (tp,
flh), George Bohannon (tb), Hadley Caliman (ssx, fl,
alto fl), Joe Henderson (tsx), Tony Dumas (b), Leon
Ndugu Chancler (dr), Kenneth Nash (perc). Songs:
Shorties Portion, 7/73, Haw Right Now, Traverse,
Puttered Bopcorn.
Oct. 19, 1974 BLACK NARCISSUS. Milestone
9071. Players: Joe Henderson (tsx, synth),
Joachim Kuhn (p), Patrick Gleason (synth), Dave
Friesen (b), Jack DeJohnette (dr). Songs: Black
Narcissus, Hindsight and Forethought, Power to the
People, Amoeba, Good Morning Heartache, Other
Side of Right.
Feb. 4-5, 1975 ELLINGTON IS FOREVER, VOLUME ONE. Fantasy 79005. Players: Kenny Burrell
(g), Snooky Young (tp), Thad Jones (tp, cnt, flh), Jon
Faddis (tp, piccolo tp), Jerome Richardson (ssx, tsx),
Joe Henderson (tsx), Jimmy Smith (org), Jimmy
Jones (p), Stanley Gilbert (b), Jimmie Smith or Mel
Lewis (dr), Richie Goldberg (perc), Ernie Andrews
(voc). Songs: Jump for Joy, Caravan, Chelsea
Bridge, Mood Indigo, Dont Get Around Much Anymore, C-Jam Blues, It Dont Mean a Thing (If It Aint
Got That Swing), I Didnt Know About You, Blues
Medley: Carnegie Blues/Rocks in My Bed/Jeeps
Blues/The Creole Love Call, Do Nothin Till You Hear

It from Me, Take the A Train. An alternate take of

Take the A Train, recorded at this session, appeared on ELLINGTON IS FOREVER, VOLUME
TWO (Fantasy 79008).
Feb. 13, 1975 BLACK MIRACLE. Milestone 9066.
Players: Joe Henderson (tsx, synth), George Duke
(b, synth). Songs: Gazelle, My Cherie Amour, Old
Slippers, Immaculate Deception, Soulution, Black
Miracle, What Can I Say?, Windows.
1976 COMIN AT YA! Mercury 1085. Players:
Coke Escovedo (perc, voc), Joe Henderson (tsx),
Frank Mercurio (synth), Gabor Szabo or Abel Zarate
(g), Mark Phillips (b), Nathan Rubin (strings), Errol
Knowles, The Water Sisters (voc). Songs: The
Breeze and I, Runaway, I Wouldnt Change a Thing,
Backseat, Everything Is Coming Our Way, Fried Neck
Bones and Some Homefries, Diamond Dust/Vida,
Something So Simple, Stay with Me, Hangin On,
Somebodys Callin.
Apr. 1976 ENCOUNTER.
Milestone 9077.
(Reissued as OJC-798.) Players: Flora Purim
(voc), Joe Henderson (tsx), Raul de Souza (bass tb),
McCoy Tyner (p), George Duke (p, synth), Hermeto
Pascoal (p, voc), Hugo Fattoruso (synth), Ron Carter,
Alphonso Johnson, or Byron Miller (b), Leon Ndugu
Chancler (dr), Airto Moreira (perc), Googie Coppola,
Urszula Dudziak (voc). Songs: Windows, Latinas, Uri
(The Wind), Dedicated to Bruce, Above the Rainbow,
Tomara (I Wish), Encounter, Black Narcissus.
Dec. 10, 1976 SOFT FOCUS. Timeless 104.
Players: Rick Laird (b), Joe Henderson (tsx), Tom
Grant (p), Ron Steen (d). Songs: Outer Surge, Now
You Know, Thorn in a White Rose, I Love You, Soft
Focus, Tranquility, Well Be Together Again, Epilogue.
1977 THE CAT AND THE HAT. Horizon 741.
Players: Ben Sidran (p, synth, perc, voc), Gary
Grant, Tom Harrell, Jerry Hey (trumpets), Dick Hyde
(tb), Michael Brecker, Joe Henderson (tsx), Pete
Christlieb, Tom Scott (tsx, fl), Jim Horn (bsx, fl), Mike
Mainieri (synth, vi), Suzanne Ciani or Ian Underwood
(synth), Buzzy Feiten or Lee Ritenour (g), Abraham
Laboriel (b), Steve Gadd (dr), Clause Brooks, Thish
Campbell, Craig Davis, Mike Finnegan, Frank Floyd,
Gordon Grody, Gerard Randell, Luther Vandross
(voc). Songs: Minority, Blue Daniel, Ballin the Jack,
Like Sonny, Girl Talk, Seven Steps to Heaven, Hi-Fly,
Ask Me Now, Give It to the Kids.
June 2, 1977 BARCELONA. Enja 3032. Players:
Joe Henderson (tsx), Wayne Darling (b), Ed Soph
(d). Songs: Barcelona, Mediterranean Sun, Y Todavia la Quiero.
Dec. 15, 1977 ROSEWOOD. CBS 35305.
(Reissued as Columbia Legacy 65519.) Players:
Woody Shaw (tp, flh), Curtis Fuller, Steve Turre
(trombones), Jimmy Vass (ssx, asx), Carter Jefferson, Rene McLean (ssx, tsx), Gary Bartz (asx), Joe
Henderson (tsx), James Spaulding, Art Webb (flutes),
Frank Wess (fl, piccolo),Louis Colin (harp), Onaje

Allan Gumbs or Larry Willis (p), Stafford James or

Clint Houston (b), Victor Lewis (dr), Sammy Figueroa
(conga), Armen Halburian, Nana Vasconcelos (perc),
Judi Singh (voc). Songs: Rosewood, Everytime I
See You, The Legend of the Cheops, Rahsaans
Run, Sunshowers, Theme for Maxine; Isabel, the
Liberator; Joshua C., Why.
1978 SUPER BLUE. Columbia 82866. Players:
Freddie Hubbard (tp, flh), Joe Henderson (tsx),
Hubert Laws (fl), Kenny Barron or Dale Oehler (p),
George Benson (g), Ron Carter (b), Jack DeJohnette
(dr), Pat Henderson (voc). Songs: Super Blue, To
Her Ladyship, Take It to the Ozone, Gospel Truth,
Surest Things Can Change, Theme for Kareem.
Dec. 1978 TAP STEP. Warner Brothers 3425.
(Reissued as Stretch 9006.) Players: Chick Corea
(p, synth, perc), Don Alias (tp, flh, dr, perc), Allen
Vizzutti (tp, flh), Joe Farrell (ssx, tsx), Joe Henderson
(tsx), Hubert Laws (fl, piccolo), Bunny Brunel (b,
synth), Stanley Clarke (b, piccolo b, talk box), Jamie
Faunt (piccolo b), Todd Brechtlein (dr), Airto Moreira
(dr, perc), Laudin Moreira, Laudir Soares de Oliveria
(perc), Flora Purim (voc, perc), Nain Brunel, Shelby
Flint, Gayle Moran (voc). Songs: Samba L.A., The
Embrace, Tap Step, Magic Carpet, The Slide,
Grandpa Blues, Flamenco.
Mar. 1979 PARADE. Milestone 9088. (Reissued
as OJC-1047.) Players: Ron Carter (b, piccolo b),
Jon Faddis, John Frosk, Joseph J. Shepley
(trumpets, flugelhorns), Urbie Green (tb), Tom
Bones Malone (bass tb), Joe Henderson (tsx),
Frank Wess (tsx, fl, cl), Jerry Dodgion (asx, fl, cl).
Songs: Parade, A Theme in , Sometimes I Feel
Like a Motherless Child, Tinderbox, Gypsy, G.J.T.
Aug. 20, 1979 RELAXIN AT CAMARILLO. Contemporary 14006. (Reissued as OJC-776.) Players:
Joe Henderson (tsx), Chick Corea (p), Tony Dumas
or Richard Davis (b), Peter Erskine or Tony Williams
(dr). Songs: Y Todavia la Quiero, My One and Only
Love, Crimson Lake, Yes My Dear, Relaxin at Camarillo.
Sep. 10, 1979 PINNACLES. Milestone 9093.
(Reissued as OJC-1006.) Players: J. J. Johnson
(tb), Oscar Brashear (tp), Joe Henderson (tsx),
Tommy Flanagan (p), Ron Carter (b), Billy Higgins

November 2012 Jazz Inside Magazine

(Continued on page E)
To Advertise CALL: 215-887-8880

Joe Henderson Discography (page 5)

Jazz Inside Magazine Presents A Chronological Listing of Recordings by
Saxophonist Joe Henderson As A Leader and Sideman
Including Recording Dates, Songs, Personnel, Record Label
(dr), Kenneth Nash (perc). Songs: Night Flight,
Deak, Cannonball Junction, Pinnacles, See See
Rider, Mr. Clean.
1980 VIVA BRASIL. Sugarloaf 1000. Players:
Claudio Amaral (g, b, voc, perc), Dan Reagan (tb),
Joe Henderson or Marc Baum (tsx), Kent Middleton
(fl, bongo, perc), Jay Wagner (p, org, synth, accordion, melodica, voc). Songs: O Bode, Skindo-Le-Le,
Iemanja, Voce Abousu/Desabafo, Dancing the Baio,
Ronco da Cuca, Turn to Yourself, Menina Danada,
She, Produto Nacional.
Jan. 1980 MIRROR, MIRROR. Pausa 7075. Players: Joe Henderson (tsx), Chick Corea (p), Ron
Carter (b), Billy Higgins (dr). Songs: Mirror Mirror,
Candlelight, Keystone, Joes Bolero, Whats New?,
Blues for Liebestraum.
1981 LIVE IN MONTREUX. GRP 1112. Players:
Chick Corea (p), Joe Henderson (tsx), Gary Peacock
(b), Roy Haynes (dr). Songs: Introduction, Hairy
Canary, Folk Song, Psalm, Quintet #2, Up Up And ;
Trinkle, Tinkle; So in Love, Drum Interlude, Slippery
When Wet.
SATURDAY NIGHT. Prestige 24163. Players:
Freddie Hubbard (tp, flh), Joe Henderson (tsx),
Bobby Hutcherson (vib), Billy Childs (p), Larry Klein
(b), Steve Houghton (dr). Songs: One of Another
Kind, Round Midnight, Red Clay, First Light.
Prestige 24146. Players: Freddie Hubbard (tp, flh),
Joe Henderson (tsx), Bobby Hutcherson (vib), Billy
Childs (p), Larry Klein (b), Steve Houghton (dr).
Songs: Birdlike, The Littlest One of All, The Intrepid
Fox, Skydive, Body and Soul.
Palo Alto 8014. Players: Mal Waldron (p), Joe
Henderson (tsx), David Friesen (b), Billy Higgins (dr).
Songs: Golden Golson, One Entrance Many Exits,
Chazz Jazz, Herbal Syndrome, How Deep Is the
Ocean?, Blues in 4 by 3.
May 1982 ECHOES OF AN ERA. Elektra 60021.
Players: Chaka Khan (voc), Freddie Hubbard (tp,
flh), Joe Henderson (tsx), Chick Corea (p), Stanley
Clarke (b), Lenny White (dr). Songs: Them There
Eyes, All of Me, I Mean You; I Loves You, Porgy;
Take the A Train, I Hear Music, High Wire The
Aerialist, Spring Can Really Hang You Up the Most.
60025. Players: Chick Corea (p), Freddie Hubbard
(tp), Joe Henderson (tsx), Stanley Clarke (b), Lenny
White (dr). Songs: Ls Bop, Why Wait, October
Ballade, Happy Times, Remember, Guernica.
c. July 1982 GRIFFITH PARK COLLECTION, VOLUME TWO. Elektra 60262. Players: Chick Corea
(p), Freddie Hubbard (tp), Joe Henderson (tsx),
Stanley Clarke (b), Lenny White (dr). Songs: Why
Wait, Guernica, Happy Times, October Ballade, I
To Advertise CALL: 215-887-8880

