John Patitucci: Jazz Education Sourcebook & Program Guide

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JOHN
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CONTENTS
Publisher: Eric Nemeyer
Editor: Gary Heimbauer
Advertising Sales & Marketing: Eric Nemeyer, John Alexander, Dimitry
Ekshtut
Circulation: Robin Friedman, Susan Brodsky CLUBS, CONCERTS, EVENTS
Photo Editor: Joe Patitucci
Layout and Design: Lori Jenkins (August issue), Karry Thomas 24 Noteworthy Performances
Contributing Artists: Shelly Rhodes
Contributing Photographers: Eric Nemeyer, Joe Patitucci, Ken Weiss.
27 Calendar of Events
Contributing Writers: Dan Bilawsky; Al Bunshaft; John Cizik; 37 Announcements — Upcoming Events;
Curtis Davenport; Bill Donaldson; Dimitry Ekshtut; Robert Gish; Ira Gitler; Regular Engagements; Additional Club
Gary Heimbauer; Rick Helzer; Jan Klincewicz; Joe Lang; Ronald Lyles,
Matthew Marshall; Dave Miele; Nick Mondello; Patricia Nicholson; and Venue Schedules
Joe Patitucci; Michael Steinman Ariel Teitel; Ken Weiss. 42 Directory of Clubs, Venues, Music and
Record Stores, Schools & Universities,
Advertising Sales
212-887-8880, 347-637-0054 On The Cover: John Patitucci and more
Jazz Inside ® Magazine Feature begins on page 6 44 Around Town
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Apple Chorus
“A Gal A Night Is Enough For Any Man”
by Ira Gitler
Thirty years ago in June of 1979 trumpeter/ broadcasts of various groups from one led by George
flugelhornist Mark Morganelli founded the Jazz Forum Coleman to a quartet featuring the pianos of John
in the East Village. It was a place where both musicians Hicks and Albert Dailey.
who already had paid some dues and established their Bruce Lundvall’s Elektra Musician label
names to some degree, and new comers, trying to recorded sessions there for “live” audiences with by some of the music’s finest keyboard practitioners:
gain a foot-hold in the highly competitive New York the Red Rodney/Ira Sullivan Quintet; and Woody Barry Harris, Kenny Barron and Cedar Walton;
scene, were given opportunities to play in an informal Shaw’s group featuring Bobby Hutcherson. I was top-shelf bassists Ray Drummond, Rufus Reid and
atmosphere for an aware and interested audience. at the Rodney/Sullivan date and granted that their George Mraz; and pre-eminent percussionists, Leroy
For three years there pianist Barry Harris taught chemistry guaranteed real fireworks, the atmosphere Williams, Louis Hayes, Al Foster and Jimmy Cobb.
instrumentalists and vocalists every Monday evening created by the Forum and its audience contributed to Other luminaries included Lou Donaldson,
before opening his Jazz Cultural Theater as classroom/ the great vibe of the LP. alto sax and vocal; George Coleman, tenor sax;
public performance space on 8th Avenue a few blocks After the Forum’s run ended in ’83, Morganelli Joe Lovano, tenor sax; John Scofield, guitar; John
south of Madison Square Garden. created Jazz Forum Arts, now in its 24th year. Many Hendricks & Co.; Paquito D’Rivera, clarinet & alto
Meanwhile the Jazz Forum was also presenting veteran listeners will remember the outstanding series sax; and Claudio Roditi, trumpet.
large ensembles such as Morganelli’s rehearsal band, he presented in Riverside Park on Manhattan’s West The last two named were joined in the horn
Chuck Israels’ National Jazz Ensemble, Jaki Byard’s Side. This was followed by the long-running Jazz at the department for the grand finale by producer
Apollo Stompers and Charli Persip’s Superband, in Music Hall in Tarrytown, NY and many other events Morganelli, with a couple of mellow flugel choruses,
addition to the jam sessions run by master drummer at venues in adjacent areas. Every summer he presents and a young trumpeter, surname Rivkin. I didn’t catch
Jo Jones. 50 free concerts in Westchester County. In recent the agnomen but Rivkin riffed well.
When Morganelli moved the Jazz Forum to years he has produced at Carnegie Hall, Avery Fisher It was certainly, from the standpoint of pacing
Broadway at Bleecker Street in 1981 it continued Hall and at Jazz at Lincoln Center’s Rose Theater and quality, a gala night and to quote Groucho, “A gal
apace into ’83 and was the site of benefit concerts where, on June 22, the Jazz Forum’s 30th Anniversary a night is enough for any man.”
to help out musicians in need; the making of an was celebrated. The gal at Carnegie Hall two nights later (the
award-winning film, Music in Monk Time; live radio The evening’s nexus was built on piano trios led second of two successive concerts) was Diana Krall,

surrounded by her sidemen—guitarist Anthony
Wilson, bassist Robert Hurst and drummer Jeff
Hamilton—and backed by no less than a 41-piece
string, woodwind, flute, brass and percussion
orchestra led by Alan Broadbent who, at one point
in the proceedings made it 42 by taking a turn at his
piano.
The sound at Carnegie, with which I usually find
something to carp about, was basically okay except for
the high end of La Krall’s piano that sometimes was
tinny.
She was anything but, whether backed by
sumptuous sound and taste of the huge ensemble
on “Where Or When” or swinging blithely with the
quartet on “The Frim Fram Sauce.” There was no
intermission but the evening moved along seamlessly
with the moods well mixed.
Congratulations to Diana, all the musicians and
producer George Wein for filling some of the gaps left
by his not being able to present his annual festival, and
on the occasion of the announcement (that I picked
up on the internet while covering the Italian jazz
scene in July) that there will be a George Wein NY
jazz festival in the summer of 2010.
Speaking of Italy, from where I am writing this
column, I have two CDs to recommend on the Italian
label, abeat, that can be reached through its website at
abeat.com
They both involve the fine pianist Dado Moroni,
who has appeared in New York many times. Solo Dado
(the title is self-explanatory) is the first; the other is
Humanity, a duo with Tom Harrell. ‘Nuff said. Ciao
‘till September.
JOHN PATITUCCI TRIO

Remembrance
John Patitucci Trio LIVE!

Aug. 11-16
Dizzy’s Club Coca-Cola
Info/Res: 212.258.9595
The legendary bassist’s highly anticipated CD of all-new compositions

and arrangements; featuring Joe Lovano on tenor sax and alto clarinet,
and Brian Blade on drums
www.concordmusicgroup.com www.johnpatitucci.com
To Advertise CALL: 215.887.8880 August 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com 5

Feature

John Patitucci
By Eric Nemeyer
After some impromptu conversation with John, we

got into the interview, as he began speaking about his
experience playing with Chick Corea.
John Patitucci: I remember when I first got the gig

and his comping was so fierce. I felt like I was getting
blown off the stage by the comping and it was like,
“Well, if the comping is better than my solo, I guess
I got a lot of work to do on my improvising,” to be
strong enough to assert my ideas, to make them sound
like they should be there—that was a huge thing. For
a bass, it’s like you really have to have power behind
your stuff to play with these guys. When they comp,
it’s so beautiful and so heavy. Herbie [Hancock] too—
unbelievable comping, unbelievable, just incredible,
awe inspiring, you know?
Jazz Inside: Could you share some conversations that

you might have had with Wayne Shorter that were
significant for you in terms of your artistry or just life
in general?
JP: With Wayne, he talks about life a lot and he

talks about sort of the mission that we all have—
personally, as musicians as well as to our families and
to each other and he doesn’t like it when people are
just music machines and that’s all they talk about and
care about—when they don’t really care about deeper
spiritual things and developing as mature people. He’s
also about the group being so important, and the
collective improvisation as opposed to, “I got to do
my thing and do my stuff and do my solo,” and that
kind of thing.
JI: Sure, which disconnects you from the group.
JP: Yeah—totally. And the truth is, you can never go

