JINYJuly 12 Web FINAL1

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coM july 2012
Interviews
Joe Fonda Oceana Restaurant Ryan Hayden Paul McLaughlin Conrad Herwig Stan Warnow On His Father Raymond Scott Composer, Bandleader, Synth Pioneer
Plenty of CD Reviews
Comprehensive Directory of NY Club Concert & Event Listings
Bass Life & Family Legacy
ShapeShifter Lab - A Creative Space Grows In Brooklyn

www.CorinaBartra.com
The Jazz Music Dashboard Smart Listening Experiences

www.ManuelValera.com www.RoniBenHur.com
THE NEW CUBAN EXPRESS
www.ScottDoc.com
Roni Ben-Hur
50th Birthday Celebration at Kitano, NY
Deconstructing Dad: The Music, Machines and Mystery of Raymond Scott Quad CInema, NY
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Opens 7/13
12TH ANNUAL SAILING OF THE JAZZ CRUISE

WHERE THE LEGENDS HAVE PLAYED & THE TRADITION CONTINUES!
L SH man OSPE ce For ordon G B r u fe G f W y c l i G re e n e d s J i m m y m i l to n h Ban Ad a m f Yout a o E r n i e l l re d Jef f H rris untain Ha the Fo n A yson Trio E C T O R Joh All Niki ynes and DIR a a r r i n e rg M U S I C K Roy H nes B Jo S h e l l y B e rg e ro n C O M E D I A N Sean nnedy e e Wayn Bodden Tom K Barbera o A l o n z B re c k e r t e t Joe La nhar t te t r o y Rand ur ton Qua away Quar J ay Le a r t i n B ll M G a r y m p to n C a a r te t Andy rk Voices a zz Qu o Ja Ann H hristlieb N ew Y a t t s ynch n te t C rian L S T O rs Qui Pete n Brothe Dick almieri-B H O W H O P S y to Cla ohen Ed d i e p l o w s k i u a r t e t e t C hen Trio Ana Ken P n Person Q t Co o E m m e Co l e Houst Rabbai e dy F re d l i f f e G e o rg s e n t h a l Trio n o Bill Cu e Francesco Ted R Sandoval CTOR D o Joey lling Trio I G B A N D D I R E Ar tur mulyan B a r te t ar y S ripling Qu Kur t E dchock G e St John F inck B y ro n r W h a r t o n F e David Jennif Wilson A is NAD Denn ilson & CA S i n te t ve W 87 EE U L-FR .9A9I O N A L StPehil Woods Qu TO L . 8 52 RN T OST OW H
JAN. 27-FEB. 3
2013
ESTE M/S W ICA AMER AND 8O8L L8F R E E I N T E .99872 HOLL T C AY 0.852 OON 80 ALF M SH ARTH S T. B AS THOM S T. SSAU NA DA L E UDER T. L A F
R DA M
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7/19:
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August 7, 14, 21 & 28:
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Hosted by Jonathan Batiste JAZZ AT ORCHARD BEACH
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A Month With Louis Armstrong and Ricky Riccardi

7/10: 343 Lenox Avenue between 127th & 128th (Donation Suggested) 7/17: Louis Armstrong On Television 7/24: Louis Armstrong in Europe 7/31: Louis Armstrong in the Recording Studio
Louis Armstrong On Stage Louis Armstrong On Film - Maysles Cinema

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NJMH Visitors Center, 104 E. 126th St. #4D
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How Satchmo remains a vital influence today with guests Jon Faddis, Bria Skonberg and others.
Funded in part by Council Member Inez E. Dickens, 9th C.D., Speaker Christine Quinn and the New York City Council
Jazz Inside Magazine

ISSN: 2150-3419 (print) ISSN 2150-3427 (online) July 2012 Volume 3, Number 12
Cover Design by Shelly Rhodes Cover photo of Matthew Garrison by Eric Nemeyer
Publisher: Eric Nemeyer Editor: Gary Heimbauer Advertising Sales & Marketing: Eric Nemeyer Circulation: Susan Brodsky Photo Editor: Joe Patitucci Layout and Design: Gail Gentry Contributing Artists: Shelly Rhodes Contributing Photographers: Eric Nemeyer, Joe Patitucci, Ken Weiss Contributing Writers: John Alexander, Chuck Anderson, Al Bunshaft; Curtis Davenport; Bill Donaldson; Eric Harabadian; Gary Heimbauer; Rick Helzer; Mark Keresman; Jan Klincewicz; Nora McCarthy; Joe Patitucci; Ken Weiss. ADVERTISING SALES 215-887-8880 Eric Nemeyer advertising@jazzinsidemagazine.com
ADVERTISING in Jazz Inside Magazine (print and online) Jazz Inside Magazine provides its advertisers with a unique opportunity to reach a highly specialized and committed jazz readership. Call our Advertising Sales Department at 215-887-8880 for media kit, rates and information. SUBSCRIPTION INFORMATION Jazz Inside (published monthly). To order a subscription, call 215-887-8880 or visit Jazz Inside on the Internet at www.jazzinsidemagazine.com. Subscription rate is $49.95 per year, USA. Please allow up to 8 weeks for processing subscriptions & changes of address. EDITORIAL POLICIES Jazz Inside does not accept unsolicited manuscripts. Persons wishing to submit a manuscript or transcription are asked to request specific permission from Jazz Inside prior to submission. All materials sent become the property of Jazz Inside unless otherwise agreed to in writing. Opinions expressed in Jazz Inside by contributing writers are their own & do not necessarily express the opinions of Jazz Inside, Eric Nemeyer Corporation or its affiliates. SUBMITTING PRODUCTS FOR REVIEW Companies or individuals seeking reviews of their recordings, books, videos, software and other products: Send TWO COPIES of each CD or product to the attention of the Editorial Dept. All materials sent become the property of Jazz Inside, and may or may not be reviewed, at any time. COPYRIGHT NOTICE Copyright 2012 by Eric Nemeyer Corporation. All rights reserved. No part of this publication may be copied or duplicated in any form, by any means without prior written consent. Copying of this publication is in violation of the United States Federal Copyright Law (17 USC 101 et seq.). Violators may be subject to criminal penalties and liability for substantial monetary damages, including statutory damages up to $50,000 per infringement, costs and attorneys fees.
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CONTENTS
CLUBS, CONCERTS, EVENTS 15 Calendar of Events, Concerts, Festivals and Club Performances 29 Clubs & Venue Listings 60 Noteworthy Performances
32
SUMMER FESTIVAL GUIDE FEATURE Matthew Garrison & ShapeShifter Lab INTERVIEWS Conrad Herwig Joe Fonda by Eric Harabadian
35
Stan Warnow - Film Maker discusses his film Deconstructing Dad 48 about his father Raymond Scott, his music, bands and machines. VENUE PROFILE - Oceana Restaurant Paul McLughlin and Ryan Hayden Discuss the Jazz Series 46
CD REVIEWS
Bela Fleck & Marcus Roberts; Tom Harrell; John A. Lewis, Joe Locke & Geoffrey Keezer; Carmen Lundy; Aruam Ortiz; Sunnie Paxson; Ben Powell; Marianne Solivan; Akiko Tsuruga; Gabriel Vicens CDs Received by Jazz Inside from Artists Labels & Publicists (June 2012)
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sumi tonooka
Pianist & Composer
...swings with clear delight and easy grace USA Today Long recognized by her peers as a scintillating improviser, Tonooka offers an authoritative statement with her first solo session, confirming her status as a capaciously creative composer and a keyboard stylist of the highest order.
New CD: NOW Two-Disc Set

Available at cdbaby.com/cd/sumitonooka facebook.com/sumitonooka.NOW.1
www.SumiTonooka.com
Photo Karen Sterling
Feature
Bass Life & Family Legacy
Matthew Garrison
A Creative Space Grows In Brooklyn
Interview & Photos By Eric Nemeyer
Bassist Matthew Garrison has performed, toured and recorded with an array of influential artists including Herbie Hancock, Joe Zawinul, Chaka Khan, Meshell Ndegeocello, Joni Mitchell, Whitney Houston, Wayne Shorter, Jack DeJohnette, Steve Coleman, The Saturday Night Live Band, Michael Brecker, Randy Brecker, Mike Stern, Pat Metheny and many more. Garrison is the son of bassist Jimmy Garrison, who was a member of the classic John Coltrane Quartet from 1962-67. After the elder Garrison died in 1976, while Matthew was only six, the family moved to Rome. He began studying piano and bass while in high school. Matthew returned to the United States in 1988, living with his godfather Jack DeJohnette, and studying with both DeJohnette and bassist Dave Holland. He attended Berklee College of Music. In 2012, Garrison with his business partner Fortuna Sung, created and opened ShapeShifter Lab, a performance and recording venue in Brooklyn.
JI: Your family moved to Rome, and you spent a number of years there including your high school years. Then you returned to the United States, and you lived with Jack DeJohnettes family. As I understand, you were able to observe rehearsals that Jack had at his home, and develop associations with the artists who visited, such as Herbie Hancock. You mentioned that your experience during those years helped you gain direction. MG: It was one of those moments. I would hear them playing. I was like, Oh my God. I dont know what the hells going on but I gotta see what this means. Youre always searching. Its almost like this drug or this habit that you have to fulfill. I dont know if Ill ever achieve it but Ive been trying pretty hard. The one thing that I
took away from hanging out with Jack and just being around him and just understanding how he was doing his thing is that its very simple. Its very childish in a way - his approach to music. He just loves it and it just happens. But at the same moment, he was imparting to me that its something as serious as your existence, as your life. If I wouldnt practice, he would really come down on me hard. Theres a simplicity to it but theres also that dedication that this is what you breathe, you live, you drink. This is it. So do it. And man, hes one of the greatest cats Ive ever met in my life. One thing I definitely learned about all these folks is the seriousness with which they approach their thing. Its like its no joke but its still playful so that you dont have to be so serious about it but you do. Thats pretty much it. I think the work ethic is critical. When I watched Jack and the musicians that rehearsed at his place, when they start, its relentless. Theyll go and go and go and go, and youre like, Oh my God. What the heck? When does it stop? And it doesnt. It never does. You know, its beautiful. JI: So how long were you at Jacks place then? MG: I think about a year. After maybe three or four months at Jacks, I decided I should play music. He helped me to apply to Berklee. The first year I had a really hard time. There were so many bad cats. I was like, Oh my God. Kurt Rosenwinkel, Seamus Blake, Chris Cheek, Josh Redman, Geoff Keezer I was like, What the
Shapeshifter Lab 18 Whitwell Place Brooklyn, NY11215 www.ShapeShifterLab.com 646-820-9452

(Continued on page 6) 4
July 2012 Jazz Inside Magazine www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880
The Sound
as requested by you.
You asked for the playability and sound of the early Otto Links. We listened.
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The most beautiful thing about music is the ability to fail. You know, so through failure, then theres another attempt and with that secondary and tertiary and, you know, the consecutive attempts, is growth and possibility and new directions and new opportunities.
hell am I doing here? After about a year of suffering, I decided to really put my head to it. I took a whole summer off and I practiced my butt off. When I came back, I was doing everything with everybody all the time. I just continued working from that point on for about a decade. I didnt stop. JI: Were you practicing upright and electric bass? MG: No, mainly electric. I focused primarily on harmony and understanding the fret board versus technical, flashy stuff. It was much easier for me to integrate into the jazz world because I understood how that information worked. I went straight from Gary Burton to Steve Coleman to [John] McLaughlin and Herbie [Hancock]. It was consecutive. Just one after the other. JI: Were you motivated to play bass from the start - as opposed to any other instrument? MG: Definitely. Thats been my only instrument really. I play a little bit of piano. JI: Talk a little bit about your connection with and the influence youve experienced from your dad, Jimmy Garrison, who of course performed and recorded with John Coltrane during the classic Quartet period 1962-1967. MG: Unfortunately I didnt get to know my dad too well because he died when I was about six. After that, there were always a lot of musicians and artists around us that would give me information about my dad. It was very helpful because they would just fill in all these gaps. Thats still ongoing, by the way. Maybe thats also the other reason why Im really into the music - because it helps me stay connected to my father. I would have loved to have a talk with him these days. I listen a lot to his work. There was a lot of influence from that. I try to emulate as much as I can the sounds or the texture or the rhythmic concepts of playing acoustic bass on electric. I think thats been a conflict. On acoustic bass you have a much deeper understanding of dynamics and time stretching. If you can apply some of those ideas to the electric bass, it gives you a totally different sense of the instrument. I think thats where cats like Jaco Pastorius and Marcus Miller come from. He sounds different these days. But if you listen to his earlier works, you can really hear that he had some of those inflections on the electric bass. So, yeah, my dad is here right now - in this space. Its for him in the end. Im saying its for him and his folks, and all the people that left us all this amazing art. JI: Lets talk about some of the lessons youve learned or advice youve received from some of the influential artists with whom youve played and how they have made an impact on your evolution as an artist. Joe Zawinul. MG: Amazing cat. When I came to Joes band, Id already been working with Steve Coleman.
(Continued on page 38) 6

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So, by the time I got to Joes band, what I was doing wrong was I had some expectations in my mind about how the music should have been played - which he totally derailed. He was like, Look man, were gonna be playing some show tunes. In a way, playing with Joe was a little bit of putting on a show which is great. I didnt mind it at all. But in the beginning I was like, Well cant we play Teen Town. He was like, Man, I dont play that sh*t no more. He set me straight on a number of levels, and he was also one of those hard-ass band leaders. You hade to learn how to deal with him and then play the music and those moments where he would just go with the band or just let it go I would get goose bumps. Amazing stuff. Incredible. JI: On a whole different level, you played with Chaka Chan. MG: Yeah. That was bad. Shes killer. She just has that propulsion even in her approach to the musicians. She just pulls you forward. Shes an impressive human being. JI: Did she provide any instructions? MG: No. She just let you do your thing. On the other hand, with Joe, there was always something. I went from playing two fingered technique to a four fingered technique that I made up for myself. He got all pissed off. Man, why you playing all those ******* notes? Slow down! Chaka was very loose. Very supportive. Very cool. JI: And Steve Coleman is far more exploratory. MG: Incredible. I still think that this cat, no matter what hes doing is probably one of the most important musicians of the 20th and 21st Centuries. He helps redefine a way of playing stuff. I feel really fortunate that hes starting to do some work in here. It blew my mind working with him. To this day I wouldnt know what to do with most of it. JI: What was some of the guidance or instruction that you got from him? MG: I was terrible. There was none. On my first gig with him we drove across the United States for three days. I was hoping that he would give me some information while were driving before we got to the gig because when we got there, we were supposed to play. Three days go by and he didnt tell me anything. We get on stage and I still dont know. Nothing! So he just started. He played a little phrase. Were up in front of the people and the two other guys start playing. I
dont know what the heck is going on. Then I hear him keep playing this little phrase. Im like, What the hell is going on? And, he does that a few times. Then he turns around and he puts his horn in my face. That was the bass line. Im like. Oh my God. Whats happening here? I just came from playing with Gary Burton where everythings very exact - all the charts. Steve was the complete opposite of all of that. I loved it but I was scared. Still to this day I dont get it. JI: What was the biggest challenge for you throughout that gig? MG: When you play his tunes, you have to learn everybody elses part, and know as the performance is taking place where everybody is at any given moment. On top of that, hes throwing in all these wrenches by creating these little musical cues that you have to be absolutely aware of. So if you focus too much on the other peoples stuff and he throws in a little thing, youll miss it. There are these big cycles, and everybody has different cycles, and theyre supposed to line up after X amount of cycles. Then everybody gets one together and its this big moment. Youve just got to be ready all the time. Youre always on your toes. The way he looks at the band is as if he can rewind and fast forward and pause you. So its deep man. Its good. JI: Were there some others that you had significant experiences with that offered up some words of advice or guidance that made a significant impact on you like Paul Simon, Tito Puente, Herbie Hancock? What was your association with those people? MG: I was playing in the Saturday Night Live Orchestra, where we did several concerts and Paul Simon was a brief little thing. Herbie was beautiful because hes one of those guys who doesnt really talk much and he doesnt really say much in terms of the music. He just lets it happen. So if theres a lull in the process, he wont force it. Hell just wait for somebody to say something on their instrument and then well go in that direction. I really appreciated that about his freedom with the concerts. Hes also very diligent about the chords and the structure. This is what were gonna play but then just do what you want, kind of. Very free spirit. I love one statement that I got from Bob Moses when I was quite young. I was like 19. Hes like, Hey man. It was because I think I kept whacking up the passes or something on one of his tunes. He says, Look man, dont worry about it. The most beautiful thing about music is the ability to fail. You know, so through failure, then theres another attempt and with that secondary and
tertiary and, you know, the consecutive attempts, is growth and possibility and new directions and new opportunities. JI: Talk about some of your musical influences and how youve incorporated those into your playing and composing. MG: A lot of folks that I worked with were major, major influences for me Steve Coleman, Joe Zawinul, Stevie Wonder. Some composers were also a big influence as well as, Stravinsky, Prokofiev One of my favorite pieces of classical music [by Prokofiev] is Peter and the Wolf. As a child, I was enthralled by that. I learned later that there are beautiful dark harmonies underneath the beautiful melodies intricate stuff. Thats another thing Ive always been trying to do in terms of my writing - to try to create something thats melodically captivating but where I can express my kind of dark side on the underneath without people really noticing. JI: If there is one for you, whats the connection between music and spirituality? MG: All I can tell you is that I think music is my religion. Ultimately, that should pretty much say it all. Its just like I was telling you before, there are moments where youre performing it or watching music, or experiencing music and you exit yourself and youre connected to something much greater. Im not even sure what that is but that, to me, is what I look for as much as possible. If I can get past myself and just listen when I can let go of listening to myself talking to myself, I can really connect to something thats much greater. Its much more infinite or impossible to define - which is probably in the end, what were all dealing with. Where are we? Who are we? What is this? Whats happening? What is this universe? Thats beautiful man. JI: Matt, with all of the work on ShapeShifter Lab and the need to nurture the growth of this creative space, whats your practice and composing schedule like? MG: Its really just the last part of it, which is mainly composing. The practicing kind of falls in line with it. Ill write something interesting and then Ill just work on that particular thing. Ive been writing a lot of music and thats my practice time and I love it. Its the best practice I can get. JI: You mentioned that your original vision for this creative space that is now ShapeShifter Lab, was something you were imagining since you were a teen. What kinds of ideas were going
Its very childish in a way - his approach to music. He just loves it and it just happens. But at the same moment, he was imparting to me that its something as serious as your existence, as your life. Theres a simplicity to it but theres also that dedication that this is what you breathe, you live, you drink.
8
The Man Who Made Cartoons Swing

You maY not know his name, but You know his music
Deconstructing Dad
RAYMOND SCOTT
awaRD-winninG DocumentaRY about the musicaL anD technoLoGicaL VisionaRY a Film by stan waRnow
an enthralling film that tells the story of a truly pivotal figure in 20th-century music. A poignant, compelling attempt by a son to understand his father; we know about the works of great artists like da Vinci, but rarely do we hear how their artistic triumphs affected their own families. an essential view inside the wonders of creative genius, American-style. La weekLY, John Payne A very powerful, honest, direct, and personal documentary film. nPR, Radio Times, Marty Moss-Coane a fascinating look at a musical genius and the way he lived his life. This absorbing, highly personal documentary is well worth checking out. Warnow allows us to share his journey of discovery as he pieces together the story of his father. I thoroughly enjoyed it. LeonaRD maLtin, film critic, historian & author
A Film by STA N WA RN OW
Deconstructing Dad
e
A FAS CIN ATI NG LOO K AT A MU SIC AL GEN AN D THE WA IUS Y HE LIV ED HIS LIFE Leonar d Maltin
the music, machines and mystery of
R AY M O N D S COTT
You maY not Kno w his nam e but you know his musi c from warner Bros. cartoons, and his elect ronic musi cal instr umen pave d the way ts for toda ys synth esize rs and sequ ence rs. his only son prov ides a uniq ue persp ectiv e on one of the 20th centu rys unsu ng geniu ses.
The Music, Mac hines and Mys tery of
co-produced By Jeff
Waterfall films ltd. presen ts deconstructin g dad a film By stan Warn oW produced, directed, photog the music, machines raphed and edited By stan Winn
er
animation seQuence By scot
t sangiacomo
and mystery of raym ond scott WarnoW music By raym

www.scottdoc.c
ond scott
om
PLAYING JULY 13 - 19
QUAD CINEMA
34 west 13th street (between 5th & 6th Ave) www.quadcinema.com Daily showtimes:
at the
1pm 3pm 5:15pm 7:30pm 9:50pm

Q&A with filmmaker after select shows on opening weekend. See website for details. For advance tickets go to: www.movietickets.com For press inquiries contact: Isil Bagdadi CAVU Pictures/ CAVU PR 212-246-6300 isil@cavupictures.com
www.scottdoc.com
O P E N S J U LY 1 3
Poster design by Piet
Schreuders
through your mind during this process during those many years and how did your concept evolve? MG: We initially wanted to just open up a space for educational purposes and teaching. As we kept mulling this over, I kept looking at my phone book and all these thousands of people I actually know. By looking through my phone book, I started realizing the reason why I was thinking about calling most of these people so that I could involve them in creating some courses and get this whole teaching program going. Why do we have to limit it to that? All these folks are here in New York City. Why dont we just start doing some shows while we prepare? So the initial intention was to open a space for education, which was going to be an expansion on my website, which is where I post all this material. It very quickly transformed into this other thing. By the time we got the space, it took on another whole level because now we had a very large space within which we could do video and audio capture and rehearsals and workshops. Then we just started looking at all those possibilities. Okay, why dont we try a bit of everything? On top of that, we wanted to tackle a bit of management and some booking, some overseas booking stuff. So I was the first guinea pig for that and it worked out very successfully but as soon as we pulled in some other folks, it was a little bit more than we could handle. As we are in the space, things will keep shifting a little bit depending on what we feel we can make happen and also what can keep us survivable, open and functional. Thats also the beauty of the space. If you have the right people inside there, youre not limited to a particular market. Now we can tackle as many potential things as we can handle - and it keeps changing depending on whats gonna work. That comes back to the theory of everything we do throughout our lives has function and meaning and should be re-examined, re-expressed, re-tried and I think thats really what Shapeshifter Lab is about. I think even the words themselves have one shape that shifts into the next and simultaneously, youre in a laboratory. JI: What was the process like as your vision began to take shape while you were seeking space for the Shapeshifter Lab to become a reality? MG: We wanted to have certain structures that could be moved around the room that could give you a different perspective or a different presentation angle that the sound system could be rotated and moved and changed. Surround sound was a heavy part of what Im doing but we still have to have a proper set up for that. The initial vision of the actual space and the mechanics of it is far more than we can afford. Whats interesting about the space as it is, its just kind of rustic and its got that raw kind of loft space thing, which I grew up in - and were slowly adding those elements as we can. Actually, something I found out which is a little bit more interesting is this. Instead of us doing that to the space itself, it seems to me whats happening is that the artists both musicians and also the actual arts in terms
10
of painting and structures and stuff like that theyre starting to make it shift. JI: Of course, ShapeShifter Lab is run by a musician, you, someone who is composing and performing, creating music all the time. That is naturally going to drive the operation and goals of the venue with a somewhat different perspective than venues that may be owned or managed by jazz fans or business people. How would you characterize that different perspective for readers in terms of what they can expect, where ShapeShifter Lab is going to go and so forth? MG: As I was telling you earlier, my main objective is that folks come in here and feel like, first of all, the artists, they come in here and they feel right. They feel at home or in a space thats conducive to creating something. We want the space to run on its own. But what Ive been asking a lot of musicians is to attempt to bring something thats really new for them and not their standard procedure thing - just come in and do something thats completely uncomfortable. Simultaneously, I think that the audiences that do come here are very attentive. Theyre very attentive to the process. Theyre really involved. We havent even tackled another portion, where I want them to be involved, where they just get into it. You know, theyre part of it. And people get it, man. As soon as you walk in, you get it even a lot of the cats that I called for months and months trying to get them in here. Theyre just like, Oh, okay, whatever. Then they walk in here and theyre . Okay. Gotcha. It hap-
pened with Steve Coleman, for example. Id been inviting him since before we opened. Then, one night, I did a duo performance with one of his drummers. Steve happened to show up that night. Then when I showed him this website thing Im doing, he just flipped out. Hes like, OK, we gotta do this. So now hes starting to book here and hes already got a three day workshop here and theres a lot more coming. JI: Could you talk a bit more about the lifelong development of this idea youve been nurturing that is now a reality in Shapeshifter Lab? MG: You could call it lifelong research because it started when I was a kid. I grew up in New York City and we had a loft. We were very entrenched in the whole movement of the time and my mother was a choreographer and dancer and, of course, my dad [Jimmy Garrison] was a bass player. They werent together at the time but in this period that my mother owned this loft, we had all these crazy performances and shows and musicians were there all the time - from David Murray to Chico Friedman to Fred Hopkins. JI: Tell us about the timetable you followed in laying the foundation for the ShapeShifter Lab from the creation of the business plan to the time you hammered the first nail and ultimately debuting the space to the public? MG: I think we had to wait about four to five months for our construction permits from the city. Meanwhile I was doing recordings in the
space. I wasnt quite ready for it acoustically. It functioned, so I did a lot of video shoots and audio recordings. People would come and rehearse. So we slowly kind of started tapping into musicians, saying, Hey, come on down. See whats going on. Quite a few people saw it before anything was in here. What was scary was our build-out hearing should have been in the first three to four months - which of course didnt happen. Then rent kicked in and we were still waiting for the city. They eventually released the work permits and that took maybe four months of construction, and throughout the construction, we still had things going on. Id still do recordings and all kinds of cool stuff. People would come and hang out and help out. A lot of musicians would come and help paint, put some nails in and stuff alongside the contractors. After about four months or so, the panic really set in. So around February, we said, Lets go. For about the first month, it was a little slow. People didnt know where it was. Theyd get lost coming here, and they still do. But we just kept at it. It gets better and better every week. Some nights were jam packed. So the jam packed evenings really help for the slow evenings. What I mean by slow is that the attendance is smaller but the music is of the utmost caliber. You cant ask for anything better. You see the line up of people we have here. Some nights we have 30 to 40 people in a space that can theoretically fit like 450. From my perspective, the important thing is that were in New York. The square footage in the space itself is 3,600, and then we have another 800 in the office. Were licensed for a
July 2012
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11
capacity of 200 people and the only reason is because at this stage, we cant afford to put in the sprinkler system, which would cost another $40,000 to $60,000. What we can afford, we do and what we cant, we wait. I prefer that the audience pays for those things at this point. JI: What are the challenges that youre experiencing in terms of getting people to show up? MG: We havent really done a full blown marketing campaign. Were just letting it happen kind of organically and so its not so much of a challenge. Were just biding our time to get everything absolutely in order. Were still waiting on our beer and wine license to fully clear. Its been conditionally approved since November of last year, but the city has to give their final stamp on one last document. Its called the PA, public assembly. We know we can get more people out to some of these shows that have a lower attendance. Its not necessarily a challenge because we know certain bands will attract a lot of people - and when you put em in here, they do. Our beer and wine license will really help because what Id like to be able to do is offer some guarantees which we cant quite do yet. Right now its only tickets. We also rent the space out for whatever people want to do. We have private events and photo shoots, video shoots, so that also is very helpful. Keeps us moving and it helps also when ticket sales are low, so its working. Its working. JI: Whats your long-term vision for
ShapeShifter Lab? MG: One of the first things wed like to do is buy the building and to expand from there. Weve put this in our business plan. Wed like to be able to have a second version of this, if possible. Id like to develop more educational stuff perhaps have a whole school portion. Im not sure where its going but at this rate of growth and how things are happening so quickly, new ideas keep popping up. JI: Its good to know that you smartly took the time to write a business plan. A lot of musicians would benefit by writing one themselves. As a mentor told me once, if you have your business plan in your head rather than in writing, then you dont have a business plan. MG: Right. Thats where I tell you, where Fortunas pretty amazing. She comes from a business background. We balance my conceptual stuff against actual numerical details and we function with that reality. When I start going crazy, shes like. Yo. And when she starts going straight too much with the numbers, I pull her back in and show her that because shes so used to the business side, she might forget the human interaction, where you have to trade things at first to make things happen. Im very aware of that because Ive been in this music world all these years. You cant just put a number down and people react. It doesnt work that way.
JI: Fortuna, since you wrote the business plan for ShapeShifter Lab, could you share your perspectives about how youve brought this to life with Matt? FS: The concept started in 2010. Matt was talking about this idea of his being a musician and how difficult it was to get venues to present new projects. We wanted to create a space where people can present different ideas freely and make the stage morphable. Thats when I started putting together the business plan. So we started looking for the space and we found the space. We started looking at more warehouse spaces, because theyre very open. We found a space where the roof did not have these wooden rafters and the walls were brick. So we painted the space, white brick walls to display artwork and we leave the rafters exposed, so its very much like a loft scene and we like the open idea where, again, going back to the creative idea, so people dont have to be limited. We opened up two walls to make it even more open and it helps let the sound travel better as well. Its a very bare canvas I would say. Like, when you come in, it has almost that museum kind of look. JI: And so you and Matt have become expert painters? FS: Yes. You know, we did have an architect in the beginning but it was very hard to work with the architect in terms of time scheduling. I was more like a trained interior designer so I did most of the drawings for the plans and the eleva-
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July 2012
tions, all the drawings we were submitting permits for the city. Thats my involvement in the space as well, like being the draftsman I would say. I was more like into design and art but my career moved to managing events. Im not a musician but my family came from an artistic background so Im pretty familiar with the environment. Matt and I were high school buddies. I met him when I was 14 and I was going to school in Rome, Italy then - 25 years ago. Many years later, he came up with this concept and also his website concept. So I went back home, did some calculations, proposed to him this business plan and it started from there. I was living in Hong Kong and he said, Ill be in Tokyo. At that time he was performing with Whitney Houston. I went to Japan from Hong Kong for a skiing trip and we met there. It felt like no time elapsed since we met in Rome. It was perfect timing because at that time his tour with Whitney Houston was coming to an end and he was trying to return to Brooklyn to settle down. I was tired of the culturally-lacking scene in Hong Kong. I visited New York a few times and this is the place where I want to be. So I gave up everything and started this whole thing with Matt and its just perfect timing. This is almost like a flagship place and we want to open another one. We dont know where yet - possibly in L.A. and possibly in Asia. We want to spread the concept around the world, especially Asia, where this is lacking. And they need that. JI: What kinds of understandings or attitudes do you expect from those with whom you do busi-
ness or who perform here? MG: Oh my God. I mean, again, its another side of whats happening here. Its like everybody who comes to work here, I have a very specific thing I request of them. That is, the people that come to lay their bare naked souls out to the rest of us have to be cherished and respected as such. Theres a respect level that has to be generated from beat one. Theyve gotta respect these human beings when they walk in this door. Thats the only thing I wanna see. Anybody that doesnt wanna deal with that cant work here. Weve had a few bad apples and theyre gone. Its not easy. Theres a lot of work to do - which is also another stressful side. Were here every day. Were curating every part of this. I refuse to do anything else right now. All the details and we still have to prepare for the next day and the next day after that. Were booked all the way up until November at the moment. The musicians know whats up. Im never going to double cross anybody. They know that about me which is awesome - because Im in the trenches with these cats. Theres another thing that were developing in the space - its my next recording project. Its gone so far in terms of some new territory that Ive actually applied for a patent for this online technology that we developed. Its going to be the outward expression or the web expression of whats happening in the space and its all completely connected.
July 2012
13
ShapeShifter Lab
Bill McHenry (above left) Andrew DAngelo
(alto sax, below right)
June 26, 2012 Performance
Fortuna Sung & Matthew Garrison