Mean You, Heres That Rainy Day.

Players: Herbie Hancock (p), Freddie Hubbard (tp),
Joe Henderson (tsx), James Newton (fl), Bobby
Hutcherson (vib), Ron Carter (b), Tony Williams (dr).
Songs: Cantaloupe Island, Recorda Me, Little Bs
Poem, Bouquet, Hat and Beard.
Oct. 19, 1986 IN THE IDIOM. Denon 1483. Players: Randy Brecker (tp, flh), Joe Henderson (tsx),
David Kikoski (p), Ron Carter (b), Al Foster (dr).
Songs: No Scratch, Hit or Miss, Forever Young,
Sang, Youre in My Heart, Theres a Mingus A Monk
Us, Moontide, Little Miss P.
Nov. 14-16, 1985 STATE OF THE TENOR, VOLUME ONE. Blue Note 46296. Players: Joe Henderson (tsx), Ron Carter (b), Al Foster (dr). Songs:
Beatrice, Friday the 13th, Happy Reunion, Loose
Change, Ask Me Now, Isotope, Stella by Starlight.
Nov. 14-16, 1985 STATE OF THE TENOR, VOLUME TWO. Blue Note 46426. Players: Joe Henderson (tsx), Ron Carter (b), Al Foster (dr). Songs:
Boo Boos Birthday, Cheryl, Y Todavia la Quiero,
Soulville, Portrait, The Bead Game.
KLOOK. Gazell 1009. Players: Woody Shaw (tp),
Nat Adderley (cnt), Grachan Moncur III (tb), Joe
Henderson, Nathan Davis (tenor saxes), Kenny Drew
(p), Jimmy Woode (b), Idris Muhammad (dr). Songs:
Work Song, For Klook, The Man from Potters Crossing, Jamaican Hot Nights, Gaby, Locksley.
Nov. 27, 1986 PUNJAB. Arco 104. Players: Joe
Henderson (tsx), Renee Rosnes (p), Marlene
Rosenberg (b), Sylvia Cuenca (dr). Songs: Punjab,
Homestretch, Blue Waltz, Friday the 13th.
May 1987 49th PARALLEL. Concord 4396. Players: Neil Swainson (b), Woody Shaw (tp), Joe Henderson (tsx), Gary Williamson (p), Jerry Fuller (dr).
Songs: 49th Parallel, Port of Spain, Southern Exposure, On the Lam, Dont Hurt Yourself, Homestretch.
July 9, 1987 AN EVENING WITH JOE HENDERSON. Red 123215. Players: Joe Henderson (tsx),
Charlie Haden (b), Al Foster (dr). Songs: Ask Me
Now, Serenity, Beatrice, Invitation.
Aug. 1987 ARCANE. Muse 5341. Players: Cindy
Blackman (dr), Wallace Roney (tp), Kenny Garrett
(asx), Joe Henderson (tsx), Larry Willis (p), Clarence
Seay or Buster Williams (b). Songs: Late Autumn,
Teeter Totter, The Awakening, Arcane, Dual Force,
Mirrored Glances, Deceptacon, Incindyary.
47977. Players: Wynton Marsalis (tp), Joe Henderson (tsx), Marcus Roberts (p), Bob Hurst (b), Elvin
Jones or Jeff Tain Watts (dr). Songs: Harriet Tubman, Elveen, Thick in the South, So This Is Jazz,

Huh?, L.C. on the Cat.

Players: Akio Sasajima (g), Joe Henderson (tsx),
Peter Saxe or John Whitely (p, synth), Kelly Sill or
John Whitfield (b), Phil Gratteau or Mark Walker (dr).
Songs: Somewhere Along the Way, Matsuri, I Hear a
Rhapsody, Morning Lake, Waltz for Evans.
1988 HUMPTY DUMPTY. Enja 8032. Players:
Akio Sasajima (g), Joe Henderson (tsx), Renee
Rosnes (p), Dave Gordon (synth), Kelly Sill (b), Joel
Spencer (dr), Marlene Alden (voc). Songs: Humpty
Dumpty, Peace, Eyes of the Dragon, Wheeler Dealer,
Seven Souls, Alone Together. (Not released until
Jan. 11, 1988 REFLECTIONS. Contemporary
14052. (Reissued as OJC-1046). Players: Frank
Morgan (asx), Joe Henderson (tsx), Bobby Hutcherson (vib), Glen Duncan (violin), John Hobbs or Mulgrew Miller (p), Larry Byrom or Dann Huff (g), Paul
Franklin (steel g), Ron Carter, Leland Sklar, or Glenn
Worf (b), Al Foster or Paul Leim (dr), Jana King,
Curtis Young (voc). Songs: Old Bowl, New Grits;
Reflections, Starting Over, Black Narcissus, Sonnymoon for Two, O.K., Caravan.
Soul Note 121184. Players: Arnett Cobb (tsx),
Jimmy Heath (ssx, tsx, fl), Joe Henderson (tsx),
Benny Green (p), Walter Schmocker (b), Doug
Hammond (dr). Songs: Cottontail, Round Midnight,
Autumn Leaves, Tenor Madness, Flying Home.
Soul Note 121194. Players: Arnett Cobb (tsx),
Jimmy Heath (ssx, tsx, fl), Joe Henderson (tsx),
Benny Green (p), Walter Schmocker (b), Doug
Hammond (dr).
Aug. 15, 1988 THE COUNTDOWN. Landmark
1519. Players: Mulgrew Miller (p), Joe Henderson
(tsx), Ron Carter (b), Tony Williams (dr). Songs: The
Countdown, Exact Change, What the World Needs
Now Is Love, 1684, Tetragon, Crystal Palace, Ambrosia, August Afternoon.
Oct. 1988 DEEP VOICES. Sea Breeze 2039.
Players: Dave Eshelman (tb), David Bendigkeit, Carl

November 2012 Jazz Inside Magazine

(Continued on page F)

Joe Henderson Discography (page 6)

Jazz Inside Magazine Presents A Chronological Listing of Recordings by
Saxophonist Joe Henderson As A Leader and Sideman
Including Recording Dates, Songs, Personnel, Record Label
Leach, Rich Theurer (trumpets), Steve Campos (tp,
flh), Bill Resch (tp, tsx), Chris Braymen, Mike Humphrey, Ken Wirt (trombones), Phil Zihorsky (bass tb),
Joe Henderson (tsx on In a Sentimental Mood),
Rory Snyder (ssx, asx, fl, cl), Marty Fettig (asx, fl,
piccolo), Glenn Richardson, Daniel Zinn (tsx, fl),
Bennett Friedman (tsx, fl, cl), Bob Farrington (bsx, fl),
Smith Dobson (p), Bruce Forman or Tim Volp (g),
Seward McCain (b), Russ Tincher (dr). Songs: To
Catch a Rainboe; Softly, As in a Morning Sunrise;
Mary Go Round, If You Change Your Mind; Deep
Voices, Part I: Open Sea; Deep Voices, Part II: Bright
Water; In a Sentimental Mood, Dabce of the Scorpion, Remembrance, Viva Corea, Were Outta Here.
Dec. 1988 SKY DANCE. Justin Time 30. Players:
Jon Ballantyne (p), Joe Henderson (tsx), Neil Swainson (b), Jerry Fuller (dr). Songs: Oh What Ive Been
Thru; Skydance, You and the Night and the Music,
Opus IV, B.Y.O. Blues, You Dont Know What Love
Is, Blues Connotation.
1989 3. Columbia 46012. Players: George Duke
(p, voc), Stanley Clarke (b, piccolo b, voc), Wayne
Shorter (ssx, tsx), Brandon Fields (asx), Joe Henderson or Kirk Whalum (tsx), Jerry Hey (tp), George
Bohannon (tb), Robert Brookins (p), Michael Landau
(g), Dennis Chambers or Ray Griffin (dr), Murray
Adler, Israel Baker, Brenton Banks, Frank dAntonio,
Michael Farril, Armen Garabedian, Endre Granat,
Reg Hill, Alexander Horvath, Bill Hybel, Neal Laite,
Mitchell Newman, Claudia Parducci, Anatoly Rosinsky (violins), Marilyn Baker, Carole Mukogawa, Dan
Neufeld, Mihail Zionvyev (violas), Ronald Cooper,
Earl Madison (cellos), Dorothy Remsen (harp), Above
the Law (rap), Gerald Alston, Philip Bailey, Carl Carwell, Leon Ndugu Chancler, Darrell Cox, Jim Gilstrap, Howard Hewett, Jeffrey Osborne, Rahsaan
Patterson, Phil Perry (vocals). Songs: Pit Bulls (An
Endangered Species), Oh Oh, No Place to Hide,
Somebody Else, Mothership Connection (Star Child),
Right by My Side, From the Deepest Corner of My
Heart, Lady, Find Out Who You Are, Quiet Time,
Fingerprints, Always.
Landmark 1523. Players: Donald Byrd (tp, flh),
Kenny Garrett (asx), Joe Henderson (tsx), Donald
Brown (p), Peter Washington (b), Al Foster (dr).
Songs: Theme for Malcolm, Thats All There Is to
Love, Pomponio, I Got It Bad (And That Aint Good),
A Certain Attitude, The Onliest, Around the Corner.
Feb. 13, 1990 BEBOP & BEYOND PLAYS THELONIOUS MONK. Blue Moon 79154. Players: Mel
Martin (ssx, tsx, fl), Warren Gale (tp, flh), Joe Henderson (tsx), Howard Johnson (bsx, tuba), George
Cables (p), Randy Vincent (g), Jeff Chambers (b),
Eddie Marshall or Donald Bailey (dr). Songs: San
Francisco Holiday, Brilliant Corners, Think of One,
Crepuscule with Nellie, Misterioso, Criss-Cross, Gallops Gallop, Ugly Beauty, Who Knows?
Aug. 1990 EL MATADOR. Jazz City 00247.
(Reissued as Evidence 22199.) Players: Kevin
Hays (p), Steve Wilson (ssx, asx), Joe Henderson