anywhere near as high artistically if you’re individually
focused - as those great bands that we all revere and
love, those records we listen to over and over, where
there was a band thing where the cats hooked up and
they took it to such a high level … which was way
encouraging about me jumping out there, and the the whole, because we are really committed to that.
beyond their individual levels even though those
texture, and really trying stuff, and really stretching We really want that, so he feels free then to really push
individual levels were so high, but the group thing
and being bold and just being really reckless which us to try and to be crazy—to really jump of the cliff
became just so much more than that. So Wayne
I like to do anyway. He’s really encouraged me to do without a parachute.
understands that very well, and he fosters that, and he
so—to really try some stuff where I really don’t know
talks to me and he’s a really funny cat too. He’s right JI: That was interesting what you said about him being
if it’s going to come out on the bass, and just go for
next to me on stage, and he’ll say stuff, and he’s really it and try to be orchestral in my choices. He’s always the cello and you being the flute. That sounds like
saying, “I want to be the cello, and you be the flute,” something I remember reading years ago that Miles
“…when music becomes too and just thinking more broadly, because he knows would suggest to the bassist, “Don’t play like you’re
cerebral, it sort of locks peoples that he’s got guys—I mean we’re not teenage kids on a bass player.” He didn’t want them to pre-define
the bandstand at this point. I’m gonna be 50, and the their role in the band. Now, with Herbie, what kind
hands up and becomes very other guys are younger than me, but they already are of discussions did you have with him? I know Herbie
hard for them to express and get well established and band leaders and everything. So
people take it very seriously—the group concept. So
and Wayne are close and cut from the same cloth.
to a deeper level intuitively if it’s not like he’s got to worry that people aren’t going JP: Yeah, and with piano players, since I play some
to be connected and play things that make sense for
they are struggling so much just piano, I can get with them and say, “Show me this,” or,
“What the heck are you doing here?” because you can
to play what’s written.” www.johnpatitucci.com
see it. Wayne wouldn’t be as literal and say to try this or
to try this over that. He wouldn’t do that as much, but
he would play stuff that was so heavy and after a while “I’m really into …. really striving to be authentic in my life, which is
you’d start to realize, “Oh, I think that I understand,”
and you’d get a glimpse of how he’s approaching it. a hard challenge. It’s the biggest challenge to do it. It’s one thing to
He does a lot with pure melodies and he doesn’t play talk about, and read about, or even to help others to learn about it,
very scale-ish. He’s another one who is masterful at
combining the sounds of triads with different things, but it’s another thing to live it, in your house, with your family.”
so even over elaborate harmonies, it doesn’t sound
like the usual stuff that guys might try to play. It never with Chick too, he had an interesting way, and I’d say, JP: That’s hilarious because he was so brilliant—he
sounds like that. He’s got his own way of doing it. I “What are you thinking about on this thing? What was so heavy man. I didn’t play that much with him,
remember when we were doing the “Directions in are you blowing over it?” and he’d say “Well, I’m but his sound! I was pretty young—I think I was 23 or
Music” tour with Herbie, he had this arrangement on kind of trying this,” and he would make up his own 24. His sound really made a big impression on me that
“So What” where he had all of these incredible sounds synthetic scales and stuff. He was really free. He was so night. It was huge. We did this concert in San Luis
and he wasn’t really playing any minor chords. It was fluid of an improviser that there were really no chord Obispo, California at some concert place. It was the
all this stuff built off the dominant [chord], and it was changes that could stump him. All these guys are like only real concert I ever played with him.
like, “What is it? Come on,” so he let us go around that. It doesn’t matter how deep the harmony is, how
behind him and I wrote the voicings down and he chromatic, how the pathway between the chords is JI: You mentioned Wayne Shorter’s leadership style.
showed me what they were. So you could ask him and unusual, it doesn’t matter. They can just traverse the What things have you picked up from different leaders
he’d tell you. “This is what it is,” or, “It’s this,” and we’d whole deal without much trouble at all. that guide you to be the kind of inspiring leader that
ask, “What are you thinking when you do this?” He you want to be?
said, “Sometimes I just go for shapes and see what my JI: How about working with Freddie Hubbard?
JP: Well, mainly to encourage guys to really explore
hands find and really explore that and do some other JP: I don’t know. He was a total virtuoso as well. He and develop and not play it safe and not just play
stuff and once I’m in it, I can always find something.” was unlimited in his ability to play through changes. from their trick bag. And also, to pick guys that you
He’s such a quick thinker and has an amazing ear He was like the Coltrane of the trumpet. There was feel would really enjoy playing the music that you’re
and everything, and Chick was really fast like that nothing that he couldn’t play through, so in that way working on at the time, that really have fun doing it
too—unbelievable. This is what used to kill me about he’s very similar actually to those guys and his playing and that would really be able to throw themselves into
him, because I was in his band for ten years. He writes fit very well. I teach at City College here in New York, it with the band. That’s the way I like to do it. I try to
difficult changes sometimes on his tunes that aren’t and when I teach comping, I like to play his record that find guys that are likeminded and say, “Here—here’s a
easy to blow on - but he makes it sound really easy. So he plays “You’re My Everything” on. Herbie’s comping vehicle. Stretch on this,” or, “This is what I’m working
when he’s playing his solo and you’re accompanying on that record is just some of the greatest comping on on, lets do this,” and I give people a lot of space and
him, you’re thinking, “Oh wow, this is gonna be fun to any record ever. So Freddie fits right in with those that’s what I learned from all these guys. I’m interested
play, this is gonna be easy,” until you start to play andcats. He obviously loved it. He loved that approach in being a composer and it’s important to me to have
you are like, “Oh man, oh my god!” (laughs) And we harmonically. He was right in there with that. And
used to crack up because he tended to write the chord the thing that I remember most about playing with

symbols in a more simplistic fashion because he knew him was his ability to play also at really up-tempos but
he was gonna overlay all these different alterations, create brilliantly. Usually us bass players, when we’re
but with me, I used to walk through it with him, going to play “Rhythm Changes,” after a while we’re
because I liked to write the alterations in while I was like, “Ugh, I hope this is going to be over soon, after
learning the tune. I knew that when he said F7, he was chorus forty. [laughs] But with Freddie, I remember
playing flat 13, flat 9-13 with a +11, or a sharp 9, you being on a gig and he was playing “Rhythm Changes”
know? [laughs] So that was good training for me— one day on this concert we did, and I didn’t want him
playing with him and ear training and dealing with all to stop and it was really fast, but I didn’t care. I wanted
those changes being thrown at me and finding ways to to hear what he was going to do on the next chorus
improvise and try not to sound like I’m playing licks because every chorus was unique and it was unlimited.
over the stuff. He had that thing and Joe Henderson was like that
too. He just streams incredible fluidity. These guys
JI: With Herbie, as you watched him play voicings, were very special and it’s really sad that we don’t have
what kinds of things did you observe and learn? Were them around anymore—Joe and Freddie. Obviously
there revelations? we still have Chick and Wayne and Herbie and guys
like Joe Lovano and people who really improvise.
JP: Well, I’ve listened to these guys so much, so it was
just beautiful voice leading and a revelation in that he JI: When you worked with Stan Getz, what kinds of
could arrange the whole tune of “So What” and never things did you get from him?
play a minor chord. [laughs]. It was all these things
off the dominant and these altered things and it JP: He was someone who played completely by ear.
sounded so incredible and he made it totally different He could hear all that stuff and play so great, but I
sounding. So that was the thing about that that was don’t think he was much of a theorist or even a reader.
so powerful. He also re-harmonized a ballad that Roy Did you know that?
Hargrove brought in for that record which came out
sounding incredible. He basically re-harmonized the JI: Yes, I read in his biography that because he didn’t
entire piece, and we watched him do it in a rehearsal know exactly what he was doing theoretically, he integrity as a composer but it’s also very important
and Mike [Brecker] and I were just — our jaws were was afraid that if one day he lost ability, he wouldn’t not to overwrite because when music becomes too
on the floor. At one point he started to change all the be able to re-learn things - or wouldn’t be able to cerebral, it sort of locks peoples hands up and becomes
chords and he said, “Roy, I’m sorry I’m changing your duplicate or continue – as someone who understood very hard for them to express and get to a deeper level
tune,” and Roy was like, “Go ahead and change all of their approach backed by some deep theoretical intuitively if they are struggling so much just to play
it! Go Ahead!” (Laughs) It was incredible. But then knowledge.
FEATURE