(above right)
14
July 2012
Calendar of Events
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NEW YORK CITY
Sun 7/1: Limn Dance Company with Paquito
6th Ave. 212-255-4746. www.juniormance.com

Sun 7/1, 7/8, 7/15, 7/22, 7/29: Arthurs Tavern.
DRivera at Central Park Summerstage. 8:00pm. Free. 69th St. @ 5th Ave. 212-360-2777. www.cityparksfoundation.org Sun 7/1, 7/15,7/29: Swingadelic at Swing 46. 8:30pm. 349 W. 46th St. www.swing46.com Sun 7/1, 7/10, 7/17, 7/24, 7/31: Jazz in the Square Concert Series at Union Square Park. Noon. Free. West side seating area. Sponsored by The New School for Jazz & Contemporary Music and the NYC Dept. of Parks & Recreation. www.newschool.edu/jazz Sun 7/1: Somethin Jazz Club. Luis Laud Mouth Camacho @ 7:00pm. 212 E. 52nd St., 3rd Fl. (Bet. 2nd & 3rd Ave.) 212-371-7657. . Sun 7/1, 7/8, 7/15, 7/22, 7/29: Junior Mance at Caf Loup. 6:30pm. No cover. 105 W. 13th St. @
Creole Cooking Jazz Band at 7:00pm. House Rockin Blues at 10:00pm. 57 Grove St. 212-6756879. www.arthurstavernnyc.com Sun 7/1: Birdland. Kat Gang @ 6:00pm. Tim Hagans Quartet @ 9:00pm & 11:00pm. 315 W. 44th St. Sun 7/1, 7/8, 7/15, 7/22, 7/29: Tony Middleton Trio at Kitano. 11:00am & 1:00pm. $35 for buffet with Bloody Mary, Mimosa or Aperol Spritz. 66 Park Ave @ 38th St. 212-885-7119. www.kitano.com Sun 7/1, 7/8, 7/15, 7/22, 7/29: Jazz Vespers at St. Peters Church. 5:00pm 619 Lexington Ave. @ 54th St. 212-242-2022. (Bet. 53rd & 54th St.) www.saintpeters.org. Mon 7/2: Melissa Stylianou with Gene Bertoncini & Ike Strum at The Bar Next Door. 8:30pm & 10:30pm. $12; 1-drink min. 129 MacDougal St. 212-
15
529-5945. www.lalanternacaffe.com. www.jaleelshaw.com

Mon 7/2: Jean-Michel Pilc with Noam Wiesenberg at 55 Bar. 55
Christopher St. 212-929-9883. www.55bar.com.

Mon 7/2, 7/9, 7/16, 7/23, 7/30: Jam Session with Iris Ornig at
Kitano. 8:00pm & 11:30pm. $35 for buffet with Bloody Mary, Mimosa or Aperol Spritz. 66 Park Ave @ 38th St. 212-885-7119. www.kitano.com Mon 7/2, 7/10: International Women in Jazz at St. Peters Church. 7:00pm 619 Lexington Ave. @ 54th St. 212-242-2022. (Bet. 53rd & 54th St.) www.saintpeters.org. Mon 7/2, 7/9, 7/16, 7/23, 7/30: Arthurs Tavern. Grove Street Stompers at 7:00pm. House Rockin Blues at 10:00pm. 57 Grove St. 212-675-6879. www.arthurstavernnyc.com Mon 7/2, 7/9, 7/16, 7/23, 7/30: The Living Room. Tony Scherr at 9:00pm. Jim Campilongo at 10:00pm. $8. 154 Ludlow St. (Bet. Stanton & Rivington) 212-533-7234. www.livingroomny.com Mon 7/2: Birdland. Molly Ryan @ 7:00pm. 315 W. 44th St. Tues 7/3, 7/10, 7/17, 7/24, 7/31: Annie Ross at The Metropolitan Room. 9:30pm. 34 W. 22nd St. 212-206-0440. www.metropolitanroom.com. Tues 7/3, 7/10, 7/17, 7/24, 7/31: Chris Ziemba at Kitano. 8:00pm & 11:00pm. $35 for buffet with Bloody Mary, Mimosa or Aperol Spritz. 66 Park Ave @ 38th St. 212-885-7119. www.kitano.com Tues-Sat 7/3-7/7: Birdland. Bill OConnell & the Latin Jazz AllStars @ 8:30pm & 11:00pm. 315 W. 44th St. Tues 7/3, 7/10, 7/17, 7/24, 7/31: Casimir Liberski Trio at Tomi Jazz. 8:00pm. No cover; $5 min. 239 E. 53rd St., lower level. 646497-1254. www.tomijazz.com. Tues 7/3: First Tuesdays: Seminar for Musicians at St. Peters Church. 3:00pm 619 Lexington Ave. @ 54th St. 212-242-2022. (Bet. 53rd & 54th St.) www.saintpeters.org. Tues 7/3, 7/10, 7/17, 7/24, 7/31: Arthurs Tavern. Yuichi Hirakawa Band at 7:00pm. House Rockin Blues at 10:00pm. 57 Grove St. 212-675-6879. www.arthurstavernnyc.com Tues 7/3: Norah Jones with Jim Campilongo Trio at Central Park Summerstage. 7:00pm. $49.50 + fees. Rumsey Field, 69th St. @ 5th Ave. 212-360-2777. www.norahjones.com. www.cityparksfoundation.org Tues 7/3: Somethin Jazz Club. Ian Underwood Quartet @ 7:00pm. Marla Sampson Quintet @ 9:00pm. 212 E. 52nd St., 3rd Fl. (Bet. 2nd & 3rd Ave.) 212-371-7657. . Wed 7/4, 7/11, 7/18, 7/25: Arthurs Tavern. Eve Silber at 7:00pm. Alyson Williams at 10:00pm. 57 Grove St. 212-6756879. www.arthurstavernnyc.com Thurs 7/5: Amy Cervini with Pete McCann, Matt Aronoff & James Shipp at 55 Bar. 6:00pm. 55 Christopher St. 212-9299883. www.55bar.com. Thurs 7/5: Somethin Jazz Club. Noah MacNeil Quartet @ 7:00pm. Straight Street @ 11:00pm. 212 E. 52nd St., 3rd Fl. (Bet. 2nd & 3rd Ave.) 212-371-7657. . Thurs 7/5: Michika Fukumori Trio at Kitano. 8:00pm & 10:00pm. 66 Park Ave @ 38th St. 212-885-7119. www.kitano.com Thurs 7/5: Birdland. Duke Jones with Tekeshi Ogura @ 6:00pm. 315 W. 44th St. Thurs 7/5, 7/12, 7/19, 7/26: 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. www.lapisluna.com Fri 7/6, 7/13, 7/20, 7/27: Birdland Big Band at Birdland. 5:00pm. 315 W. 44th St. Fri-Sat 7/6-7/7, 7/13-7/14, 7/20-7/21, 7/27-7/28: 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. www.arthurstavernnyc.com Fri 7/6: Junior Mance Trio at Kitano. 8:00pm & 10:00pm. 66 Park Ave @ 38th St. 212-885-7119. www.kitano.com Fri-Sat 7/6-7/7: Ravi Coltrane Quintet at Birdland. 8:30pm & 11:00pm. 315 W. 44th St.
16 July 2012 Jazz Inside Magazine www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880
Fri 7/6: Somethin Jazz Club. Steve Nelson @
7:00pm. Paolo Tomaselli @ 9:00pm. 212 E. 52nd St., 3rd Fl. (Bet. 2nd & 3rd Ave.) 212-371-7657. . Sat 7/7, 7/14, 7/21, 7/28: St. Peters Church. Big band jazz workshop @ 10:00am. Vocal jazz workshop @ noon. 619 Lexington Ave. @ 54th St. 212-242-2022. (Bet. 53rd & 54th St.) www.saintpeters.org. Sat 7/7: Wolff & Clark Expedition at Kitano. 8:00pm & 10:00pm. 66 Park Ave @ 38th St. 212885-7119. www.kitano.com Sat 7/7: Somethin Jazz Club. NYJA @ 2:00pm. Lauren Lee @ 5:00pm. CDQ @ 7:00pm. Marla Sampson Quintet @ 9:00pm. 212 E. 52nd St., 3rd Fl. (Bet. 2nd & 3rd Ave.) 212-371-7657. . Sun 7/8: Birdland. Vibes for Bobby Hutcherson @ 9:00pm & 11:00pm. With Jay Hoggard, Steven Nelson & Warren Wolf. 315 W. 44th St. Sun 7/8: Michael Foster/Eric Silberberg/Gene Janas/Marc Edwards, Erike Dagnino/Blaise Siwula/ Jesse Dulman/Jason Candler at ABC No Rio. 7:00pm. 156 Rivington St. $5 suggested donation for musicians. Sun 7/8: Barbara King & The Spirit of Jazz at Dwyer Cultural Center. 2:00pm. $15; $20 at door; $20 for seniors & students. 258 St. Nicholas Ave. 212-222-3060. www.dwyercc.org Tues-Sat 7/10-7/14: Birdland. Louis Hayes Quintet @ 8:30pm & 11:00pm. 315 W. 44th St. Tues 7/10: Marco Benevento behind City Winery. 5:30pm. Free. 4th Annual Hudson Square Music & Wine Festival. 155 Varick St. Bet. Vandam & Spring
17
St.) 212-608-0555. www.citywinery.com

Wed 7/11: Jonathan Batiste at Joes Pub.
Thurs 7/12: Eiko RIkuhashi Trio at Tomi Jazz.
9:30pm. $20. 425 Lafayette St. 212-539-8778. www.joespub.com Wed 7/11, 7/18, 7/25: Midtown Jazz at Midday at St. Peters Church. 1:00pm 619 Lexington Ave. @ 54th St. 212-242-2022. (Bet. 53rd & 54th St.) www.saintpeters.org. Wed 7/11: George Mel Quartet at Kitano. 8:00pm & 10:00pm. 66 Park Ave @ 38th St. 212-885-7119. www.kitano.com Wed 7/11, 7/18, 7/25: Jacob Teichroew Duo at Tomi Jazz. 8:00pm. No cover; $5 min. 239 E. 53rd St., lower level. 646-497-1254. www.tomijazz.com. Wed 7/11: Somethin Jazz Club. Darrell Smith Trio @ 9:00pm. 212 E. 52nd St., 3rd Fl. (Bet. 2nd & 3rd Ave.) 212-371-7657. . Wed 7/11: Nellie McKay at Madison Square Park. Bet. Madison Ave. & 23rd. St. http:// www.nelliemckay.com. madisonsquarepark.org Thurs 7/12: Somethin Jazz Club. Jake Hertzog @ 7:30pm & 9:00pm. 212 E. 52nd St., 3rd Fl. (Bet. 2nd & 3rd Ave.) 212-371-7657. . Thurs 7/12: Fat Cat. Oscar Perez Nuevo Comienzo with Josh Evans, Joseph Perez, Anthony Perez & Alvester Garnett @ 10:00pm. 75 Christopher St. 212-675-6056. www.fatcatmusic.org Thurs 7/12: David Lopato Quartet at Kitano. 8:00pm & 10:00pm. 66 Park Ave @ 38th St. 212885-7119. www.kitano.com
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18
9:00pm. $10 cover; $10 min. 239 E. 53rd St., lower level. 646-497-1254. www.tomijazz.com. Thurs 7/12: Joe Cohn Quartet at Rue 57. 60 W. 57th St. 212-307-5656. www.rue57.com Thurs 7/12: Gary Versace & Project O with Ingrid Jensen at St. Peters Church. 1:00pm Jazz on the Plaza . 619 Lexington Ave. @ 54th St. 212-2422022. (Bet. 53rd & 54th St.) www.saintpeters.org. Fri 7/13: Baby Soda Jazz Band at Hudson River Park. 7:00pm. Free. Pier 45, Christopher St. @ Hudson River. www.hudsonriverpark.org Fri 7/13: Billy Martin & Wil Blades at Sullivan Hall. 8:00pm. $15. 214 Sullivan St. (Bet. Bleecker & W. 3rd St.) www.bluenotejazzfestival.com Fri 7/13: Roni-Ben-Hur Quartet at Kitano. 8:00pm & 10:00pm. 66 Park Ave @ 38th St. 212-885-7119. www.kitano.com Fri 7/13: Somethin Jazz Club. Karachacha @ 7:00pm. E.S.P. Matthew Vacanti @ 9:00pm. 212 E. 52nd St., 3rd Fl. (Bet. 2nd & 3rd Ave.) 212-3717657. . Sat 7/14: Somethin Jazz Club. NYJA @ 2:00pm. HSO @ 5:00pm. Gary Fogel Sextet @ 7:00pm. Matt McClellan Quintet @ 9:00pm. 212 E. 52nd St., 3rd Fl. (Bet. 2nd & 3rd Ave.) 212-371-7657. . Sat 7/14: Towner Galaher at Londels Supper Club. 8:00pm & 10:00pm. 2620 Frederick Douglas Blvd. 212-234-6114. http://londelsrestaurant.com Sat 7/14: Swingadelic at Swing 46. 8:30pm. 349 W. 46th St. www.swing46.com Sat 7/14: Judi Silvano at Pigalle. 790 8th Ave. 212-489-2233. www.pigallenyc.com Sat 7/14: Roni Ben-Hur Afro Samba & Beyond Band at Kitano. 8:00pm & 10:00pm. 66 Park Ave @ 38th St. 212-885-7119. www.kitano.com Sun 7/15: George Gee Swing Orchestra at Hudson River Park. 7:00pm. Free dance lessons at 6:30pm courtesy of Dance Manhattan. Pier 84. www.hudsonriverpark.org Sun 7/15: Hot Lips Joey Morant at B.B. King Blues Club & Grill. Noon. 237 W. 42nd St. 212997-4144. www.bbkingblues.com Sun 7/15: Birdland. Birdland Jazz Party with Kat Gang @ 6:00pm. 315 W. 44th St. Sun 7/15: Tony Moreno with Jean-Michel Pilc, Ron Horton, Marc Mommaas & Johannes Weidenmueller at 55 Bar. 55 Christopher St. 212-9299883. www.55bar.com. Sun 7/15: Cheryl Pyle/Nicolas Letman/Burtinovic and Nora McCarthy/Jorge Sylvester at ABC No Rio. 7:00pm. 156 Rivington St. $5 suggested donation for musicians. Sun 7/15: Somethin Jazz Club. Yuki Shibata Trio @ 5:00pm. Towner Galaher @ 7:00pm. 212 E. 52nd St., 3rd Fl. (Bet. 2nd & 3rd Ave.) 212-3717657. . Mon 7/16: Bill Charlap, Ted Rosenthal, Sean Smith & Kenny Washington at Kaufmann Concert Hall. 8:00pm. Jazz Piano Master Class. $20. Lexington Ave. & 92nd St. 212.415-5500. www.92Y.org. Mon 7/16: Frank Sinatra Jr. & His Band at Town Hall. 8:00pm. $55, $50 & $45. 123 W. 43rd St. (Bet. 6th Ave. & Broadway) 212-840-2824. http://thetownhallnyc.org
(Continued on page 20)
Sun, july 22 @ 8pm ChRiST boTTi

An Evening of Wine and Jazz complimentary wine tasting in the lobby courtesy of 109 Cheese & Wine. A passionate evening of instrumental storytelling. When performing his own interpretations of Sinatra, or String Chris Botti sizzles! Ticket Price: Orchestra $110/ Mezzanine $95. Box office 203.438.5795
FRi, july 27 @ 8pm RiCkiE lEE jonES

Rickie Lee Jones will take her audience on an intimate journey, reminiscing, telling tales, jokes and, of course, singing those inimitable songs which sit somewhere between jazz, blues, pop and folk. Shes playing her guitar and singing any number of her award winning songs: Chuck E.s in Love, or her interpretation of the classic, Making Whoopee, for which she won a Grammy in 1990. Ticket Price: $55. Box office 203.438.5795
FRi, AuguST 10 @ 8pm gAlACTiC

With Special Guest Corey Glover of Living Colour The FUNK & JAZZ band from New Orleans with their new Carnival Album Carnivale Electricos! Ticket Price $37. Box office 203.438.5795
ThuRS, SEpTEmbER 20 @ 8pm Tommy EmmAnuEl

Two-time Grammy nominated guitar virtuoso, Tommy Emmanuel is considered a master of many genres including jazz, rock, blues and country! Ticket Price: $50. Box office 203.438.5795
WEd, oCTobER 10 @ 8pm mEdESki, mARTin & Wood

For over two decades, the trios amalgam of jazz, funk, avant-noise and a million other musical currents and impulses has been nearly impossible to classify and thats just how they like it. Medeskis keyboard excursions, Chris Woods hard-charging bass lines and Billy Martins supple, danceable beats have come to resemble a single organism, moving gracefully between genre-defying compositions and expansive improvisation. Ticket Price: $45.
80 East Ridge, Ridgefield, CT
203.438.5795 www.ridgefieldplayhouse.org
Tues 7/17: Somethin Jazz Club. sHaKe @
9:00pm. 212 E. 52nd St., 3rd Fl. (Bet. 2nd & 3rd Ave.) 212-371-7657. . Tues 7/17: Michael Stephenson at Hudson River Park. 6:30pm. Free. Pier 45, Christopher St. @ Hudson River. www.newschool.edu/jazz Tues 7/17: Ernie Andrews & Freddy Cole at Kaufmann Concert Hall. 8:00pm. Song & Soul. Lexington Ave. & 92nd St. 212.415-5500. www.92Y.org. Wed 7/18: Melissa Stylianou with Jamie Reynolds, Gary Wang & Mark Ferber at 55 Bar. 55 Christopher St. 212-929-9883. www.55bar.com. Wed 7/18: Giacomo Gates Trio at Kitano. 8:00pm & 10:00pm. 66 Park Ave @ 38th St. 212-885-7119. www.kitano.com Wed 7/18: Somethin Jazz Club. Tom Wetmore Ensemble @ 9:00pm. 212 E. 52nd St., 3rd Fl. (Bet. 2nd & 3rd Ave.) 212-371-7657. . Wed 7/18: Bill Charlap, Renee Rosnes, Steven Nelson, Greg Gisbert, Dave Stryker, Scott Colley & Joe La Barbera at Kaufmann Concert Hall. 8:00pm. Time Remembered: The Music of Bill Evans. Lexington Ave. & 92nd St. 212.415-5500. www.92Y.org. Thurs 7/19: Rogerio Boccato with Fernando Correa & Peter Mazza Trio at The Bar Next Door. 8:30pm & 10:30pm. 129 MacDougal St. 212-5295945. www.lalanternacaffe.com. www.jaleelshaw.com Thurs 7/19: Adam Larson Quartet at Kitano.
8:00pm & 10:00pm. 66 Park Ave @ 38th St. 212885-7119. www.kitano.com Thurs 7/19: Ted Rosenthal Ensemble at St. Peters Church. 1:00pm Jazz on the Plaza . 619 Lexington Ave. @ 54th St. 212-242-2022. (Bet. 53rd & 54th St.) www.saintpeters.org. Thurs 7/19: Somethin Jazz Club. Jake Herzog @ 7:30pm & 9:00pm. 212 E. 52nd St., 3rd Fl. (Bet. 2nd & 3rd Ave.) 212-371-7657. . Thurs 7/19: Dave Grisman Sextet at City Winery. 8:00pm. $60. 155 Varick St. Bet. Vandam & Spring St.) 212-608-0555. www.citywinery.com Thurs 7/19: Bill Charlap, Barbara Carroll, Sachal Vasandani, Warren Vache, Jon Gordon, John Allred, Jay Leonhart, Sean Smith & Tim Horner at Kaufmann Concert Hall. 8:00pm. An Enchanted Evening: The Songs of Richard Rodgers. Lexington Ave. & 92nd St. 212.415-5500. www.92Y.org. Fri 7/20: Duke Robillard Band at B.B. King Blues Club & Grill. 237 W. 42nd St. 212-997-4144. www.bbkingblues.com Fri 7/20: Joyce Breach Quartet at Kitano. 8:00pm & 10:00pm. 66 Park Ave @ 38th St. 212-885-7119. www.kitano.com Fri 7/20: Noah Haidu with Jon Irabagon, McClenty Hunter & Ariel de la Portilla at the Rubin Museum of Art. 7:00pm. $18 in advance; $20 at door. Harlem in the Himalayas: 150 W. 17th St. 212-620-5000. www.rmanyc.org Fri 7/20: Somethin Jazz Club. Alter View @
20
7:00pm. Mitch Marcus Quintet @ 9:00pm. 212 E. 52nd St., 3rd Fl. (Bet. 2nd & 3rd Ave.) 212-3717657. . Thurs 7/19: Rogerio Boccato with Paul Bollenback Trio at The Bar Next Door. 7:30pm, 9:30pm & 11:30pm. 129 MacDougal St. 212-529-5945. www.lalanternacaffe.com. www.jaleelshaw.com Sat 7/21: Scot Albertson Trio at Tomi Jazz. 8:00pm. $10 cover; $10 min. 239 E. 53rd St., lower level. 646-497-1254. www.tomijazz.com. Sat 7/21: Tommy Campbells Vocal-Eyes at Kitano. 8:00pm & 10:00pm. 66 Park Ave @ 38th St. 212-885-7119. www.kitano.com Sat 7/21: Somethin Jazz Club. NYJA @ 2:00pm. MUSOH @ 5:00pm. JB Baretsky @ 7:00pm. Vladimir Kostadinovic @ 9:00pm. 212 E. 52nd St., 3rd Fl. (Bet. 2nd & 3rd Ave.) 212-371-7657. . Sun 7/22, 7/29: Birdland. Birdland Jazz Party with Kat Gang @ 6:00pm. 315 W. 44th St. Sun 7/22: Gabriele Tranchina at New Leaf Caf. 7:30pm. 1 Margaret Corbin Dr. 212-568-5323. Sun 7/22: The Restrictor and Ras Moshe/Shayna Dulberger at ABC No Rio. 7:00pm. 156 Rivington St. $5 suggested donation for musicians. Sun 7/22: Joes Pub. Quarteto Olinda at 7:30pm. Pedro Morales at 9:30pm. $15. In association with Brasil SummerFest. 425 Lafayette St. 212-539http:// 8778. www.joespub.com. brasilsummerfestny.blogspot.com/ Sun 7/22: Somethin Jazz Club. Devin Bing @ 7:00pm. 212 E. 52nd St., 3rd Fl. (Bet. 2nd & 3rd Ave.) 212-371-7657. . Sun 7/22: Regerio Boccato with Fernando Correa Trio at The Bar Next Door. 8:00pm & 10:00pm. 129 MacDougal St. 212-529-5945. www.lalanternacaffe.com. www.jaleelshaw.com Mon 7/23: Sue Halloran & Ken Hitchcock at The Metropolitan Room. 9:30pm. 34 W. 22nd St. Tues 7/24: Dick Hyman & Bill Charlap with Sandy Stewart, Ken Peplowski, Harry Allen, Jay Leonhart & Willie Jones III at Kaufmann Concert Hall. 8:00pm. Piano Summit. Lexington Ave. & 92nd St. 212.415-5500. www.92Y.org. Tues-Sat 7/24-7/28: Birdland. Pablo Zieglers Tango Conexion with Regina Carter @ 8:30pm & 11:00pm. 315 W. 44th St. Tues 7/24: Somethin Jazz Club. Josh Paris Group @ 7:00pm. 212 E. 52nd St., 3rd Fl. (Bet. 2nd & 3rd Ave.) 212-371-7657. . Wed 7/25: Lewis Nash, Kenny Washington, Joe Magnarelli, Jimmy Greene, Michael Dease, Bill Charlap, Renee Rosnes & Peter Washington at Kaufmann Concert Hall. 8:00pm. Messengers of Jazz: The Legacy of Art Blakey. Lexington Ave. & 92nd St. 212.415-5500. www.92Y.org. Thurs 7/25: Abigail Riccards Quartet at Kitano. 8:00pm & 10:00pm. 66 Park Ave @ 38th St. 212885-7119. www.kitano.com Wed 7/25: Somethin Jazz Club. Deborah Latz @ 7:00pm. Audrey Silver @ 9:00pm. 212 E. 52nd St., 3rd Fl. (Bet. 2nd & 3rd Ave.) 212-371-7657. . Thurs 7/26: Count Basie Orchestra directed by Dennis Mackrel, plus Frank Wess, Bucky Pizzarelli, Bill Charlap & Peter Washington at Kaufmann Concert Hall. 8:00pm. Basie Roars Again! Lexington Ave. & 92nd St. 212.415-5500. www.92Y.org. Thurs 7/26: Mamiko Taira Trio at Tomi Jazz. 9:00pm. $10 cover; $10 min. 239 E. 53rd St., lower
level. 646-497-1254. www.tomijazz.com.