(tsx), Scott Colley (b), Bill Stewart (dr). Songs: El

Matador, Emperor Leon, Like Sonny, The Good Life,
The Brahmins Son, Nobilissima Visione, Snake
Eyes, No Such Luck.
Dec. 15, 1990 FOR THE MOMENT. Blue Note
94859. Players: Renee Rosnes (p), Steve Wilson
(ssx, asx), Joe Henderson (tsx), Ira Coleman (b), Billy
Drummond (dr). Songs: Summer Night, For the
Moment, Four in One, Malaga Moon, Nemesis,
Thinking to Myself, The Organ Grinder, Homeward.
Jan. 17, 1991 A CITY CALLED HEAVEN. Landmark 1530. Players: Donald Byrd (tp), Joe Henderson (tsx), Bobby Hutcherson (vib), Donald Brown (p),
Rufus Reid (b), Carl Allen (dr), Lorice Stevens (voc).
Songs: King Arthur, Ill Always Remember, A City
Called Heaven, Buck Down in Lu Easy Anna, Byrd
Song, Del Valle, Remember Me, Not Necessarily the
Verve 849-557. Players: Stephen Scott (p), Roy
Hargrove (tp), Justin Robinson (asx), Craig Handy or
Joe Henderson (tsx), Christian McBride or Peter
Washington (b), Lewis Nash or Jeff Tain Watts (dr).
Songs: In the Beginning, Au Privave; Steps, Paths,
and Journeys; Everything I Have Is Yours, Something
to Consider, The Fact of the Matter, Nubian Chant,
Pent-Up House, No More Misunderstandings, The
Ninth Step, All the Comforts of Home.
Mar. 16, 1991 THE STANDARD JOE. Red
123248. Players: Joe Henderson (tsx), Rufus Reid
(b), Al Foster (dr). Songs: Blue Bossa, Inner Urge,
Body and Soul (Take 1), Take the A Train, Round
Midnight, Blues in F (In n Out), Body and Soul (Take
Apr. 3-4, 1991 NEW YORK REUNION. Chesky 51.
Players: McCoy Tyner (p), Joe Henderson (tsx),
Ron Carter (b), Al Foster (dr). Songs: Recorda Me,
Miss Bea, What Is This Thing Called Love?, My Romance, Ask Me Now, Beautiful Love, A Quick Sketch,
Apr. 11, 1991 WARM VALLEY. Intersound 738.
Players: Louis Scherr (p), Joe Henderson (tsx),
Tommy Cecil (b), Tony Martucci (dr), Susan Kelly
(voc). Songs: Who Knows?, Warm Valley, Zsa Zsa,
Santorini, G-Flat Ballad, Escapade, Sarabande, Perdido.
May 2, 1991 PROFILE. Reservoir 119. Players:
Valery Ponomarev (tp), Joe Henderson (tsx), Kenny
Barron (p), Essiet Essiet (b), Victor Jones (dr).
Songs: I Was Afraid Youd Never Call Me, I Concentrate on You, Time, High Voltage at Rudys, Appointment in the North Country, My Shining Hour.
Aug. 1991 POP POP. Geffen 24426. Players:
Rickie Lee Jones (voc, g), Joe Henderson (tsx), Bob
Sheppard (tsx, cl), Charlie Shoemake (vib), Dino
Saluzzi (bandoneon), Michael Greiner (harmonica,
hurdy-gurdy), Robben Ford or Michael ONeill (g),
Charlie Haden or John Leftwich (b), Walfredo de los

Reyes (dr, bongo, perc), Steve Kindler (violin), Terry

Bradford, Donny Gerard, April Gay, Arnold McCuller,
Don Was (voc). Songs: My One and Only Love,
Spring Can Really Hang You Up the Most; Hi-Lili, HiLo; Up from the Skies, Second Time Around, Dat
Dere, Ill Be Seeing You, Bye Bye Blackbird, Ballad of
the Sad Young Men, I Wont Grow Up, Love Junkyard, Comin Back to Me.
Aug. 13, 1991 SUNBURST. Concord 4486. Players: Walter Norris (p), Joe Henderson (tsx), Larry
Grenadier (b), Mike Hyman (dr). Songs: Sunburst,
Whats New?, The Bird, Naima, This Is New, Stella
by Starlight, Never Should It Ever End, So in Love,
Rose Petals.
Aug. 16, 1991 CAUSE AND EFFECT. Muse 5447.
Players: Donald Brown (p), Joe Henderson (tsx),
James Spaulding (fl), Steve Nelson (vib, marimba),
Ron Carter (b), Kenny Washington or Carl Allen (dr),
Rudy Bird (perc), Marlon Saunders, Lenora Zenzalai
Helm (voc). Songs: The Power of the Drums, I
Should Care; Free Man, A?; Cause and Effect,
Theme for Mandela, Black Narcissus, Daddys Girl
Cynthia, The Smile of the Snake; Man in a State of
Nature, Part 1; Man in a State of Nature, Part 2.
STRAYHORN. Verve 511-779. Players: Joe Henderson (tsx), Wynton Marsalis (tp), Stephen Scott
(p), Christian McBride (b), Gregory Hutchinson (dr).
Songs: Isfahan, Johnny Come Lately, Blood Count,
Raincheck, Lotus Blossom, A Flower Is a Lovesome
Thing, Take the A Train, Drawing Room Blues,
UMMG (Upper Manhattan Medical Group), Lush Life.
Players: James Williams (p), George Coleman, Joe
Henderson, Billy Pierce (tenor saxes), James Genus
(b), Tony Reedus (dr). Songs: Fourplay, Lo Joe,
Centerpiece, Calgary, The Song Is You, Old Folks.
1992 BLACK HOPE. Warner Brothers 45017.
Players: Kenny Garrett (ssx, asx), Joe Henderson
(tsx), Kenny Kirkland (p, synth), Donald Brown
(synth), Charnett Moffett III (b), Ricky Wellman or
Brian Blade (dr), Don Alias (perc). Songs: Tacit
Dance, Spanish-Go-Round, Computer G, Van
Goghs Left Ear, Black Hope, Jackie and the Bean

November 2012 Jazz Inside Magazine

(Continued on page G)
To Advertise CALL: 215-887-8880

Joe Henderson Discography (page 7)

Jazz Inside Magazine Presents A Chronological Listing of Recordings by
Saxophonist Joe Henderson As A Leader and Sideman
Including Recording Dates, Songs, Personnel, Record Label
Stalk, Run Run Shaw, 2 Step, Bone Bop, Books and
Toys, Bye Bye Blackbird, Last Sax.
1992 FORMAN ON THE JOB. Kamei 7004.
(Reissued as GSP 2228.) Players: Bruce Forman
(g), Joe Henderson (tsx), Mark Levine (p), John Clayton (b), Vince Lateano (dr), Andy Narell (steel drums).
Songs: How Long Has This Been Going On?, Un
Poco Loco, Autumn Nocturne, Real Life, Prisione,
Last Minute Calypso, Lullaby, A Night in Tunisia,
Angels Just Are, People Will Say Were in Love, I
Concentrate on You.
Verve 533-491. Players: Joe Henderson (tsx),
Marcus Belgrave, Jon Faddis, Earl Gardner, Freddie
Hubbard, Virgil Jones, Tony Kadleck, Michael Philip
Mossman, Jimmy Owens, Nicholas Payton, Lew
Soloff, Byron Stripling, Idrees Sulieman, Ray Vega
(trumpets), Robin Eubanks, Larry Farrell, Conrad
Herwig, Jimmy Knepper, Keith OQuinn, Kiane
Zawadi (trombones), Dave Taylor or Douglas Purviance (bass tb), Dick Oatts (ssx, asx), Bobby Porcelli,
Steve Wilson, Pete Yellin (alto saxes), Craig Handy,
Rich Perry, Charlie Pillow, Tim Ries (tenor saxes),
Gary Smulyan (bsx), Chick Corea, Ronnie Mathews,
or Helio Alves (p), Nilson Matta or Christian McBride
(b), Paulinho Braga, Joe Chambers, Al Foster, or
Lewis Nash (dr). Songs: Without a Song, Isotope,
Inner Urge, Black Narcissus, A Shade of Jade, Step
Lightly, Serenity, Chelsea Bridge, Recorda Me.
Aug. 26, 1992 SUIT OF ARMOR. Justice 901.
Players: Rebecca Coupe Franks (tp, flh), Joe Henderson (tsx), Kenny Barron (p), Leni Stern (g), Buster
Williams (b), Ben Riley (dr). Songs: Suit of Armor,
Thank, U Bitch, Beginning to See the Light, Lydia, No
Gimmicks Please, Elephant Dreams, Afternoon in
Paris, Back Out; Soulful Betty, Fly.
MILES). Verve 517-674. Players: Joe Henderson
(tsx), John Scofield (g), Dave Holland (b), Al Foster
(dr). Songs: Miles Ahead, Joshua, Pfrancin (No
Blues), Flamenco Sketches, Milestones, Teo, Swing
Spring, Circle, Side Car; So Near, So Far.
Dec. 1-2, 1992 NO LOOKING BACK. Chesky 91.
Players: Laverne Butler (voc), Jon Faddis or Joe
Magnarelli (tp), Chris Potter or Joe Henderson (tsx),
Mike Renzi (p), Romero Lubambo (g), Chip Jackson
(b), Klaus Sounsaari (dr). Songs: The Song Is You, I
Cover the Waterfront, Autumn in New York, Speak
Low, Its Alright with Me, Isnt It a Pity?, Make Me
Rainbows, Ballad Medley, Come Fly with Me.
Dec. 16, 1992 HAND IN HAND. Novus 63153.
Players: Mulgrew Miller (p), Eddie Henderson (tp,
flh), Kenny Garrett (ssx, asx), Joe Henderson (tsx),
Steve Nelson (vib), Christian McBride (b), Lewis
Nash (dr). Songs: Grews Tune, For Those Who Do,
Thinkin Out Loud, Leilanis Leap, Like the Morning,
Hand in Hand, Return Trip, Waltz for Monk, Neither
Here Nor There.
1993 EVOLUTION. Madkat 1004. Players: Kitty
To Advertise CALL: 215-887-8880