what’s written. people think “Oh no, he’s a right wing fanatic.” It’s
not that. In fact, the harshest criticisms of Christ were
JI: Have there been moments in your career when towards the religious pros of the right wing of his day,
you’ve received encouragement that gave you which were the Pharisees and the Sadducees. So, I’ve
confidence to push ahead? been committed to this for a long time, and studying
and being involved in churches and doing community
JP: Well, Chick was very encouraging like I said. He stuff and it’s a huge a part of my life, and my family’s
really believed in me as a composer and as a bass player life. My brother is a great guitarist, but he’s also a pastor
and he believed in the path I was taking. He was really out in the San Francisco Bay area in a covenant church.
supportive and he was willing to go out on a limb for I go to a Presbyterian church here that was launched
me, like when he got me a record deal. The record from a main one in New York City called Redeemer
company said, “Well, we want to hear some demos,” Presbyterian. Tim Keller, who is an incredible man of
and he told them, “No, he can compose, you’ll hear faith, also one of the smartest guys I’ve ever met in my
the record when it’s done.” So that was pretty heavy. life has written two incredible books. One is called
I was pretty young and was just trying to write and to The Reason for God, which was a New York Times
play and I can understand their perspective too. It was Bestseller and there is another called The Prodigal God,
like they didn’t know me that well. But Chick really which is great. I’m really into reading a lot of books
bought me artistic freedom from the get go, which about this kind of stuff, but also just really striving
is a heavy thing. And I would say Herbie and Wayne to be authentic in my life, which is a hard challenge.
were very encouraging in terms of the style that I was It’s the biggest challenge to do it, and it’s one thing to
working out of and playing in. Wayne was always like, talk about and read about or even to help others to
“Oh man, that’s great.” He really was pushing me to learn about it, but it’s another thing to live it, in your
keep exploring all the different colors and use the bow house, with your family (laughs)—with your kids, you
Novak. There were different challenges in different
and doing different things and Herbie too. They liked know? I have an incredible wife and she’s amazing
groups like with trio I remember one time he decided
the fact that I was trying to do some different things and my daughters are wonderful but when you live in
he wanted to play the music of Three Quartets, but
and play linearly - more like a horn or a pianist on the a family, that’s where all your weaknesses are exposed.
with the trio, and that was some hard music man. But
bass when it came my time to improvise. But also, just You find out everything. I always joke with Danilo
he was sort of figuring out how to do it with three guys
in general, they were just very encouraging. In terms because he’s got two daughters too and I say, “This is
instead of the quartet and that was very intense. Then
of Wayne’s band, Herbie has been very encouraging where we find out how jive we are!” (laughs) but it’s
later on we had some of those pieces for the band with
toward us in that band too. He comes to see us often good, because you learn a lot—because it’s a challenge.
Bob Berg—that was a very special group. He had some
and to hear what we’re doing, so we really appreciate Can you really live it? Can you have enough patience
incredible music written for that too—the stuff we
that. Wayne is really great with all of us. He gets to really be a good a father? Can you get out of your
did from Time Warp. It was incredible music man, and
excited and says ‘yeah man’—he likes it when we music mode enough to be with your family and relax
that band toured Europe quite a bit and that was really
stretch and really go for something new and not try and give them your time and your energy and your
special, and just a challenge harmonically to deal with
to recreate what we did last night or something like love and not be always so consumed with yourself and
his music - and sound free doing it. That really shaped
that. And granted, we have a lot of music that he’s your music and your composing, and your practicing?
me a lot. I learned a lot. Michael Brecker and I were
written too. We improvise a lot, but we also have a lot That’s hard man. It’s a challenge for anybody who’s
also very close. That’s the reason I moved back to New
of pieces that we can go in and out of that he’s written bitten with the bug, and has the disease of being
York in ’96. One of the big reasons was that he was
because he keeps writing all of these beautiful pieces obsessed with music and driven to be an artist. I am
very encouraging about that and we lived very close
and that’s a fun situation because anybody can cue the earnest and sincere and really working on this stuff.
to each other and he was just an incredible guy, you
next tune—there’s no set list. You do it in community actually. You do it by getting
know? He came to the hospital both times when my
involved with other people, by giving yourself to them,
JI: How did you maintain the freshness and the daughters were born. With his family, he was just an
your family, and your friends. In our church, we are
intimacy and the friendship and so forth for ten years incredible person and musician — very encouraging.
That was a great tour. Of course, Brian [Blade] and big into having small groups where you get together
without it getting stale?
Danilo [Perez] and I are very close. And that’s a very with people and you really get to know them and you
JP: I don’t know. It went by kind of fast. (laughs) It deep connection there, with that particular trio and walk with them through the struggles in their life. You
was fun and it was challenging and it was so much with Wayne [Shorter] too, of course. There is a special pray with them, you hang with them, you have meals
music. He kept writing a lot of music and we did a lot relationship there. It’s very much like a family so that’s together and you get involved with their families and
of projects together. something I treasure, you know? that I think is a great thing. Communities are where
you grow. And that’s why community in the jazz
JI: What were some of the most challenging things at JI: Sure. In the course of the conversation, you’ve world is so important. When you have a group, it’s
that time for you? made it clear that your intentions and your sort of a micro community and if it’s really connected on a
musical ethics are rooted in a deep place. I’ve also heavy level—then the music can really go somewhere.
JP: When I was with Chick’s band, he wrote a lot of read some corresponding perspectives in your liner So, I’ve found that just being part of that, and also
incredible music, we stretched and I found a lot of new notes over the years. Given your connection to this, trying to grow spiritually … I read a lot, I try to pray a
ways to play on the acoustic bass and the electric bass as Wayne Dyer calls it, this “Field of Intention,” or lot and I’m committed to that kind of willingness to
and in the electric situations he was writing a lot of Source Energy, or a Higher Power - maybe you could be honest with yourself about what you’re weaknesses
music toward the end of the electric band, before I left talk about the connection for you between music and are and try to deal with them. In my case, the way my
it. It was almost like Bartok for electric instruments. spirituality. faith works is to let God have free reign to make me
It was like Bartok meets Chick. It was some very deep a better person. To allow him to point out the things
music and we had to really work on it and learn and JP: Well I’m somebody that’s been involved in studying that are not happening and work on them. To not try
then improvise on it and that was very heavy. There and practicing Christian worship since I was about to side step them and say ‘well, you know,’ but admit it
were also incredible moments with the trio through seventeen. Before that even—I was seeking when I was when I make a mistake and try to really face that and
the years, with Dave Weckl on drums and also later younger, so that’s been a huge thing—not in a political move forward. We could talk about that all night. It’s
on the group that we had with Bob Berg and Gary sense though. A lot of people say Christian now, and a huge topic, obviously (laughs).