Thurs 7/26: Jack Wilkins Quartet at Rue 57. 60 W.
57th St. 212-307-5656. www.rue57.com

Thurs 7/26: Somethin Jazz Club. Jake Hertzog
@ 7:30pm & 9:00pm. 212 E. 52nd St., 3rd Fl. (Bet. 2nd & 3rd Ave.) 212-371-7657. . Thurs 7/26: Mamiko Watanabe Trio at Kitano. 8:00pm & 10:00pm. 66 Park Ave @ 38th St. 212885-7119. www.kitano.com Thurs 7/26: Winard Harper Band at St. Peters Church. 1:00pm Jazz on the Plaza . 619 Lexington Ave. @ 54th St. 212-242-2022. (Bet. 53rd & 54th St.) www.saintpeters.org. Fri 7/27: Somethin Jazz Club. Steph Chou @ 7:00pm. Rodrigo Bonelli @ 9:00pm. 212 E. 52nd St., 3rd Fl. (Bet. 2nd & 3rd Ave.) 212-371-7657.. Fri 7/27: Joe Alterman Trio at Kitano. 8:00pm & 10:00pm. 66 Park Ave @ 38th St. 212-885-7119. Fri 7/27: Chuck Braman Jazz Band at Hudson River Park. 7:00pm. Free. Pier 45, Christopher St. @ Hudson River. www.newschool.edu/jazz Sat 7/28: Somethin Jazz Club. NYJA @ 2:00pm. Dee Cassella @ 7:00pm. Arun Luthra Quartet @ 9:00pm. 212 E. 52nd St., 3rd Fl. (Bet. 2nd & 3rd Ave.) 212-371-7657. . Sat 7/28: Stephanie Nakasian Trio at Kitano. 8:00pm & 10:00pm. 66 Park Ave @ 38th St. 212885-7119. www.kitano.com Sun-Mon 7/29-7/30: Ladysmith Black Mambazo at City Winery. 8:00pm. $40-$65. 155 Varick St. Bet. Vandam & Spring St.) 212-608-0555. www.citywinery.com Sun 7/29: Tom Shad/Joe Gallant and Crime Scene at ABC No Rio. 7:00pm. 156 Rivington St. $5 suggested donation for musicians. Sun 7/29: Rogerio Boccato with Jean Rohe Band at Rockwood Music Hall. 11:15pm. 196 Allen St. (Bet. Houston & Stanton) 212-477-4155. http:// rockwoodmusichall.com Mon 7/30: Urban Tango Trio at Joes Pub. 7:30pm. $15; $20 at door. 425 Lafayette St. 212539-8778. www.joespub.com Tues 7/31: Students from New School for Jazz and Contemporary Music at Hudson River Park. 6:30pm. Free. Pier 45, Christopher St. @ Hudson River. www.newschool.edu/jazz. www.hudsonriverpark.org BROOKLYN Sun 7/1, 7/8, 7/15, 7/22, 7/29: Stephane Wrembel at Barbs. 9:00pm. 376 9th St. @ 6th Ave. 347422-0248. www.barbesbrooklyn.com Mon 7/2: Cecilia Coleman Big Band at Tea Lounge. 9:00pm. 837 Union St., Park Slope. 718789-2762. www.tealoungeny.com. www.ceciliacolemanbigband.com Mon 7/2: Summer Outdoor Jam Session at For My Sweet. $5. 1103 Fulton St. @ Claver Pl. 718857-1427. Wed 7/4, 7/11, 7/18: Tea and Jam at Tea Lounge. 9:00pm. 837 Union St., Park Slope. 718-789-2762. www.tealoungeny.com. Thurs 7/5: IBeam Music Studio. Jason Hwang, Max Johnson & Weasel Walter at 8:30pm. Sabir Mateen, Bern Nix, Max Johnson & Weasel Walter at 10:00pm. $10 donation. 168 7th St.
(Continued on page 24) (Continued on page 24)
21
Calendar of Events
JULY
1 - Sun 2 - Mon 3 - Tue 4 - Wed 5 - Thu 6 - Fri 7 - Sat 8 - Sun 9 - Mon 10 - Tue 11 - Wed 12 - Thu 13 - Fri 14 - Sat 15 - Sun 16 - Mon 17 - Tue 18 - Wed 19 - Thu 20 - Fri 21 - Sat 22 - Sun 23 - Mon Blue Note 131 W Third St. (east of 6th Ave) 212-475-8592 www.bluenote.net Cleopatras Needle 2485 Broadway (betw. 92nd & 93rd St.) 212-769-6969 Cornelia St. Caf 29 Cornelia St. (bet. W 4th & Bleecker) 212-989-9319 corneliastreetcafe.com Deer Head Inn 5 Main Street Delaware Water Gap, PA 18327 www.deerheadinn.com
Vic Juris 4; Cassandra Wilson Marc Cary Angela Johnson Daborah Davis Carmen Lundy Carmen Lundy; New Soil Ship Carmen Lundy; Darius Jones Ralph Lalama & Billy Drewes; Carmen Lundy Sonny Fortune Paquito D'Rivera Paquito D'Rivera Paquito D'Rivera Paquito D'Rivera; Orly Paquito D'Rivera; Honey Larochelle Kuni Mikami; Paquito D'Rivera Symphonics Live Spyro Gyra Spyro Gyra Spyro Gyra Spyro Gyra; Randy Oxford Band Spyro Gyra; Dwight & Nicole Ben Monder 3; Spyro Gyra Michelle Carr
Keith Ingham Roger Lent 3 Robert Rucker 3 Les Kurtz 3; Joonsam Lee Joel Forrester 3; Daisuke Abe Evan Schwam; Jesse Simpson Masami Ishikawa 3; Jesse Simpson Keith Ingham Roger Lent 3 Robert Rucker 3 Les Kurtz 3; Joonsam Lee
Owen Howard 4; Nick Fraser 3 Caleb Curtis 5; John Raymond 5 Walls; Douglas Bradford 4; Kenneth Salters 4 David Amram; Gian Carla Tisera; Saw Lady Michael Blake/Ben Allison/ Rudy Royston Mark Helias 4 Ray Anderson 4 Arthur Vint 4 Isle of Klezbos Quentin Angus 5 Harold O'Neal; Catarina Dos Santos 4
Bill Mays
Bill Goodwin Jazz Jam Erin McClelland Band Bob Dorough 3 Rio Clemente
Keith Ingham; Daisuke Abe Jeremy Siskind 3 Will Terril 4; Jesse Simpson Russ Lossing 3 Will Terril 4; Jesse Simpson John McNeil 4 Keith Ingham Roger Lent 3 Robert Rucker 3 Les Kurtz 3; Joonsam Lee Dan Furman; Daisuke Abe Marc Devine; Jesse Simpson Kuni Mikami 3; Jesse Simpson Keith Ingham Roger Lent 3 Jeremy Viner 5; Aryeh Kobrinsky 5 Michael Attias 5 Alessi/Milne/Formanek/ Rainey Michael Formanek 5 Rez Abbasi 4 Ellery Eskelin 3 Joonsam Lee 3; Youngjoo Song 3 Adriano Santos 4
Bill Goodwin Jazz Jam Eddie Severn 5 Marko Marcinko Latin Jazz Band Walt Bibinger
Bill Goodwin Jazz Jam Jay Rattman 4 Najwa Parkins 3 Donna Antonow 3
July 2012
July 10: Ray Blue Group July 17: Guitarist Lou Volpe and Group July 24: Mike Longo and the NY State of the Art Jazz Ensemble with Peter Block
24 - Tue 25 - Wed 26 - Thu
Conrad Herwig - Latin Side Robert Rucker 3 of Joe Henderson Conrad Herwig - Latin Side Les Kurtz 3; Joonsam Lee of Joe Henderson
Conrad Herwig - Latin Side Justin Lees 3; Daisuke Abe Spaneas & Goldberg; Bill Goodwin Jazz Jam of Joe Henderson Mostly Other People Do the Killing Conrad Herwig - Latin Side of Joe Henderson Conrad Herwig - Latin Side of Joe Henderson Roy Assaf; Conrad Herwig Latin Side of Joe Henderson Sean Smith 4 Jane Monheit Wade Barnes 3; Jesse Simpson Nial Djuliarso 3; Jesse Simpson Keith Ingham Duane Eubanks 5 Jacob Sacks 5 Amanda Monaco 4 Carrie Jackson 4 Eric Mintel 4 B D Lenz 3
27 - Fri 28 - Sat 29 - Sun
30 - Mon 31 - Tue 22
Roger Lent 3 Robert Rucker 3 Basak Yavuz 7
Deer Head Inn Jazz Orchestra
(Continued from page 21) Fri 7/6: IBeam Music Studio. Michael Attias at
8:30pm. Minerva with Carlo Costa, Pascal Niggenkemper & JP Schlegelmilch at 9:30pm. $10 suggested donation. 168 7th St. Sat 7/7: IBeam Music Studio. 40twenty with Jacob Sacks, Dave Ambrosio & Vinnie Sperrazza at 8:30pm. $10 donation. 168 7th St. Sat 7/7: Djembe in the New Millennium: The Sacred Drum at Long Island University Brooklyn, Kumble Theater. 7:00pm. Flatbush & DeKalb Ave. 718-488-1624. www.kumbletheater.org Sun 7/8: Sweet Honey in the Rock at Prospect Park Bandshell. 3:00pm. Free; $3 suggested. Celebrate Brooklyn! 95 Prospect Park West. 718965-8951. www.prospectpark.org. Mon 7/9: Erica Seguine/Shannon Baker Jazz Orchestra at Tea Lounge. 9:00pm. 837 Union St., Park Slope. 718-789-2762. Thurs 7/12: IBeam Music Studio. Elliott Sharp, Max Johnson & Weasel Walter at 8:30pm. Elliott Levin, Louie Belogenis, Max Johnson & Weasel Walter at 10:00pm. 168 7th St. Fri 7/13: Ana Tijoux & Ritmo Machine at Prospect Park Bandshell. 7:00pm. Free; $3 suggested. Celebrate Brooklyn! 95 Prospect Park West. 718-965-8951. www.prospectpark.org. Fri 7/13: IBeam Music Studio. Jess Cosgrove, Noah Preminger, Mat Maneri, Frank Kimbrough & Joe Martin, 8:30pm. 168 7th St. Mon 7/16: Franky Rousseau Large Band at Tea Lounge. 9:00pm. 837 Union St., Park Slope. 718789-2762. www.tealoungeny.com. Thurs 7/19: IBeam Music Studio. Mark Whitecage, Max Johnson & Weasel Walter at 8:30pm. Kirk Knuffke, Ken Filiano, Max Johnson & Weasel Walter at 10:00pm. $10 suggested donation. 168 7th St. http://ibeambrooklyn.com Fri 7/20: Ro Sham Beaux at The Trash Bar. 8:00pm. $8 cover. 256 Grand St. 718-599-1000. www.thetrashbar.com Fri 7/20: IBeam Music Studio. Vladimir Kostadinovic, Danny Grissett, Vicente Archer & Jaka Kopac at 8:30pm. 168 7th St. Sat 7/21: Arturo Sandoval and Arturo OFarrill & the Afro Latin Jazz Orchestra at Prospect Park Bandshell. 7:30pm. Free. Celebrate Brooklyn! 95 Prospect Park West. 718-965-8951. Sat 7/21: IBeam Music Studio. Rafiq Bhatia, Jeremy Viner, Jackson Hill & Alex Ritz at 8:30pm. $10 suggested donation. 168 7th St. Sat 7/21: Ro Sham Beaux at Branded Saloon. 10:00pm. 603 Vanderbilt Ave. 718-484-8704. www.brandedsaloon.com Thurs 7/26: IBeam Music Studio. Vinnie Golia, Max Johnson & Weasel Walter at 8:30pm. Steve Swell, Mary Halvorson, Max Johnson & Weasel Walter at 10:00pm. $10 suggested donation. 168 7th St. http://ibeambrooklyn.com Fri 7/27: IBeam Music Studio. Ryan Ferriera at 8:30pm. Luce Trio with Jon De Lucia, Ryan Ferreira & Chris Tordini at 9:30pm. $10 suggested donation. 168 7th St. Sat 7/28: IBeam Music Studio. Ben Gerstein & Tyshawn Sorey at 8:30pm. $10 suggested donation. 168 7th St. http://ibeambrooklyn.com QUEENS
Wed 7/4: Happy Birthday Louis Armstrong! At
Calendar of Events
Dizzys Club Coca Cola JULY
1 - Sun 2 - Mon 3 - Tue 4 - Wed 5 - Thu Bdwy &t 60th, 5th Fl. 212-258-9595 jazzatlincolncenter.com
Dizzys Club After Hours

Bdwy & 60th, 5th Fl 212-258-9595 jazzatlincolncenter.com
Feinsteins at Loews Regency

feinsteinsattheregency.com
Garage
99 Seventh Ave. S (at Grove St.) 212-645-0600 www.garagerest.com
540 Park Ave. 212-339-8942
Dion Parson Band Band Directors Academy Faculty 5
Club Dark Club Dark Will & Anthony Nunziata Will & Anthony Nunziata Magical Nights; Broadway Ballyhoo; Will & Anthony Nunziata Will & Anthony Nunziata Will & Anthony Nunziata Club Dark Club Dark Broadway Ballyhoo Broadway Ballyhoo
Ben Healty 3; David Coss 4; Masami Ishikawa Howard Williams Band; Tim McCall 3 Mike Dease Band Michika Fukumori 3; Will Terrill 5 Champian Fulton 3; Carl Bartlett Jr. 4 Austin Walker 3; Joey Morant 3 Larry Newcomb 3; Justin Wood; Virginia Mayhew 4 Joonsam Lee 3; David Coss 4; Mauricio DeSouza 3 Howard Williams Band; Al Marino 5 Eyal Vilner Band; Mayu Saeki 4 Marc Devine 3; Anderson Brothers Dylan Meek 3; Randy Johnston 3 New Triks; Hot House Daniela Schaechter 3; Steve Kortyka 4; Akiko Tsuruga 3 Iris Ornig 4; David Coss 4; Ave Ovadia 3 Howard Williams Band; Nick Finzer/Joe McDonough 4 Lou Caputo Band; Ave Ovadia 3 Rick Stone 3; Andrew Atkinson George Weldon 3; Alan Chaubert 3 Anderson Brothers; Dre Barnes Larry Newcomb 3; Fukushi Tainaka 3; Virginia Mayhew 4 Lou Caputo 4; David Coss 4 Howard Williams Band; Jason Prover 5 Cecilia Coleman Band; Mauricio DeSouza 3 Nick Moran 3; Paul Francis 3 Rob Edwards 4; Tom Tallitsch Kyoko Oyobe 3; Brandon Lee 4 Marsha Heydt 4; Michika Fukumori 3; Daylight Blues Band Evan Schwam 4; David Coss 4 Howard Williams Band; Tsutomu Naki 3 Fat Cat Big Band; Justin Lees 3
6 - Fri 7 - Sat 8 - Sun 9 - Mon 10 - Tue 11 - Wed 12 - Thu 13 - Fri 14 - Sat
Christian McBride Band Christian McBride Band Christian McBride Band
Paul Nedzela Paul Nedzela Paul Nedzela
Magical Nights; Broadway Ballyhoo Broadway Ballyhoo Broadway Ballyhoo
15 - Sun 16 - Mon
Christian McBride Band Morgan James
Paul Nedzela
Club Dark Club Dark
17 - Tue 18 - Wed 19 - Thu 20 - Fri 21 - Sat
Igor Butman Orchestra Igor Butman Orchestra Igor Butman Orchestra Igor Butman Orchestra Igor Butman Orchestra
Lawrence Leathers Lawrence Leathers Lawrence Leathers Lawrence Leathers Lawrence Leathers
Broadway Ballyhoo Broadway Ballyhoo Magical Nights; Broadway Ballyhoo Broadway Ballyhoo Broadway Ballyhoo
22 - Sun 23 - Mon 24 - Tue 25 - Wed 26 - Thu 27 - Fri 28 - Sat
Igor Butman Orchestra Morgan James Jean Carn & Doug Carn Jean Carn & Doug Carn Phil Woods 5 Phil Woods 5 Phil Woods 5
Lawrence Leathers
Club Dark Club Dark
Frank Basile Frank Basile Dominick Farinacci Frank Basile Frank Basile
Karen Oberlin Karen Oberlin Karen Oberlin; Magical Nights; Broadway Ballyhoo Karen Oberlin Karen Oberlin
29 - Sun 30 - Mon 31 - Tue
Phil Woods 5 Nicole Henry 5 Nicole Henry 5
Frank Basile Brianna Thomas Brianna Thomas
Club Dark Club Dark Rebecca Kilgore & Harry Allen 4
Louis Armstrong House Museum. 10:00 a.m.(Continued on page 26)

24
Jazz Gallery
290 Hudson St. (below Spring St.) 212-242-1063 www.jazzgallery.org
Jazz Standard
116 E 27th St 212-576-2232 www.jazzstandard.net
Shapeshifter Lab 18 Whitwell Place Brooklyn, NY

ShapeShifterLab.com
JULY
1 - Sun 2 - Mon 3 - Tue 4 - Wed 5 - Thu 6 - Fri 7 - Sat
Shrine 2271 Adam Clayton Powell Blvd. 212-690-7807 www.shrinenyc.com

Liberty; Shrine Big Band Jazz Antoine Dowdell; Davide Tammaro; Matt Geraghty Sax E and Pure Pressure; Groove Session; Mitshi Dakota Dior; Christian Hine; Khaled; William Stull
Cyrus Chestnut 3 with James Carter Mingus Big Band Dr, Lonnie Smith's 70th Birthday Celebration
Pritsker/Baer; John Clark 4 Jazz Jam Session; Statue of Jonathan Greenstein 5 Matt Garrison
Dr. Lonnie Smith's 70th Birthday Celebration Dr. Lonnie Smith 8 O'Farrill Brothers 5 Dr. Lonnie Smith 8
Carlo Costa Minerva
Apricot Jam; FreshHunas
Travis Sullivan's Bjorkestra Jacques & Marie; Yvonnick

Prene; On Ka'a Davis
Loren Stillman Band
Yacouba Diabate; Leslie Casey; East Village Pharmacy; Unlimited Force Band; DJ Jazz Jam Session; Haymarket Squares; John Seeger 3 Mad Satta; Uncharted Territory; Peter Ayers Steve Tarshis 3; Duke Bantu X; Paolo Tomaselli Felix Van Cleef; This Is Not the Radio Stratospheerius; North Mississippi Hill; Eric Deaton 3 Glenn White 4; Edwin Vasquez; Eliza B
8 - Sun 9 - Mon 10 - Tue 11 - Wed 12 - Thu 13 - Fri 14 - Sat 15 - Sun 16 - Mon 17 - Tue 18 - Wed 19 - Thu
Dr. Lonnie Smith 8 Mingus Big Band Chris Bergson Band Lauren Kinhan Don Byron 5 Hafez Modirzadeh 5 Godwin LouE-Xplosion Don Byron 5 Don Byron 5 Don Byron 5 Mingus Big Band Orrin Evans 3 Orrin Evans 3 Orrin Evans Captain Black Big Band Claudia Acuna Sean Jones 5 Sean Jones 5 Sean Jones 5 Mingus Big Band
Steve Brickman's Plasma Face/Ursal Starship Patrick Andy Band Matt Garrison Arthr Sadowsky Robert Gracia Group
Adam Rogers Band Dan Pugach 9; Jeff Miles Group Dawoud Renegade Sufi
Grace Underground; Eve Soto; Geoffro Cause; Kakande Jazz Jam Session; Sindy Bellemare; Bakurucho Band The Gathering; Ngozi Flux Kelsey; Ray G. Ward; Dog Adrift; Diblo Dibala Groovline; Maria Davis
Haiti Cultural Exchange Event Ronnie Burrage Band Tim Berne Band Shai Maestro Band Akiko Pavolka Band
Steve Nelson; Olu; Cherry Case; Sister Monk; Rainey Wexen Todd Herbert 4; Brother Num; Sabatta; Kepaar; Hot & Wild Jazz Filament; Polyrythmo; Zozo Afrobeat; Hot & Wild Jazz Jam Session; Silver Queen; HV 4 Affinity Jazz 3; Chocolate 4 the Soul; Cumbia Machin; Dragoneyeseven; Dark City Tom Blatt; Natty Dreadz
Jazz Lovers Heaven

Scan the QR Code below with your mobile device
20 - Fri 21 - Sat 22 - Sun 23 - Mon
24 - Tue 25 - Wed 26 - Thu 27 - Fri 28 - Sat
Dario Boente & Proyecto Sur Noah Preminger 4 Anat Cohen & Romero Lubambo Chris Morrissey 4 John Benitez 5 Anat Cohen & Howard Alden Anat Cohen's Anzic Orchestra Anat Cohen & Fred Hersch Mingus Dynasty Michael Carvin 4 Jaco Garchik Band
Natalie Galey; Mr. Though; Jean Fight; DRS Organ 3
Teriver Cheng & Simon Yu Footballhead; Natty Dreadz

Doxee Middleton; Reina Williams; Ayo in Motion Yacouba Diabate; Sound Frontier; Platinum Mustache; Makane Kouyate Jazz Jam Session; Natty Dreadz RendezVous Soul4Real Open Mic
29 - Sun 30 - Mon 31 - Tue
Your Own Personal Lifetime Access! Jazz Listening, Enjoyment, Discovery Limited Availability
http://bit.ly/JvSML0
25
(Continued from page 24)
5:00pm. $10 adults; $7 seniors students & children; free for children under 4; members free. Special house tours. Free cupcakes for kids. Randy Fertel reading excerpts from his book The Gorilla Man and the Empress of Steak at 1:00pm. 34-56 107th St., Corona. 718-478-827. www.louisarmstronghouse.org Wed 7/11: Monthly Jazz Jam at Flushing Town Hall. 7:00pm. $10. Members students & performers free. 137-35 Northern Blvd. 718-463-7700, x222. www.flushingtownhall.org. Sun 7/15: Grupo Chonta by Diego Obregon at Flushing Town Hall. 2:00pm. Free. 137-35 Northern Blvd. 718-463-7700, x222. Sun 7/29: Haitian Beats with The Agoci Band at Flushing Town Hall. 1:00pm. Free. 137-35 Northern Blvd. 718-463-7700, x222. BRONX Tues 7/3: Jose Alberto El Canario at Saint Marys Park. 7:00pm. Free. Bet. St. Anns Ave & Jackson Ave. 212-360-CPSS. www.cityparksfoundation.org Thurs 7/5: Tribute to Tito Puente at Saint Marys Park. 7:00pm. Free. With 8 y Ms. Bet. St. Anns Ave & Jackson Ave. 212-360-CPSS. www.cityparksfoundation.org LONG ISLAND Sat 7/7: Steve Tyrell at Westhampton Beach Performing Arts Center. 8:30pm. $100, $75, $50. 76 Main St. 631-288-1500. www.whbpac.org
Westchester Fri 7/6: Paquito DRivera Sextet at Spanish Court-
Calendar of Events
Smalls
183 W. 10th 212-252-5091 smallsjazzclub.com
The Stone
Ave. C & Second St. thestonenyc.com
Village Vanguard
178 Seventh Ave. S (below W 11th St.) 212-255-4037 villagevanguard.net
JULY
1 - Sun 2 - Mon 3 - Tue
Lezlie Harrison; Johnny O'Neal 3; Spike Wilner
Loren Connors; Kevin Micka
Marc Ribot 3 Vanguard Jazz Orchestra Kenny Barron 5
Ed Cherry 3; Ari Hoenig 4; Spencer Jon Madof's Zion80 Murphy Brooks Hartell; Omer Avital; Theo Hill Michela Lerman; Michael Dease; Craig Wuepper Rob Mazurek & Angelica Sanchez; Ryan Sawyer/Darius Jones/ Shahzad Ismaily John Blum; Trevor Watts & Veryan Weston
4 - Wed 5 - Thu
Kenny Barron 5 Kenny Barron 5
6 - Fri
7 - Sat 8 - Sun 9 - Mon 10 - Tue 11 - Wed 12 - Thu 13 - Fri 14 - Sat 15 - Sun 16 - Mon 17 - Tue 18 - Wed 19 - Thu
Sacha Perry; Ehud Asherie 3; Jeff Eugene Chadbourne Williams 4; Bruce Harris/ Alex Hoffman 5 Sam Raderman; David Berkman 3; Matthew Shipp 3 George Colligan 5; Lawrence Leathers BiRyo Sasaki 4; Joshua Breakstone Jessica Pavone; Andrew Lamb 3 3; George Colligan; Eric Wyatt Lezlie Harrison; Johnny O'Neal 3; Dmitry Baevsky
Kenny Barron 5
Kenny Barron 5
Jason Lescalleet; Diamond Terrifier Kenny Barron 5 Vanguard Jazz Orchestra Kenny Barron 3 Kenny Barron 3
Peter Zak 3; Jonny King 4; Spencer Jon Madof's Zion80 Murphy Spike Wilner; Omer Avital; Josh Evans Michela Lerman; Whitfield Family; Philip Harper Sacha Perry; Michael Hashim 3; Dave Gibson 4; Carlos Abadie 5 Naked Dance; Gold Sparkle Band Arthur Doyle; Man Forever
Spanish Donkey; Baczkowski/Nace/ Kenny Barron 3 Corsano
Sam Raderman 4; Anderson Twins Cooper-Moore 3; Angelica Sanchez Kenny Barron 3 8; Ken Peplowski 4 3 Abraham Ovadia; Tardo Hammer 3; Eleven Twenty-Nine; Blood 3 Ken Peplowski 4; Tyler Mitchell Lezlie Harrison; Johnny O'Neal 3; Grant Stewart 4 Dred Scott 3; Ari Hoenig; Spencer Murphy Spike Wilner; Barak Mori; Theo Hill Michela Lerman; Jazmeia Horn; Jeremy Manasia 3 John Zorn Improv Night Jon Madof's Zion80 Geri Allen & Laurie Anderson Burnt Sugar Arkestra Kenny Barron 3 Kenny Barron 3 Vanguard Jazz Orchestra Barry Harris 3 Barry Harris 3 Barry Harris 3
yard, Caramoor. $15. 8:00pm. 149 Girdle Ridge Rd. Katonah. 914-232-1252. www.caramoor.org Fri 7/6, 7/13, 7/20, 7/27: Jazz Blues & More at Waterfront Amphitheatre. 6:30pm. Free. Main St., Yonkers. www.artswestchester.org Wed 7/11, 7/25: Brazilian Jazz at Corporate Park. Noon. 109 Corporate Park Dr., White Plains. 914631-1000. www.jazzforumarts.org Thurs 7/12: Pete Malinverni at Purchase College, Conversatory of Music Recital hall. 8:00pm. Free. 735 Anderson Hill Rd., Purchase. 914-251-4455. www.purchase.edu Fri 7/13: Lynette Washington with Dennis Bell at Patriots Park. 6:30pm. Free. N. Broadway, Tarrytown. www.jazzforumarts.org Fri 7/13: Steve Kuhn at The Nyack Library. 7:30pm, 2 sets. 59 S. Broadway, Nyack, NY. 845608-3593. www.carnegieroom.org Wed 7/18: Jazz Elite Band at Waterfront Park. 6:30pm. 60 Palisade St., Dobbs Ferry. 914-6311000. www.jazzforumarts.org Fri 7/20: Outdoor jazz jam at Patriots Park. 6:30pm. Free. N. Broadway, Tarrytown. www.jazzforumarts.org Tues 7/24: Westchester Jazz Orchestra at Waterfront Park, Chappaqua. 7:30pm. 914-861-9100. www.westjazzorch.org Wed 7/25: Hearts & Bones at Waterfront Park. 6:30pm. Free. 13th Annual Dobbs Ferry Summer Music Series. 60 Palisade St. 914-631-1000. www.jazzforumarts.org Sat-Sun 7/28-7/29: Caramoor Jazz Festival. The Cookers, Gretchen Parlato, Kenny Barron, Dee Dee Bridgewater & Roy Haynes Band at Venetian Theater, July 28; $15, $30, $45; 3:00pm-9:00pm.
26
Sacha Perry; Danny Fox 3; Joris Val-Inc.; Mike Lee Teepee; Bruce Harris/Alex Hoffman Sam Raderman 4; Chris Flory 3; Neal Smith; Lawrence Leathers David Weiss & Point of Departure
20 - Fri 21 - Sat 22 - Sun 23 - Mon 24 - Tue 25 - Wed 26 - Thu 27 - Fri 28 - Sat 29 - Sun 30 - Mon 31 - Tue
Barry Harris 3 Barry Harris 3 Barry Harris 3 Vanguard Jazz Orchestra Barry Harris 3 Barry Harris 3 Barry Harris 3
Matt Panayides 3; Ralph Lalama 3; Geri Allen & John Zorn; Carla Stcy Dillard; Neal Smith Brothers Lezlie Harrison 4; Johnny O'Neal 3; Courtney Bryant; Jaimeo Brown David Schnitter 4 Roberta Piket 3; Jean-Michel Pilc 3; Jon Madof's Zion80 Spencer Murphy Spike Wilner; David Budway 3; Josh Kim Lake; Nasheet Waits Evans Michela Lerman; John O'Gallagher 3; Tivon P ennicott Sacha Perry; Jaz Sawyer 4; Carlos Abadie 5 Sam Raderman 4; Ned Goold 3; Lew Tabackin 4; Spike Wilner 3 Water Scores: Parts 1 & 2 Kassa Overall Experience
Dwight Andrews, Geri Allen & Mino Barry Harris 3 Cinelu Barry Harris 3 Barry Harris 3 Vanguard Jazz Orchestra Brian Blade
Marko Djordjevic 4; Marion CowVijay Iyear, Geri Allen & Graham ings; Lew Tabackin 4; Stacy Dillard Haynes Lezlie Harrison 4; Johnny O'Neal 3; Jeff Walton 5 Charles Owens 4 Jill McCarron 3; J.D. Allen; Spencer Jon Madof's Zion80 Murphy Spike Wilner; Jim Ridl 3; Theo Hill Jana Herzen
Pat Metheny Unity Band in Venetian Theater, July 29. $15; $20 $37.50; $52.50. 149 Girdle Ridge Rd. Katonah. 914-232-1252. www.caramoor.org NEW JERSEY Thurs 7/5: Shirazette & the Jazz Women at Makeda. 7:30pm. No cover; $5 min. 338 George St., New Brunswick. www.nbjp.org Fri 7/6: Billy Test Group at Sophies Bistro. 8:00pm. No cover. 700 Hamilton St., Somerset. www.nbjp.org Sat 7/7: Swingadelic at Sitnik Theater, Lackland Center at Centenary College. 8:00pm. $25; $30 at door. 715 Grand Ave., Hackettstown. www.swing46.com Sat 7/7: Ted Brown with Jon Easton, Don Messina & Bill Chattin at Trumpets. 8:00pm & 10:00pm. $15 cover; $12 min. 6 Depot Sq., Montclair. 973-744-2600. www.trumpetsjazz.com. Tues 7/10: Bria Skonberg with Ehud Asherie, Dan Glass, Sean Harkness, Sean Cronin & Will Anderson at Bickford Theatre. 8:00pm. $15 in advance; $18 at door. On Columbia Turnpike @ Normandy Heights Road, east of downtown Morristown. 973-744-2600. www.njjs.org Tues 7/10: Mike Winnicki Quartet at Tumultys Pub. 8:00pm. No cover. 361 George St., New Brunswick. www.nbjp.org Tues 7/10: Bossa Brasil at Morristowns Music without Borders. Noon. Free. Corner of Park Pl. & South St., Morristown. 973-285-5115. www.morrisarts.org Wed 7/11: Carrie Jackson Group at Hyatt. 7:30pm. 2 Albany St., New Brunswick. No cover. Wed 7/11: Al Harrisons Dixieland Band at Orange County College. 8:00pm. $18; $15 for seniors. College Dr. off County Rd. 549 (Hooper Ave.), Toms River. 732-255-0400. www.ocean.edu Thurs 7/12: Lee Hogans Quartet at Makeda. 7:30pm. No cover; $5 min. 338 George St., New Brunswick. www.nbjp.org Fri 7/13: Rio Clemente at Trumpets. 8:00pm & 10:00pm. $15 cover; $10 min. 6 Depot Sq., Montclair. 973-744-2600. www.trumpetsjazz.com. Sat 7/14: Bill Charlap at McCarter Theater. 8:00pm. 91 University Pl., Princeton. 609-258-2787. www.mccarter.org Sat 7/14: Bossa Brasil at Papillon 25. 10:00pm. No cover or min. 25 Valley St., South Orange. 973761-5299. www.papillon25.com Mon 7/16: Fun Bunch Big Band at Bickford Theatre. 8:00pm. $15 in advance; $18 at door. On Columbia Turnpike @ Normandy Heights Road, east of downtown Morristown. 973-971-3706. Tues 7/17: Marlene VerPlanck with Tedd Firth & Boots Maleson at 170 Elm St., Westfield. In front of church & opposite Trader Joes. 908-789-9444. www.marleneverplanck.com Tues 7/17: Peter Park Quartet at Tumultys Pub. 8:00pm. No cover. 361 George St., New Brunswick. Tues 7/17: Dixie Crackerjacksat Bickford Theatre. 8:00pm. $15 in advance; $18 at door. On Columbia Turnpike @ Normandy Heights Road, east of downtown Morristown. 973-971-3706. Thurs 7/19: Ray Mantilla Space Station with Nicki Denner Trio & DJ Rey-Mo at New Jersey Performing Arts Centers Theater Square. 5:45pm. Free. 1 Center St., Newark. 973-642-8989. njpac.org Thurs 7/19: Behn Gillece Quartet at Makeda. 7:30pm. No cover; $5 min. 338 George St., New
To Advertise CALL: 215-887-8880 July 2012 Jazz Inside Magazine www.JazzInsideMagazine.com July 2012 JazzInsideMagazine.com 27 27
If the American people ever allow private banks to control the issue of their currency, first by inflation and then by deflation, the banks and corporations that will grow up around them will deprive the people of all property until their children wake up homeless on the continent their fathers conquered.
- Thomas Jefferson
Brunswick. www.nbjp.org
Fri 7/20: Burr Johnson at Trumpets. 8:00pm &
10:00pm. $15 cover; $10 min. 6 Depot Sq., Montclair. 973-744-2600. www.trumpetsjazz.com. Mon 7/23: South Shore Syncopators at Bickford Theatre. 8:00pm. $15 in advance; $18 at door. On Columbia Turnpike @ Normandy Heights Road, east of downtown Morristown. 973-971-3706. Mon 7/23: Summer Jazz Workshop Faculty Quintet at William Paterson University, Shea Center for Performing Arts. 7:30pm. The Music of Thad Jones. $10; $8 for seniors & those with WBGO discount. Students with ID free. $40 for weeklong pass. 300 Pompton Road, Wayne. 973-720-2371. Tues 7/24: Alex Perry Quartet at Tumultys Pub. 8:00pm. No cover. 361 George St., New Brunswick. Tues 7/24: Danny Blocks Big Four at William
Paterson University, Shea Center for Performing Arts. 7:30pm. $10; $8 for seniors & those with WBGO discount. Students with ID free. $40 for weeklong pass. 300 Pompton Road, Wayne. 973720-2371. www.wplive.org. Wed 7/25: Adrienne West Group at Hyatt. 7:30pm. 2 Albany St., New Brunswick. No cover. Wed 7/25: Nancy Marano with the Summer Jazz Ensemble directed by Steve Marcone at William Paterson University, Shea Center for Performing Arts. 7:30pm. $10; $8 for seniors & those with WBGO discount. Students with ID free. $40 for weeklong pass. 300 Pompton Road, Wayne. 973720-2371. www.wplive.org. Thurs 7/26: Ed Cherry Trio at Makeda. 7:30pm. No cover; $5 min. 338 George St., New Brunswick. www.nbjp.org Thurs 7/26: Dave Gibson & the DG Organ 4tet at William Paterson University, Shea Center for Performing Arts. 7:30pm. $10; $8 for seniors & those with WBGO discount. Students with ID free. $40 for weeklong pass. 300 Pompton Road, Wayne. 973-720-2371. www.wplive.org. Fri 7/27: Heath Brothers Quartet at William Paterson University, Shea Center for Performing Arts. 7:30pm. $10; $8 for seniors & those with WBGO discount. Students with ID free. $40 for weeklong pass. 300 Pompton Road, Wayne. 973-720-2371. . Mon 7/30: Pat Metheny Unity Band at Bergen Performing Arts Center. 8:00pm. $89, $59, $49, $39, $29. 30 N. Van Brunt St., Englewood. 201227-1030. www.bergenpac.org Mon 7/30: Randy Reinhart with Mark Shane, Matt Hoffman, Brian Nalepka & James Chirillo at Bickford Theatre. 8:00pm. $15 in advance; $18 at
door. On Columbia Turnpike @ Normandy Heights Road, east of downtown Morristown. 973-971-3706. Tues 7/31: Adam Machaskee Quartet at Tumultys Pub. 8:00pm. No cover. 361 George St., New Brunswick. www.nbjp.org AND BEYOND Thurs 7/5: Akie B. & the Falcons at The Falcon. 7:00pm. 1348 Rt. 9W, Marlboro, NY. Sat 7/7: Sketchy Black Dog at The Falcon. 7:00pm. 1348 Rt. 9W, Marlboro, NY. Sun 7/8: Ben Taylor at Ridgefield Playhouse. 8:00pm. $35. Free wine tasting at 7:00pm. 203-4385795. 80 E. Ridge, Ridgefield, CT. www.ridgefieldplayhouse.org Fri 7/13: Ed Palermo Band at The Falcon. 7:00pm. 1348 Rt. 9W, Marlboro, NY. Sat 7/14: Gene Ess Quartet & Nicki Parrott at The Falcon. 7:00pm. 1348 Rt. 9W, Marlboro, NY. Sun 7/15: Matt Finck Group at The Falcon. 10:00am. 1348 Rt. 9W, Marlboro, NY. Sat 7/21: Sheryl Bailey & Vic Juris with Ray Mason at The Buttonwood Tree Performing Arts & Cultural Center. 8:00pm. $15. 605 Main St., Middletown, CT. 860-347-4957. www.buttonwood.org. Sun 7/22: Chris Botti at Ridgefield Playhouse. 8:00pm. $95; $110. 203-438-5795. 80 E. Ridge, Ridgefield, CT. www.ridgefieldplayhouse.org Fri 7/27: Rickie Lee Jones at Ridgefield Playhouse. 8:00pm. $55 203-438-5795. 80 E. Ridge, Ridgefield, CT. www.ridgefieldplayhouse.org Sat 7/28: The Cookers at The Falcon. 7:00pm. 1348 Rt. 9W, Marlboro, NY
Jazz Lovers Heaven