Margolis (voc), Tom Peron (tp), Graham Bruce (asx),

Joe Henderson (tsx), Kenny Brooks (tsx, voc), Dick
Hindman (p), Jay Wagner (p, whistling), Joe Louis
Walker (g), Joyce Cooling (g, voc), Art Love, Seward
McCain, or Jorge Pomar (b), Gaylord Burch or Dave
Rokeach (dr), Kent Middleton (perc). Songs: Anthropology, Im Old Fashioned, Evolution, Ancient Footprints, Midnight Sun, Nothing Like You, Please Send
Me Someone to Love, You Dont Know What Love Is,
Strong Roots (Are What You Need to Win), Tristeza
de Amar, Gone with the Wind, Someone Else Is
Steppin In, When Lights Are Low, Where Do You
Feb. 1993 DONT SMOKE IN BED. Manhattan
81198. Players: Holly Cole (voc), Joe Henderson
(tsx), Art Avalos (sx, perc), Aaron Davis (p), David
Piltch (b, perc), David Lindley (g, pedal steel), Howard Levy (harmonica), Atis Bankas, Charles Elliot,
Bryan Epperson, Simon Fryer, Carol Fujino, Susan
Lipchak, Martin Loomer, Paul Meyer, Mary Carol
Nugent, Katherine Palyga, Young Dae Park, Joel
Quarrington, Christopher Redfield, Mark Sabat, Mark
Skazinetsky, Mihai Tetel, Nicole Zarry (strings).
Songs: I Can See Clearly Now, Dont Let the Teardrops Rust Your Shining Heart, Get Out of Town, So
and So, The Tennessee Waltz, Every Day Will Be
Like a Holiday, Blame It on My Youth, Evrything Ive
Got, Je ne TAime Pas, Cry If You Want To; Que
Sera, Sera (Whatever Will Be, Will Be), Dont Smoke
in Bed.
Aug, 19, 1993 TIMELESSNESS. Verve 521-306.
Players: Bheki Mseleku (asx, tsx, p, b, voc), Joe
Henderson or Pharaoh Sanders (tsx), Kent Jordan
(fl), Rodney Kendrick (p), Michael Bowie (b), Elvin
Jones (dr), Marvin Smitty Smith (dr, voc), Russell
Herman (voc). Songs: Timelessness, Vukani (Wake
Up), Looking Within, C-Ton (Planet Earth), Through
the Years, Yanini, Homeboyz, Ntuli Street, My Passion.
FRIENDS. Verve 531-566. Players: Antonio Carlos Jobim (p, voc), Joe Henderson (tsx, voc), Herbie
Hancock or Gonzalo Rubalcaba (p), Oscar CastroNeves or Paulo Jobim (g), Ron Carter (b,p), Harvey
Mason (dr), Alex Acua (perc), Shirley Horn (voc, p),
Gail Costa, Jon Hendricks (voc). Songs: Prelude:
Medley, Ela E Carioca, The Boy from Ipanema, Once
I Loved (O Amor en Paz), O Grande Amor, Chega de
Saudade (No More Blues), Agua de Beber (Water to
Drink), A Felicidade, Se Todos Fossem Iguais a
Voc, Luiza, Wave, Caminhos Cruzados, Finale: The
Girl from Ipanema (Garota de Ipanema).
Dec. 18, 1993 ROY HARGROVE WITH THE TENORS OF OUR TIME. Verve 523-019. Players: Roy
Hargrove (tp, flh), Ron Blake (ssx, tsx), Johnny Griffin, Joe Henderson, Branford Marsalis, Joshua
Redman, or Stanley Turrentine (tsx), Cyrus Chestnut
(p), Rodney Whitaker (b), Gregory Hutchinson (dr).
Songs: Soppin the Biscuit, When We Were Young,
Valse Hot, Once Forgotten, A Shade of Jade, Greens
at the Chicken Shack, Never Let Me Go, Serenity,
Across the Pond, Wild Is Love, Mental Phrasing,

Aprils Fool.
883. Players: James Williams (p), George Coleman, Joe Henderson, Billy Pierce (tenor saxes),
James Genus or Ray Drummond (b), Billy Higgins,
Tony Reedus (dr). Songs: Songs: Common Knowledge, Afro-Centric, Girl Talk, Three Card Molly, (Im
Afraid) The Masquerade Is Over), Up to the Minute
Players: Joe Henderson (tsx), Herbie Hancock or
Elaine Elias (p), Oscar Castro-Neves (g, perc), Christian McBride or Nico Assumpo (b), Jack DeJohnette or Paulinho Braga (dr). Songs: Felicidade,
Dreamer (Vivo Sonhando), Boto, Ligia, Once I Loved
(O Amor en Paz), Triste, Photograph, Portrait in
Black and White (Zingaro), No More Blues (Chega de
Saudade), Happy Madness, Passarim, Modinha.
Nov. 6, 1994 Second session to complete DOUBLE
Sep. 19, 1995 LEXICON. Double-Time 104. Players: Todd Coolman (b), Joe Henderson (tsx), Renee
Rosnes (p), Lewis Nash (dr). Songs: Lexicon, Con
Alma, Caravan, Im Getting Sentimental Over You, All
Too Soon, Summer Serenade, Cancion Para Cadiz,
You Go to My Head, One for Walton.
June 22, 1996 Second session to complete JOE
Sep. 16, 1997 PORGY AND BESS. Verve 539046. Players: Joe Henderson (tsx), Conrad Herwig
(tb), Tommy Flanagan (p), John Scofield (g), Stefon
Harris (vib), Dave Holland (b), Jack DeJohnette (dr),
Chaka Khan, Sting (voc). Songs: Introduction
Jasbo Brown Blues, Summertime, Here Come de
Honeyman/They Pass By Singing, My Mans Gone
Now, I Got Plenty o Nuttin, Bess You Is My Woman
Now, It Aint Necessarily So, I Loves You Porgy,
Theres a Boat Dats Leaving Soon For New York, Oh
Bess, Oh Wheres My Bess?

November 2012 Jazz Inside Magazine

CD Reviews
(Continued from page 44)

Harold Mabern
MR. LUCKY HighNote
The People Tree; As Long As She Needs Me;
Soft Shoe Trainin With Sammy; Hey There; Ive
Gotta Be Me; Mr. Lucky; What Kind of Fool Am
I?; Night Song; Somethings Gotta Give.
PERSONNEL: Harold Mabern, piano; Eric
Alexander, tenor sax; John Webber, bass; Joe
Farnsworth, drums.
By Mark Keresman
Harold Mabern is one of those pianists that
is such a reliable standby of a guy its almost
easy to take him for granted. Hes played with
darn near everyone (Miles, Wes, Lee Morgan,
Sonny Rollins, Lionel Hampton) and while he
can get urbane and sophisticated with the best of
them, Mabern has the feel of his hometown
Memphisin his blood, meaning old-school
funkiness and soulfulness, Southern style. Seeing as his career started in the late 1950s, there
are not all that many platters featuring Mabern as
leader. Ergo, the additional value of this here
album under discussion
As there are probably too many tribute to
CDs on the market, should the collective We
care about another, no matter how wellintentioned? In this case, most definitely yes
Mabern helms an homage to a performer whose
connection to jazz was somewhat tenuous, yet
his impact (to varying degrees) has been felt
throughout American life, namely Sammy Davis
Jr. A mainstay of Frank Sinatras notorious Rat
Pack, singer, dancer, actor, and activist, Davis
wore many hats in his lifetime and was one of
the first performers to cross (and shatter) barriers
based on skin color in American media. Mr.
Lucky is an affection, gregarious, and engaging
tribute that tips the fedora to Mr. Showbiz.
[While Davis was not a jazz singer, his approach
like that of Ol Blue Eyes/Sinatra was
informed and impacted by jazz, especially that of
the Swing Era.]
This set kicks off gently and reflectively
with Maberns sweetly lyrical pianism, and then
kicks into higher gear with a brightly mid-tempo
The People Tree. Eric Alexanders tenor is big
and brawny with just the wee-est touch of nowweve-hit-the-big-time Broadway feeling. (Davis
recorded many show tunes.) Bassist John Webber and drummer Joe Farnsworth lay down an
easygoing yet infectious grooveone can almost imagine Sammy doing a nifty soft-shoetype dance to this. As Long As She Needs Me
maintains the Broadway vibe without any
concessions to the non-jazz audience. Alexanders tone is a little bluesier here, mixing
To Advertise CALL: 215-887-8880

Rollins-ian steely shine and articulation with

Eddie Lockjaw Davis/Gene Ammons earthiness. Maberns solo here should be taught in
music schoolsnot so much for its brilliance
but for its humble economy, effortless lyricism,
and leisurely swing. Farnsworth takes after Mabern so much so you dont even notice his
tantalizing mini-solo.
Hey There makes with a little bit of
schmaltz when Sammy wanted to pour it on,
he could, and make all the blue-haired senior
ladies in the audience all warm n fuzzy. Maberns unaccompanied solo takes out some of the
too-sweet/sentimental aspects while keeping his
heart on his sleeve for the world to see. Here, his
playing is remarkably spare but never stark, with
a light, welcoming touch, as if he were serenading or playing a prelude to a lullaby for Someone
Special. The title track Mr. Lucky (by closet
hipster Henry Mancini, composer of 1960s Cinemadoms grooviest themes) is more mid-tempoyet-solidly-swinging bebop, with Mabern evoking past bop key-crackers Duke Jordan and Al
Haig (saying lots with not-lots-of-notes, dig?),
Alexander wailing in a most genteel yet bighearted, hearty fashion, bringing to mind somewhat Coleman Hawkins (who was one of the
first of the old-guard Swing Era guys to embrace
bebop) in the way that he would caress a melodic line. This opus closes out with a song associated perhaps a bit more with Frank S than
Sammy D, but what the heck? They were pals
and probably sang it togetheranyway,
Somethings Gotta Give is essayed with plenty
of got-the-world-on-a-string joie de vive (one
has to admit, the Pack knew how to live large),
Alexander getting a throaty tone at times, Mabern simmering as if he was making a banquet.
Mabern truly tickles the 88s here, getting whimsical, skirting corniness (or maybe lampooning
it), making like Fats Waller at a party getting
started, all while swinging in a punchy, dart-andweave fashion that recalls Herbie Hancock at his
most joyous.
Maberns quartet made a valentine for
Sammy Davis Jr., but its one many of us can
enjoy, one that communicates merrily his
spirit for upbeat entertainment despite what Life
throws at the collective Us.