JI: It’s something that really fascinates me. You JI: One of my favorite motivational speakers and
mentioned being authentic. There is something to trainers, Brian Tracy, talks about studies and found
be said for being in a family, or having parents, that that many of the people who failed the most are the
either allow things for you to happen, or encourage ones that ended up with incredible success. So he said
those things and provide you with the kind of support to try to fail as often as you can and as early as you can
or quality upbringing that ultimately can’t help but so that, if you’re smart, you can learn from all those
produce someone like yourself. I know that you’re failures, and really move yourself ahead.
originally from Brooklyn. I also spent my first few
years there growing up, before moving to Philadelphia. JP: (laughs) Yeah. Scrape yourself up off the floor as
I like the quote from the Department of Health in many times as possible. So I was pretty naïve and I just
1928 that said, “It is difficult for people to overcome didn’t really know and I had a lot of dreams and just
what their parents did to them as they were putting loved playing, so that’s what I did and I didn’t really
their first six birthdays behind them.” Maybe you ever look back. In college I was studying, my teachers
can talk a little bit about the type of family life that assumed that I was gonna play in an orchestra, which I
enabled you to become who you are. loved, but I wasn’t prepared to give up jazz which they
kind of wanted me to do. So I split after three years of
JP: I was fortunate because every family has issues and college and my mother was worried. She said, “I wish
stuff, but what was neat about our family is that people you had something to fall back on,’ but truthfully I
were very connected generally and generationally. We never had that mentality ever in my life. It just didn’t
hung out a lot with the grandparents, and we were all resonate with me for some reason. My thing was just
sort of in Brooklyn not far from each other so both sort of like, all the chips are in—this is what I want
sets of grandparents weren’t far away. We had a lot of to do. I was very reckless when I look back on it and
aunts and uncles around too. The first place I actually see the odds were really stacked against me. I thank
remember is the second place I lived in Brooklyn. God that he allowed me to do what was in my heart,
As an infant we lived on 10th and 52nd in Boro Park. because I had no idea (laughs)…I had no idea how
Then we had a house in East Flatbush and that’s the uncommon that is, that you get to do all the stuff you
place I really grew up. My father and my uncle didn’t wanted to, you know?
have any bread. They both went in and bought this
house together. My uncle and his two daughters and JI: Its great when dreams start coming true, isn’t it?
his wife lived on the bottom floor and we lived on the
top floor. There was an attic that we all had use of and JP: Yeah, oh yeah, it was exciting. I enjoyed every bit
there was also a basement where we used to set up the of it and it’s sometimes frustrating because I’m always
Lionel trains. So it was a really tight knit family. It was trying to get to the next place, practicing a lot, trying
very soulful, very Italian, a lot of cooking going on - to get better and sometimes I get frustrated if I’m not
massive amounts of cooking and people loved music. improving as fast as I like. But that’s life, you got to
not making instant progress, or having seemingly
Nobody was a musician until my brother and I started accept that.
reached a plateau, she won’t accept it, and redoubles
doing this. They had no idea about the music world or
JI: Years ago I read an article in Esquire magazine her efforts – making brief spurts, followed by sharp
anything, but they didn’t discourage us like some of
called “Mastery.” It talked about how some people declines and eventually giving up. But the concept for
the other kids who I think had situations where their
know that the path is never-ending. Some think those on the path of mastery is a long-term one, where
parents said, “You’re not gonna do that,” or, “Don’t
they are already masters – thus knowing everything, it is understood that most of the time you are spending
even think about it.” I know my parents didn’t think
and by definition leaving nothing else to learn. The are on these plateaus. You make a jump upward to the
I would ever become a musician necessarily to earn a
article was about sports, for the most part, It talked next level, then a small fallback to a level slightly lower
living, but they never discouraged me. They came to
about people on the path of mastery and three types level – but one that is higher than the one you were
all my concerts and they were very much there for
who are not – the dabbler, the obsessive, the hacker. on. Ultimately by staying on the path of mastery – as
us, you know? But it was interesting later on where
For example, the obsessive is someone interested in opposed to becoming a master - you reach levels of
everything sort of went well. I asked my Dad, “What
results, no matter how you get them. He or she starts subtly that you never imagined existed when you first
did you think I was going to do?” And he said, “Well
by making robust progress. But when she finds herself Continued on Page 36
I thought you’d be a salesman or something.” (laughs)
So even though he had no idea, because it is a weird
Joris Teepe
and strange world if you aren’t used to it - how does
someone make a living as a musician? That’s a great
question now-a-days. So people in my family just
didn’t know about all that stuff so they were just kind Big Band
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that,’ they mean, ‘I can’t do that.’ The Big Band’s first cd “We Take No Prisoners,” available on
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BASS L overs ’ celebration
Vicente Archer

By Gary Heimbauer
JI: Vicente, there are a few amazing bassist stories Hayes, Curtis Fuller, Mark Whitfield, Roy Haynes,
around these days, like Esperanza switching from Geri Allen, Stanley Jordan, Karrin Allyson, Stefon
violin and making her fast ascension to the top, but Harris, Janis Siegel, Lewis Nash, Mingus Big Band,
you did it in one year!! How did this happen? Were and The Lincoln Center Jazz Orchestra with
you practicing in your mind for some years? Did you Wynton Marsalis, among many others, has affected
shed 20 hours a day? Talk about when the switch you? Any stories or words of wisdom from them?
happened and the one or two years following.
“One day I decided to buy a bass a friend was

selling … After 8 months I got my first gig with
Donald Harrison. That made me shed even
more when I had down time from business
celebration
school. I wasn’t ready to play at that level but JI: Some say that stress and angst make for good
being in a pressured situation I was getting art, and others say you need to find serenity to really
express yourself. Have you found that your life outside
better every week.” of music, or your state of mind in general have a direct
correlation to your playing?
VA: I started out playing jazz guitar and attended VA: Be yourself and do not try to play like what you VA: I am part owner of a skate/snowboard shop here
the New England Conservatory of Music for one think they want to hear. in Brooklyn that occupies a lot of my downtime. So
L overs ’
year. One day I decided to buy a bass a friend was when I do get a chance to practice, my time is focused
selling, just for the fun it. I had figured out quite JI: What is new and coming up? and concentrated because I do not have all day
a bit by myself before I took a couple of lessons to everyday to do that. Skateboarding/snowboarding has
refine some of the technical issues. Some technical VA: Robert Glasper has a new recording coming out always been a part of me and has a direct correlation
concepts from the guitar I applied to the bass at the end of August called Double Booked on Blue with music. It too is also very creative and is focused
worked even though it was from a different family. I Note. It features the Trio with Chris Dave and his on individual style.
BASS
already knew how to improvise and play on changes other band Experiment.
and it wasn’t long for me to get the bass lines down. JI: What is the greatest compliment that you can
I did play a lot with friends and we had sessions at JI: What was it that initially inspired you to become a receive as a musician?
our house quite frequently. After 8 months I got my bassist? How did it all start?
first gig with Donald Harrison. That made me shed VA: “Were you in the band that just played?”
even more when I had down time from business VA: Not being able to play with any good bass players
school. I wasn’t ready to play at that level but being at college. So I learned to play so I can hear what I

in a pressured situation I was getting better every like.
week.
JI: What are your thoughts about electric vs. acoustic
JI: Can you talk about how playing with influential bass?
artists like Kenny Garrett, Terence Blanchard, Tom
Harrell, Freddie Hubbard, Deborah Cox, Louis VA: I play and love them both. They both have their
place in the music and are not limited to any genre.
For example, it is always fun playing R&B, Hip-hop
with the double bass, which is not always common.
JI: When you first embarked on the sophisticated

“Our fatigue is often journey of becoming an improvising or jazz bassist,
what were some methods that you found extremely
caused not by work,
useful to achieving your goals?
but by worry, frustration
and resentment.” VA: Know yourself and always explore regardless
whether it works for the situation or not.
—Dale Carnegie
www.vicentearcher.com

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recording over 50 CD’s as a sideman with such
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Flushing, NY 11354 Bobby Broom and his trio
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Sunday, August 23rd. 2 PM - 4 PM One night Only
tuesday, August 18 • 8:30 & 11:00pm
Birdland • 315 W. 44th St.
Tickets & Information: 212-581-3080
www.bobbybroom.com
236 East 3rd St. between Aves B & C
August 27th, Two Sets @ 9:30 & 11:00
September 17, 2009 • 9:00pm

Puppet’s Jazz Bar
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BASS L overs ’ celebration
Cameron Brown