Clubs & Venues

55 Bar, 55 Christopher St. (betw 6th & 7th Ave.), 212-929-9883, www.55bar.com 92nd Street Y, 1395 Lexington Ave, New York, NY 10128 212.415.5500, www.92ndsty.org Aaron Davis Hall, City College of NY, Convent Ave., 212-6506900, www.aarondavishall.org Alice Tully Hall, Lincoln Center, Broadway & 65th St., 212-8755050, www.lincolncenter.org/default.asp Allen Room, Lincoln Center, Time Warner Center, Broadway and 60th, 5th floor, 212-258-9800, www.lincolncenter.org/default.asp American Museum of Natural History, 81st St. & Central Park W., 212-769-5100, www.amnh.org Arthurs Tavern, 57 Grove St., 212-675-6879 or 917-301-8759, www.arthurstavernnyc.com Arts Maplewood, P.O. Box 383, Maplewood, NJ 07040; 973-3782133, www.artsmaplewood.org Avery Fischer Hall, Lincoln Center, Columbus Ave. & 65th St., 212-875-5030, www.lincolncenter.org Backroom at Freddies, 485 Dean St. (at 6th Ave.), Brooklyn, NY, 718-622-7035, www.freddysbackroom.com BAM Caf, 30 Lafayette Ave., Brooklyn, NY, 718-636-4100, www.bam.org Bar 4, 7 Ave and 15th, Brooklyn NY 11215, 718-832-9800, www.Bar4.net 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 www.capellahotels.com/newyork/ Barbes, 376 9th St. (corner of 6th Ave.), Park Slope, Brooklyn, 718-965-9177, www.barbesbrooklyn.com Barge Music, Fulton Ferry Landing, Brooklyn, 718-624-2083, www.bargemusic.org B.B. Kings Blues Bar, 237 W. 42nd St., 212-997-4144, www.bbkingblues.com Beacon Theatre, 74th St. & Broadway, 212-496-7070 Bickford Theatre, on Columbia Turnpike @ Normandy Heights Road, east of downtown Morristown. 973-744-2600 Birdland, 315 W. 44th St., 212-581-3080 Blue Note, 131 W. 3rd St., 212-475-8592, www.bluenotejazz.com/newyork Bluestone Bar & Grill, 117 Columbia St., Brooklyn, NY, 718-4037450, www.bluestonebarngrill.com Bourbon Street Bar and Grille, 346 W. 46th St, NY, 10036, 212-245-2030, contact@bourbonny.com, contact@frenchquartersny.com Bowery Poetry Club, 308 Bowery (at Bleecker), 212-614-0505, www.bowerypoetry.com Brooklyn Public Library, Grand Army Plaza, 2nd Fl, Brooklyn, NY, 718-230-2100, www.brooklynpubliclibrary.org Buttonwood Tree Performing Arts & Cultural Center, 605 Main St., Middletown, CT. 860-347-4957, www.buttonwood.org. Caf Carlyle, 35 E. 76th St., 212-570-7189, www.thecarlyle.com 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, www.cafestbarts.com Caffe Vivaldi, 32 Jones St, NYC; www.caffevivaldi.com Carnegie Club, 156 W. 56th St., 212-957-9676, www.hospitalityholdings.com Carnegie Hall, 7th Av & 57th, 212-247-7800, www.carnegiehall.org Casa Dante, 737 Newark Avenue, Jersey City, NJ, www.casadante.com Cecils Jazz Club & Restaurant, 364 Valley Rd, West Orange, NJ, Phone: 973-736-4800, www.cecilsjazzclub.com 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. www.citywinery.com Cleopatras Needle, 2485 Broadway (betw 92nd & 93rd), 212-769-6969, www.cleopatrasneedleny.com 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. corneliastreetcafe.com Creole Caf, 2167 Third Ave (at 118th), 212-876-8838. Crossroads at Garwood, 78 North Ave., Garwood, NJ 07027, 908-232-5666 Crossroads 78 North Avenue, Garwood, NJ Cutting Room, 19 W. 24th St, Tel: 212-691-1900, www.thecuttingroomnyc.com Destino, 891 First Ave. & 50th St., 212-751-0700 Detour, 349 E. 13th St. (betw 1st & 2nd Ave.), 212-533-6212, www.jazzatdetour.com Division Street Grill, 26 North Division Street, Peekskill, NY, 914-739-6380, www.divisionstreetgrill.com Dizzys Club Coca Cola, Broadway at 60th St., 5th Floor, 212-2589595, www.jalc.com DROM, 85 Avenue A, New York, 212-777-1157, www.dromnyc.com/ The Ear Inn, 326 Spring St., NY, 212-226-9060, www.earinn.com eighty-eights, 1467 Main Street, Rahway, NJ, 732-499-7100 El Museo Del Barrio, 1230 Fifth Ave (at 104th St.), Tel: 212-8317272, Fax: 212-831-7927, www.elmuseo.org The Encore, 266 W. 47th St., 212-221-3960, www.theencorenyc.com The Falcon, 1348 Rt. 9W, Marlboro, NY., 845) 236-7970, www.liveatthefalcon.com Fat Cat, 75 Christopher St. (at &th Ave.), 212-675-7369, www.fatcatjazz.com FB Lounge, 172 E. 106th St., New York, 212-348-3929, www.fondaboricua.com Feinsteins at Loews Regency, 540 Park Avenue (at 61st Street), NY, 212-339-4095, feinsteinsattheregency.com Five Spot, 459 Myrtle Ave, Brooklyn, NY, 718-852-0202, www.fivespotsoulfood.com Flushing Town Hall, 137-35 Northern Blvd., Flushing, NY, 718-463-7700 x222, www.flushingtownhall.org For My Sweet, 1103 Fulton St., Brooklyn, NY 718-857-1427 Franks Cocktail Lounge, 660 Fulton St. (at Lafayette), Brooklyn, NY, 718-625-9339, www.frankscocktaillounge.com Freddys Backroom, 485 Dean St., Brooklyn, NY 11217, 718-6227035 Galapagos, 70 N. 6th St., Brooklyn, NY, 718-782-5188, www.galapagosartspace.com Garage Restaurant and Caf, 99 Seventh Ave. (betw 4th and Bleecker), 212-645-0600, www.garagerest.com Garden Caf, 4961 Broadway, by 207th St., New York, 10034, 212-544-9480 Ginnys Supper Club, 310 Malcolm X Boulevard Manhattan, NY 10027, 212-792-9001, http://redroosterharlem.com/ginnys/ Glen Rock Inn, 222 Rock Road, Glen Rock, NJ, (201) 445-2362, www.glenrockinn.com Greenwich Village Bistro, 13 Carmine St., 212-206-9777, www.greenwichvillagebistro.com Harlem Tea Room, 1793A Madison Ave., 212-348-3471, www.harlemtearoom.com Havana Central West End, 2911 Broadway/114th St), NYC, 212-662-8830, www.havanacentral.com Hibiscus Restaurant, 270 S. Street, Morristown, NJ, 973-359-0200, www.hibiscusrestaurantnj.com Highline Ballroom, 431 West 16th St (between 9th & 10th Ave. www.highlineballroom.com, 212-414-4314. Hopewell Valley Bistro, 15 East Broad St, Hopewell, NJ 08525, 609-466-9889, www.hopewellvalleybistro.com Hyatt New Brunswick, 2 Albany St., New Brunswick, NJ IBeam Music Studio, 168 7th St., Brooklyn, ibeambrooklyn.com 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, www.iridiumjazzclub.com Jazz 966, 966 Fulton St., Brooklyn, NY, 718-638-6910 Jazz at Lincoln Center, 33 W. 60th St., 212-258-9800, www.jalc.org Frederick P. Rose Hall, Broadway at 60th St., 5th Floor 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, www.jazzgallery.org The Jazz Spot, 375 Kosciuszko St. (enter at 179 Marcus Garvey Blvd.), Brooklyn, NY, 718-453-7825, www.thejazz.8m.com Jazz Standard, 116 E. 27th St., 212-576-2232, www.jazzstandard.net Joes Pub at the Public Theater, 425 Lafayette St & Astor Pl., 212-539-8778, www.joespub.com John Birks Gillespie Auditorium (see Bahai Center) Jules Bistro, 65 St. Marks Place, Tel: 212-477-5560, Fax: 212-4200998, www.julesbistro.com Kasser Theater, 1 Normal Avenue, Montclair State College, Montclair, 973-655-4000, www.montclair.edu/arts/performancefacilities/ alexanderkasser.html Key Club, 58 Park Place, Newark, NJ, (973) 799-0306, www.keyclubnj.com Kitano Hotel, 66 Park Ave., 212-885-7000 or 800-548-2666, Knickerbocker Bar & Grill, 33 University Pl., 212-228-8490, www.knickerbockerbarandgrill.com The Knitting Factory, 74 Leonard St., Tel: 212-219-3132, www.knittingfactory.com La Famiglia Sorrento, 631 Central Ave, Westfield, NJ, 07090, 908232-2642, www.lafamigliasorrento.com La Lanterna (Bar Next Door at La Lanterna), 129 MacDougal Street, New York, 212-529-5945, www.lalanternarcaffe.com Le Grand Dakar Cafe, 285 Grand Ave, Clinton Hill, Brooklyn, http://nymag.com/listings/restaurant/le-grand-dakar/ Le Madeleine, 403 W. 43rd St. (betw 9th & 10th Ave.), New York, New York, 212-246-2993, www.lemadeleine.com Lenox Lounge, 288 Lenox Ave. (above 124th St.), 212-427-0253, www.lenoxlounge.com Les Gallery Clemente Soto Velez, 107 Suffolk St. (at Rivington St.), 212-260-4080 Linn Restaurant & Gallery, 29-13 Broadway, Queens, Astoria, New York, www.linnrestaurant.com Live @ The Falcon, 1348 Route 9W, Marlboro, NY 12542, www.liveatthefalcon.com Living Room, 154 Ludlow St. (betw Rivington & Stanton), 212-533-7235, www.livingroomny.com The Local 269, 269 E. Houston St. (corner of Suffolk St.), NYC Makor, 35 W. 67th St. (at Columbus Ave.), 212-601-1000, www.makor.org Lounge Zen, 254 DeGraw Ave, Teaneck, NJ, (201) 692-8585, www.lounge-zen.com Makeda, George St., New Brunswick. NJ, www.nbjp.org Maxwells, 1039 Washington Street, Hoboken, NJ, 201-653-1703, www.maxwellsnj.com McCarter Theater, 91 University Pl., Princeton, 609-258-2787, www.mccarter.org Merkin Concert Hall, Kaufman Center, 129 W. 67th St. (betw Broadway & Amsterdam), 212-501-3330, www.ekcc.org/ merkin.htm Metropolitan Room, 34 West 22nd Street New York City, NY 10012, 212-206-0440, www.metropolitanroom.com MetroTech Commons, Flatbush & Myrtle Ave., Brooklyn, NY, 718-488-8200 or 718-636-4100 (BAM) Mirelles, 170 Post Ave., Westbury, NY, 516-338-4933 Mixed Notes Caf, 333 Elmont Rd., Elmont, NY (Queens area), 516-328-2233, www.mixednotescafe.com Mo-Bay Uptown, 17 W. 125th St., 212-876-9300, www.mobayrestaurant.com Moldy Fig Jazz Club, 178 Stanton St., 646-559-2553 www.MoldyFigJazzClub.com Montauk Club, 25 Eighth Ave., Brooklyn, NY, 718-638-0800, www.montaukclub.com Museum of the City of New York, 1220 Fifth Ave. (between 103rd & 104th St.), 212-534-1672, www.mcny.org Musicians Local 802, 332 W. 48th St., 718-468-7376 or 860-231-0663 Newark Museum, 49 Washington Street, Newark, New Jersey 07102-3176, 973-596-6550, www.newarkmuseum.org New Jersey Performing Arts Center, 1 Center St., Newark, NJ, 07102, 973-642-8989, www.njpac.org New School Performance Space, 55 W. 13th St., 5th Floor (betw 5th & 6th Ave.), 212-229-5896, www.newschool.edu. New School University-Tishman Auditorium, 66 W. 12th St., 1st Floor, Room 106, 212-229-5488, www.newschool.edu New York City Bahai Center, 53 E. 11th St. (betw Broadway & University), 212-222-5159, www.bahainyc.org Night of the Cookers, 767 Fulton St., Brooklyn, NY, Tel: 718-7971197, Fax: 718-797-0975 North Square Lounge, 103 Waverly Pl. (at MacDougal St.), 212-254-1200, www.northsquarejazz.com Nublu, 62 Ave. C (betw 4th & 5th St.), 212-979-9925, www.nublu.net Nuyorican Poets Caf, 236 E. 3rd St. (betw Ave. B & C), 212-5058183, www.nuyorican.org Oak Room at The Algonquin Hotel, 59 W. 44th St. (betw 5th and 6th Ave.), 212-840-6800, www.thealgonquin.net Oceana Restaurant, 120 West 49th Street, New York, NY 10020 212-759-5941, www.oceanarestaurant.com Opia, 130 East 57th St, New York, NY 10022, 212-688-3939 www.opiarestaurant.com 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, www.parlorentertainment.com Parlor Jazz, 119 Vanderbilt Ave. (betw Myrtle & Park), Brooklyn, NY, 718-855-1981, www.parlorjazz.com Perks, 535 Manhattan Ave, New York NY 10027, 212-666-8500 Performance Space 122, 150 First Av., 212-477-5829, www.ps122.org Pigalle, 790 8th Ave. 212-489-2233. www.pigallenyc.com 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 www.privateplacelounge.com 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, 908-232-7320, www.16prospect.com, www.cjayrecords.com Puppets Jazz Bar, Puppet Jazz Bar, 481 5th Avenue, NY 11215, 718- 499-2622, www.PuppetsJazz.com Red Eye Grill, 890 Seventh Ave. (at 56th St.), 212-541-9000, www.redeyegrill.com Richie Ceceres Restaurant and Supperclub, 2 Erie Street Montclair, NJ 07042, 973.746.7811, www.richiececre.com Ridgefield Playhouse, 80 East Ridge, parallel to Main St., Ridgefield, CT; ridgefieldplayhouse.org, 203-438-5795 Rockwood Music Hall, 196 Allen St, New York, NY 10002 212-477-4155 Rose Center (American Museum of Natural History), 81st St. (Central Park W. & Columbus), 212-769-5100, www.amnh.org/rose Rose Hall, 33 W. 60th St., 212-258-9800, www.jalc.org Rosendale Caf, 434 Main St., PO Box 436, Rosendale, NY 12472, 845-658-9048, www.rosendalecafe.com Rubin Museum of Art - Harlem in the Himalayas, 150 W. 17th St. 212-620-5000. www.rmanyc.org Rustik, 471 DeKalb Ave, Brooklyn, NY, 347-406-9700, www. rustikrestaurant.com St. Marks Church, 131 10th St. (at 2nd Ave.), 212-674-6377
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Clubs & Venues