MOZIKWebs Samba; A Felicidade; Eyes of
the Hurricane; O Amore m Paz; Pannonica;
Zelia; Desafinado; Canto das Tres Racas
PERSONNEL: Yulia Musayelyan, flute; Fernando Huergo, bass; Mauricio Zottarelli, producer, arranger; Gustavo Assis-Brasil, guitar;
Gilson Schachnik, electric keyboards, producer,
arranger; Jos Pienasola, arranger; Alejandro
Rodriguez, engineer; Taurees Habib, assistant
engineer; Gabriel Kogan, design; Renata
Bacheschi, design; Milene Corso, vocals; Yukari
Roja , vocals; Christine Vaindirlis, vocals

By Alex Henderson
One doesnt have to travel to Rio de Janeiro, So Paulo or Belo Horizonte to find quality Brazilian jazz. Plenty of it has been recorded
in the United States over the years. And while
this self-titled CD from the quintet Mozik was
recorded in 2011 in a studio at the Berklee College of Music in Boston (where it was financed
by a Berklee grant), their approach to electric
jazz is always mindful of Brazilian rhythms.
Indeed, the rhythms of Brazil are by no means an
afterthought for flutist Yulia Musayelyan, keyboardist Gilson Schachnik, guitarist Gustavo
Assis-Brasil, bassist Fernando Huergo or drummer Mauricio Zottarelli, the five musicians who
comprise Mozik.
Although Mozik include three pieces by
Antonio Carlos Jobim on this album
(Desafinado, O Amore em Paz and A Felicidade), the quintet doesnt go out of its way to
emulate 1960s bossa nova the way that many
Brazilian jazz groups do. Instead, Mozik are
more reminiscent of the 1970s and 1980s, sometimes recalling the L.A. Four (a group that included saxophonist/flutist Bud Shank and Brazilian guitarist Laurindo Almeida) and the Brazilian group Azymuth. Unlike the L.A. Four,
Mozik dont use any saxophone. But
Musayelyans flute playing does bring to mind
the flute playing that Shank brought to the L.A.
Four. And unlike Azymuth, Mozik dont include much singing. The only singing on this
album comes on the final track, Canto das Tres
Racas, which includes some wordless background vocals. Other than that, this is very much
an instrumental albumand those instrumentals
range from two lively Schachnik originals
(Zelia and Webs Samba) to Thelonious
Monks Pannonica.
Named for the Baroness Pannonica de
Koenigswarter, Pannonica has been recorded
by countless artists as a haunting ballad. That
was how Monk wrote Pannonica, and that is
how it has been approached by many other artists over the years. But Mozik take Pannonica
in an unexpected direction, adding a Brazilian
beat and playing the Monk standard at a fast
tempo. Ordinarily, one doesnt expect to hear
Pannonica played fast, and one doesnt expect
to hear it with a Brazilian beat. But both of those
things work well for Mozik, whose interpretation
of Pannonica is a most pleasant surprise.
Another pleasant surprise is Moziks version of Herbie Hancocks The Eye of the Hurricane, one of the definitive modal post-bop
pieces that Hancock composed early in his career when he was on Blue Note and had yet to
play fusion. The Eye of the Hurricane, like
Pannonica, is not a tune that one ordinarily
identifies with Brazilian jazz, but Mozik have no
problem putting a Brazilian spin on the Hancock
It Nothing
should becan
the peace
Moziks members come but
parts of the world.
Zottarelli and
(who teaches
can Schachnik
bring you peace
but at Berklee) are both natives of Brazil, while Moscowthe triumph
of up
born Musayelyan
in Russia. But one
doesnt have to be from Brazil to play Brazilian
jazz effectively, and Musayelyans lyrical flute

November 2012 Jazz Inside Magazine

(Continued on page 46)

- Ralph Waldo Emerson

demonstrates that she has no problem being

surrounded by Brazilian rhythms.
Moziks contribution to instrumental Brazilian jazz is consistently engaging on this disc.

Sam Newsome
Burkino Faso; Acknowledgement; Sub-Saharan
Dialogue; In A Sentimental Mood; Zulu Witch
Doctor; Resolution; Caravan; FELA!; Pursuance; Psalm.
PERSONNEL: Sam Newsome, unaccompanied
soprano saxophone.
By Mark Keresman
That straight saxophone member of the
saxophone family the soprano is usually the #2
reed instrument of those specializing in tenor,
alto, and/or baritone saxes and/or clarinetfew
focus on the soprano alone. The late Steve Lacy
was one, and Mr. Sam Newsome is another.
Newsome established himselfwith such leaders as Russell Gunn, Bruce Barth, Jean-Michel
Pilc, and Terence Blanchardas a tenor and
soprano saxophonist in the 90s before devoting
himself to that straight sax in varied contexts. As
suggested by its title, Art of the Soprano is all
soprano, all the time, and if it wasnt art before, it is now.
Some folks may concludeand not without
reasonthat a set of unaccompanied saxophone
(or any non-chordal instrument) may seem a
little stiff, staid, and/or dry. Art is nottrue, its
a lot more spare-sounding than a full-band or
even a duo recital, but Newsome brings a very
rhythmic sensibility to these performances. Art
begins with a puckish, oddly swinging version of
Duke Ellingtons In A Mellow Tone
Newsome squeezes out pinched tones, almost
popping or plucked-type sounds, conveying the
jolly swagger of Dukes tune. For the
Acknowledgement movement of Coltranes
A Love Supreme he plays with a big, wide
tone with more than a touch of echo (almost as if
he were in a barren hallway), swirling around
deliberately and hypnotically until the theme
emerges, stated with almost harp-like cries.
Newsome enfolds the Trane piece with delicacy
and with a loving bear-hug.
Dukes In A Sentimental Mood begins
with some Philip Glass-style minimalist repetition (no surprise, as Glass and especially Reich
were inspired in varying degrees by jazz), embracing the melody and stretching it (lots) with
dark, almost sardonic grace and then with an
aching purity, mixing Ellingtonian nobility with
pattern-based trance music, exploring where
Duke didnt go, into judicious squeaks and
skronks as Newsome explores into the dark corners of classical (well, Dukal) music. Another
piece of Ellingtonia, Caravan gets taken out

for a spin, Newsome giving the gregarious melody a humorously hoarse, raspy reading for a
verse or three, alternating with singing it with
his horn and using it to generate percussive
Throughout, Newsome plays, yes, artfully
but without any portentousnesstheres plenty
of warmth, subtle and not-so-subtle humor, and a
sense of exploration that never devolves into
what Lacy referred to as research (when Lacy
spoke of some though certainly not all totally
free improvised situations)he never makes
sounds for the sake of vaguely, abstractly
investigating pure sound. (Dont misunderstandI like/love exploration and investigation,
providing those processes actually take me
someplace beyond the musicians navel.) While
he stretches the concepts of form(s) and technique(s), he never jettisons them. To a Dave Koz
fan, Art of the Soprano might sound avant-garde;
to a Joe McPhee fan, Art might sound cautious.
The truthand there can always be more than
one, you knowis somewhere in between, and
Newsome can show you around and show you a
good time while hes at it, too.

Poncho Sanchez
341110. 100 North Crescent Dr., Suite 275, Beverly Hills, CA
90210. Web: Promenade; Poncho Sanchez
Medley; At the Mambo Inn/On Green Dolphin
Street; Crosscut Saw; Intro; Morning; A Ti
Nama; Afro Blue; Son Son Charari
PERSONNEL: Poncho Sanchez, congas, percussion, lead vocals, producer; Francisco Torres,
trombone, music director, vocals, producer; Ron
Francis Blake, trumpet, flugelhorn; Bob Hardt,
tenor saxophone, alto saxophone, piccolo flute;
Andy Langham, acoustic piano, organ; Rene
Camacho, acoustic bass, vocals; Jose Papo
Rodriguez, bongos, vocals, percussion; Angel
Rodriguez, timbales; George Dez, electric guitar,
vocals; John Burk, producer, executive producer;
Ivory Daniel, executive producer; George
Acua, Jr., engineer; Larry Sanchez, engineer;
Seth Presant, engineer; Julian Sanchez, photography; Devin Dehaven, photography; George
Horn, mastering; Albert J. Roman, graphic design