By Eric Nemeyer
JI: As a teacher at the New School and around the Cowell and Tony Williams and a cast of thousands.
world, what do you feel is the most important thing a Pullen was an under-rated genius whose solo piano
teacher can do for a student, and the most important record should be required listening for every young
thing a youngster can do for himself ? pianist. Dewey was the guy with the endless words of
wisdom for every life situation. Joe Lovano matches
CB: With a student, I try to be present, unguarded, Cherry’s love for and immersion in every imaginable
really listen and tell it like it is, with all the nuances. kind of music and is simply the most positive
Jazz musicians fly by the seats of their pants. We try to person I’ve ever met - a huge creative force in jazz.
be prepared for every situation, but very often we’re
improvising by intuition at the moment - listening. JI: What is it about musical improvisation that you
What a student can do for himself is to practice and find so valuable? What does it offer to you, your band-
listen and play and try to give him or herself to most mates, and the listeners? What motivates you and
complete technical education possible. He needs drives you forward?
to first imitate, and then get to the point where the
material is absorbed, assimilated, and made his own. CB: What is it about jazz that so attracts us, that so
Then he can carry on the real tradition of jazz, which seduces the Europeans and the Japanese and really
is to innovate - create something new. everyone? What’s the source of that energy, the
celebration
boundless joy and swagger of Louis’ “High Society”,

JI: Over the course of your long and prestigious career, the soulful, impossibly delicate beauty of Miles and CB: I’m from the school of experience. I had to work.
you’ve played with Don Cherry, George Russell, Bill Evans playing “Blue in Green?” I think that it I had to make a living, so I was just trying to learn as
Roswell Rudd, Archie Shepp, Art Blakey, Philly Joe is the equal and opposite reaction to four centuries many tunes as I could, listen to as many great bassists
Jones, Lou Donaldson, Dewey Redman, Joe Lovano of unspeakable cruelty, death and mayhem. Jazz and bands as I could. Then I tried to practice and play
and on and on. Can you share some of the experiences is the diamond created by the awful experiences what they played.
you had with some of these players? Anecdotes, words of slavery and its aftermath. Its positive energy is
of wisdom? almost irresistible to people with open ears and open JI: Some say that stress and angst make for good
art, and others say you need to find serenity to really
express yourself. What do you do to stay balanced?
L overs ’
“Jazz is the diamond created by the awful experiences of

CB: Stress can be both a motivator and inhibitor of
slavery and its aftermath. Its positive energy is almost creativity. With Betty Carter - she “got to” me - it was
irresistible to people with open ears and open hearts and something of an inhibitor, but sometimes a good kick
in the butt works wonders. The older I get, the more
it has now become a universal language of improvisation I lean toward serenity to seek inspiration. Outside
BASS
music I try to spend as much time as I can in nature:

shared by musicians and listeners all over the world. It walking in the woods or hiking on the Appalachian
remains connected to that painful root but, at the same Trail.
time, has transcended it.” JI: What is the greatest compliment that you can
receive as a musician?
CB: You failed to mention my 10 year experience hearts and it has now become a universal language of
with what was certainly the “band of my lifetime,” The improvisation shared by musicians and listeners all CB: When an audience member comes with a
George Adams/Don Pullen 4tet featuring Dannie over the world. It remains connected to that painful compliment, you can see in their eyes and feel from
Richmond. To be on the bandstand with Dannie root but, at the same time, has transcended it. I was their vibe that you really reached them, really touched
Richmond for 8 and 1/2 years was the thrill of a lifetime blessed as a young teenager to sit five feet away from them with your playing and compositions. This is the
for a young bassist. Dannie, Don and George were the Miles Davis, Wynton Kelly, Paul Chambers and greatest compliment - making that connection with
best possible role-models for how to play this music. Jimmy Cobb, five feet away from Trane, McCoy “regular people.”
Dannie was a dear friend, totally supportive both off [Tyner], Jimmy Garrison and Elvin [ Jones]. I
and on the bandstand, and one of the most complete couldn’t understand Trane at that moment, but I was
musicians and drummers ever. Then he took me into irresistibly drawn to try to figure out how Jimmy and
his band and taught me a big chunk of the Mingus Elvin, how Chambers and Cobb did what they did.
repertoire -- priceless. I met Don Cherry when I was “In the beginning of a change,
19. He improvised his life, with music coming out of JI: When you first embarked on the sophisticated the patriot is a brave and scarce
every pore, every minute. When you were with him, journey of becoming an improvising bassist, or a jazz man, hated and scorned. When the
you were swept up in his profound joy and excitement bassist, what were some methods that you found cause succeeds, however, the timid
about all music. There’s not time or space here to talk extremely useful to achieving your goals? (Perhaps join him...for then it costs nothing
about all these wonderful players and composers. something that you developed on your own, or your to be a patriot.”
George Russell is a very special composer and arranger favorite instructional resource)
and getting to record all his big band material in the
1960s in Sweden was amazing. I played a big Carnegie —Mark Twain
Hall concert with him the 70’s which featured Stanley www.cameronbrownmusic.com

Hey You-Yes I’m Margie Notte
talking to you!
Do you want to taste

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Stacy Dillard, Saxophone • Greg Glassman, Trumpet WORKSHOP COLLECTIVE
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“This is a musician that has his own voice. Both his

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Summertime Swing!
—Dave Miele, Jazz Improv Magazine
Ricky DeMarco
Premiere of Commissioned work - Afro-pean Affair
September 3 • Sets at 9pm and 10:30pm
Dor Green
Jazz Gallery • 290 Hudson Street, New York, NY
www.jazzgallery.org
Ira Hawkins
September 13 • 3pm Concert
Leila Keels
OSPAC Jazz Festival • 4 Boland Drive, West Orange, NJ
www.ospac.org
Sachiko Tatsuishi
Nuevo Comienzo with special guests
Wycliffe Gordon and Peter Bernstein August 15, 2009
CD available on iTunes, Rhapsody 7-11:00pm • $10
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Afro-pean Affair was created with support from the Chamber Music
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MORE INFO:
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973-923-7932
Leonardo Cioglia
By Eric Nemeyer
JI: Can you talk about some of the differences and with producing my own shows and was hands on
similarities that you’ve discovered first in the world with creating my CD covers, posters, flyers and such
of Brazilian music and American music? artsy items. New Media was becoming more and
more part of our lives and I was drawn with fascina-
LC: This one will be a tough to come up with a sim- tion into this ‘virtual’ world.
ple answer. It’s such a dear subject to me because I
have been dealing with it all my life, this hybrid life Emerson College was offering this masters program that region has a tremendous influence in my own
that I’ve led. You see, I have been in the U.S. for more that seemed perfect for what I was interested in. It compositions. There I will also be playing with my
than half of my life, plus, when in Brazil I went to an was called Visual and Media Arts. There I learned to great friend Duduka Da Fonseca and his quintet. So,
International type school - The American School of build websites, was the coordinator for the Jazz Oa- I am looking forward to this festival. I am also flying
Brasília - not to mention my Italian roots. I do tend to sis, a daily radio jazz program and had my own Bra- home to Brazil more often. I want to be able to spend
think that we have more similarities then differences zilian music show at WERS, the college’s radio sta- more time with my family. In the process I am also
between the music of Brazil and the American Mu- tion. It was the first time I was exposed to novel ideas booking performances with local musicians.
sic. More important to me then the differences and such as digital distribution and how to integrate this
similarities between any cultures is the exchange, the new technology into what I had been doing all along. JI: What is it about musical improvisation that you
give and take between the two cultures. That’s where I think that this course was fitting in the sense that find so valuable? What does it offer to you, your
it has always been and where it will always be.
celebration
JI: Despite having achieved a level of success as a mu-