St. Nicks Pub, 773 St. Nicholas Av (at 149th), 212-283-9728 St. Peters Church, 619 Lexington (at 54th), 212-935-2200, www.saintpeters.org Salon at Rue 57, 60 West 57th Street, 212-307-5656, www.rue57.com Sasas Lounge, 924 Columbus Ave, Between 105th & 106th St. NY, NY 10025, 212-865-5159, www.sasasloungenyc.yolasite.com Savoy Grill, 60 Park Place, Newark, NJ 07102, 973-286-1700 Schomburg Center, 515 Malcolm X Blvd., 212-491-2200, www.nypl.org/research/sc/sc.html Shanghai Jazz, 24 Main St., Madison, NJ, 973-822-2899, www.shanghaijazz.com ShapeShifter Lab, 18 Whitwell Place, Brooklyn, NY 11215 www.shapeshifterlab.com 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, www.silverspooncoldpspring.com Sistas Place, 456 Nostrand Ave. (at Jefferson Ave.), Brooklyn, NY, 718-398-1766, www.sistasplace.org 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, www.smallsjazzclub.com 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. www.nbjp.org South Gate Restaurant & Bar, 154 Central Park South, 212-4845120, www.154southgate.com South Orange Performing Arts Center, One SOPAC Way, South Orange, NJ 07079, sopacnow.org, 973-313-2787 South Street Seaport, 207 Front St., 212-748-8600, www.southstseaport.org. Spoken Words Caf, 266 4th Av, Brooklyn, 718-596-3923 Stanley H. Kaplan Penthouse, 165 W. 65th St., 10th Floor, 212-721-6500, www.lincolncenter.org The Stone, Ave. C & 2nd St., www.thestonenyc.com Sugar Bar, 254 W. 72nd St., 212-579-0222, www.sugarbarnyc.com Swing 46, 349 W. 46th St.(betw 8th & 9th Ave.), 212-262-9554, www.swing46.com Symphony Space, 2537 Broadway, Tel: 212-864-1414, Fax: 212932-3228, www.symphonyspace.org
Tea Lounge, 837 Union St. (betw 6th & 7th Ave), Park Slope, Broooklyn, 718-789-2762, www.tealoungeNY.com Terra Blues, 149 Bleecker St. (betw Thompson & LaGuardia), 212-777-7776, www.terrablues.com Theatre Row, 410 W. 42nd, 212-714-2442, www.theatrerow.org Tito Puentes Restaurant and Cabaret, 64 City Island Avenue, City Island, Bronx, 718-885-3200, titopuentesrestaurant.com Tomi Jazz, 239 E. 53rd St., lower level. 646-497-1254, www.tomijazz.com Tonic, 107 Norfolk St. (betw Delancey & Rivington), Tel: 212-3587501, Fax: 212-358-1237, tonicnyc.com Town Hall, 123 W. 43rd St., 212-997-1003 Trash Bar, 256 Grand St. 718-599-1000. www.thetrashbar.com Triad Theater, 158 W. 72nd St. (betw Broadway & Columbus Ave.), 212-362-2590, www.triadnyc.com Tribeca Performing Arts Center, 199 Chambers Street, 10007, info@tribecapac.org, www.tribecapac.org Trumpets, 6 Depot Square, Montclair, NJ, 973-744-2600, www. trumpetsjazz.com Tumultys Pub, 361 George St., New Brunswick Turning Point Cafe, 468 Piermont Ave. Piermont, N.Y. 10968 (845) 359-1089, http://www.turningpointcafe.com/ Village Vanguard, 178 7th Avenue South, 212-255-4037, www.villagevanguard.net Vision Festival, 212-696-6681, info@visionfestival.org, www.visionfestival.org Watchung Arts Center, 18 Stirling Rd, Watchung, NJ 07069, 908-753-0190, www.watchungarts.org Watercolor Caf, 2094 Boston Post Road, Larchmont, NY 10538, 914-834-2213, www.watercolorcafe.net Weill Receital Hall at Carnegie Hall, 57th & 7th Ave, 212-247-7800 Williamsburg Music Center, 367 Bedford Avenue, Brooklyn, NY 11211, (718) 384-1654 www.wmcjazz.org 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, www.zebuloncafeconcert.com Zinc Bar, 82 West 3rd St., 212-477-8337, www.zincbar.com RECORD STORES Barnes & Noble, 1960 Broadway, at 67th St, 212-595-6859 Colony Music Center, 1619 Broadway. 212-265-2050, www.colonymusic.com Downtown Music Gallery, 13 Monroe St, New York, NY 10002, (212) 473-0043, www.downtownmusicgallery.com J&R Music World, 13 Monroe Street, 212-238-9000, www,jr.com Jazz Record Center, 236 W. 26th St., Room 804, 212-675-4480, www.jazzrecordcenter.com Normans Sound & Vision, 67 Cooper Sq., 212-473-6599 Princeton Record Exchange, 20 South Tulane Street, Princeton,
NJ 08542, 609-921-0881, www.prex.com Rainbow Music 2002 Ltd., 130 1st Ave (between 7th & St. Marks Pl.), 212-505-1774 Scottis Records, 351 Springfield Ave, Summit, NJ, 07901, 908-277-3893, www.scotticd.com MUSIC STORES Mannys Music, 156 W. 48th St. (betw. 6th and 7th Ave), 212-819-0576, Fax: 212-391-9250, www.mannysmusic.com Drummers World, Inc., 151 W. 46th St., NY, NY 10036, 212-8403057, 212-391-1185, www.drummersworld.com Robertos Woodwind & Brass, 149 West 46th St. NY, NY 10036, 646-366-0240, Repair Shop: 212-391-1315; 212-840-7224, www.robertoswoodwind.com 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, www.samash.com Sadowsky Guitars Ltd, 2107 41st Avenue 4th Floor, Long Island City, NY 11101, 718-433-1990. www.sadowsky.com Steve Maxwell Vintage Drums, 723 7th Ave, 3rd Floor, New York, NY 10019, 212-730-8138, www.maxwelldrums.com SCHOOLS, COLLEGES, CONSERVATORIES 92nd Street Y, 1395 Lexington Ave, New York, NY 10128 212.415.5500; www.92ndsty.org Brooklyn-Queens Conservatory of Music, 42-76 Main St., Flushing, NY, Tel: 718-461-8910, Fax: 718-886-2450 Brooklyn Conservatory of Music, 58 Seventh Ave., Brooklyn, NY, 718-622-3300, www.brooklynconservatory.com City College of NY-Jazz Program, 212-650-5411, Columbia University, 2960 Broadway, 10027 Drummers Collective, 541 6th Ave, New York, NY 10011, 212-741-0091, www.thecoll.com Five Towns College, 305 N. Service Rd., 516-424-7000, ext.163, Dix Hills, NY Greenwich House Music School, 46 Barrow St., Tel: 212-2424770, Fax: 212-366-9621, www.greenwichhouse.org Juilliard School of Music, 60 Lincoln Ctr, 212-799-5000 LaGuardia Community College/CUNI, 31-10 Thomson Ave., Long Island City, 718-482-5151 Lincoln Center Jazz At Lincoln Center, 140 W. 65th St., 10023, 212-258-9816, 212-258-9900 Long Island University Brooklyn Campus, Dept. of Music, University Plaza, Brooklyn, 718-488-1051, 718-488-1372 Manhattan School of Music, 120 Claremont Ave., 10027, 212-749-2805, 2802, 212-749-3025 New Jersey City University, 2039 Kennedy Blvd., Jersey City, NJ 07305, 888-441-6528 New School, 55 W. 13th St., 212-229-5896, 212-229-8936 New York University-Jazz/Contemporary Music Studies, 35 West 4th St. Room#777, 212-998-5446, 212-995-4043 New York Jazz Academy, (718) 426-0633, www.NYJazzAcademy.com 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 newarkwww.rutgers.edu/IJS/index1.html SUNY Purchase, 735 Anderson Hill Rd., Purchase, NY 914-251-6300, 914-251-6314 Turtle Bay Music School, 244 E. 52nd St., New York, NY 10022, 212-753-8811, www.tbms.org William Paterson University Jazz Studies Program, 300 Pompton Rd, Wayne, NJ, 973-720-2320 RADIO WBGO 88.3 FM, 54 Park Pl, Newark, NJ 07102, Tel: 973-6248880, Fax: 973-824-8888, www.wbgo.org WCWP, LIU/C.W. Post Campus WFDU, http://alpha.fdu.edu/wfdu/wfdufm/index2.html WKCR 89.9, Columbia University, 2920 Broadway Mailcode 2612, New York, NY 10027, Listener Line: (212) 8549920, www.columbia.edu/cu/wkcr, jazz@wkcr.org One Great Song, Hosted by Jay Harris, www.wmnr.org (at 6 on Saturdays, and at www.tribecaradio.net at 11AM Sundays and again on Monday and Thursday nights at 11PM.) Lenore Raphaels JazzSpot, www.purejazzradio.com. PERFORMING GROUPS Westchester Jazz Orchestra, Emily Tabin, Exec. Director, PO Box 506, Chappaqua, NY 10514, 914-861-9100, www.westjazzorch.org ADDITIONAL JAZZ RESOURCES Big Apple Jazz, www.bigapplejazz.com, 718-606-8442, gordon@bigapplejazz.com Louis Armstrong House, 34-56 107th St, Corona, NY 11368, 718-997-3670, www.satchmo.net Institute of Jazz Studies, John Cotton Dana Library, RutgersUniv, 185 University Av, Newark, NJ, 07102, 973-353-5595 Jazzmobile, Inc., 154 W. 126th St., 10027, 212-866-4900, www.jazzmobile.org Jazz Museum in Harlem, 104 E. 126th St., 212-348-8300, www.jazzmuseuminharlem.org Jazz Foundation of America, 322 W. 48th St. 10036, 212-245-3999, www.jazzfoundation.org New Jersey Jazz Society, 1-800-303-NJJS, www.njjs.org New York Blues & Jazz Society, www.NYBluesandJazz.org Rubin Museum, 150 W. 17th St, New York, NY, 212-620-5000 ex 344, www.rmanyc.org.
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JULY - National Cathedral Park Jazz Festival July 20-22, 2012 Portland, OR www.cpjazz.com/ Centrums Jazz Port Townsend July 22-29, 2012 Port Townsend, WA www.centrum.org Fillmore Jazz Festival: July 7 & 8, 2012 San Francisco, CA www.fillmorejazzfestival.com Iowa City Jazz Festival June 29-July 1, 2012 Iowa City, IA www.summerofthearts.org Jazz In July: July 9-20, 2012 Amherst, MA www.JazzInJuly.com Jazz in the Valley: July 27 29, 2012 Ellensburg, WA www.jazzinthevalley.com KoSA Intl Percussion Workshops & Festival: July 24-29, 2012 Castleton State College, VT www.kosamusic.com Mammoth Lakes Jubilee: July 11-15, 2012 Mammoth Lakes, CA www.mammothjazz.org Sioux Falls Jazz & Blues Festival July 26-28, 2012 Sioux Falls, SD www.siouxfallsjazzfest.com JUNE / JULY - International Aarhus International Jazz Festival: July 14-21, 2012 Aarhus, Denmark www.jazzfest.dk Halifax Jazz Festival: July 6-14, 2012 Halifax, Nova Scotia www.halifaxjazzfestival.ca Kongsberg Jazz Festival: July 4-7, 2012 Kongsberg, Norway www.kongsberg-jazzfestival.no Montreux Jazz Festival: June 29-July 14, 2012 Montreux, Switzerland www.montreuxjazz.com North Sea Jazz Festival July 6-8, 2012 Rotterdam, Netherlands www.northseajazz.com Stockholm Jazz Festival October 1-7, 2012 Stockholm, Sweden www.stockholmjazz.com
Souillac En Jazz July 15-22, 2012 Souillac, France www.souillacenjazz.net Umbria Jazz: July 6-15, 2012 Perugia, Italy www.umbriajazz.com AUGUST - Local & Regional 92nd Street Y - Jazz In July July 17-26 92Y.org/Inside 212.415.5500 Tue, Jul 17, 8 pm SONG & SOUL: ERNIE ANDREWS & FREDDY COLE TIME REMEMBERED: THE MUSIC OF BILL EVANSBill Charlap, piano / Renee Rosnes, piano / Steve Nelson, vibes / Greg Gisbert, trumpet / Dave Stryker, guitar / Scott Colley, bass / Joe La Barbera, drums THU Jul 19, 8 pmAN ENCHANTED EVENING: THE SONGS OF RICHARD RODGERS Bill Charlap, piano / Barbara Carroll, piano & vocals / Sachal Vasandani, vocals / Warren Vach, cornet / Jon Gordon, alto sax /John Allred, trombone / Jay Leonhart, bass / Sean Smith, bass / Tim Horner, drums Tue Jul 24, 8 pm PIANO SUMMIT: DICK HYMAN & BILL CHARLAPDick Hyman, piano / Bill Charlap, piano / Sandy Stewart, vocals / Ken Peplowski, clarinet / Harry Allen, tenor sax / Jay Leonhart, bass / Willie Jones III, drums WED Jul 25, 8 pm MESSENGERS OF JAZZ: THE LEGACY OF ART BLAKEY Lewis Nash, drums / Kenny Washington, drums / Joe Magnarelli, trumpet / Jimmy Greene, tenor sax / Michael Dease, trombone / Bill Charlap, piano / Renee Rosnes, piano / Peter Washington, bass Thu, Jul 26, 8 pm BASIE ROARS AGAIN! - The Count Basie Orchestra, directed by Dennis Mackrel / Frank Wess, tenor sax / Bucky Pizzarelli, guitar / Bill Charlap, piano / Peter Washington, bass / Dennis Mackrel, drums
Charlie Parker Festival: August 24-26, 2012 New York, NY Marcus Garvey Park in Harlem. Bird with Strings, with Miguel AtwoodFerguson; Roy Haynes; Rene Maries Experiment in Truth, Derrick Hodge and ERIMAJ; Ernestine Anderson Quartet, Gregory Porter, Andy Milne & Dapp Theory, and Sullivan Fortner. Newport Jazz Festival August 3-5, 2012 Newport, RI Dr. John; Preservation Hall Jazz Band; Catherine Russell; Jonathan Batiste; Pat Metheny Unity; Bill Frisell-John Lennon Songbook; Dianne Reeves; Jack DeJohnette All-Stars; Joe Lovano and Dave Douglas Quintet:; Bad Plus with Bill Frisell; James Carter Organ Trio; Dafnis Prieto Sextet; Darcy James Argue's Secret Society; 3 Clarinets: Ken Peplowski - Evan Christopher - Anat Cohen; Ken Peplowski, Christian McBride's Inside Straight; John Ellis & Double-Wide; Pedrito Martinez; Tedeschi Trucks Band; Maria Schneider Orchestra; Jason Moran and the Bandwagon; Kurt Elling; Miguel Zenn's Rayuela; Jenny Scheinman & Bill Frisell; Ambrose Akinmusire Quintet; Rudresh Mahanthappa's Samdhi; Gretchen Parlato; John Hollenbeck's Claudia Quintet; 3 Cohens: Yuval, Anat & Avishai Cohen; Vince Giordano & The Nighthawks; Lewis Nash Quintet Ryan Truesdell's Gil Evans Centennial Project Historic Lewiston Jazz Festival August 24 & 25, 2012 Lewiston, NY www.lewistonjazz.com AUGUST National / Canadian Long Beach Jazz Festival August 10th-12th, 2012 Long Beach, CA www.longbeachjazzfestival.com Markham Jazz Festival August 16-19, 2012 Markham, Ontario, Canada www.markhamjazzfestival.com Satchmo Summer Fest August 3-5, 2012 New Orleans, LA www.fqfi.org/satchmosummerfest Telluride Jazz Celebration August 3-5, 2011 Telluride, CO www.telluridejazz.com AUGUST - International Jazz Festival Willisau: August 24-28, 2011 Willisau, Switzerland www.jazzwillisau.ch Oslo Jazz Festival: August 15-20, 2011 Oslo, Norway www.oslosjazz.no
Red Sea Jazz Festival: August 22-25, 2011 Eilat, Israel www.redseajazzeilat.com Sildajazz: August 10-14, 2011 Haugsund, Norway www.sildajazz.no Zomer Jazz Fiets Tour: August 26-27, 2011 Groningen, Netherlands www.zift.nl SEPTEMBER - Local and Regional COTA Jazz Festival: September 7-9, 2012 Delaware Water Gap, PA www.cotajazz.org Lake George Jazz Festival: September 15-16, 2012 Lake George, NY Artists: Emilio Solla Quintet; Sachal Vasandani; Warren Wolf; Donald Harrison and Congo Square Nation; John Tank & the Tin Palace Reunion Band; Steven Bernsteins Millennial Territory Orchestra; John Benitez with Donald Harrison SEPTEMBER & OCTOBER National Catalina Island Jazztrax Festival October 4-7, 11-14, 18-21, 2012 Avalon, CA www.jazztrax.com Detroit International Jazz Festival August 31,-September 3, 2012 Detroit, MI Partial List of Artists: Sonny Rollins; Wynton Marsalis Quintet; Pat Metheny; Chick Corea and Gary Burton; Wayne Shorter Quartet; Terence Blanchard; Randy Brecker and Lew Tabackin; Steve Wilson, Bird with Strings Revisited; Fred Hersch Trio; Charles McPherson; George Benson. www.detroitjazzfest.com Jazz By The Blvd Music and Arts Festival September 29-29, 2012 Fort Worth, TX, www.fortworthjazz.com Monterey Jazz Festival: Sept 21-23, 2012 Monterey, CA Notable Performers: Eddie Palmieri Salsa Orchestra; Melody Gardot; Gordon Goodwins Big Phat Band; Tony Bennett; Jack DeJohnette; Bill Frisell; Esperanza Spalding; Ambrose Akinmusire; Pat Metheny Unity Band; Dee Dee Bridgewater. www.montereyjazzfestival.org Sedona Jazz Festival: October 26-28, 2012 Sedona, AZ, www.sedonajazz.com Vail Jazz Festival & Party August 30-September 3, 2012 Vail, CO, www.vailjazz.org
Caramoor Jazz Festival July 28-29, 2012 Katonah, NY Sat-Sun 7/28-7/29: Caramoor Jazz Festival. The Cookers, Gretchen Parlato, Kenny Barron, Dee Dee Bridgewater & Roy Haynes Band at Venetian Theater, July 28; $15, $30, $45; 3:00pm-9:00pm. Pat Metheny Unity Band in Venetian Theater, July 29. $15; $20 $37.50; $52.50. 149 Girdle Ridge Rd. Katonah.
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Interview
Conrad Herwig
Interview By Joe Patitucci
JI: Could you discuss the evolution of your concept for The Latin Side of Joe Henderson and how it developed from seed to completed artwork? CH: Joe Henderson is one of the most iconic jazz saxophonists and composers of the late 20th Century. His compositions like Inner Urge, Recorda-Me, Black Narcissus, Isotope, and many others have set the bar for the following generations of young jazz musicians. It was a huge blessing in my life to record (Joe Henderson Big Band, Porgy & Bess) and tour with Joe around the world with groups including Jack DeJohnette, Al Foster, Dave Holland, George Mraz, Randy Brecker, Stefon Harris, and Kurt Rosenwinkel. 2012 is Joe Hendersons 75th Birthday year and it was a total natural to revisit his musical legacy in an AfroCaribbean context. Joe Lovano is a dear friend and colleague and we are both excited about the project. Im collaborating with the incredible pianist and composer/arranger Bill OConnell on the charts and we are really looking forward to the gigs and recording at the Blue Note JI: To bolster your interest in Joe Hendersons compositions and stylistic approach as an improviser, in association with developing this music, what kinds of study, transcription or efforts did you undertake to enhance your understanding of his music? CH: Since my teenage years I have idolized many of the incredible albums to which Joe Henderson has contributed. The Real McCoy, Red Clay, Cape Verdean Blues, plus all of Joe Hens
Hear Conrad Herwig Playing Music From His CD, The Latin Side Of Joe Henderson At The Blue Note, 131 W. 3rd St., NY, July 24-29 www.ConradHerwig.com
pattern player. His solos were wonderfully spontaneous. Could you share some of your observations about his solo improvisational approach. CH: Joe Henderson was a sonic artist and the audience was his canvas. He painted in sound color and was one of the most creative improvisers I have ever had the privilege to share the bandstand with. He had absolutely perfect, impeccable time and swing, while delivering total eras of Sonny Rollins and John Coltrane. JI: Given the angular qualities about the melodies, intervals and rhythms that characterize Joe Hendersons music, what kinds of challenges did you find that presented for you on trombone? CH: My friend Jim Snidero has called me a frustrated saxophonist in a trombone players body. The disciplines on trombone are multiple tonguing( doodle tonguing), alternate positions, and against the grain slide technique. I am deeply indebted to my Masters J.J. Johnson, Curtis Fuller, Slide Hampton, Frank Rosolino, and Carl Fontana for leading the way in 20th and 21st Century Trombone Technology. JI: Could you share some of the guidance, advice or words of wisdom that you might have received from artists and mentors - perhaps even from Joe Henderson? - who have made an impact on your artistry or life? CH: Joe Henderson was a very thoughtful and brilliant man. He spoke several languages with ease and was informed in many, many subjects like politics, philosophy, military science, and world affairs. It has been said that music and art are a mirror of life. In his soft spoken way, Joe Hen showed that a rich and cultured outlook on life is a fertile ground upon which to base our art. JI: The emotional connection for many of us
...there are two sets of criteria for every artist. The External Life and the Internal Life. The music business can often be based on External goals. There is nothing wrong with these goals The Internal life is a world of sound, feeling, emotion, and ultimately the inner creative urge. If your soul is satisfied everything else seems to fall into place.
albums on Blue Note and Milestone Records. As a trombonist I really related to the timbre and register of the tenor saxophone. It is all about intensive listening and assimilation, one small step at a time. JI: When I transcribed some of Joe Hendersons solos, it became clear, that he was not a lick or
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stream-of-conciousness phrases. He incorporated melodic referential and inventive quotes of familiar themes that encapsulated the entire history of jazz and the blues. This was juxtaposed with a genius knowledge of modern 20th Century harmony and phrasing, verging on the avant-garde. His was a uniquely individual voice, which was no easy accomplishment as he grew up in the
Interview
Stan Warnow Talks About His Father Raymond Scott

His Film, Deconstructing Dad Provides An Inside Look At The Composer, Recording Engineer & Electronic Music Pioneer
Interview By Eric Nemeyer
Stan Warnow is the son of composer, engineer, bandleader Raymond Scott, who was born Harry Warnow in 1908 and died in 1994. Raymond Scott was both a composer, a bandleader, a pioneer of electronic music, and a recording engineer. A great deal of the music and sounds in the 120 Warner Brothers Looney Tunes and Merrie Melodies animated short cartoons that featured Bugs Bunny, Porky Pig, Daffy Duck, from that period and beyond, are by Raymond Scott. Many years later Soctts music appeared in cartoons such as Ren and Stimpy, The Simpsons and others. In the 1940s Scott led a band that included leading jazz players of the day including Ben Webster, Cozy Cole, Bunny Berigan and others. Stans documentary film is entitled Deconstructing Dad. With the cover of this issue of Jazz Inside Magazine highlighting the new creative performing and recording space in Brooklyn, ShapeShifter Lab, it is apropos that we are able to feature the accomplishments of Raymond Scott as a pioneering Shape Shifter in the field of recording, electronic music and sythesizers works that cannot be overstated. JI: Did you have a chance to observe your dad in action? SW: I did a little bit. You know, as a very young kid. I sometimes went to rehearsals of the Hit Parade Show that he did on NBC. I would see him working around the house. He just kind of worked all the time. I would see him writing music which was kind of easy for him. You know, he said that in the film. He mentions how writing music is easy for him but writing it down is hard. Thats funny because he used to compose but he didnt really like writing it down. He would have a copyist. I remember seeing my dad at the piano composing, and this copyist, who was really amazing, writing down the notes as my father was playing them. This is just from a seven year olds perspective. But it seemed to me like this guy could write down the notes as my father was playing them. This was long before sequencers. It was notated. So I remember seeing my father doing that and then of course I saw him working on his electronic stuff, which was impressive in a different way with him twisting knobs and flipping switches and things like that. But my vivid memory is of him sitting at the piano composing and this copyist doing what seemed to be a superhuman task of writing down the notes at the same time. JI: Would he be tweaking the music as he went along or was what was written down the finished masterpiece as instantly created? SW: You know, I honestly dont remember. He did have this amazing ability to kind of compose on the fly. I cant remember specifically but other people have told me about it. His wife Mitzi, his third wife, said that they would go to parties and he would sit at the piano and just make things up, entertain the guests. Later shed say to him, Oh there was one piece that was just so beautiful. Youve gotta write that down. He would go, I dont remember what I played. He was just somebody with amazing talent who had a big reputation for doing that. JI: It is a foundational skill of every jazz player to summon the musical vocabulary weve learned and assimilated over many years. We start out by perhaps having the ideas, and then we get the technique together ... maybe learn some theory and really assimilate all that, so when youre going on stage, everything is impromptu in an effort to create something logical, meaningful. SW: Its ironic that he had that (skill to compose on the spot) because he wouldnt let his musicians improvise even though it sounded like jazz. He did let them improvise when they were working things up but when he heard what he liked, he would say, Thats it. Play it that way every time. As you know, jazz musicians did not like that. But he had a very successful group so they put up with it, up to a point. And later on, he did have the quintet where he established that. Ive heard that when he had this band, this big band at CBS with Ben Webster, apparently Ben Webster got there and said, You know, I improvise. Thats what I do. Of course, Ben Webster was this titanic name so my father let
apparently Ben Webster got there and said, You know, I improvise. Thats what I do. Of course, Ben Webster was this titanic name so my father let him improvise. Then the other musicians were like, Well, wait a minute. If he can do it, we can do it too. So that band was a real jazz band and people did take solos and improvise.
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He would take a microphone when he was recording particular saxophone solos, and have the musician go to the bathroom and hang the mike in there to get the echo off the tiles. So he was very into the kinds of things that we all take for granted today as part of the recording process.
him improvise. Then the other musicians were like, Well, wait a minute. If he can do it, we can do it too. So that band was a real jazz band and people did take solos and improvise. JI: Did your father experience anti-semitism? SW: My fathers side of the family is from the Ukraine and the original name was Varnowvitsky and then when they came over here, it somehow became Wornow. Then I think my Uncle Mark, who was also a musician, changed it to Warnow. Then my father, who was concerned about being Jewish, wanted to assimilate. Another factor, I think that was more or less the cover story, was that when he started out at CBS in the 30s, when his brother really got him the job. Then when he started becoming a higher profile figure and composing, he was worried about charges of nepotism, so he decided to change his name. But my mother always said that the real reason he changed his name was he wanted to assimilate and he wanted to conceal being Jewish which is part of being assimilated, for some people anyhow. And so he picked this name. You know, its in the film. But the story is and most people who knew him believe it he looked through the phone book and he picked this name. It clearly doesnt sound Jewish Raymond Scott. He just picked it out of the phone book and he always said it had a nice rhythm and thats why he picked it and I do believe that. JI: When he was composing, was there a specific time devoted to that or was it all day long? What was his schedule like? SW: He was somebody who was obsessed with work. Part of what my film is about is that kind of situation with a parent and children where the parent is just completely obsessed with his work and doesnt pay a lot of attention to his family and to his children. My father was definitely that way. So he basically was working all the time on one thing or another and the way he related to his kids was through his work. Im not a musician, although I studied music. He loved what he did. He loved composing music and also he loved technology and so it was very natural for him to move quickly. There were two parallel tracks. He developed his musical ability but he was always developing his technical ability and then with these two tracks, there was a crossover between them. He was just fascinated with recording technology from a very early date, when he was in his teens. He was cutting
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records himself, getting aluminum discs before there was even a commercial market for them. My uncle, who was his neighbor, told me how he used to get those from Fairchild Aircraft. They had aluminum and he would get these things and began cutting his own disks. Then as soon as he could, and as soon as he was working at CBS, he opened his own recording studio. He was a really gifted audio engineer. He loved the recording process and he was one of the first people, as far as I know, to kind of see the recording process, not as just is a way to take a performance and re-record it. His concept was that this is a way to take a performance and transform it into something else whether that was improving it or shaping it. He was very aware of those things. Again, as youll see in the film, this was in the 1930s. He would take a microphone when he was recording particular saxophone solos, and have the musician go to the bathroom and hang the mike in there to get the echo off the tiles. So he was very into the kinds of things that we all take for granted today as part of the recording process. He was into that way back then when most peoples idea of recording was you hang a mike and you just record, try and reproduce the sound of the orchestra, the band or the individual instrument. But he was into the idea of, its kind of a picturesque way of expressing it, but the microphone as another instrument in his orchestra. JI: Did he talk about or do you have any interesting, dramatic, humorous experiences that might shed some light on his connection with some of these jazz players? SW: The real story I have is the Ben Webster one that I already told you. I think a lot of musicians resented him but at the same time, he had tremendous respect for his musicians, for the ones that he felt were really good. In fact Im named after a saxophone player whose name was Stan not Stan Getz. So my father had tremendous respect for musicians who he felt were really good. Johnny Williams [the father of composer John Williams] was the drummer in his band. He had tremendous respect for him and a lifelong friendship. I dont think they saw each other very much but when they did, I think that they always had a relationship. JI: Cozy Cole was in his band. SW: Yeah. I dont know anything specific about Cozy Cole. Well, in his first group, he had a very famous trumpet player who left because it was too rigid. Who was that?
JI: Bunny Berigan. SW: Yeah, yeah. SW: You know, Jerry Colonna played trombone in one of his original groups. But I think Jerry Colonna was like my dads complete opposite. He was a total ham. Ive got some other stories from later on in his life. They dont always reflect so well on my dad in certain ways but he auditioned Bo Diddley to be in one of his groups as a guitar player and he was like, Oh no, no. Too sloppy. The other famous story with him involves Anita ODay who was in one of his groups. My father was very, very controlling and he wanted the performance that he had from rehearsals when they would perform live in front of an audience. On like the third day that Anita ODay was working for him, she forgot the lyrics and she started guess what? scat singing. She was one of the best. He fired her because she wasnt doing what he wanted. I think in her autobiography she even referred to that. So there were stories like that, but a lot of musicians respected him. The stories that stick in my mind are the ones where he had problems with them. Another musician that somebody told me about who played with him briefly, and had really nasty things to say, like Oh Raymond Scott, that son of a bitch, was his first reaction when the name came up because my father was very hard on his musicians. He had very high standards and a lot of them didnt live up to them. So as I said before, he had tremendous respect for the really good ones. But the ones who he didnt think were very good, or probably werent as good he could be really hard on them, and would do things like make them play scales in front of the whole band and things like that. So he was a tough guy. He was a real taskmaster. He had this group called the Secret Seven. He had a couple of incarnations of them. It was supposed to be unknown who the musicians were. But the last one had musicians like Toots Thielemans in it. Whe some of the top ranked musicians were in the studio, theyd be kidding around. He [my father] would get on the PA and go like, Hey you guys, its not fun. Were not supposed to be having fun here. This is work. At the same time, he wrote in the liner notes how making music was fun. So there was a lot of paradox in my fathers career. JI: As you were making the film and going through all these interviews and all of the documents and information, were there some surprising discoveries that you made about his music,
Stan Warnow
Raymond Scott
career or life? SW: Yeah, for me there were because I was in an odd situation where, as I mentioned, my father wasnt very involved with his family. So my reaction as a kid and as a young adult, even when I was an adult for that matter, was well hes not very interested in me so why should I be so interested in him. So I certainly knew the generalities about his career but I didnt know a lot of the specifics. Then I decided to make this film, which is a little bit of a paradox too, after what I just said. But after he died again this is stuff thats in the film I was selected to deliver the eulogy at a memorial we had. I wasnt too thrilled about that, but I was the only son and my sisters certainly didnt want to do it. So I ended up doing it and I was doing it, I got all choked up and I realized that I had this deep emotional attachment to my father, or that I loved him, which I had kind of denied my whole life. So that was the way the film was really born right there. Then as I started getting into it, finally learning more about my father, I did learn certain things. One of the biggest discoveries I made was that when he was asked to return to CBS in the early 1940s. He said, Ill come back but only on the condition that I can hire whoever I want for this band that Im gonna put together, and that means black musicians as well as white. Whoever I think is the best, I wanna be able to hire. They were very resistant to that but he stood firm and they finally allowed him to do that. He had the first integrated network radio orchestra. That one would have been Ben Webster, Cozy Cole, and a lot of other people. That was something I had no idea about and I was very proud to learn that about him. That was an orchestra that was really a great group in the 40s but it wasnt really remembered because that was during the recording strike. They could not officially record. Now fortunately my father, with that whole technical side of him and his own recording studio, recorded every rehearsal, so that stuff exists in the archives. Ive heard some of that big band stuff and it is fabulous. You know, these compositions of his are really great. I hope some day there will be an album of those things. But there is some of that in my film. Its not extensive but theres some of it. Id love to at some point do a CD or an iTunes album or whatever of the full versions of a lot of the stuff thats in the film and if I felt like there was enough demand for it and I had the time,
because Im always very busy even today, I would do that. Im opening the film in New York and I hope that itll get it out to more and more people. Its so far in kind of a niche thing where Ive gone to festivals with it. But now its gonna be reviewed in the major New York papers and Im hoping for the best. JI: What was his perspective about the Looney Tunes and Merrie Melody cartoons that featured Bugs Bunny and the others, in which his music and sounds played an immensely integral role? SW: The thing to remember about those Warner Brothers cartoons is that he never wrote a note of music for those cartoons, for Warner Brothers. What happened is that Carl Stalling, who was the Music Director for Warner Brothers for all
their animation, was really into my dads music and for good reason. Its because the music sort of sounds like its written for animation, but it wasnt. They just got in touch with my father probably through his agent. They licensed the music and he never participated in the production of it for them. They had this great studio orchestra in LA. They would use the music, rerecord it, and do whatever they wanted with it and my father had no connection to that. He never talked about it. In fact, again, Mitzi, his third wife, had no idea that he had done that and then Ren and Stimpy. During the early years of the Raymond Scott revival, which started in the early 90s, they started using the music on the Ren and Stimpy show and they began getting these royalty checks and they had no idea. Ren and Stimpy? Whos that? Then they found out
He loved the recording process and he was one of the first people, as far as I know, to kind of see the recording process, not as just is a way to take a performance and re-record it. His concept was that this is a way to take a performance and transform it into something else whether that was improving it or shaping it.
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about it and what happened and she said, Well Raymond, I didnt know. I didnt know your music was used in cartoons. He said, Oh, that was a long time ago. But neither my sister nor I remember him ever saying anything about that music in cartoons. He seemed to have no interest in it that we ever saw. I remember as a very young kid going to a Saturday matinee and my mother knew. She said, Youre going to hear your dads music on one of the cartoons today. So somehow she knew about it but I never remember hearing him tell us anything about it. So again, its another one of those paradoxes and ironies in his careers. JI: What about your fathers association with Johnny Williams, the drummer and father of composer John Williams? SW: John Williams is in my film. He has recollections. When the quintet first started at the end of 1936 and in the beginning of 1937, they had been so successful that they were kind of summoned out to Hollywood. They appeared in several Hollywood films and my dads music was used in Rebecca of Sunnybrook Farm, you know? But my father really wasnt suited for Hollywood. He only stayed out there for about a year. During that year, thats how the Williams family ended up in LA. They may have stayed out there afterwards. But John Williams has
chine using random sequences of tones, rhythms, and timbres without a keyboard. He invented the Karloff, an early sampler capable of recreating sounds raning from sizzling steaks to jungle drums, and the Clavivox, a keyboard synthesizer complete with an electronic sub-assembly designed by Bob Moog which fused together a keyboard and a TV screen to aid in composing music for films and other moving images SW: Yes. He was always fascinated with the potential and then the reality of electronic music so that in 1946, again its in the film, he had this idea for something called the Orchestra Machine where he would do what was the equivalent of sampling with tape loops that would be of individual instruments and the notes that they could play and that this thing would recreate the sound of an orchestra. The Electronium, in a way, was an evolution from that. But the machine that he envisioned in 1946 and he actually filed a patent disclosure for it, meaning he intended to file a patent but never did, for this machine which was really the same exact idea as what later became the Mellotron in the early 60s. A lot of rock and roll people using it in the early 60s used that ... I think the Beatles. JI: And then he worked with Berry Gordy from Motown later in his career. SW: Right. The story with that is my father kept filming these different electronic musical instruments, and each one led to the next ... and ideas or even hardware from one machine was incorporated into the next generation and eventu-
synthesizers and monophonic keyboards. This machine was completely polyphonic. It had I think 12 voices and chords. It had random capabilities and it did harmony and counterpoint. Pretty amazing stuff. There was a newspaper article about it and somehow Berry Gordy heard about it. He was always very cutting edge and wanting to have the latest of everything and they came out to Long Island where my dads studio was at the time. He demonstrated it for them and Berry Gordy ordered it. Then my dad took a year to finish the version to their specs and then brought it out to California. He was supposed to spend six weeks out there. But one thing led to another and they eventually hired him as their director of electronic music research and development. He spent something like five or six years at Motown and in his 60s and into his early 70s. JI: Where was this studio on Long Island? SW: His studio on Long Island at that time was out in Farmingdale. Id go visit him and it was an industrial park where he was living. He would live in SoHo later on. But this was just a big industrial space that he converted and it was all his lab and his workshops. He had a living area and I would visit him there. But his place at that time was in an area where they were in the very early stages of buildinglike, buildings every mile. JI: As you know from being creative yourself, once were in the creative mode, we tend to stay in the creative mode. So did your dad retire? If
Carl Stalling, who was the Music Director for Warner Brothers for all their animation [Looney Tunes, Merrie Melodies Bugs Bunny, was really into my dads music and for good reason. Its because the music sort of sounds like its written for animation, but it wasnt. They licensed the music and he never participated in the production of it for them. They had this great studio orchestra in LA. They would use the music, re-record it, and do whatever they wanted with it and my father had no connection to that.
these memories of going to rehearsals of the group on the lot of Twentieth Century Fox. He was entranced with it all. I dont know if specifically that inspired him to pursue a career in music, which obviously runs in the family to begin with. But he talks about that in the film. So I think thats how the Williams family ended up out there and John eventually became this legendary film composer. JI: Your father created the Electronium, which he worked on for 15 years beginning around 1960. It was an instantaneous composing ma38
ally, because he was very interested in the idea of artificial intelligence or a machine somehow participating in the composition process . so his grand opus was this machine called the Electronium. It was sort of a synthesizer and a sequencer. It had these random capabilities. The way my dad expressed it was that the operator kind of guides the machine, kind of sets up something, and then the machine starts doing iterations of what youre doing so that certain notes can change. The machine had counterpoint capabilities and it was polyphonic. You know, back in the time, people were playing Moog
so, what did your dad do in his retirement? What was his life like after all this activity? SW: Well first of all, like so many creative people, my dad wasnt a good business man. So money was very tight for them. But youre absolutely right. He always needed to be creating. So after Motown they gave him the Electronium back. I think they had already been letting him work on it at home after a couple of years. He worked on it some more and he started to kind of evolve. The whole digital revolution was happening then and he started to kind of work on a
He was somebody who was obsessed with work. Part of what my film is about is that kind of situation with a parent and children where the parent is just completely obsessed with his work and doesnt pay a lot of attention to his family and to his children. My father was definitely that way ... basically was working all the time on one thing or another and the way he related to his kids was through his work.
digital version of it but at that time, at one point, he really had the most advanced stuff technically in the world. But then all the big corporations were jumping on this bandwagon and so he started to make an all digital version of the Electronium. But they began coming out with this other stuff. With all their corporate resources, he kind of realized, or so Im told, that it wasnt going to be possible for him to do something that beat what these companies were doing. So it was one of those situations well, if you cant beat them, join them. He then got a PC back in the early 80s. I told him to get an Apple computer but he got a PC. I talk about this in the film. It was kind of an irony because I dont think I mentioned this before, but and most people who are experts on this do acknowledge that my dad really had the first sequencer. He had this machine that could play back things, be programmed to play back notes. Then in the 80s, he ended up getting a sequencer to compose and then he got a Yamaha DX7. This was in the early 80s, before he had his stroke. Yeah, he had his stroke in like 87, I think and he was still composing using those tools. He always did other things too. During the Motown years, he had a company with another guy and they made something called the Musical Maker I still dont quite understand how it worked. I have to read about it again but it was something that was designed in use in recording studios. He had this incredibly varied interest in all kinds of technical things. Back in the 50s, he invented a radio scanner. Again, these are things that we talk about in the film. Actually, I dont think I mention that in the film, but he questioned why every phone should sound the same? There could be individual rings for different phones that could be electronic. Now we have ringtones. He had this radio scanner. Somebody called him one day and said could you make a machine that could transmit images over phone lines a fax. My father said, Sure. He invented a machine like that and patented it and later on. People like Xerox had to cite his patent when they were making their own machines. Unfortunately, you would think he would have made millions of dollars. We never made anything from that. I dont really know why. But he had these incredibly far ranging technical interests. He was always working on something a lot of it to do with music but not all of it. He was a photographer and he got tired of agitating the trays for when youre printing negatives or prints and he built, I remember the tool because I was in photography too. Id go out there and he had these machines he had built to agitate the trays, simple machines that would just agitate the trays back and forth. He was just always, always inventing and experimenting. JI: How did you become interested in film. Tell about your background. SW: Well, I always kind of enjoyed film. But wasnt sure what I wanted to do when I was getting near the end of my college career as an undergraduate. I thought maybe journalism, but I wasnt really sure. Then it suddenly occurred to me that, like my father in a way, I had this creative side and I had this technical side and I had this very conscious thought, What could I do that combines those two things? I thought, Oh, television. I went to school at Boston University and started studying television but quickly realized that it was film and making film that was much more appealing to me, rather than working in a TV station. So I switched over to film and I switched to NYU Film School, and studied film there. It was a great time to do that. All these new technologies were emerging and we were learning them. They were very smart at NYU and they had all the latest small technology meaning 16 millimeter kind of stuff in the 60s. So I went there for a couple of years, got my Masters degree, and immediately started working on film. Then I just lucked into some really good films right at the beginning. One of them was this cult film. But people who are in the film often know about it The Honeymoon Killers. It became a very big hit in Europe more than here but it was a success here too and was on the New York Times Top 10 Best list and I was the editor on that. And then right after that came the Woodstock film. I was among the core group of people who worked on that who were at NYU. We all knew each other from there and they hired me to work on Woodstock first as a cameraman, and then as an editor. But after Woodstock, I loved editing so much on that film, that I pursued a career mainly in editing and then since that time, Ive worked on all kinds of films from big Hollywood feature films to Public Television documentaries to television series, TV movies ... everything. I started out mostly doing documentaries but sometimes with dramatic films. Then I went through a period of about 10 or 15 years where it was all dramatic films. In the last 10 or 15 years, Ive gravitated back to documentaries. Its emerged as a much more popular form and most of my work in the last 10 years has been on documentaries, particularly my own filmwhich is about Raymond Scott. Some people think, Oh, you were somebody who wanted to make a film about your father and you didnt have a film background. But in fact my whole career has been working in film. JI: I was just looking at pictures from the early 50s, a cover of TV Guide with Gisele MacKenzie and Dorothy Collins. SW: Yeah, yeah. I mean, thats another whole story because Dorothy Collins was my fathers protege and came to live with us. Then my father ended up leaving my mother and marrying her and thats all in my film too the whole scandalous element. I tried to make a film that would appeal to everybody ... that would appeal to the people who know about my father and the music and the jazz . but also people about the electronic music . and then people who had no interest in music and Raymond Scott, or any of that stuff, but simply want to hear a human story. I tried to make my film all of those things. A lot of people have said mostly women I kind of got dragged to your film because my boyfriend wanted to go. But to hear the personal story about your relationship with your father and all the things with your family and everything was really fascinating to me. So its a film that has lots of different ways into it.
The Music, Machines and Mystery of RAYMOND SCOTT A film by Stan Warnow PLAYING JULY 13 - 19 at the QUAD CINEMA 34 West 13th Street (between 5th & 6th Ave) www.quadcinema.com Showtimes: 1pm, 3pm, 5:15pm, 7:30pm, 9:50pm www.ScottDoc.com
ABOUT THE FILM Deconstructing Dad:
...among human beings jealousy ranks distinctly as a weakness; a trademark of small minds; a property of all small minds, yet a property which even the smallest is ashamed of; and when accused of its possession will lyingly deny it and resent the accusation as an insult.
-Mark Twain
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Interview Joe Fonda