fans know that they can count on him to provide

quality Latin jazz, which is what he continues to
do on Live in Hollywood.
Sanchez has never been an innovator. Following in the stylistic footsteps of Afro-Cuban
greats like Tito Puente, Mongo Santamaria, Ray
Barretto, Tito Rodriguez and his mentor Cal
Tjader, Sanchez is a classic example of someone
who has excelled by sticking with the tried and
proven. He has demonstrated that if youre going
to be derivative, its best to be damn good at it.
And that work ethic is evident on this live recording from July 2012, which follows the usual
Sanchez recipe: a heavy emphasis on instrumental Afro-Cuban jazz, with some detours into
vocal-oriented salsa.
The vocal-oriented salsa performances on
Live in Hollywood include a brief version of A
Ti Nama and a passionate nine-minute delivery
of Son Son Charari. If Sanchez had chosen to
make vocal-oriented salsa his main focus, its
quite possible that he could have become a major
salsa star. He certainly knows his cha-cha, his
son, his mambo and his guaguanc. But most of
the time, Sanchez has applied his mastery of
Afro-Cuban rhythms to instrumental acoustic
jazz. And salsa has been an appealing side dish
on his albums, not the main course; Live in Hollywood is no exception. Afro-Cuban jazz instrumentals are the albums main course, and Sanchez band lets loose on inspired instrumental
performances of Mongo Santamarias Afro
Blue and the Clare Fischer cha-cha Morning.
The Afro-Cuban touch also yields pleasing results on an instrumental medley that includes
At the Mambo Inn and the Bronislaw Kaper
standard On Green Dolphin Street.
Occasionally, Sanchez has embraced
1960s-like soul-jazz. And on Live in Hollywood,
he does that with the vocal offering Crosscut
Saw (a humorous, R&B-influenced blues). But
Crosscut Saw doesnt detract from the CDs
Afro-Cuban appeal. Sanchez and his sideman
perform the tune in a way that recalls Pucho &
His Latin Soul Brothers, a band that combined
soul-jazz and Afro-Cuban jazz in the 1960s.
Crosscut Saw adds to the festive, celebratory mood that defines Live in Hollywood. People who dont know a lot about jazz tend to
stereotype it as ultra-intellectual music that is
beyond the comprehension of anyone who doesnt have an advanced music degree, but Sanchez
doesnt fit that stereotype at all. True to form,
Sanchez favors accessibility on this release.
Live in Hollywood falls short of essential.
Nonetheless, its a solid effort and does nothing
to harm Sanchez reputation as one of the most
dependable and hard-swinging figures in AfroCuban jazz.

By Alex Henderson
Poncho Sanchez, arguably, has had something that the majority of musicians can only
dream about: job security (assuming there is
such a thing in the highly volatile music industry). The veteran bandleader/percussionist, who
turned 60 in 2011, signed with Concords Latinoriented Picante label in 1982and 30 years
later, hes still recording for Concord. The fact
that Sanchez has been so reliable hasnt hurt;

November 2012 Jazz Inside Magazine

Self-reliance is the
only road to true freedom,
and being ones own person
is its ultimate reward

- Patricia Sampson
To Advertise CALL: 215-887-8880

New CD


Kathryn Farmer, vocals

John DiMartino, piano and synthesizer
Aaron James, bass
David F. Gibson, drums
Brian Lynch, trumpet
Frank Lacy, trombone
Amanda Sedgwick, alto sax and flute
Steven Kroon, percussion
Melvin Sparks-Hassan, guitar
TRACKS: Moondance; Bridges/Travessia;
Never Will I Marry; When October Goes;
Day by Day; Someone to Watch Over Me;
Never Make Your Move Too Soon; I Cant
Make You Love Me; The Nearness of You;
You Must Believe in Spring

Now booking for January 2013

CD Reviews

Harry Allen
Scott Hamilton
ROUND MIDNIGHTChallenge Records
73348. Web: My Melancholy Baby; Great Scott; How Am I to Know;
The Opener; Baubles, Bangles and Beads; Hey
Lock!; Lover; Flight of the Foo Birds; Round
PERSONNEL: Harry Allen, tenor saxophone,
producer; Scott Hamilton, tenor saxophone;
Rossano Sportiello, acoustic piano; Joel Forbes,
acoustic bass; Chuck Riggs, drums; Anne de
Jong, executive producer; Marcel ven den Broek,
executive producer, art director; Jim Czak, engineer; Bill Moss, assistant engineer, mastering;
Scott Yanow, liner notes; Frank Kaufman, photography
By Alex Henderson


page 2

Tenor saxophonist Harry Allen has been

described as a musician who plays swing exclusively, but truth be told, he has favored more of a
swing-to-bop approach. It is erroneous to think
that Allen gets 100% of his musical inspiration
from jazz pre-Charlie Bird Parker era; rather,
he is a perfect example of a musician who has
one foot in swing and the other in bop. And that
makes Allen a logical companion for fellow
tenor man Scott Hamilton, who joins him with
splendid results on Round Midnight. This February 2012 session finds Allen and Hamilton coleading a two-tenor acoustic quintet that also
includes pianist Rossano Sportiello, bassist Joel
Forbes and drummer Chuck Riggs, and there is
never any doubt that the two tenor men enjoy a
strong rapport. Allen and Hamilton are very
much in sync on inspired performances of Neal
Heftis Flight of the Foo Birds and Dorothy
Parkers How Am I to Know as well as Robert
Wrights Baubles, Bangles and Beads, Richard
Rodgers & Lorenz Harts Lover and George
Norton and Ernie Burnetts My Melancholy
Hamilton is the older of the two; he is now
58, while Allen is 46. However, they share
many of the same influences, including Ben
Webster and Coleman Hawkins. And both of
them draw inspiration from post-World War II
bop as well as from the small group swing of the
1930s and 1940s. It should be noted that one of
Hamiltons influences is Zoot Sims, who was
very much a part of cool jazz (which is essentially bop played with subtlety and understatement rather than aggression). Also, the fact that
this CD includes a passionate performance of
tenor saxophonist Eddie Lockjaw Davis
Hey, Lock! underscores Allen and Hamiltons
appreciation of bop. Davis started out playing
swing, but he embraced bop in a major way after
getting hip to Birds innovationsand Hey,
Lock! is a tune that Davis recorded in 1960 on a
two-tenor session he co-led with Johnny Griffin.
Another selection that underscores this
albums swing-meets-bop aesthetic is Allen and
Hamiltons version of Thelonious Monks
Round Midnight, which producer Orrin Keepnews once described as the national anthem of
jazz. Monk, of course, was one of bops most
influential pianists, and his haunting ballad became a bop standard. However, Round Midnight had swing origins; the song was first recorded in 1944 by trumpeter Cootie Williams
orchestra, and that version had a strong Duke
Ellington influence.
Round Midnight is the only ballad on
this album, which is dominated by uptempo and
medium-tempo performances. But Allen and
Hamiltons bossa nova interpretation of
Baubles, Bangles and Beads, although not
quite a ballad, is romantic and laid-back. And
when the tenor men give that standard a Brazilian jazz makeover, they are obviously mindful of
Stan Getz legendary contributions to the bossa
Two-tenor front lines have a rich history in
jazz, ranging from Gene Ammons & Sonny Stitt

and Dexter Gordon & Wardell Gray to Al Cohn

& Zoot Sims. And Allen and Hamilton have no
problem doing justice to that rich tradition on
Round Midnight.

Freddie Bryant
Blues Koan; La, La, Ohh!; Alone; Boop Bop
Bing Bash; Beginners Mind; Goddess; Passages; Bo Diddley; Bolero
PERSONNEL: Freddie Bryant, electric guitar,
acoustic guitar, vocals, producer; Patrice Blanchard; electric bass; Willard Dyson, drums, percussion; Donny McCaslin, tenor saxophone; Yosvany Terry, alto saxophone, Juan Galiardo,
acoustic piano; Steve Wilson, flute; Nia Hollister-Bernier, percussion, flute; Tom Tedesco,
engineer; Tony Haywood, executive producer;
Bill Milkowski, liner notes; Fernando Azevedo,
photography; Zoe Matthiessen, graphic design
By Alex Henderson
One thing that guitarist Freddie Bryant will
never be accused of is not having eclectic, farreaching tastes. Along the way, Bryant has embraced everything from straight-ahead bop to
traditional Indian music. Live Grooves.Epic
Tales, which is Bryants fifth album as a leader,
is probably best described as a post-bop recording that occasionally detours into fusion
territory. Bryant keeps things unpredictable on
this diverse CDnot only by offering a wide
variety of material, but also, by employing different combinations of musicians on different
songs. The core trio (Bryant on guitar and occasional vocals, Patrice Blanchard on electric bass
and Willard Dyson on drums and percussion) is
present throughout the album, while the guests
(who include tenor saxophonist Donny
McCaslin, alto saxophonist Yosvany Terry,
acoustic pianist Juan Galiardo and flutist Steve
Wilson) are only featured on certain selections.
This 2011 recording isnt actually a live
album in the usual sense; it wasnt recorded in a
club or a theater, but rather, in a recording studio
in northern New Jersey (Tedesco Studios in
Paramus). However, some type of live audience
was present, and Bryant invites audience members to do a sing-along on the Brazilian flavored
La, La, Ohh! (which contains wordless vocals). There is also a Brazilian influence on
Beginners Mind and Passages, while the
contemplative Bolero hints at the Hispanic
boleros that came out of Cuba and Mexico in the
20th Century. And the energetic Drum On,

November 2012  Jazz Inside Magazine

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Thursday, November 01, 2012 12:34


Brazilian vocalist

carol saboya

u.s. solo debut album

A magnificent presentation
5 Stars
Brent Black @CriticalJazz

excellence always finds its

way and is properly manifested
in Saboya and Adolfo
C.Michael Bailey, All About Jazz


The Music of Ivan Lins

and Milton Nascimento
Arranged and Produced by
Antonio Adolfo
Special guests:

Dave Liebman
(soprano sax and tenor sax)

Hendrik Meurkens (harmonica)

Available at all major websites


Saboya emerges as a strong

bandleader, a commanding vocalist,
and an important interpreter of
Brazilian music on Belezas
Chip Boaz, Latin Jazz Corner

Belezas is an outstanding
testament to both her own
artistry and the enduring legacy
of the two Brazilian legends whom
she honors on this record
Raul da Gama, Latin Jazz Network

A delightful album that is the

epitome of good taste and
impeccable musicality.
Amy Duncan, Jazz History Online

Belezas is a smashing release.