sician, you decided to go back to school for art. Can
“The key though, is to find musicians that know how
you talk about what made you make this decision to improvise with space. What they play is just as
and how art has played a role in your life, alongside
your musical activities? important as what they don’t play. That takes very
LC: Thankfully my parents were very careful in ex-
skillful improvisers to accomplish.”
posing me to a various forms of art and culture in my
early years. Growing up in the city of Brasília was very it really merged all aspects of my background to serve band-mates, and the listeners? What motivates you
L overs ’
interesting as well because I was part of a different the purpose of music and art for me. To this day it’s and drives you forward?
Brazil, a new Brazil that was being developed. People been very useful and satisfying to be involved with
from all over the country were migrating to this new all aspects of a production such of my CD Contos for LC: I like the interaction aspect of it. How what one
modernist capital. The city was still in development. instance. Where again I was involved in all aspect of player does can affect the way you play with him or
It was this mixture of being a super, amazingly well its production.... from the music, to the cover art, the her and vice versa. I also like the energy that comes
built work of art on its own and this young develop- photos and the website that is coming up soon. out of a group or an individual’s interpretation of a
BASS
ing city. The fact that I studied in this international piece of music. For me a good improviser is not nec-
school exposed me first hand to people from all over JI: Can you talk about your current activities, musi- essarily a soloist. I like improvisers that think and in-
the globe and their backgrounds. Music had already cally, and what is on the horizon? teract as composers that see things in a larger scope.
been a part of my life since I was 8 years old, my Ital- When I write my music I have certain specific parts
ian grandfather, who gave me my first music lesson LC: Because I tend to want to get involved with many for the instrumentation that I have in mind but I al-
ever, was a professional orchestra musician. My dad facets of what I do towards music, things move a little ways let the players make them their own. Of course
played the violin and considered a music career but slow for me. I don’t see this as a negative thing. It’s this requires a certain level of trust in the musician.
opted otherwise. So, at that age they put me into a positive that you can actually take your time and do It’s important to choose the musicians that are used
music school primarily for classical music. There I things like you really want them done. So, with that to playing together so that they can complement one
was part of the children’s choir and we sang in Bra- said I am really focusing on pushing my first compo- another. Jazz for me is a process through which many
sília’s first opera productions – “La Bohème,” “Car- sitional CD Contos. Even though the CD came out forms and styles of music can be delivered. I like the
men” and “Carmina Burana”. During my teen years I at the end of last year, I am still looking for the right fact that improvisation can be used in many elements
got involved with punk rock and later with Rhythm place to have the CD release event here in New York. of music. I am fascinated by freedom within struc-
n’ Blues and eventually jazz. After finishing high I would love for it to be with the musicians that re- tures if you will. Take my album Contos. It’s a com-
school I went on an exchange program to Canada. corded the album - John Ellis, Mike Moreno, Stefon positional album, a suite of ten songs that stand on
You see I had finished high school in three years. In Harris, Aaron Goldberg and Antonio Sanchez. We their own and yet serve as vehicles for improvisation.
my senior year I was free to choose any courses that I are participating in the Ouro Preto Jazz Festival in I choose to have great soloists from my generation
wanted. It turned out that the school that I was gong Brazil this year in September in this will be our CD and yet everyone in the group has an acute sense for
to in Kelowna, BC, had a great high school program. release event there. We are all going except Stefon composition. This causes for them to improvise not
I ended up receiving a partial scholarship to attend who had previous engagement elsewhere. only over the ‘blowing’ sections, but on the compo-
Berklee College of Music. After considering between sitions themselves. A groups that has guitar, piano
music and an architecture/urbanism program I opted This will be major for me because it’s one of my favor- and vibraphone/marimba can be very harmonically
to head to Boston. My Boston years were amazing. I ite festivals in Brazil in one of my favorite towns in dense, which is what I wanted. The key though, is
appreciated my music courses but was also really into the world which is in the state of Minas Gerais where to find musicians that know how to improvise with
the art and academic world of that city. Towards the my entire family is from and where the music from space. What they play is just as important as what
end of Bachelor’s program I was really interested in they don’t play. That takes very skillful improvisers
branching out though. I had always been involved www.leonardocioglia.com Continued on Page 52

Richie Goods
& Nuclear Fusion
with Mike Clark, Helen Sung
& Jeff Lockhart
Tuesday‐Saturday, August 11‐15
Dizzy’s Club Coca‐Cola, Jazz at Lincoln Center
Broadway at 60th St.
After Hours sets: 11pm Tu‐Th, 12:30am Fr‐Sa ($10)
Saturday, September 19
The Blue Note
BASS
131 West 3rd St.
Late night groove series: 12:30am ($8)
www.richiegoods.net
L overs ’
“If you get the chance to catch this group do yourself a
favor and do so. In the mean time pick up the new
release [Live at the Zinc Bar], which is a snap shot of this
group doing what they do best until the next live show.”
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Todd Coolman

By Gary Heimbauer
JI: You’ve played with a gigantic list of influential and

some of my relatively inexperienced peers, who seem
legendary leaders. Can you talk about some of the to think they can simply walk into such a position,
simply on the basis of who it is they perceive they are.
highlights you’ve had? Not in terms of prestige or to drop
names, but just experiences that just blew your mind,I would no sooner expect this than I would expect to
and had a big impact on you? Things you learned? work in a good band at the Village Vanguard without
having first learned, after years of preparation, how to
TC: The overriding single highlight of any career play the blues. Teaching is a craft that is developed after
as a sideman that occurs anytime one is fortunate time and much experimentation. College teaching also
enough to perform with a true master of the music is requires that you be present on a consistent basis. One
that one has the opportunity to learn what one still has to make choices as to how to balance performing
“Teaching has never represented “just a gig” to me that is

to be used solely as a financial antidote to playing awful
gigs instead. It is a calling and requires my fullest time business has been turned upside down in the recent
and attention when I am in that mode.”
celebration
past, and only the strong - and entrepreneurial - will

survive. It is a new ballgame. The main thing that
would improve the jazz world is the same thing it
and teaching obligations. Something has to give. One has always needed….more awareness within and
needs to get together musically. One also gets a glimpse has to make critical decisions. As far as I am concerned support from the American public. Until, and if ever,
of the greatness of this music and how vast the musical in my capacity at Purchase, my students come first. the general American public can truly differentiate
universe is. There is no limit to what a person can create, Teaching has never represented “just a gig” to me that is between entertainment and art, and value art for
other than any limit he/she imposes upon him/herself. to be used solely as a financial antidote to playing awful its own sake without having to be “pacified by
gigs instead. It is a calling and requires my fullest time entertainment”, jazz is likely to remain status-quo in
JI: Can you talk about your life as an educator? What and attention when I am in that mode.
terms of overall popularity and essentiality. This too
L overs ’
are your day to day activities at Purchase? What are the

challenges and rewards of teaching? Is it something
you were born with or did you have to pay your dues
to become a good teacher? “The main thing that would improve the jazz world is the
TC: My life as an educator was initially accidental. It same thing it has always needed….more awareness within
BASS
simply came as a result of Jamey Aebersold asking me

if I had ever done any teaching, to which I answered and support from the American public. Until, and if ever,
“no”, and then he offered to let me try teaching at one
of his summer jazz camps. That put me in touch with
the general American public can truly differentiate between
some of the greatest teachers/mentors in the business. entertainment and art, and value art for its own sake
It was simply “dumb luck” for me to get this sort of
entrée into the world of jazz education. At Purchase, without having to be “pacified by entertainment”, jazz is
my day to day activities include teaching some classes
in our core curriculum and attending to the usual array
likely to remain status-quo in terms of overall popularity
of administrative duties associated with a Program and essentiality. This too is ultimately a matter of
Director that oversees 90 students and 23 faculty
members, all of whom report directly to me. I have education and priorities at all levels. The society as a whole
no secretary. Although I do not feel that I am a “born”
teacher, I feel that I have developed some abilities in
will have to embrace art on a multi-faceted level if the “jazz
that area in much the same way I have as a performer. world” is to show any significant signs of upward mobility.”
I have benefited greatly from the apprenticeship
system, both as a player and teacher, so I have learned
by listening, watching, imitating, failing, and trial and JI: Since the late 70’s how have you seen the jazz
error in general. It is a continual learning process. To is ultimately a matter of education and priorities at all
world evolve, particularly in New York, for better and levels. The society as a whole will have to embrace art
me, teaching is simply an advanced form of learning. for worse? What would make it better than it is? on a multi-faceted level if the “jazz world” is to show
The sad thing is that many jazz musicians aspiring to any significant signs of upward mobility.
TC: The jazz world always evolves. I do not concern
form teaching careers do not realize that by the time I myself whether it is for “better or worse.” That axiom JI: What is new and on the horizon in your
got my first full-time teaching gig at Purchase College is far too subjective, in my view. The music is evolving musical life?
about 12 years ago, I had taught part-time for 16 in some ways, and is “de-volving” in others. The
years at six different institutions before that, and had
TC: Playing lower, slower, and softer. Possibly doing
presented countless hours of private instruction and
clinics all around the world. It baffles me to observe
www.toddcoolman.com Continued on Page 52