Interview by Eric Harabadian
Photo by Ken Weiss
New York City-based bassist, composer, educator and producer Joe Fonda has to be one of the busiest and hardest working musicians active in the world of jazz today. Not only does he have a plethora of diverse solo and collaborative recordings to his credit but he has a long history, dating back to the 70s, associating and performing with some of the greats of contemporary improvisational music such as Anthony Braxton, Lou Donaldson, Bill and Kenny Barron, Randy Weston, Carla Bley and Barry Altschul, among many others. Fonda has performed throughout the United States, Canada, Europe and Asia leading his own ensembles that span the gamut from traditional bebop to world beat, blues and even dance. Speaking with him recently by phone he proved to be a most gracious, candid and humble individual. Jazz Inside: What drew you to the bass as your chosen instrument and, also, who were some of your earliest bass influences and general musical influences? Joe Fonda: It was an accident. The way I came to the bass was an accident. Like everybody in the 60s I wanted to be the next Jimi Hendrix. A bunch of us youngsters got together and started a band. I was ten or eleven years old. There was five of usfour of us had guitars and one was on drums. We all looked at each other and said whos gonna play bass? Nobody wanted to do it. After we sat around for a while I got up and said I would do it. On that same day I had saved up about thirty dollars from a paper route. Back in those days there was a Montgomery Ward store on the corner. And I bought this electric bass that they had for thirty dollars and walked back to practice and the guys were all smiling. I plugged in the bass and the rest is history. It was the smartest thing I ever did. Look where Im at now. The other three guys that played guitar, theyre all pumping gas (laughs). None of them made it to be the next Jimi Hendrix. And I wouldnt have made it either. And from there, I played electric bass until about 73. At that point I decided I wanted to play the upright bass because I started listening to Monk, Miles and things where the acoustic bass was being used. I was leaving the fusion music I was playing at the time and began playing the upright bass. And I never looked back. I still dabbled with the electric but as time has passed I realized that the upright worked for me. Even though Im a small guy; the fact that the instrument is so physical works for my personality because I enjoy the physicality of the instrument. And I actually enjoy the physicality of this music. It draws me to it. I actually enjoy the music when the guys or
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gals are hitting hard and sweating. Not just your mind, but your whole body is involved in the process. So the instrument fits right into that concept and personality.
Visit Joe online at www.JoeFonda.com Hear Joe Fonda in July: July 11, Wednesday: Tony Waag and Tap City, Symphonie Space, New York
July 16, Monday: Katy Bull Band with Joe
JI: Thats interesting what youre saying there, Joe. Its all about perception and reality. I think a lot of people perceive jazz to be very cerebral music whereas rock n roll and music like that to be more physical. But I think I tend to agree with you that playing jazz is as much physical as it is cerebral. JF: When you go to see Bruce Springsteen, hes physical! But jazz music can have a very complicated harmonic and melodic structure to it so it takes mental understanding and your mind has to be in tune with it. But I miss the days in the 70s and 80s when I would go and see bands like the Sam Rivers Trio and these guys were playing so hard you thought the walls in the club were
Fonda, Bushnell Park, Hartford CT
Joe Fonda
gonna melt! When I went to see McCoy Tyner during his Atlantis period and the music was played so much more physical than it is now. And thats the aspect of the physicality that Im talking about. People like Sam and McCoy chose to play hard in terms of throwing their whole bodies into it. I enjoyed going to see Bill Evans Trio also but that was a different approach. JI: Do you think a lot of jazz thats out there now is a little less intense as a rule? JF: Yeah, I would say that, but not everybody. There are still people that carry on that tradition like Billy Harper. I love to go hear Billy Harper. These guys are still hitting it hard! But as a general rule some of that approach has stepped back. Not that its been lost but the approach with some people just became more cerebral. JI: And can you talk about your musical influences? JF: Sure. From a jazz point of view I would say Sam Jones, David Holland, Mingus, Richard Davis. In terms of more contemporary bass players Id have to say Joelle Leandre. Shes a French bassist that is really something special! I also have to give credit to the drummers Ive played with. My first focus is always the rhythm and the feel, time and pulse. Ive spent a lot of time with drummers like Steve McCraven. Wed spend hours just working on time. Barry Altschul is a drummer Ive been playing with for the last ten years. We had a trio with Billy Bang, who passed away. But Barry is an influence. Even when I used to play with records Id put on Sonny Rollins Live at the Village Vanguard, with Elvin Jones and Wilbur Ware on bass. Id put on headphones and always focus on where Elvin was at, before I even copped the bass notes. I focused on that ride cymbal and tuned into the drummers. JI: What is your musical education background? JF: I graduated from high school and then went to Berklee College of Music for two yearsthat was it. After that I took some lessons with Rufus Reid and George Mraz. But the rest of it has come from people Ive played with. Its been all about musicians getting together and sharing information. But Ive continued to study with all the people Ive played with. Ive learned a lot from Michael Stevens the piano player Ive played with for many years. Ive learned an enormous amount from Gebhard Ullmann, another musician that Ive played with. Mark Whitecage is another colleague that Ive learned from. These are people Ive been playing with for twenty to thirty years. JI: Along those lines, youve played with so many diverse artists, ensembles and musical styles. What do you look for in a project before you take it on?
JF: Good question. If I was to start my own project I would probably think about a body of music Id like to perform and who would perform it well. If its a collective thing I would look at the individuals and see if it has the potential to grow musically and does it have potential to grow in a business sense. Is there a potential for work. I have many projects so if I am going to take something new on Ive gotta be sure that there is musically something fulfilling and the potential for it as a performing concept. I always have to consider where in the world can I shop a project once I have it together. JI: That makes sense. JF: Before I forget I wanna mention two other influences that were very important to me as a musician. The first is Wadada Leo Smith. I spent a lot of time with Leo in the 80s and it was an education. I used to go to Leos house three or four times a week for quite a few years. I kinda went through the Leo Smith school. My whole sense of space and improvisation in a collective context is partly shaped by my time with Leo. And one of my favorite records to this day is one of the first ones I ever did, and it was a Leo Smith record, called Procession of the Great Ancestry. We did it in the 80s and I rehearsed this music with Leo for months and then I got to record it. And the other opportunity I had for a little over ten years was to work with Anthony Braxton. And that also was an education. Braxtons influence helped shape my understanding of possibilities and what improvisation in a composition could be. Braxtons music is a whole universe in itself and he showed me that the possibilities were infinite. JI: What were their concepts or ideas that specifically changed your bass style or way of looking at music? JF: Going back to Leo, one of the things I learned as a bass player, the man was writing where I had to learn where all the harmonics were on the instrument. I had never explored this aspect of the instrument. And Leo had these pieces where there were harmonics written everywhere. I had to find them in order to play these compositions. That was a gift in and of itself because I use that information to this day. I often use the harmonics I learned from Leo in my solos and to color other things. Also, again, my sense of spaceknowing when to play and when not to playis something I learned from Leo as well. With Braxton what I learned is so vast. There were so many things but Ill try to come up with a couple. One thing he taught me was that a piece of music is ever evolving. He would bring a piece of music and wed play it and perform it. The next time hed come around hed bring, not the same piece, but the same concept for a piece but it would have, maybe, six or seven new elements in it. This was during his Ghost Trance music. He showed me that a piece of music does not have to be a fixed structure. It doesnt have to be finished if you view it in another way. Braxton has a real connection to creativity. And I watched how it could unfold right in front of me. It made me realize that the more
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Joe Fonda
you connect with the creative flow that goes through an artist the greater your body of work will be and the greater the possibilities will be. And both Leo and Anthony brought a spiritual element to it. Theyre two heroes of this music. JI: As an educator yourself, how do you approach teaching? JF: If Im doing it in the sense of a bass student my basic philosophy is, if they dont have basic music skills or decent time, Ill make them focus on playing a bass line or playing along with a record. Maybe wed play a line together for an hour or maybe wed play a blues. There was a gentleman in Hungary that I worked with not too long ago. He wasnt happy with the way he was swinging. He played for me and I could hear that he just didnt have the music in his body. He knew how to walk up and down the bass and play quarter notes but the groove and rhythmical reality was not in his body. I told him the only way youre gonna get it is if you play with a drummer who has it and you play with him a lot or we put the headphones on right now and play along with something. I made him play Impressions because its harmonically simple. I think it was from Coltranes Live at the Village Vanguard and the groove is so deep that I knew it was gonna take him a while to get it. But after a couple hours he was starting to come closer to what it was. And I asked him and he said he felt something different. Thats how I approach teaching by trying to get the student to experience something that gonna get them closer to what they need to really play it. So I didnt show this guy the exact notes I was playing on Impressions but I tried to show him the essence of finding the groove and the feel. If they already have that then Ill try to find something else that they need. JI: That sounds like a fun way to learn where you get them involved in the music. JF: Thats right! It makes the process of learning fun and not a tedious exercise. Thats a great observation on your part. And it is a lot of fun for me and them. JI: I was trying to narrow things down to just a few things you are involved in to talk about. But there are so many I couldnt do that too well. What are some things you are involved with that are really grabbing your attention right now? JF: Working with Barry Altschul and John Irabagon has been very exciting. The Fonda/ Stevens group is one of my longest standing projects going back twenty-some years. That features Michael Stevens on piano, Harvey Sorge on drums and Herb Robertson on trumpet. Thats a very special band that has a very high level of communication. And then theres Conference Call, with Gebhard Ullmann, Michael Stevens and George Schuller. I love that group because we blend our influences together in a
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very unique way. Theres also the trio with Mike Mussalami and George Schuller thats been going on for ten years. Theres the Nu Band thats been going on for ten years as well. And thats with Mark Whitecage, Roy Campbell and Lou Grassi. I kind of co-lead that with Lou and we do all the business too. And theres a few interesting projects in Europe like the one with Xu Fengxia who is from Beijing, China. She plays the guzheng and it is an interesting duo thats totally improvised. Thats been going on for about twelve years. She brings her eastern influences and I bring my stuff from here and we make a cross-cultural mix. Theres another interesting project that me and Michael started with two Hungarian musicians called Eastern Boundary quartet. Thats also where we try to mix cultures together blending some Bartok with jazz. They bring some of their Hungarian folk music and we bring some of our stuff and try to find a way to make the musical idioms blend and not sound contrived. JI: So would you refer to your style of music as world beat or eclectic? JF: No. When I play with Xu Fengxia it is totally improvised. But Im a jazz musician and I bring that aesthetic to whether Im playing Stella by Starlight or improvising totally free. Different cultures can work together musically if you understand how to do it and are open to it. For me, no matter what I play, Im a jazz musician and that comes through! For me there has never been any separation when it comes to music. For me Charlie Parker and Cecil Taylor are the same people. Whatever the context is I might play differently but being a jazz musician comes through loud and clear. And I wouldnt have it any other way. JI: To handle everything that you do you must have great multi-tasking skills. Can you talk about balancing all the projects youre involved? JF: Ive chosen to take care of my own business. So as a result of becoming a businessman as well as an artist Ive simply made a commitment to handling all aspects of my career. You just have to. Theres nobody thats gonna do it for me and I wanna continue to work and develop. So I make it a part of my daily consciousness just like practicing or composing. JI: Youve also been involved in dance as well. Can you tell me about that? JF: I guess theres a theatrical element to my personality. So even though I wasnt quote unquote a dancer I could go out and do something that was not necessarily dance, but theater, like acting out a character or something. It was off the cuff and improvisational but there was something in it that worked for my personality. If the situation calls for it I can bring some form of theatricality to a performance. There was a tour that we were doing with Conference Call. And we were doing a Matt Wilson composition. The composition was called Skippy Goes Fast. Everybody took their solos on it. But at some point I felt I didnt want to play the bass. I wanted the solo to be about Skippy running fast. So I put down the bass and I literally ran around
the theater saying Skippy goes fast.Skippy goes fast! And that became my solo. This is an example of incorporating theater with music, which is something I learned from working with the Sonomama Dance Company. JI: What was the audience response to something like that? JF: They loved it! And the guys in the band understood where I was coming from and it was very connected to the tune. The guys were cracking up and it was very fulfilling for everybody. And I carried on with dance working with tap dancers quite a bit. One of the great tap dancers of our time Brenda Buffalino has become a colleague of mine. Shes recorded with me on one of my favorite records From the Source, with Anthony Braxton and Vickie Dodd. Ive actually worked with a lot of dancers in New York and thats been a serious learning experience. JI: Youve got quite an output of your own recordings as a leader. How has your music evolved over the years? JF: The music has gotten deeper and the understanding has gotten deeper. The quality of my playing has risen and the depth of it to reach higher places and make a bigger impact is there too. I have some of my favorite records from my early career. But if you listen to some recorded more recently youd have to say Fonda hung in there and deepened his understanding of his playing and the music.
Jazz Lovers Heaven