Everything falls into place from
start to finish. Beauty has a
name and voice:Carol Saboya.
Egidio Leitao, Musica Brasileira

Belezas should not only

reintroduce U.S. audiences to
the music of Lins and Nascimento,
it should make Carol Saboya
a household name for jazz
fans everywhere.
Jordan Richardson, Canadian Audiophile

Drum On has some Spanish flamenco appeal as

well as some Arabic, North African and Middle
Eastern appeal; the tune also has a touch of rock
energy, recalling Al DiMeolas contributions to
Chick Coreas Return to Forever. Corea and
DiMeola werent shy about incorporating flamenco when they played together in Return to
Forever in the 1970s, and Drum On, Drum On
has a Return to Forever-ish appeal even though it
doesnt use any acoustic piano or electric keyboards (the instruments that Corea played with
Bryant savors the pleasures of the blues on
Blues Koan, and he brings some Charles Mingus influence as well as some blues-rock influence to Bo Diddley. The latter doesnt actually
sound like something the late Bo Diddley (who
was a contributor to both the blues and early
rock & roll) would have recorded; its much
more cerebral. But while Diddley and Mingus
didnt have much in common stylistically, one
thing they did have in common was a love of the
blues. Diddley and Mingus both realized the
importance of playing with blues feeling, and on
Bo Diddley, Bryant reminds us of the impact
that the blues have had on everything from rock
to experimental jazz.
On the whole, Live Grooves.Epic Tales is
more post-bop than fusion. But the rock element
is part of the equation at times, and this album
probably has too much amplification for the
rigid, dogmatic jazz purists who cling to the
notion that jazz performances should always be
free of rock elements. Bryant, however, is jazzoriented without conducting himself like a pur-


page 4

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CD Reviews
ist, and his broad-minded outlook yields consistently stimulating results on Live Grooves.Epic

Pete Escovedo
Piccante 341111. Picadillo Jam; Take Some Time; Brasiliero; Dance;
True or False; Solo Tu; Fly Me to the Moon;
Sueos de los Torreros
PERSONNEL: Pete Escovedo, timbales, vocals; Juan Escovedo, congas, percussion, vocals;
Pete Michael Escovedo, drums, vocals; Sheila E,
congas, vocals; Arturo Sandoval, trumpet; Mario
Gonzales, trumpet; Louis Fastman, trumpet;
Kerry Loeschen, trombone; Joel Behrman, trombone; Melencio Magdalugo, saxophone, flute;
Dave Koz, saxophone; Joe Rotondi, acoustic
piano; Marc Van Wageningen, bass; Michael
Angel Alvarado, electric guitar; Ray Obeido,


page 6

By Alex Henderson
The Escovedo family of Northern California has been quite diverse over the years. Bandleader/percussionist Pete Escovedo and his
daughter Sheila Escovedo, a.k.a. Sheila E., and
the late Coke Escovedo (Petes brother) have
played everything from jazz, rock, soul and funk
to Afro-Cuban salsa; Alejandro Escovedo
(another one of Petes brothers) is essentially a
rocker, with his talents ranging from punk to
roots rock to alternative country-rock. Thankfully, Pete Escovedo (who is now 77) never lost
his love of Latin jazz, and there is plenty of it on
this CD (which documents a live performance at
Stern Grove in San Francisco).
Live from Stern Grove contains some vocaloriented salsamost notably, the exuberant
Dance and a performance of the standard Fly
Me to the Moon (which Escovedos band approaches as salsa romantica). But many of the
performances are instrumental, combining postbop and Afro-Cuban jazz. And that is true of
Picadillo Jam and Sueos de los Torreros as
well as Solo Tu (which boasts Sheila E. on
congas) and Take Some Time. R&B and rock
fans tend to associate Sheila with the three albums she recorded with Prince in the 1980s, but
as her appearance on Solo Tu demonstrates,
singing hits like The Glamorous Life and A
Love Bizarre didnt take away her passion for
Latin jazz.

Most of the Latin influence on this CD is

Latin music of the Afro-Cuban variety, but
Brasileiro is best described as Brazilian jazz
Brasileiro (which means Brazilian in Portuguese), the Brazilian element is stronger than the
Afro-Cuban element.
Michael Angel Alvarados rock-influenced
electric guitar solo takes True or False into the
fusion realm, although this is primarily an acoustic album and has more to do with post-bop than
it does with jazz-rock fusion. It should be noted
that saxophonist Dave Koz is featured on True
or False and uses that tune as an opportunity to
really let loose. Along the way, Koz has taken a
lot of barbs from jazz critics and straight-ahead
bop musicians for all the fluffy, lackluster
smooth jazz and elevator muzak he has recorded. But True or False isnt smooth jazz at
all, and Koz passionate, inspired solo on that
track demonstrates that he is quite capable of
playing hardcore jazz when he puts his mind to
it. Koz hasnt played all that smooth jazz because he lacks chops; he has played it to make
The band that Escovedo leads on Live from
Stern Grove has been described as an orchestra,
although its really a medium-sized unit rather
than a full-fledged big band. There are 11 musicians in addition to the various guests who are
employed at different times (Sandoval, Koz,
Sheila E. and guitarist Ray Obeido). However,

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Pete Escovedo
Live From Stern Grove Festival
The iconic percussionist returns with this vibrant new
release, featuring his daughter, Sheila E. plus special
guests Dave Koz, Ray Obiedo and Arturo Sandoval

Poncho Sanchez and His Latin Band

LIVE In Hollywood

Stefon Harris David Snchez Christian Scott

Ninety Miles: Live At Cubadisco

The conguero master, celebrating his 30th anniversary with

the label, presents this exciting collection which includes
legendary jazz classics such as Afro Blue, Mambo Inn/On
Green Dolphin Street & more

The famed vibraphonist, saxophonist and trumpeter captured

in a rare performance: this is the show that inspired their
original cross-cultural project, last years Ninety Miles,
one of the best jazz albums of 2011

All three albums available for download now

the horn section packs quite a punch and has a

way of making the band sound bigger than it is.
In a perfect world, Sandoval and Sheila E.
would have been featured more extensively on
this album. Nonetheless, this 52-minute CD is an
enjoyable document of Pete Escovedos Steve
Grove appearance.

Jeff Holmes
OF ONES OWN - Miles High Records Macaroons; Labour Day; Poinciana; The Senses Delight; One
For C.J.; Waltz #3; Of Ones Own; Rose On
Driftwood; So Long, Farewell.
PERSONNEL: Jeff Holmes, piano; Adam
Kolker, soprano & tenor saxophones, bass clarinet; James Cammack, acoustic & electric basses;
Steve Johns, drums.
By Mark Keresman
This Jeff Holmes fellow is a quadruplethreatpianist, arranger, composer, and trumpeter, along with being active in music education
and writing for such swells as Sheila Jordan,
Doc Severinsen (who knew how to protect his


page 8

chops), Paul Winter, and Yusef Lateef. For this

quartet outing, Holmes lays down some cheerily
earnest, immediate, heartfelt jazz.
It is most fitting that Holmes is joined by
James Cammack, a veteran of Ahmad Jamals
trio. While never a knock-off of Jamal, Holmes
shares a delicate but unfussy touch, a creative
use of space and economy, and a down-to-earth
quality (the latter could be a Gene Harris influence as well). While not exactly soul-jazz stylistically, Way features reverberations of gospel in
Holmes approachnot subtle, not overt. The
band plays with bright confidence, mellow
swing, and concision throughout. Labour Day
features some vivid, muscular soloing from
Holmesimagine if you will a mix of Dave
Brubeck and Horace Silverand gorgeously
fluid, pert, genial soprano from Adam Kolker.
The standard perhaps most associated with Jamal, Poinciana gets a poignantly mournful,
virtually bereaved rendition with almost heartbreaking bass clarinet from Kolker and tender,
pliant bass from Cammacka tad over seven
minutes of pure poetry in motion/notion/
The ballad mood is sustained by the similarly sublime The Senses Delightwhile not
as sad as the previous number, its a classic-tobe in the set-em-up-Joe/elegy for The One That
Got Away. Holmes piano is tender and loneliness made audible. To break the reverie is One
For C.J., a slice of punchy, piquant hard bop
with hale n hearty Kolker bass clarinet. Speaking of Kolker, he wails bittersweetly on the romp
that is the title track, with solidstirring, actu-

ally drummer Steve Johns and Cammack summer-storming beneath him and Holmes less-ismore keys. So Long, Farewell ends the festivities on a fittingly upbeat note, Kolkers burnished, big-toned, Sonny Rollins-tinged tenor
careening about happily, Holmes bob-andweave pianism, and Johns calypso-hinted punctuations.
Of Ones Own is an hour of straight-to-theheart mainstream jazz, an uncompromising yet
no-strain listen of inspired proportions.

Yoron Israel
VISIONS: THE MUSIC OF STEVIE WONDERRonja Music Company 13072. Web: Another Star; Bird of Beauty;
All in Love Is Fair; Creepin; Visions; You Are
the Sunshine of My Life; Contusion; Passionate
Raindrops; Where Were You When I Needed
You; Visions Reprise
PERSONNEL: Yoron Israel, drums, percussion, producer, executive producer; Lance Bryant, tenor saxophone, soprano saxophone; Laszlo
Gardony, acoustic piano, electric keyboards;
Ron Mahdi, bass; Thaddeus Hogarth, electric
guitar, harmonica; Larry Roland, vocals.

November 2012  Jazz Inside Magazine

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Thursday, November 01, 2012 12:38


Grammy Nominated


2012 Quotes For


I was captured from the opening bars of
the first track and was relentlessly but
delightedly held until the very end. There is
integrity and exploration to be found here
and so much beauty... Chembos Quintet
takes every opportunity for powerful solos
and they do not disappoint.
Travis Rogers, Jazz Times

New CD
Afro Blue Monk
Special Guest:
Jimmy Owens, trumpet
(2012 NEA Jazz Master
Award recipient)
Ileana Santamaria,
vocals / lyrics

Corniel is a percussion colourist who

stands head and shoulders above most of
his peers. His great artistry is informed by
his flawless technique, which he
embellishes with his consummate taste.
...In fact Corniel is almost akin to an ancient
druid who has some magical connection
to the very force of nature that produces
the echoes that pass through the gauntlet
of time itself ... In this regard, this time
around Corniel has surpassed himself
with one of his most enduring albums.
Raul da Gama, Latin Jazz Network /
Five Stars & Album of the Week,
September 17, 2012
The album is an exciting mix hard-bop
and Afro-Cuban ritual, which showcases
Corniels impressive eclecticism.
Steve Bryant, All About Jazz

Elio Villafranca, piano

Vince Cherico, drums
Ivan Renta, sax
Carlo De Rosa, bass
Distributed by
Allegro Media Group