Richie Goods

By Gary Heimbauer
JI: Can you talk about your formative period? Going highest level, yet also wanting to achieve financial
to Berklee and then moving to New York to study independence, and a good career?
with Ron Carter and Ray Brown? How did those
experiences have an impact on your development as a RG: Most of my decisions in my career were not made
person and musician? strictly from a financial standpoint. All the different
styles of music I play, producing, and writing are all
RG: Berklee is an amazing college and probably was things that I have loved since I was a kid. I feel like
the perfect college for me. I grew up in the church I am really living my dream. It is difficult juggling
“..it’s a pretty amazing feeling to be on stage, close my

eyes and really feel each and every band member talking
to each other, having a grand conversation without
words. The audience can really feel this, and it draws but also combining different styles of music - Jazz,
them in. As the conversation starts to get more heated
BASS
Classical, Funk, Rock, Latin - to create something
magical and psychedelic!
and passionate, the audience starts to give off an energy, JI: What is it about musical improvisation that you
off of which the band feeds.” find so valuable? What does it offer to you, your band-
L overs ’
mates, and the listeners? What motivates you?
RG: Wow! Good question. Musical improvisation

with gospel music, and I also grew up listening to everything though, but I am a firm believer that hard sets you free! It’s nice to have parts of the music that
R&B and Rock music. Berklee really embraced all of work breeds success. There’s really no secret, just hard were pre-conceived, but it also can be constricting.
those genres and gave me a solid background in jazz. work. I also believe in following my heart in my career When I teach workshops or master classes, I
celebration
I was able to play with many musicians that are major decisions and finding ways to benefit financially
names in the music business today and still some of from those decisions. You have to realize that this is a
my best friends. I came to New York after landing a business. My first goal is to make great music, but there “…I am a firm believer that
gig with Mulgrew Miller, who is very close to Ron is nothing wrong with making money in the process. I
Carter. Working with Mulgrew made me realize that do worry sometimes about spreading myself too thin, hard work breeds success.
I needed to get to that next level of bass playing. I
always strive for excellence, and it doesn’t get much
but then I think about some of my idols like Stanley
Clarke, Marcus Miller, and Lenny White. Try to name
There’s really no secret, just
better than Ron Carter. Mulgrew connected me with something these guys don’t do! I am currently working hard work. I also believe in
Ron, and he completely changed my approach to the on a film score/ soundtrack to an independent film. I
acoustic bass. I studied with Ron every other week for think Stanley and Marcus would be proud of me. following my heart in my
one year. A few years after that, I met Ray Brown, and
got to hang with him. I hit him up for a lesson, and the JI: Can you talk about some of the common ground career decisions and finding
only payment he required is that I continue to study between the world of science and the world of music
as you see it?
ways to benefit financially
with him whenever we were in the same town. His
approach was completely different than Ron’s but very from those decisions. You
RG: Science can be broken down into mathematical
effective as well. I really miss him. Overall, studying
with Ron and Ray greatly improved my sound, sense terms as can music. Usually when I’m playing I think have to realize that this is
of time, and my walking bass lines. in numbers as opposed to musical notes. Generally
science deals with experimentation as does music. The
a business. My first goal is
JI: You seem to be smart about making a career, having term “Nuclear Fusion” is when nuclei come together to make great music, but
to form one greater nucleus that creates a powerful
not only played with jazz legends like Louis Hayes
and the Cannonball Adderley Legacy Band, Mulgrew release of energy. Well, that’s what music is. One there is nothing wrong with
Miller, Russell Malone, Milt Jackson, and Stanley
Turrentine, but also pop acts like Brian McKnight,
musician may create good music by him or herself, but
when you combine several musicians, you can really
making money in
DJ Jazzy Jeff and the Fresh Prince, Whitney Houston, get something explosive. It’s no longer four musicians, the process.”
and Christina Aguilera. You’ve been in the studio its one band. In music, as in science, we experiment
with Alicia Keys, Common and now you play with with combining different musicians, instruments,
the Headhunters. Aside from that, you have your own or elements together to see what we can create. My always teach that music is a language, a way of
production company! First, how do you manage to project, “Nuclear Fusion,” is not only combining communicating. Improvisation helps musicians in
explore so many avenues without spreading yourself four musicians, with different musical backgrounds, a band to communicate more candidly on stage -
too thin, and second, what advice do you have for provided they all speak the same language. For me, it’s
someone who is both serious about playing at the www.myspace.com/therealrichiegoods Continued on Page 54

Carlos Henriquez
By Eric Nemeyer
JI: Can you talk about your experience with the Jazz CH: I think what would work best is to have music
At Lincoln Center Orchestra? How has it had an programs for students at a younger age. Children
impact on your life and artistry? take a huge leap into educational development when
they are 6 - 8 years old. The sooner we can introduce
CH: My experience with the Jazz at Lincoln Center music into their lives the better their overall success.
Orchestra has been wonderful. I was fortunate to be The arts are the first to be cut when there is any
around great jazz musicians at young age and have economic crisis, which is unfortunate. That being
been mentored and taught by Wynton since I was 16 said, music is an inherent part of our culture that
years old. Being with the JLCO allows me to apply should be embraced and passed-on.
this experience to my work, while on tour and in
New York. Working with the JLCO, traveling on the JI: Can you talk about some of the differences and
road and experiencing different cultures has helped similarities that you’ve discovered first in the world
me develop as an artist. It enables me to use my craft of Latin music and American music?
in the purest form and with the greatest quality.
There isn’t any other position that will allow this
type playing except for possibly working in a classical
orchestra. Plus, Wynton is a nice guy to be around. CH: First of all, the greatest similarity is African
music! One has to understand the roots of Latin and
celebration
JI: You’ve been fortunate enough to work with some American music comes from Africa. Being a bass
amazing musicians in the last few years, including player with Latin roots, I understand the fusion of
Steve Turre, Eddie Palmieri, Tito Puente, Carlos different cultures. Being of Puerto Rican descent, bass player. In this recording he illustrates the value of
Santana, George Benson, Gonzalo Rubalcaba, I understand the fusion of African music and what a bass is suppose to sound like and understands
Danilo Perez, and Celia Cruz among others. What Taino Indian music from the Puerto Rican Island. what it is like to play in a Latin band.
kinds of things did you pick of from one or all of Bomba and plena are music of the island of Puerto
Rico. American music is a melting pot of all music. (2) Grand Central Station, My Radio Sure Sounds
these artists?
America’s first true music is the blues. It is known that Good to Me - Larry Graham, bass
CH: I have been fortunate enough to work with African slaves, during the trade, were not able to play
L overs ’
Larry is the innovator of the slap bass. He illustrated