Venue Profile
Oceanna Restaurant
By Joe Patitucci
Paul McLaughlin, Owner Oceana Restaurant The long-established mecca for quality seafood delicacies now hosts a jazz series every Saturday evening. We spoke with Paul McLaughlin, owner and experienced hospitality professional, along with Ryan Hayden, a Juilliard graduate who plays drums and percussion and serves as Musical Director for the series. Paul shared perspectives about the music. Well, first off, Ive been to a number of jazz clubs over the years and have always enjoyed jazz. Im certainly not an aficionado by any stretch. We moved here about three years ago to our new location. Were in a business environment. Monday to Friday the restaurant is jammed. Quite frankly, Saturday night is a bit of our Achilles heel. Were trying to come up with different ways to entice people a little bit later in the evening to come to the restaurant. We have a tremendous pre-theater crowd, which has always treated us very well. So typically the restaurant fills, and then nine oclock and later the reservations get soft. I came up with the thought that if we have the pre-theater people, at least lets get something addressed to them for late night. Thats exactly what we started to do when we started presenting jazz. We kind of pitched it to the theater crowd. After the theater, its only going to be 10:30 PM or so maybe too soon to pack it in and call it a night. Why dont you come back to Oceana? With all the major shows being a block or two away from the restaurant ... come back to the restaurant and you can listen to an hour, hour and a half, of some great jazz. With so many options drawing peoples attention then, how is the strategy working out? So far that has worked. That has been our audience. What will typically happen is people will leave, theyll see the band starting to warm up, or in some cases already playing. They find out some of the particulars, and sure enough we see their faces back at 10:30 or 11 at night. Of course, if seeing the band warming up can be the simple allure to get people to come in later, maybe every venue ought to have a band constantly on hand, warming up to warm up consumer interest. Paul indicated that to a matter of degree, that strategy is working. We pitched it very heavily as well to all of our concierge friends in the immediate neighborhood. Oceana is located in walking distance to a whole slew of midtown hotels with hungry tourists. With numbers of prospects just ready to be enticed, how did the idea for a Saturday evening jazz series go over with his business associates? Well, it was really just my partner that I had to try and convince, who was concerned just from the standpoint that he just wanted to be sure it was the proper venue for the restaurant. Typically, I think sometimes people just throw music against the wall when a restaurant is failing, with the hope of something catching on. That certainly was not the case here. It was just more reason to attract people to the restaurant late night. Paul had some additional comments about positioning the music and attracting return visitors. With the huge amount of tourists that are here, and couples, generally from Connecticut, New Jersey, Westchester...they come for a couples night of shows. Theyre sort of out for the night. So to come back to the restaurant and have a couple of cocktails, youre not asking them to buy into a show or hit them with anything stiff when they come back from the restaurant. From that standpoint, economically, its a winner for them. I think theres a tremendous amount of value in it. Quite frankly, I know its important for the musicians to have a venue to play, and I understand that. We also ask the musicians to
Photo Courtesy of Ryan Hayden (L to R) Dan Nimmer, piano; Ben Williams, bass; Ryan Hayden, drums
bring in their own crowd. I typically have Ryan ask them if they have a Facebook page, and if they have a following. It certainly helps when the band turns around and brings in a dozen friends and/or fans of the band to help fill the cafe and make it more enticing. Seeing the band for people walking by can be powerful advertising in itself. People generally walk past the restaurant. We have huge windows on 49th Street, so you can easily see in. Once people see a space thats sort of going and has activity, they are generally more attracted to that, and theyll come in and at least check it out. Jazz was definitely something of interest for us. Again, I have to give a lot of the credit to Ryan [Hayden]. Without all of his contacts, I probably would not have embarked on this. He just made it so much easier to reach out to people who hes played with. I just went with his instinct and trusted him implicitly. The folks hes brought here have been really, really great. To satisfy my partners questions about the proper venue, I have to admit, the very first piece of music that was played in the restaurant, I knew right away in my heart that it was the right venue for Oceana restaurant. You know, its upscale, its elegant. We can pitch our cafe menu which has a lot of great items on it, a full fish bar, so its a fun menu to compliment late night snacking, and really perfect for the venue. For dinner we have such specialties as whole fish for two, and a lot of fun things on the menu. Late night we offer the caf menu. Any plans to expand the jazz scheduling? At this point the venue is going to stick with Saturday evening as the prime time for their jazz presentations. We are, however, kicking around, ever-so-slightly, possibly extending the venue from midnight to 1:00 AM. Jazz people tend to be late night people, so that might have a little more appeal to come to Oceana. Oceana has a rich history in New York. I opened Oceana back in 1992, so Ive been part of the original restaurant concept, and Ive been here almost 21 years. I have great partners, which is essentially whats kept me here and revitalized all these years. They leave all the day-to-day running of the restaurant to me. I kind of pitch to them, and generally speaking, theres an awful lot of trust there, we collectively decide what to move forward on, and we do it. Its all about relationshipsthats, what it all boils down to. Im really a service guy through and through. As corny as it sounds, I love to see people pleased with their experiences. Youre only as good as your last plate of fish. Im always drilling that into my managers head. The greatest thing about my business is you get to start with a clean slate every night. Every night brings you a few hundred more people that youre able to please. They come with no baggage, just sort of wanting to sit and have a great meal. We have to deliver, and thats what we try to do. Paul commented, Oceana is a much more current, hipper, today restaurant, and I think thats what I like about the jazz too. It shows that were contemporary. The dining room is about 7,500 square feet with a 4,000 square foot kitchen. So its the real
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deal. We have a great great chef who does a fantastic job for us. Its a big team effort. If you like outdoor cafes on a warm simmer night, then Oceana fits the bill. Paul wrapped up by saying: We have 75 seats outdoors, which is a great space. Its on the Eastern portion of our building great big umbrellas. Its a great spot to go to have either a full meal or some snacks from the bar menu. We get a lot of after work people who get rounds of cocktails or beer, wine, snacks, that sort of thing, but its a great weekend venue too. Ryan Hayden Musical Director, Oceana In discussing his role as Musical Director for the Saturday evening jazz series at Oceana, Ryan provided some background about his musical activities. Ive done gigs with Jeb Patton. I went to school with Aaron Diehl and Ben Williams, and then did my undergraduate work with Luques Curtis. These are all musicians that Ive been using to play at Oceana. Im a jazz drummer and just have the connections through working professionally throughout the city at Fat Cat, Dizzys and other places. Im just kind of using the musicians that I like to play with. This month well have Greg Gisbert. I played with him with Pat Bianchi. From a musicians perspective, the Saturday evening jazz series at Oceana is ideal in more ways than one. Ryan commented: Its a great venue to bring music into. The room is really nice floor to ceiling glass, so the people walking by can see the musicians. Its a great opportunity for me to be able to bring in my friends and also get the opportunity to work with new people. I had never done a gig with Dan Nimmer before. I met him when he played on my audition at school for Juilliard. Then we ended up seeing each other out that night at Cleopatras Needle. He always told me, if you ever get a gig, give me a call. I had tried before, but hes always busy with Jazz At Lincoln Center. But this past weekend it was great. I had Dan Nimmer on piano, and then his friend from his growing up in Milwaukee, Joe Sanders on bass. Getting the thumbs up from Paul McLaughlin to start and manage the Oceana Saturday evening jazz series was easy. I actually gave him a CD one time in the hopes of playing there for a Valentines day thing. I had a quartet together with a couple musicians from school. Oceana wasnt that interested because their business on Valentines day was already so good, that they would almost be losing money taking away a table for us. He had heard that CD before, and he knew that I played at clubs around the city. He just put his trust in me. Hayden is responsibly making things happen for Oceana and for his burgeoning music career. He also works during the week at Oceana. I went to Juilliard to get my Masters Oceana Restaurant Jazz series on Saturday nights from 9:00 PM until midnight 120 West 49th Street, New York, NY 10020 212-759-5941 www.oceanarestaurant.com
Degree so I could teach at a college. Thats my ultimate goal. I love to teach, I prefer to perform more, but I want to do both. At the time I graduated, there wasnt anything really available in this economy - especially for adjunct faculty, or a specialty position such as drums. If colleges were hiring, it would be a piano teacher, or head of a program. So I know I have to put in my time working in the city, and I have to make ends meet, be responsible, pay rent, and so on. So its kind of one of the things Ive just accepted and Oceanas been great as far as letting me have a flexible schedule. Im able to do these summer camps for Juilliard, and have the weekends off to do what I love to do in music. Im doing some trio things, playing with Berklee people and Juilliard people, Donald Vega, and doing some stuff with Ben Williams. Ryan commented on the repertoire for the Oceana performances. I want to have a broad variety of music. I grew up loving trios, and the hard bop style of music. Paul gave me the reins to hire who I wanted to and let the musicians play. That was the one great thing that Paul was saying that he didnt want this to just be background music. He wanted this to be a feature. We get people to listen who are having dinner at the restaurant and when theyre walking out, they look at the musicians and want to stay around. Thats a great thing. Being able to hire some of the best musicians is great. Oceana is open to letting the musicians just play. We play nine to midnight, and it ends up working. I leave it open to the musicians as to what they play. We basically do three sets, 9 PM, 10 PM, and 11. Some musicians prefer to do two longer sets instead of just those three but the music is going from 9 until midnight, just on Saturdays. Ryan described the band setup. They have a piano there. When Paul first decided yeah, we can do this, we walked right up to Steinway and got a piano up there. Its a Weber piano. Thats perfect because during the week, the piano isnt out there. It takes up too much room. So weve got an upright that we wheel on the marble floors. I guess there are specific casters that are on this that are good for the tuning of the piano, and the floors with the marble. Every Saturday, we just wheel it out. They have a PA system. The last thing Im working on with Paul is trying to get a set of house drums. How about expensive cover charges and minimums? I dont think wed get many people out if we were charging a numerical cover. So we decided that there would be a two drink minimum, unless youre having something to eat. I think its a great. Whenever Im talking to new people about the series, I let them know that these are musicians who youd normally have to pay $20 or $30 to hear Jeb Patton, David Wong at other clubs. So this is a great opportunity for people to go someplace and have two drinks which you might normally do anyways. Or, people can enjoy some great seafood, and not have to pay any cover to hear these great bands. And, we get to expose people to some great music and musicians whom they might not have known about.
Performance Review
Pamela Luss with Houston Person
March 31, 2012 Metropolitan Room, New York time given for longer individual solos on some pieces. Gracing the stage alongside Ms. Luss was maestro tenor saxophonist Houston Person who was polished to perfection. From his distinguished and reserved stage presence to his distinctive rich tone, and tasteful phrasing, he carried the songs with the expertise of an elder statesman lending beautiful accompaniment behind Ms. Luss, never upstaging, always supporting, a true professional. For me, his playing was the highlight of the show. Person is Jazz royalty and it was a special delight to see and hear him play in this intimate venue after having listened to him over the years especially with the great Etta Jones. His high level of musicianship, sophisticated style and grace was simply a joy to behold and I wished his solos were longer, however he knows exactly how to play it. He is a touchstone that we are blessed to have. Also impressive this evening was pianist Brandon McCune who packed his limited solo time with lots of feel good improvisation, and superior technique and virtuosity. He possesses a cache of chops from Jazz to Gospel and lots of flair. He truly brought the fun with him and was quite enjoyable to watch as he draped one arm over the pianos music stand during Teardrops From My Eyes as his right hand worked the keyboard into a religious experience. Obviously comfortable in many genres, he got down with a funky groove on the Bill Withers anthem, Aint No Sunshine When Shes Gone. Guitarist Sean Harkness has a great approach and sound I would have liked to hear more of and bassist John Burr, added a special touch by scatting along with one of his solos. One of the most seasoned quality drummers on the scene today is Dwayne Cook Broadnax. He got to stretch a little on several tunes and gave the audience more than some with his deft touch and showmanship which was matched by resounding applauds, hoots, and whistles from the receptive audience. Luss, very wisely, has surrounded herself with musicians who are extremely singer friendly and who have collectively worked with many of the top singers in the business including
PERSONNEL: Pamela Luss. vocals; Houston Person, tenor saxophone; Brandon McCune, piano; John Burr, bass; Sean Harkness, guitar; Dwayne Cook Broadnax, drums. The theme of singer Pamela Luss March 31st show at The Metropolitan Room revolved around a quote by best-selling author and self help guru, Barbara de Angelis, You never lose by loving. You always lose by holding back. Prior to my attending Ms. Luss performance, I had never heard her sing and knew very little about her beyond her occasional Facebook gig announcements and was quite intrigued to hear her perform with the legendary Houston Person. The Metropolitan Room is a singers venue. Its an intimate room with a wonderful stage, lots of character, dramatic lighting, excellent sound system, piano and not a bad seat in the house. A high-end cabaret and jazz club, it is home for big name talents as well as rising stars. Described as a contemporary jazz vocalist, Ms. Luss eclectic one hour set consisted of an array of nicely arranged, favored Jazz standards, classic pop hits, blues, R&B, and a familiar (at least to us Baby Boomers) TV theme song from the long running series (1964-1972) Bewitched, that she coupled with the Rodgers and Hart beauty, Bewitched, Bothered and Bewildered. Luss took an uncustomary approach easing into her show with the ballad For All We Know establishing the theme of loving with full abandon not knowing if tomorrow will ever come. Backed by a superb and seasoned band, the music was, swinging, sure, jubilant and soulful throughout. The format was precise and tightly arranged with limited room for solos in a predictable fashion each song long enough to accommodate a 15 song repertoire and one encore. Less would have been more for me with more
Jimmy Scott, Etta Jones, Betty Carter, Abbey Lincoln, and Nneena Freelon among others. Luss put together a nice show and chose great songs to sing, songs that stand on their own merit. She chatted in between numbers with her musicians and engaged her audience stocked with many of her friends, family, other singers, and fans. Despite coming a bit unruffled toward the end, I felt her performance was good overall. Her unpredictable demeanor was transparent as she fired off a few quips at both the bassist and her audience in true diva fashion she was fully in the room and embracing the moment. Luss has a nice supple instrument with a hint of smokiness which I found appealing, especially in her lower ranges where the tone is fatter and more resonate. But, this night she did not scat or stray from the tight arrangements or basically elaborate on the melodies enough which to me is what defines a jazz singer, not just the songs you choose be they standards or contemporary. Sound, technique, vocabulary, improvisational ability and application however do. I was hoping Ms. Luss would let go a little and have more fun with the music like her musicians, take more risks as her theme suggested, explore the harmonic and rhythmic possibilities more, and follow the music as if tomorrow would never come. There was a certain level of confidence and maturity which would have allowed her to be more creative with the songs even without scatting that was missing in her performance this night. Again, I think it has to do with material. While she picks great songs to sing that in and of itself is not enough and they may not be the right songs for her voice and her life experience. Case in point, her voice shined on the ballad, Why Did I Choose You, and on her moody interpretation of Carol Kings, Its Too Late. Here was Luss at her most believable, comfortable and effective best not holding back. But on some of the other songs particularly, Thats Alright Honey, and Alright OK You Win, though the band was swinging, she sounded tentative or distracted. Regardless, the night ended on a high note for the audience who summoned Ms. Luss back to the stage for her encore, But Beautiful.
Conrad Herwig
creating music can blind us to the importance of understanding and effectively managing the business side of our professional activities. What significant ideas have you discovered about business, the [music] business, the people, and how have you incorporated some of those into your own career. CH: I have always felt that there are two sets of criteria for every artist. The External Life and the Internal Life. The music business can often be based on External goals. There is nothing wrong with these goals which include promoTo Advertise CALL: 215-887-8880
tion, marketing, management, bookings, recording, and financial acumen. We have to live in the world. The Internal life is a world of sound, feeling, emotion, and ultimately the inner creative urge. If your soul is satisfied everything else seems to fall into place. Balancing these criteria is what makes us who we are. Joe Henderson was an inspiration because his career and artistry exemplified hard work and the triumph of staying the course. Joe Hen was true to his muse and ultimately the business of music fell into place. JI: How has your work as an educator helped or challenged your artistic pursuits? CH: I have had some really incredible students in the past 25 years. Young jazz trombone play-
ers like Marshall Gilkes, Andy Hunter, and Nils Wogram, among many others, are really taking it to another level. Im just trying to keep up with the youngbloods. Teaching makes you think about the process in order to pass it on. For me its about Sound, Technique, Ideas and continuing to re-investigate again and again in the improvisational context. JI: What do you do to decompress when youre not making music? CH: I love to listen to Brazilian and Classical Music. Spending time with my sons Mark(12) and Glenn(15) is my biggest thrill. We love fishing, BBQing, golfing, basketball, and baseball. Running around with them keeps me in shape.
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New CDs Received

Submitted To Jazz Inside by Artists, Labels & Publicists June 2012
Beegie Adair, Trio Love Cannonball Adderley, Legends Live (Naxos) Gerald Albright & Norman Brown (Concord) J.D. Allen, The Matador & The Bull Joe Alterman, Give Me The Simple Life Franco Ambrosetti, Cycladic Suite (Enja) Peter Appleyard, Sophisticated Ladies Susie Arioli, All The Way Avengers (Adam Holzman), On A Mission Danny Barrett, This Will be My Shining Hour Bruce Barth, Three Things Of Beauty Corina Bartra, Quartet David Basse, Uptown Johnnie Bassett, I Can Make That Happen (Mack Avenue) John Beasley, Brave Souls Lakecia Benjamin, Retox (Motema) David Benoit, Conversations (Heads Up) Otmar Binder, Boogie Woogie Turnaround Brazilian Trio, Constelacao (Motema) Bosse Broberg, Zzzkaas Dance Brian Bromberg, Bromberg Plays Hendrix (Mack Avenue) Brian Bromberg, Compared To That (Mack Avenue) Brooklyn Jazz Underground, A Portrait of Brooklyn (BJU Records) Bobby Broom, Upper West Side Story Brubeck Brothers, Life Times John Carey, Oh So Funky (with Anton Fig, Oz Noy, Will Lee, Andy Narell) Brian Clancy, Introducing Carl Clements, Forth and Back Ravi Coltrane, Spirit Fiction (Blue Note) Concrete Cradle, Things I Wonder Chick Corea & Gary Burton, Hot House (Concord) Jerry Costanzo, Can I Steal A Little Love Bruce Cox, Status Cymbals Natalie Cressman, Unfolding Isaac Darche, Boom Baptism (BJU Records) Hamilton de Holanda, Brasilianos 3 (Adventure) Joey DeFrancesco, Wonderful! Wonderful! Al DeGregoris, Times & Travels Ellington Legacy, Single Petal Of A Rose Eric Erhardt, A Better Fate Wayne Escoffery, The Only Son Of One ESP (Mathew Vacanti), Reach Bill Evans, Live At Art DLugoffs Top Of The Gate (Resonance Records) Bill Evans (sax), Dragonfly Cynthia Feltom, Freedom Jazz Dance Doug Ferony, You Will Be My Music Amina Figarova, Twelve (In + Out) Bela Fleck & Marcus Roberts, Across The Imaginary Divide (Rounder) Bruce Forman, Formanism Curtis Fuller, Down Home (Capri) Fundamental, Development Matt Garrison (sax), Blood Songs Sara Gazarek, Blossom & Bee Eddie Gomez, Per Sempre Jerry Granelli, Let Go Avi Granite, Snow Umbrellas Phil Grenadier & Bruno Raberg, Plunge Tim Hagans, Moon Is Waiting Rich Halley, Rich Halley 4 Jeff Hamilton, Sparkle (Capri) Tom Harrell, Number Five (High Note)
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Allan Harris & Takana Miyamoto, Convergence The Heavens, Atheist Gospel Trombone Album Juancho Herrera, Banda Conrad Herwig, Tip Of The Sword Holly Hofmann & Mike Wofford, Turn Signal (Capri) Gary Honor, Heads & Tails (Trippin In Rhythm) Brenda Hopkins-Miranda, Simple Francois Houle, Genera (Songlines) Ochion Jewell, First Suite For Quartet Jessica Jones & Mark Taylor, Live At The Frei Patricia Julien, Still Light At Night Arthur Kell, Jester (BJU Records) Lisa Kirchner, Charleston For You Elisabeth Kontomanou, Secret Of The Wind Susan Krebs, Everything Must Change Juliann Kuchocki, Broken Compass Rebecca Larsdotter, Feathers & Concrete Greg Lewis, Organ Monk David Linx, A Different Porgy & Another Bess Joe Locke & Geoffrey Keezer, Signing (Motema) Lionel Loueke, Heritage (Blue Note) Michael Manning, In Winter Sandra Marlowe, True Blue Branford Marsalis, Four MFs Playin Tunes (Marsalis Music) Virginia Mayhew, Mary Lou Williams-Next 100 Yrs Nora McCarthy, In The Language of Dreams Lisa McClowry, Acoustic Alchemy Marcus Miller, Renaissance (Concord) Bob Mintzer, For The Moment (MCG) Tony Monaco, Celebration - Life, Love, Music Monkey Bar, Dear You Joy Mover, Joy Mover Stephanie Nakasian, Show Me The Way To Get Out Of This World Tyson Naylor, Kosmonauten (Songlines) Lucien Nocelli, EvoLucien Senri Oe, Boys Mature Slow Kat Parra, Las Aventures De Pasion Chris Parrello, Concrete Cradle Pearl Django with Martin Taylor, Eleven
Michael Pedicin, Live At The Loft Reynold D. Philipsek, Last Summer Alvin Clayton Pope, Soul Of A Man Ben Powell, New Street Irene Reid, Queen Of The Party (Savant) Carol Robbins, Moraga Alfredo Rodriguez, Sounds Of Space (Mack Ave) James Romain, Howl (Innova) Paulo Russo, Music Of Paulo Russo Amanda Ruzza, This Is What Happened Carol Saboya, Belezas Arturo Sandoval, Dear Diz (Concord) Martin Schlumpf, Summer Circle Woody Shaw, Woody Plays Woody (High Note) Jeremy Siskind, Finger-Songwriter (BJU Records) Steve Smith, Live! One Great Night Wadada Leo Smith, Ten Freedom Summers Marianne Solivan, Prisoner Of Love Luciana Souza, Book of Chet Luciana Souza, Duos III Jesse Stacken, Bagatelles For Trio Mary Stallings, Dont Look Back (High Note) Mike Stern, All Over The Place (Concord) Story City, Time & Materials Milton Suggs, Lyrical, Volume 1 Rebecca Sullivan, This Way, This Time Jorge Sylvester, Spirit Driven Katsuko Tanaka, Beyond Intersection Tom Teasley, All The Worlds A Stage Mark Tonelli, The Thread Kevin Toney, New American Suite Ryan Truesdell, Centennial: Newly Discovered Works of Gil Evans Akiko Tsuruga, Sakura (Showplace) Wataru Uchida, Blue Morpho David Ullmann, Falling Paul Van Kemenade, Kaisei Nari Paul Van Kemenade, Close Enough Eric Vaughn, Minor Relocation Nick Vayenas Alison Wedding, This Dance Cassandra Wilson, Another Country Curtsi Winchester, Do The Natural Thing Maddy Winer, Heart To Heart John Yao, In The Now (Innova) Hajime Yoshida, Unlimitation (Armored Records) NEW BOOKS The Last Balladeer - The Johnny Hartman Story, by Greg Akkerman (Rowan & Littlefield)
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July 2012
Jazz Inside Monthly
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CD Reviews
gan to listen. My trepidation was certainly not because of a concern over a lack of musical proficiency. Bla Fleck is one of the finest banjo players alive today. He has created some memorable music on his instrument. Marcus Roberts has done nothing but grow in stature since he came on the scene as Wynton Marsalis pianist a quarter century ago. I was actually worried that what they might have produced would be equivalent to mixing fine caviar and HagenDazs - two things that are sublime by themselves, but just dont mesh when mixed together. I popped the CD into the player and held my breath a littlemy concerns proved to be totally baseless. Across The Imaginary Divide is fresh, offbeat and quite compelling. Fleck and Roberts manage to be true to their own styles, while finding a very comfortable common ground. They get top-notch rhythmic support from Rodney Jordan on bass and Jason Marsalis, the youngest of the musical Marsalis brothers, on drums. The dozen tracks are all originals, six composed by Fleck and six by Roberts. They alternate compositions on the album, which helps vary the flavor of each track. For my taste, the similarities between banjos and guitars stop at the fact that they both have strings and a neck, but in several cases, Fleck manages to achieve the fluid sound of the six-stringed instrument on his five-stringed banjo; his fleet fingers are a joy to listen to, as is Roberts when he leads and comps. Its hard to pick standout tracks, as all are consistently solid. I did find myself going back to listen to a few of them more often, such as Flecks bouncy Petunia, which has a Grand Ole Opry meets Village Vanguard feel. Fleck flies over the frets in a manner that would make Earl Scruggs proud. Hes then joined by Jordan and Marsalis to set the stage. Finally Roberts enters; first as support and then out of nowhere with a 4/4 bridge that throws everything into an excitingly different direction. This tune is followed by Roberts Petunia a laid back piece of jazz, on which Fleck sounds a little bit like George Benson on a banjo, all of this occurs over a light bossa beat, which Marsalis sneaks in so subtly that it takes a couple of listens to notice it. Fleck then turns unexpectedly pensive on the hauntingly beautiful One Blue Truth. Fleck and Roberts trade not so much solos, but brief statements, which take on the feel of a conversation. The Sunshine and the Moonlight is a Roberts tune in common time, which features his best solo on the date. However Fleck is not to be completely outshone, as he answers with a strong statement of his own. Fleck also proves himself to be a formidable jazz writer on That Old Thing a pretty tune that reminds me of A Foggy Day. While Roberts displays his flair for a bluegrass writing style on Im Gonna Tell You This Story One More Time. Bla Fleck and Marcus Roberts have produced a winner with Across The Imaginary Divide. Its one of the most enjoyable and refreshing jazz albums that Ive heard so far in 2012. I only hope that they decide to bridge this divide again in the near future.
Bla Fleck Marcus Roberts Trio

ACROSS THE IMAGINARY DIVIDE Rounder Records 10B6C69 Some Roads Lead Home; www.rounder.com Im Gonna Tell You This Story One More Time; Across the Imaginary Divide; Let Me Show You What to Do; Petunia; Topaika; One Blue Truth; Lets Go; Kalimba; The Sunshine and the Moonlight; That Old thing; That Ragtime Feeling PERSONNEL: Bla Fleck, banjo; Marcus Roberts, piano; Rodney Jordan, bass; Jason Marsalis, drums By Curtis Davenport I had to let the concept of this album roll around my brain for a few minutes before I be-
Tom Harrell
NUMBER FIVE www.TomHarrell.com. Blue n Boogie; Right as Rain; No. 5; Journey to the Stars; GT; Present; Star Eyes; Preludium; The Question; Melody in B-Flat; A Blue Time. PERSONNEL: Tom Harrell, trumpet and flugelhorn; Wayne Escoffery, tenor saxophone; Danny Grissett, piano and Fender Rhodes; Ugonna Okegwo, bass; Jonathan Blake, drums. By Eric Harabadian Harrell has to be one of the most prodigious and inventive artists going in modern jazz circles. And since his recording Light On in 2007, the trumpeter and his trusty ensemble have con48
sistently brought the musical goods. His latest Number Five continues his winning streak as one of the best! Whats initially interesting and inspiring about this particular recording is Harrells desire to expand and grow. Yes, hes basically working in his tried and true framework of post-bop material but he experiments with different harmonic structures and works in duet and acapella formats. A case in point is the opening track Blue n Boogie. This is a Dizzy Gillespie tune shown loving reverence but done as a duet between Harrell and drummer Blake. The leader has an absolutely brilliant command of the trumpet, briskly blowing through virtual and implied changes upon a feathery bed of lithe and rhythmic accents. Right as Rain is a slow and thoughtful ballad that showcases stellar performances from Harrell and saxophonist Escoffery. Featured are wonderful harmonies in a succinct and well measured setting. Title track No. 5 is a real straight ahead burner. This highlights the entire group at their level best. IN particular, Harrell plays with an almost stream of consciousness where his solos are transcendent and complementary to his musical counterparts. Journey to the Stars is a duet between Harrell and pianist Grissett. It bears a nice folksy melody that is open and improvisational. Muted trumpet overdubs provide a soothing backdrop for the leaders warm flugelhorn work. The acoustic piano recalls Keith Jarrett or George Winston, with prominent arpeggios that fill the spaces and accompany very well. GT is an open and somewhat avant garde piece. Atonal and inventive solos from the group converge and interlace with eruptive rhythms for a daring and wild ride. Star Eyes finds Harrell going it alone, with his first of two acapella compositions on the album. The classic, written by Don Raye and Gene DePaul, is a tender ballad that finds the trumpeter in his element. Not only is he a great interpreter of rarities from the Great American Songbook but he brings a lyricism and elegance to the piece like no other. The Question is another interesting Harrell original that is highlighted by Danny Grissetts pristine and vibraphone-like electric piano flourishes. Its a reflective and contemplative work. Thats quickly followed by the bright and swinging Melody in B-Flat. Its a real about face from the previous track featuring exceptional solos from Escoffery. The tune begins with a repetitive oddmetered figure that alternates with the 4/4 swing sections and also serves as a solo vamp vehicle toward the end. Harrell concludes the disc with the second acapella piece called A Blue Time. The leader is faithful to the Tad Dameron classic and delivers the melody and gentle bop feel with passion and a unique individuality.
By: Nora McCarthy The John Lewis Trio out of Dallas, Texas, is moving in its own direction with new and unusual compositions. Progenation, the 2010 release by leader, pianist, John Lewis is the seventh self-recorded CD released on his label Valarteri Records and is comprised of twelve original compositions. As its catchy neologistic title suggests, Mr. Lewis is creating his own personal approach and style through his original compositions. He cites Herbie Hancock, Chick Corea, and Wayne Shorter as some of his main influences but neither the music nor the playing on Progenation bears any resemblance to the aforementioned
Jazz masters; instead he draws his inspiration from their distinctive sound. John Lewis is an emerging new voice in the process. The twelve original songs are an evenkeeled mix of laid back simple Satie-like melodic vignettes comprised mostly of medium tempos, slow bossa groove, a waltz and ballad. Given the preponderance of like tempos and the absence of tension and release in the overall dynamics the end result is a hypnotically pleasant CD. It is music made to accommodate with its bluesy overtones and non-intrusive presence. Two standouts are The Edge of Chaos whose changes are vaguely reminiscent of Andrew Hills harmonic concepts and the final cut, The Odds, with its livelier tempo, features Gillett in between the melodic line of the head and at the very end of the piece with a nice solo by Apeland. It can be honestly said that John Lewis has and does his own thing and if his intent was to coin a new word as it were as a Jazz stylist, I believe he accomplished his goal with Progenation.
John A. Lewis
PROGENATION Valarteri Records. johnalewisjazz.com. Progenation; Slip City; Martha's Muse; The Edge of Chaos; Demps; Amor Dans Bleu; One Trip Out; That To That; A Deliterious Affair; Def Jay Pea; Olivia; The Odds. PERSONNEL: John A. Lewis, Piano/ Compositions; Lincoln Apeland, Bass; Merik Gillett. Drums
To Advertise CALL: 215-887-8880 July 2012 Jazz Inside Magazine www.JazzInsideMagazine.com
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CD Reviews
plays in-the-pocket but uses his kit in a more ornamental fashion as well. Pope rounds out their atmospheric sound with a warm and resonant backdrop. The title track Signing typifies the groups intent with a Joe Locke composition addressing communication and connecting with others. That is certainly this ensembles strong suit as Lockes vibes provide the initial anchor, laying down bright and shimmering accents. From there is a puzzle of a composition that unfolds where each musical voice is an integral piece that completes the whole. Keezer plays an asymmetrical piano cycle that co-mingles with Gullys straight ahead rock-type beats for a monumental effect. Coltranes Naima is a great interpretation that takes on a very dreamy and spacey quality. This was originally commissioned by the Scottish National Jazz Orchestra but the arrangement adapted for quartet is brilliant. The ballad Hide and Seek by Imogen Heap is a sweet and somewhat folksy kind of piece. Mild electronic effects blended with piano and vibes give the tune a natural vocal-like touch. They also seem to adhere pretty close to the melody and take their harmonic liberties judiciously. Her Sanctuary is another noteworthy piece written by Locke . They employ a nice use of dynamics creating a very cinematic and expressive mood. The vibist and keyboardist truly up their game here where they conduct a musical conversation that dovetails and overlaps in a seamless harmonic convergence. Keezers tune Terraces is inspired by terraced rice fields on steep mountainsides in parts of Asia. The main harmonic structures ascend and descend in a specific manner reminiscent of traveling up and down a staircase. There is a fine electric bass solo by Pope on this one as well. This is Just to Say is a Locke composition inspired by the poetry of William Carlos Williams. Its a tender ballad made more poignant and effective by strong unison hooks between vibes and piano. The Joe Locke/Geoffrey Keezer Group has a light fusion edge to its music - with their use of some electronics and rock rhythms. But, overall, they are an exciting and inventive modern jazz ensemble that blends the best of both worlds something that could expand their fan base.
Joe Locke Geoffrey Keezer

SIGNINGMotema Music MTM-85 . Signing; The Lost Lenore; Darth Alexis; Naima; Hide and Seek; Her Sanctuary; Terraces; This is Just to Say. PERSONNEL: Joe Locke, vibes; Geoffrey Keezer, piano, Rhodes and omnisphere; Terreon Gully, drums; Mike Pope, electric and acoustic bass. By Eric Harabadian There is an ethereal and Euro-jazz kind of quality to this album. It kind of references some of Gary Burtons work with ECM Records in the 70s and early 80s. Locke plays with an open and very demonstrative style that fully complements Keezers semi-classical and expressionistic post-bop chords and phrasing. Gully often
Carmen Lundy
CHANGES Afrasia (www.carmenlundy.com). The Night Is Young; So Beautiful; Love Thy Neighbor; A Nightingale Sang in Berkeley Square; Sleeping Alone; Too Late For Love; Dance The Dance; To Be Loved By You; Where Love Surrounds Us. PERSONNEL: Carmen Lundy: vocals, harp, string and horn arrangements; Anthony Wonsey: piano, Fender Rhodes; Kenny Davis: bass, electric bass; Jamison Ross: drums, percussion; Oscar Castro-Neves: guitar; Nolan Shaheed: trumpet, flugelhorn; George Bohannon: trombone By Nora McCarthy What Carmen Lundy has achieved in her recent offering, changes, takes a lifetime to perfect. A vocal artisan, musician, highly accomplished performer, band leader, composer/ arranger, lyricist, and educator she blossoms with beauty and fulfillment on eight original compositions reflecting a complexity of subtle moods from a personal yet very relatable perspective. Lundys choice of instrumentation and harmonically appealing arrangements provide a full bodied backdrop over which she designed a lovely mood infused CD. Her choice of musicians include seasoned veterans well versed in many musical languages sophisticated, distinctive, and exquisite players who convey Lundys original material with finesse, expertise and timeless style. The more I listened to this CD, the more I looked forward to listening again. Her songs strike a chord within the heart and soul of the listener and speak intuitively to
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July 2012
Fort Greene
Third Annual
Festival Series
Eric Fr azie congas r - vocals, tap , , Donald percussion Smith Gene T orres-b keyboard ass Dwayne Solomo Cook Broad na n Lou Ve Hicks - guita x - drums ga - gu r ita Jorge S ylveste r r - sax Jeff Kin g Alicia R - tenor sax au Sept 8 - trumpet
Saturday, July 28 & Saturday, September 8 3pm - 7pm