By Alex Henderson
Improvisers who want to interpret rock and
R&B songs often run into two frustrating
schools of thought. On one hand, there are the
jazz snobs who believe that jazz musicians
should stay away from rock and R&B material
altogether. On the other hand, there are the
smooth jazz proponents who detest improvisation and believe that any performance of a rock
or R&B song should be a note-for-note cover.
But thankfully, adventurous improvisers ranging
from the Bad Plus to British singer Claire Martin
are rejecting both schools of thought. And on
Visions: The Music of Stevie Wonder, drummer/
percussionist Yoron Israel demonstrates that
Wonders songs can be excellent vehicles for
jazz expression. Israel isnt the first jazz instrumentalist to record a Wonder tribute album;
tenor saxophonist Stanley Turrentine, for example, saluted the R&B/pop giant on his Wonderland session of 1986. But while Wonderland was
mostly soul-jazz and jazz-funk, Visions is more
post-bop than anything. Much of the albums
post-bop appeal comes from tenor and soprano
saxophonist Lance Bryant, who Israel features
extensively (other sidemen include Laszlo Gardony on acoustic piano and electric keyboards,
Ron Mahdi on bass and Thaddeus Hogarth on
guitar and harmonica). Bryants influences include, among others, John Coltrane, Wayne
Shorter and Pharoah Sanders, and he helps Israel
bring Creepin, Another Star, Bird of
Beauty, You Are the Sunshine of My Life
and other Wonder gems into the realm of instru-


page 10

mental post-bop. Bryant doesnt hesitate to

stretch out and improvise; Israel and Bryant both
operate from the belief that there is no reason
why jazzmen shouldnt be as improvisatory on
Wonder material as they are on the pop songs of
Tin Pan Alley.
Visions lone vocal offering is its title track,
which finds Larry Roland offering some spoken
word poetry. Roland doesnt sing on Visions,
and he doesnt perform Wonders original lyrics
from 1973; this surprising arrangement of
Visions is spoken word all the way.
Another highlight of this release is Where
Were You When I Needed You, which Wonder
included on his 1972 album Music of My Mind
as part of an eight-minute medley that also included the hit Superwoman. On Music of My
Mind, Superwoman and Where Were You
When I Needed You are listed as one track, but
they are really two different (albeit interconnected) songs with different melodies. And over
the years, the two have often been separated by
various artists. Alto saxophonist Phil Woods, for
example, recorded an excellent jazz version of
Where Were You When I Needed You (minus
Superwoman) in 1976 for his Live from the
Showboat albumand similarly, Israel excludes
Superwoman when he embraces Where Were
You When I Needed You on this CD. But while
Woods turned a melancholy R&B/pop ballad
into a melancholy jazz ballad, Israel moves away
from the songs original ballad tempo and provides an interesting mid-tempo version. On top
of that, Israel adds to the intrigue by giving
Where Were You When I Needed You a little

Afro-Cuban appeal.
Contusion is the only song on Visions
that was an instrumental to begin with. Originally heard on Wonders Songs in the Key of Life
in 1976, Contusion was a rare example of
Wonder performing instrumental jazz-rock fusion of the Return to Forever/Weather Report/
Mahavishnu Orchestra variety. Israels interpretation of Contusion, however, isnt fusion but
rather, recalls early 1960s Coltrane.

Mike Longo
Consolidated Artists Productions CAP1033. All
Blues; Con Alma; Milestones; OW; Freddie
Freeloader; Here Tiz; Summertime; Tour De
Force; You Dont Know What Love Is; So What;
A Night in Tunisia.
PERSONNEL: Mike Longo, piano; Paul West,
bass; Ray Mosca, drums.
By Eric Harabadian

November 2012  Jazz Inside Magazine

(Continued on Page 44)

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Thursday, November 01, 2012 12:38



page 12

November 2012  Jazz Inside Magazine

To Advertise CALL: 215-887-8880

Thursday, November 01, 2012 12:38


Older jazz musicians are living

in poverty while jazz club
owners are getting rich.
NYCs top jazz clubs refuse to contribute to
pensions that would allow jazz artists to retire
with dignity. Hardworking jazz musicians
deserve better! Help us help them.
To sign the petition and learn more, visit:

Noteworthy Performances
Dizzys Club Coca Cola: 11/13-18

Donaldson emerged onto the national scene in the 1950s, and

like many saxophonists of the era was influenced by Charlie
Parker and immersed in bop and hard. He is known for his
soulful, bluesy approach to playing the alto saxophone. His
entre onto the recording scene was with Milt Jackson and
Thelonious Monk. He participated in small groups with such
artists as trumpeter Blue Mitchell, pianist Horace Silver, and
drummer Art Blakey. It was with Blakey that he recorded the
drummers legendary A Night At Birdland albums in 1954. A
2013 NEA Jazz Master, Donaldson has recorded quite a number
of albums for Blue Note in the 1950s and 1960s in the bop, hard bop, and soul jazz styles.

Club: 5/24-5/29

Jazz Standard: 11/27-12/2

Known as a jazz educator, pianist and composer, the Detroit

area native is a a versatile performer, traversing the styles of
mainstream and exploratory jazz artists. She has worked with
numerous icons in the jazz world, including Ornette Coleman,
Ron Carter, Ravi Coltrane, Tony Williams, Dave Holland, Jack
DeJohnette, vocalist Betty Carter, Charles Lloyd and more.
Among the musical influences and mentors she cites are Marcus Belgrave, Donald Waldon, and Betty Carter, pianists, Herbie Hancock, Mary Lou Williams,
Hank Jones, Alice Coltrane, Cecil Taylor, Thelonious Monk, McCoy Tyner, Dr. Billy Taylor and
others. She is a faculty member of the University of Michigan.

Blue Note: 11/23 - 25

Village Vanguard: 11/13-18

Hailing from St; Louis, he attended Howard University as a jazz

studies major, and then Berklee College of Music. Among his
performing and recording credits are Jack DeJohnette's Special Edition, Steve Coleman, Jim Hall, Herbie Hancock, Andrew
Hill, Sam Rivers, Cassandra Wilson. Osby recorded a series of
albums as a leader for the Blue Note label during the 1990s. In
2009, the saxophonist was named Playboy Magazine's Jazz
Artist of the Year. In the ever-changing music landscape, he is
known for adventurous approach, discovering emerging talentwhich goes hand in hand
with his operating his own record label after his departure from Blue Note.

Manhattan Transfer is now into its fourth

decade. In 1974, The Manhattan Transfer
began performing regularly throughout New
York City, and were soon signed to Atlantic
Records. The quartet soon released its eponymous debut in 1975, and had a national hit
with the track Operator. The group has evolved through several personnel changes,
achieved much success, and now includes Cheryl Bentyne, Janis Siegel, Tim Hauser and
Alan Paul. This astounding vocal jazz group has won an array of Grammy Awards and
nominations. The versatile quartet has covered standards, songs by jazz legends such as
Weather Report (Birdland), and has built a repertoire writing their own compositions as

Dizzys Club Coca Cola: 11/20-25

Blue Note, 11/30, 12:30 AM (technically Dec. 1)

Known for both his impressive technique, his swing, and Caribbean influences,
Alexander moved to New York in 1962. He immediately started playing at Jilly
Rizzo's jazz club, where he met Frank Sinatra. He quickly connected with Milt
Jackson and Ray Brown, and by 1964 recorded his first album. Among the many
jazz stars with whom he performed are Dizzy Gillespie, Benny Golson, Frank
Morgan and more. One of his more noteworthy recordings is Montreux Alexander in 1976 with John Clayton on bass and Jeff Hamilton on drums. Mr. Alexanders most distinctive influences are Art Tatum, Oscar Peterson, as well as
Ahmad Jamal.

Twenty-five year old bassist Michael Feinberg has been a part

of the New York City jazz scene for only a short while but has
already made a name for himself as a composer, bandleader
and accompanist. His latest recording "The Elvin Jones Project"
continues his ascent in the jazz world. At just 25 years old, the
Atlanta native and Brooklyn resident has already put out 3
records as a leader and performed alongside legends including
Billy Hart, George Garzone, John Scofield, Jean Michel Pilc,
Billy Drummond, Ralph Alessi, Ambrose Akinmusire, Dave Samuels, and Lee
Ritenour. Feinberg brings a tremendous lineup to the Blue Note on November 30th including Ari
Hoenig (drums), Tivon Pennicott (sax), Elliot Mason (trombone), and Glenn Zaleski (piano) to
showcase selections from the "Elvin Jones Project" as well as his entire oeuvre.
Cornelia Street Caf, 11/26, 6:00 PM

Artists, Music Businesses & Organizations:

Influence the jazz world and way

beyond with your messages, photos
and videos via Jazz NewsWires
Internet Marketing For The Link-Building, Traffic-Driving,
Lists & Leads to Power Your Business & Your Future  P.O. Box 30284  Elkins Park, PA 19027

CALL: 215-887-8880

Jazz Inside-2012-11_060 ...

page 2

With a studied ear toward the genius of pianists past run through
a modern musical sensibility, pianist Joe Alterman proves he is
no mere throwback. Playing with impeccable taste and joyous
verve, the rising star Alterman is a fresh face in the storied
history of the piano trio. His is playing in well-worn tracks, but his
style revitalizes the familiar, bringing to mind the sounds that
made so many turn to jazz in the first place. He plays with bassist
James Cammack, drummer Alex Raderman and tenor saxophonist Ralph Lalama. Cammack
also appears on Alterman's recent Miles High CD Give Me The Simple Life. Says saxophonist
Houston Person, one of Alterman's mentors and a contributor to the album: "Joe has a great
sense of what is most meaningful in the history and tradition of our music and a real solid musical vision of where he wants to take it.
ShapeShifter Lab, 11/27, 9:30 PM

Trombonist/composer Michael Dessen comes to New York as part of

a five-city tour for the world premiere of Resonating Abstractions, a
7-movement work inspired by the imagery of seven celebrated visual
artists and commissioned by Chamber Music America. Written
expressly for his electro-acoustic jazz trio featuring Dessen with
bassist Chris Tordini and drummer Dan Weiss, Resonating Abstractions is a kaleidoscopic rhythmically expansive work created in dialogue with a disparate array of
approaches to non-figurative painting. For the multi-faceted Dessen, a fixture in the worlds of
improvisational and technologically modulated music, color, texture and form evoke a potent
sonic response. Rather than simply create a single mood or space to parallel the painting," says
Dessen, "the music captures a dialogue among the contrasting rhythms, lines, and subtleties of
hue, finding motion in the visual ideas as they are translated to a time-based medium.

November 2012  Jazz Inside Magazine

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Thursday, November 01, 2012 20:38


mark Hollywood & Hi
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courtyard in Los Ange
such as
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Available at

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