Fort Greene Park, Brooklyn, NY Entrance: Washington Place & Willoughby Avenue Featuring:
Free Adm
ission
The Eric Frazier Quintet
with vocalists Cynthia Holiday, Sheryl Renee and Rome Neal
Eric Fraziers
Performance Schedule - July 2012
Eric Fraziers Jazz Jam & Open Mic, 471 Dekalb Ave, Brooklyn NY. Information: 347-406-9700
Tuesday, July 3 8PM | Rustik Tavern
with The Eric Frazier Quintet, 299 South Kettham St, Amityville, NY. $60.00 Donation, Information: RSVP 516-777-0738, or 516-236-3493
Saturday, July 7 6PM | Jazz on the Bay
our feelings, experiences and memories. They are alive with emotion. Lundy sings with comfort and satisfaction, with intention, with reflection, anticipation and most of allwith conviction. The voyage begins through the portals of a relationship on the samba-esque The Night Is Young, captivating and enticing with its intervallic melodic waves that continue to oscillate through the next 7 songs altering over the varying rhythmic pulsations generated by drummer Jamison Ross and bassist Kenny Davis. This wave of (e)motion takes us through the many transformations that is love. With a voice that is fluid and clean in its approach, tone and technique, it can also be funky and sassy. It adapts easily to lyrical interpretation in pure expression. Lundys broad range, sparsely employed improvisation, intricate brush strokes and tonally warm colors communicates the message of each piece by stating simple truths as in the hybrid funk-rock infused, Im Your Neighbor, and the uplifting and joyful, Dance The Dance. Ms. Lundy is a prolific composer and has written over 60 compositions that culminated in the first publication of The Carmen Lundy Songbook in 2007. The only cover piece on the album, is a wistfully sweet romantic arrangement of the classic, A Nightingale Sang in Berkeley Square. Lundy doesnt overdo. Her delivery is strong and sure as is her presence throughout never overwhelming or overbearing, just right, exactly enough. She doesnt over sing. She lets the music breath which is the sign of a true artist to understand balance is the key to mastery. Ms. Lundy understands what takes a piece of music from the page to the impression - the essential ingredients that go into a great song, what makes it linger, what makes it everlasting. She expertly mixes elements and textures from various genres and generations in a powerfully understated way giving changes its overall embracing sound and significance. In particular, it was nice to hear the retro 70s vibe of the Fender Rhodes on, So Beautiful, and the worth repeating message of, Love Thy Neighbor. Interestingly, both are throwbacks to another time yet very relevant and potent today. Lundys sumptuous vocals resonate on Where Love Surrounds Us, the last song on this genuinely wonderful CD, a tender and intimate duo with guitarist Oscar Castro-Neves, the perfect ending to be continued for a long time to come. Carmen Lundy is appearing July 5, 6, 7, and 8 at the Blue Note, 131 W 3rd St New York, 212-475-8592
Aruan Ortiz
ORBITTING Fresh Sounds New Talent www.FreshSoundRecords.com. Ginga Carioca; Orbiting; The Heir; Koko; Numbers; WRU;
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Green City; Alone Together. PERSONNEL: Aruan Ortiz, piano; David Gilmore, guitar; Rashaan Carter, bass; Eric McPherson, drums.
By Mark Keresman At the rate of the current state of affairs, soon Cuba may be bereft of jazz pianists. (Just kidding, alright? Therell be more.) Aruan Ortiz is yet another Cuban expat to plant his flag on the American jazz scene via performances and recording with Terri Lyne Carrington, Greg Osby, Wayne Krantz, Giovanni Hidalgo, Lionel Loueke, Jane Bunnett, and tenor don Jerry Bergonzi. Hes versed in twentieth century classics from the jazz side (Andrew Hill, Bud Powell, Monk) and the Euro-American notated side (Ravel, Copelandhimself jazz-influenced, Schoenberg). But this album is billed to the Aruan Ortiz Quartet, an appropriately sothough Ortiz is the nominal leader and half the compositions are his, it is very much a group effort. There is lots of snazzy, inspired, vivacious interplay between Ortiz and guitarist David Gilmore. (No, hes not the gent from Brit rock band Pink
Floydbut I wonder if theyve met?) While Gilmore established himself with the funkcharged, genre-bending M-Base crew (including Osby and Steve Coleman), here hes an offspring of Kenny Burrell, with a pliant, mellow, blues-tinged tone (albeit with an occasional touch of rock-like assertiveness and sustain). At time, Ortiz will underscore Gilmores flights of fancy. Ortiz has the mercurial quality of Bud Powell but also the rich, punchy lyricism of Red Garland and McCoy Tyner, and like Bill Evans and the aforementioned Hill, hes careful with his notesnot exactly leisurely, but free of clutter and overplaying. Note the melodrama-free yet compelling building of his solo on The Heir. Drummer Eric McPherson keeps the beat and provides powerful punctuation throughout. Rashaan Carter is firm but generally selfeffacing, the solid foundation for the house of Ortiz. The Charlie Parker-penned bebop standard Koko gets a vigorous workout, with some biting guitar lines and some exhilarating and wryly pointed trade-offs between Ortiz and Gilmore. Ornette Colemans WRU features scorching Gilmore and rippling, semi-free spiky Ortiz over the crackling rhythm matrix of McPherson and Carter. Ortizs Green City soars in a manner that recalls the Flora Purim/ Airto version of Chick Coreas Return to Forever but transposed to the electric Al Di Meola version of RtFsky-blue eloquence and electric roar perfectly merged into one intoxicating piece. A truly somber, mysteriously reflective take on Alone Together closes this set, bringing the listener back down to Earth.
This is only Ortizs fourth disc and hes already starting to look like a serious contender. Lets hope this particular combo lasts, as they sound like a true band, not just a collection of players for a particular session.
Ben Powell
NEW STREET www.ben-powell.com . Judith; New Street; Monk 4 Strings; Gary; What is This Ting Called love; Sea Shell; La Vie En Rose; Swingin For Stphane; La Chanson des Rues; Piccadilly Stomp. PERSONNEL: Ben Powell, violin; Tadataka Unno, piano; Aaron Darrell, bass; Devin Drobka, drums; Gary Burton, vibes (4,9,10); Julian Lage, acoustic guitar (4,9,10); Linda Calise, vocal (7); Adrien Moignard, guitar (5). By Mark Keresman While never as prominent as horns, keys, or guitars, the violin has always had a somewhat rarified place in jazz, exuding refinement and heart-on-sleeve passion (icons thereof: Stuff Smith, Joe Venuti, and Stphane Grappelli). During the bebop era, the violin (like the clari-
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net) was practically put on the shelf as a relic from a bygone era. With the avant-garde and fusion movements, the violin made a comeback, with such swells as Leroy Jenkins, Regina Carter, and Jean-Luc Ponty wailing to the heavens on equal footing with everyone else. Add Ben Powell to the list of up-andcoming masters of the bow. His main squeeze, so to speak, is Stphane Grappelli, one of the legends of jazz, a violin virtuoso thats sawedaway with everyone from Django Reinhardt to McCoy Tyner. New Street is subtitled A Tribute to Stphane Grappelli, and he does pay homage to the old master with class and style. Grappelli played with a high, airy, unabashedly emotive style emphasizing exuberant, joy-filled swing and proudly displaying the influences of European classical and folk musics. Powell has a similar styletoo similar, pedantic/cranky-types might argue, but everything comes from somewhere, right? Powell serves up a canny mix of originals and select covers and standards that will transport you to the hep-est Parisian thoroughfare that ever was. The opener Judith even sounds like it could be a standard from SGs days with master guitarist Djangoand like Grappelli, Powell isnt shy about references to classical music (I think I heard a J.S. Bach quote or two herein). Its warm and wonderful, and sets the tone for the rest of the setor does it? Track two is the title tune, and it jolts you out of the previous songs warm reverie with a somewhat pugnacious, winding hard-bop theme. While Powell has much of SGs tonal qualities, his solo here
surges and soars in a manner not unlike Blue Note-era Wayne Shorter.Monk 4 Strings continues the modernist bent with a slightly thorny Monk-styled structure leading into rollicking but pointed hard bop-style solos. (Fyi: While Grappelli was identified as a swing player stylistically, he was not stuck in the pasthe co-led albums with Gary Burton and McCoy Tyner and recorded with Paul Simon and master country fiddler Vassar Clements.) Speaking of Burton, he lends his distinctive vibraphone to three tracks here, in a trio context with guitarist Julian Lage. Gary is a sadly sweet tip-o-the-hepcat-hat to both Burton and Grappellis Paris Encounter albumthe violin and vibes do an elegant slow dance. What is This Thing Called Love is where Powell really kicks up his heels with guitar guest Adrien Moignard, swinging winningly until the cows come home to roost, Moignards rapid-fire sixstrings echoing SGs old boss Django. New Street is most definitely Powells show, but his quartet has indeed got the right stuffpianist Tadataka Unno plays with lyrical drive and succinctness and Aaron Darrell and Devin Drobka are tasteful and solid. Powell can make that four-stringer of his wail and weep his crescendo on Sea Shell is almost tearinducing in its sorrowful splendor. While Grappelli has gone on to that Jazz Club That Knows No Closing Time, Powell is keeping his lantern burning bright. Jazz fiddle fans take note.
Sunnie Paxson
BOHEMIAN SUN Roxboro Entertainment Group 02097 09892. roxboroentertainment.com Seabound; Something For Nothing; Dolphin Dance; Three Wrong Notes; One Step Beyond; Tap Dancer; Stella By Starlight; There is No Greater Love; Bohemian Sun (Prelude); Go Go; Khabhaye Talaei; Duke Ellingtons Sound of Love; Say a Prayer PERSONNEL: Sunnie Paxson, piano, keyboards; Stanley Clarke, bass; Ronald Bruner, Jr., drums; Munyungo Jackson, percussion; Veronca Spalt-Campbel, violin; Yenlik Weiss, violin; Marco Bogdanovich, viola; Vlad Dikau, cello; Michael White, drums. Percussion; Ruslan Sirota, organ; Rohan Reid, guitar; Rod Maurice, lead & background vocal; Eli Jacobson, Carmen Harrell, Damietta Griffiths, Alecia Baker, Natasha Agrama; background vocals By Curtis Davenport Sunnie Paxson has been a mainstay on the Los Angeles jazz scene for over twenty years. Her most notable association has been with the great bassist Stanley Clarke; she was the keyboardist in Clarkes band in the late 80s. She has worked consistently in the smooth jazz
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realm, with artists such as Rick Braun, Justo Almario and Larry Carlton. In 2002 she released Groove Suite, her first album as a leader, which attracted some attention on smooth jazz radio. She is now back ten years later, with Bohemian Sun, an album that is decidedly more straight ahead than its predecessor. Produced by Mr. Clarke, Bohemian Sun is a pleasant mix of Ms. Paxsons originals and her interpretations of jazz classics. Most numbers are performed by a trio of Sunnie on piano, Clarke on bass and Ronald Bruner, Jr. on drums. Sunnies piano style reminds me of another smooth jazz artist that has experienced some success playing in a traditional style; David Benoit. Like Benoit (who himself has always copped to a Bill Evans influence), Ms. Paxson likes to hang out in the keyboards upper register, which lends an inherently happy sound to her playing. She swings pleasantly and turns in a number of very interesting solos. It helps that she is getting support from a producer who happens to be one of the great bassists in jazz history. Though Ive always preferred Mr. Clarkes work on electric bass, he takes advantage of the relaxed atmosphere here to show off his acoustic muscles. He is not just an accompanist, he solos liberally and with inspiration. One of the best moments is Three Wrong Notes a Clarke composition, on which Sunnie, Clarke and Bruner dance around each other like three happy kids on a playground, as they bounce their musical ideas off of each other. Tap Dancer a composition
by Ms. Paxson, is another strong performance, which sounds like it could have come from Mr. Evans himself. Not everything works. There are a couple of contemporary-style tracks that are weighed down by string arrangements and middling vocals. The take on Stella by Starlight also plods a bit, but it is then followed by the highlight of the set - a romp through There is No Greater Love on which the trio locks in and doesnt let go until almost eight minutes later. Ms. Paxsons solo gives us a full look at the harmonic gifts that she had shown in glimpses until that point. Clarke follows with a terrific solo of his own and Mr. Bruner pushes them both with some strong timekeeping. My toes were tapping and I grooved along with them from start to finish on that one. Sunnie also displays formidable chops on a solo version of Duke Ellingtons Song of Love, which ends much too quickly. These last two tracks, Ive revisited multiple times as theyve found their way onto my iPod. Sunnie Paxsons Bohemian Sun has more plusses than minuses. Its worth multiple listens. I hope that we hear more from Ms. Paxson before another decade passes.
Marianne Solivan
PRISONER OF LOVE Hipnotic Records HR10007 . Bliss; The Lonely One; All or Nothing at All; Prisoner of Love; I Guess Ill Hang My Tears Out to Dry; Moon Ray; May I Come In; I Cant Help It; Day Dream; After You; Social Call.
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PERSONNEL: Marianne Solivan, vocals; Peter Bernstein, guitar; Xavier Davis, piano; Michael Kanan, piano; Christian McBride, bass; Ben Wolfe, bass; Jonathan Blake, drums; Jeremy Pelt, trumpet. By Eric Harabadian Its hard to believe that this is Solivans debut recording. She has all the poise and artistic wherewithal that reveals a true veteran artist. Solivan draws from classic jazz touchstones in terms of her vocal phrasing or choice of material. But she unabashedly embraces the jazz lexicon and makes it her own. Bliss is a beautiful ballad that sets the stage for a most satisfying and substantive musical experience. From the first few words of the song there is an articulation and poetic charm in her delivery that is rare these days. Guitarist Bernstein accompanies with a great solo and the structure of the tune deftly shifts from a lilting sway to an easy 4/4 swing. The Lonely One is a bittersweet samba that finds Solivan walking the line between loneliness and redemption. When she describes an emotion you really feel for her. And the acoustic piano of Xavier Davis is the perfect foil that offsets the irony of the lyrics. All or Nothing at All is an inspired duet between Solivan and Christian McBride. Their chemistry is electric as the leaders seemingly effortless vocals dovetail supplely with McBrides muscular, yet melodic bass lines. Title track Prisoner of Love is an apt choice because it fits Solivans style like a glove. This is one of the ultimate torch songs, again further enhanced by pianist Davis samba-like feel. Slightly down the list, Jeremy Pelt guests on Artie Shaws Moon Ray. He plays a smooth and somewhat ethereal trumpet that seems to add a bluesy vintage feel. May I Come In is a lovely piece that displays Solivan at her most vulnerable. Her pleas for forgiveness from a romantic misunderstanding seem real. And Peter Bernsteins dense chordal accompaniment and walking note lines add depth and emotional weight to her delicate phrases. I Cant Help It is a Betty Carter nugget and it is a hard swinging lounge type of tune. Davis rollicking drive and rousing rhythms really kick this one up a notch! There are some nice duets that followfirst with McBride and Solivan on Ellington/Strayhorns Day Dream and the sweet partnership between the chanteuse and pianist Michael Kanan on Cole Porters After You. The album concludes with Gigi Gryces Social Call. Its a brief and swinging track that is upbeat and effervescent. If this is, indeed, Solivans initial dalliance into the jazz recording arena, better days for the art form, as a whole, are certainly ahead!
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July 2012
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Akiko Tsuruga
SAKURAAmerican Showplace Music. www.akikojazz.com. Sweet Yam Potato; Smile; S.O.S.; You Betcha; Valdez in the Country; Sukiyaki; What a Difference a Day Makes; Pretty Please?; Sakura; Showmans Boogaloo; I Wont Last a Day Without You; The Good Life PERSONNEL: Akiko Tsuruga, Hammond B3 Organ; Jerry Weldon, tenor saxophone; Joe Magnarelli, trumpet and flugelhorn; Bob DeVos, guitar; Rudy Petschauer, drums. By Eric Harabadian No one can say that music is not the universal language. And when it comes to jazz that has certainly been the case for Japanese organist Akiko Tsuruga. She has been steadily making a name for herself on the NYC jazz scene since arriving there over ten years ago. Akiko is the real deal, adopting a soulful fatback kind of sound that blends Jimmy Smith with Charles Earland or modern day masters like Joey DeFrancesco. On her latest, Akiko has assembled a whos who of jazz organ accompanists. Many of the members of her band have done
Jazz Lovers Heaven

stints with Richard Groove Holmes, Jack McDuff as well as Charles Earland. And Akikos keyboard abilities are assuredly up to the task! The leaders own Sweet Yam Potato is an in-the-pocket soul burner that grooves you with its relaxed beat. Right out of the gate the organist simultaneously demonstrates taste as a comping specialist and an incendiary lead player. The Charlie Chaplin chestnut Smile is appropriately sweet and done in a samba style. This naturally has a 60s lounge vibe, with lyrical solos all around and the ever present drive of drummer Petschauer. Wes Montgomerys S.O.S. is urgent and fast paced as intricate accents move the groove along. You Betcha is another Akiko original that has all the makings of a soul-jazz classic. Its lively and somewhat angular head give way to a relaxed and cooking beat. Donny Hathaways Valdez in the Country was a great choice for its vamp-ish structure and funky charm. IN particular, Akiko really steps out with some rocking rhythms and screaming leads. The leader embraces her Asian heritage with a cover of the classic 60s hit Sukiyaki. In someone elses hands this tune might have come off a tad insincere or corny. But Akiko comes by it honestly and infuses it with whimsy and power. She also shows some range in her playing by altering the tonal palette of the organ itself. What a Difference a Day Makes is pretty straight ahead and, again, has a vintage lounge or tiki bar vibe. Two other tracks of note are Sakura, which Akiko utilizes as a vehicle to blend traditional Japanese melodies with western American improvisational music. Another of the leaders tunes Showmans Boogaloo is simply a fine and easy laid-back funky mid-tempo number. There is a lot about this disc to like! Akiko Tsuruga plays with authority, passion, swing, soul and taste . From the very first notes on the B3 youre hooked and realize you are listening to a modern day master.
Gabriel Vicns
POINT IN TIME self-released www.GabrielVicens.com. El Comienzo; Point in Time; Intro to La Diferencia; La Diferencia; Intro to Cuadro; Cuadro; Beautifil Place; Intro to Frame of Mind; Frame of Mind; Intro to El Camino; El Camino; The World in My View. PERSONNEL: Gabriel Vicns, electric guitar; Jonathan Suazo, alto sax; David Sanchez, tenor sax (5,8,12); Eduardo Zayas, piano; Matt Clohesy, bass; Eddie Gomez, bass (6,7,10,11); Vladamir Coronel, drums. By Mark Keresman While not a cutting-edge player (yet), Puerto Rican guitarist Gabriel Vicns shows signs of being one of the new aces of mainJuly 2012 Jazz Inside Magazine
stream guitar. While many young-ish sixstringers follow Metheny and Frisell, Vicns is, like Peter Bernstein, a offspring of Kenny Burrell and Grant Green. While not quite as bluesy as Burrell, hes got that clean, simmering, slightly shimmering, burnished tone that makes you feel as if its midnight no matter when youre listening. (Id love to hear Vicns in a soul-jazz context with one of todays bosses of the Hammond B-3, but I digress.) The opener is the slightly blues-tinged hunk of modality El Comienzoit has a sleek, sly theme evoking Neal Heftis tune-style. (Hefti was an arranger for Count Basie in the 1950s and composer of the 1960s Batman TV theme.) The title track brings to mind Blue Note-era Herbie Hancock (i.e., Speak Like a Child, Maiden Voyage) in its cozy but slightly bittersweet melodicism. Vicns does a sweet solo with very minimal accompaniment, his notes splashing with a crystalline tone not unlike a vibraphonethen he and his band artfully and ratchet up the tension, gradually raising the excitement as if it were part of a Hitchcock film soundtrack. La Diferencia (and its Intro) find Vicns and pianist Eduardo Zayas engaging in some lyrical dialogues, the ensemble again subtly, crisply raising the levels of tension, Jonathan Suazo playing some swaggering, piquant, elegantly darting alto sax therein. (Vicns really ought to consider writing film soundtracks.) Speaking of saxophone, special guest David Snchez plays some hearty, celebratory tenor on the percolating, Milestones-esque Cuadro. Frame of Mind is the only track with any sort of rock influenceit has a loping, slightly ominous theme evoking Led Zeppelins Kashmir, and as a special added attraction, the buoyant, probing bass of Eddie Gomez, which in part gives Frame its baleful bounce. Gomez is also present on the ruminative mid-tempo El Camino, the longest track here. The drumming of Vladamir Coronel is especially compelling herethunderously seething and crackling, like a not-so-distant storm about to break. Theres plenty of ebb-and-flow here, as with most of the tracks of Point. Vicns tunes feature his guitar in harmonious tandem with the saxophone(s). His compositions are wellthought-out and a bit on the moody side (though never ponderous)theyre not just play-thetheme-and-jam frameworks, their swing falling on the side of the moody post-bop zone. This disc does conclude on an up note, with the faintly Steely Dan-ish The World in My View. Vicns resourceful, impressive view is such that the Collective We will want to experience anew.
58
The welfare of the people in particular has always been the alibi of tyrants, and it provides the further advantage of giving the servants of tyranny a good conscience
- Albert Camus
The Fatal Sequence

Why Democracies Fail According to historical records, the average age of the world's greatest civilizations has been about 200 years. During their existence, these nations have progressed through the following sequence. The same sequence is so reflective of human nature that it could probably be applied to our businesses and our own personal relationships. Great nations rise and fall. The people go from Bondage to Spiritual Faith from Spiritual Faith to Great Courage from Courage to Freedom from Freedom to Abundance from Abundance to Selfishness from Selfishness to Complacency from Complacency to Apathy from Apathy to Fear from Fear to Dependency from Dependency back to Bondage
The fatal sequence has been attributed to Alexander Tytler around the time of the framing of the United States Constitution in 1787. While he probably did not identify the fatal sequence, he did write: A democracy cannot exist as a permanent form of government. It can only exist until the voters discover that they can vote themselves largesse from the public treasury. From that moment on, the majority always votes for the candidates promising the most benefits from the public treasury with the result that a democracy always collapses over loose fiscal policy, always followed by a dictatorship. More recent research points the attribution to Henning W. Prentis in a speech Industrial Management in a Republic," delivered in the grand ballroom of the Waldorf Astoria at New York during the 250th meeting of the National Conference Board on March 18, 1943. Where in this sequence is our Elected Representative Republic that the Founding Fathers left us? The price we pay for liberty is eternal vigilance Thomas Jefferson

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Noteworthy Performances
MICHAEL CARVIN Jazz Standard: July 31 www.JazzStandard.com BARRY HARRIS www.villagevanguard.com Village Vanguard: July 17-22 and July 24-29 Pianist, composer and arranger Barry Harris is a master of bebop, a lifelong student of the art and his craft, the leading living exponent of the bebop tradition, a respected mentor and teacher of many noteworthy jazz artists including Charles McPherson, Barry Harris is hails from Detroit. Since making his way to New York in the 1950s he has recorded numerous albums as a leader. His discography as a sideman includes recordings with such influential artists as Thad Jones, Sonny Stitt, Dexter Gordon, Cannonball Adderley, Freddie Hubbard, and others. Ray Drummond, bass and Leroy Williams, drums.
(Photo by Eric Nemeyer)
Master drummer Michael Carvin joined Freddie Hubbbards band in 1973 and has continued his non-stop activity as a creator and educator on the New York scene ever since. His credits over the past four decades include Dexter Gordon, Ruth Brown, Pharoah Sanders, Alice Coltrane and others. He has appeared on more than 250 albums. A highly respected drum teacher, he is a master of swing. Joining Carvin is fellow Texan, tenor saxophonist Keith Loftis. Jon Hendricks remarked: Michael Carvin is no ordinary drummer, he is a human rhythm machine. Branford Marsalis calls Michael Carvin a true jazz stalwart who has taught many of the major jazz drummers who have emerged in the past fifteen years.
Dizzys Club: 5/24-5/29
SPYRO-GYRA Blue Note: July 17-22
www.BlueNote.net
CONRAD HERWIG Blue Note: July 24-29
www.BlueNote.net
Created and led by saxophonist Jay Beckenstein, the group recorded its two big hitsShaker Song and Morning Dance in the 1970s. The group has recorded 29 albums, sold more than 10 million units, has achieved one Platinum and two Gold releases, and they continue to perform over 100 dates a year. While the personnel has changed over the years,, keyboardist Tom Schuman is a mainstay. In the autumn of 2011, Spyro Gyra released A Foreign Affair, which is stylistically in the tradition of the groups original sound. Over the years, people have pointed to the group as being in the smooth jazz genre. However, the harmonically and rhythmically rich elements and quality soloists and solos on recordings over many years clearly distinguish the groups solid jazz roots.
Trombonist Conrad Herwig focuses on the music from his recording The Latin Side of Joe Henderson for this weeks performances. His finesse on dexterity on trombone make his exploration into the complex and challenging music of the great saxophonist a natural. Others in his series of Latin Side albums include The Latin Side of Herbie Hancock (2010), The Latin Side of Wayne Shorter (2008), Sketches of Spain y Mas (2006), Another Kind of Blue (2004), and The Latin Side of John Coltrane (1998). In addition to a list of performing credits including with Joe Henderson, Clark Terry, Eddie Palmieri, the Mingus Big Band and more, Herwig is a noted educator and clinician. Orrin Evans Jazz Standard: 7/17-7/19 www.JazzStandard.com
CHRISTIAN MCBRIDE www.JALC.org/dccc Dizzys Club Coca Cola: Thu-Sun, July 12-15
Among his many accomplishments, bassist Christian McBride has performed and recorded with an array of influential jazz artists including Sonny Rollins, Sting, Freddie Hubbard, Joe Henderson, McCoy Tyner, Herbie Hancock, Pat Metheny, Diana Krall, Roy Haynes, Wynton Marsalis and others. He is Artistic Director at the National Jazz Museum In Harlem, has appeared on over 300 albums, and his 2011 big band recording won a Grammy. At Dizzys, McBride will be leading his big band including Ulysses Owens, drums; Xavier Davis, piano; Todd Williams, Loren Schoenberg, tenor saxophones; Todd Bashore, Steve Wilson, alto saxophones; Carl Maraghi, baritone saxophone; James Burton, Michael Dease, trombones; Frank Greene, Freddie Hendrix, Nabate Isles, trumpets; Melissa Walker, vocals
Hailing from Philadelphia, and versed in the mainstream tradition of this music, pianist and composer Orrin Evans attended Rutgers University, studying with Kenny Barron. He worked with Bobby Watson, Ralph Peterson, Duane Eubanks, and others. At the Jazz Standard, he will be leading a trio on the first night , adding guests Jack Walrath and Tim Warfield on night two, and then featuring his Captain Black Big Band on the third night. He has recorded more than 10 albums as a leader for various labels. In 2010, he received a Pew Fellowship in the Arts.
Joe Alterman www.Kitano.com Give Me The Simple Life CD Release Party Kitano, 7/27, 8:00 and 10:00 PM
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By merging the patient touch of pianists past with his own extraordinary sound, pianist Joe Alterman belies the label of a mere throwback player. Playing with impeccable taste and joyous verve, Alterman manages to revitalize the familiar, rekindling memories of why you started listening to jazz in the first place. Joined by bassist James Cammack and drummer Alan Mednard, he celebrates the release of his new Miles High CD Give Me The Simple Life. Says saxophonist Houston Person, one of Altermans 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. Alterman also performs with his trio on July 18 at St. Peters Church, as part of the Midtown Jazz at Midday series.
NOAH PREMINGER www.jazzstandard.com Jazz Standard, 7/25, 7:30 and 9:30 PM Tenor saxophonist Noah Preminger has two of the most critically acclaimed recent small-group jazz albums to his name - Dry Bridge Road and Before The Rain - but the 26year-old is just getting started. One of the fastest-rising tenor saxophonists and composers on the jazz scene today, Premingers vital and virtuosic saxophone improvisations have the weight of a seasoned veteran. His tone and compositional chops show an abundant talent always willing to take risks and confound expectations, and he is in-demand as both a leader and side-man throughout New York. He performs with fellow rising stars guitarist Ben Monder, bassist John Hbert.
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July 2012 Jazz Inside Magazine
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Otto Link Vintage for tenor sax.

Mouthpieces for clarinets and saxophones

(Continued on page 38) 6

The Man Who Made Cartoons Swing

the music, machines and mystery of

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June 26, 2012 Performance

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Hide Tanaka, bass Michi Fuji, jazz violinist

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