many artists. However, because of my heritage their instruments. So, it is known that their singing
the technique of playing a mean bass and singing at
and my love of Latin music, there certain artists was important in maintaining their lives. New
the same time.
that stand out for me and have given me the tools Orleans is a great place to start to understand how
to succeed and become a better bassist. Working American music was developed. The channeling of (3) Oscar Peterson, Quiet Nights - Ray Brown, bass
with Tito was a great honor. He taught me how to African, South American, Mexician and the Central - This was one of my first jazz albums which studied
produce a certain sound when playing with his band. American music of the Indians all went through the in depth. I have to say, I will never understand Ray
BASS
Most importantly, maybe, he taught me how to be canals of NOLA. It is so obvious as a musician to Browns’ sound and choices of note because it is so
a man at a young age. Tito was a very generous and hear the African 6/8 bell pattern in the funk, R&B great. He illustrates how to get a good sound out
loving man to all young musicians. Eddie Palmieri and jazz music of today. However, it is so noticeable of an acoustic bass and pull off technique which is
was a master of mixing traditional Latin music now, in American music, we have strayed away from a triplet heading down to a mean low note at any
with modern jazz approaches. Playing with him, our roots. Today, electric drums and computers take given moment.
especially at 15 years old, enabled me to begin to the place of humans in creating sounds.
understanding these differentials. I have always said Paul Chambers, Bass on Top - My daddy gave me this
Eddie was Thelonious Monk and Arsenio Rodriguez JI: What are your thoughts about electric vs. acoustic album while he was working as a trombone player. It
combined. And finally, Gonzalo Rubalcaba and bass? was also a recommendation from a friend who told
Danilo Perez. I performed in both of their trios at me to listen to this album if I wanted to learn how
the end of my teenage years. It was a great learning CH: I have no thoughts about these two wonderful to play a killer bass. Paul chambers had all of the
experience to watch both artists’ careers while in instruments. The one thing I can say is if you techniques as a soloist and accompanist. I learned
their thirties. I learned a great deal about practicing know how to play the acoustic then you know that how to walk bass lines, and learned how to solo with
and working on something for a very long time and instrument and the same with electric. I have no the bow from listening to his recordings.
how it would pay off. Sometimes I kick myself for preference to either the electric or acoustic bass.
not asking more questions during that time period. They are both number one to me. Tito Rodriguez, Live at the Palladium - Julio
But nevertheless, I was lucky to be taught the many Andino, bass - Julio is a funky bass player. He always
JI: What are your top five desert island bass records
fundamentals that I still use today. swung his behind off ! I learned the basics from him.
that you couldn’t possibly live without, and please
The bassist commitments to the rhythm section at
JI: You are a native New Yorker, who went to state why? The leader doesn’t have to be a bassist, but any cost.
LaGuardia HS of the performing arts. I’m sure you’ve please choose albums based on the role of the bass
made many observations about the educational (no pun intended). JI: When you first embarked on the sophisticated
system and the music scene here in NY. What do journey of becoming an improvising bassist, or a
(1) Tito Puente, Dance Mania - Bobby Rodriguez,
you think we need more of and what do we need less jazz bassist, what were some methods that you found
bass - Bobby is the most funky and groovy Mambo
of to make New York children and musicians have a extremely useful to achieving your goals?
better life?
www.myspace.com/bajo26 Continued on Page 53

Bill Moring

By Gary Heimbauer
JI: Being a bass player in big bands, such as with be three totally different sets of demand. Can you talk
Count Basie or Woody Herman, and getting more about the unique challenges and rewards that you’ve
loose and creative in the Stryker/Slagle Band or Chris had in these different playing circumstances?
Potter and John Hart, and then backing up singers
like Joe Williams or Diane Schuur, I would imagine to BM: I love the challenge of trying to make the music
sound great no matter who I’m playing with, along
with having a great interest in so many different kinds
“There is also more of music. My record collection is schizophrenic. I’ve
learned more about how to play from being thrust into
dissonance in the new those situations and trying to do my best to service
music, and some of the the moment. That’s the reward. The challenges have
come from not always being able to get it right away, music is changing. There is also more dissonance in
younger players seem to but not wanting to give up. The way I play today is a the new music, and some of the younger players seem
culmination of all the gigs I have ever done and I still
to be emulating their peers instead of the old guard.
be emulating their peers feel like a work in progress, which is another reward. When I moved here, we were all checkin’ out the
instead of the old guard. Thanks again, music! older dudes for our lessons, which is just different, not
better or worse. One thing that is definitely worse, are
When I moved here, we JI: You’ve been playing in NY for over 20 years. From the cover charges at a lot of the clubs. What happened
BASS
a musical perspective, what kinds of changes, for the to the Bradley’s vibe?
were all checkin’ out the better and worse have you seen?
JI: Can you talk about your career as a teacher? Do
older dudes for our lessons, BM: It seems like the rhythmic feel is shifting away you feel this is something you were born to do, or
L overs ’
which is just different, not from the swing groove most recently. Young players did you have to pay your dues to communicate ideas
are stronger than ever due to Youtube and music effectively? How has being a teacher affected your
better or worse.” education and they are writing interesting music that career and life?
is a collection of their experiences, so naturally the
BM: I enjoy teaching mostly because I enjoy people
and music. I’m getting into it more the last five years
celebration
because I’m getting my terminology together mostly
from talking to my oldest son about his music. I never
thought I was born to do this but I am learning as I go,
and I think I am communicating more effectively than
I ever have. Directing a big band at Montclair State
University this past year was a big challenge for me
and absolutely rewarding.
JI: What is it about musical improvisation that you

find so valuable? What does it offer to you, your band-
mates, and the listeners? What motivates you and
drives you forward?
BM: It’s a feel thing for me. When I am having a

musical conversation with other musicians, it feels
like something much greater than I can accomplish by
myself. I like that space that I get into and crave it on
a daily basis and I really think the listeners can feel it
when it’s good.
JI: What was it that initially inspired you to become a

bassist? How did it all start?
BM: My friend down the street wanted to start a

rock band and I always gravitated towards the low
notes. He taught me how to lift lines off the vinyl
[long-playing records] by dropping the needle and
we had a group with another kid that played drums.
We would rehearse all the time and I don’t think
Continued on Page 54
www.billmoring.com

Joris Teepe

By Gary Heimbauer
JI: What was it like in 1992, coming to NY from musicians who are just playing their parts or doing
the Netherlands. There were so many great young the ‘show’ and are looking at their watch all the time.
musicians at that time that are now on their way to You won’t believe how often I have seen this - in all
becoming legends. situations and all levels of musicians.
JT: It was a very exciting time for me. I moved to the JI: What was it that initially inspired you to become a
Upper West Side near a club called Augie’s. I got my bassist? How did it all start?
first gig there with Peter Mazza and Andy Watson after
seventeen days in New York. Everyone was hanging JT: I started late, at age 17. My high school band in
there - Jesse Davis, Tyler Mitchell, Don Braden, Scott Holland needed a bassist and so I volunteered because
Wendholt, Dwayne Burno, Peter Washington, Dave I had piano lessons as a kid. It took me just some
Berkman, the Farnsworth brothers, Eric Alexander, weeks to get the basics. We played rock & roll on all
and so many more. I also was frequently hanging the hip school parties. A few months later my sister’s
out at Bradley’s in the Village and that’s were I could boyfriend joined us. He was a trumpet player who
meet Ray Drummond, George Mraz, Billy Higgins, introduced me to Chet Baker and Miles Davis.
Freddie Hubbard, Randy Brecker, and others. These
two places where unique and valuable at that time. JI: What are your thoughts about electric vs. acoustic
bass?
celebration
JI: You’ve performed with a huge list of great musicians

including Tom Harrell, Randy Brecker, Chris Potter, JT: A bass is just a tool that I use to express and
Benny Golson, Joe Lovano, Barry Harris, Mike Stern create. I’m never interested in the type of strings or
and Peter Bernstein, and on and on. What are some amps I use, I even don’t really care if it’s an acoustic 3. Miles Davis, Live at Plugged Nickel. The freedom
of your career highlights, and what have you learned or electric instrument. As you may know I am a lefty, and creativity is so intriguing. Ron Carter was my
from some of these situations in particular? but sometimes at jam sessions I just play on a right- teacher for a while when I first came to New York.
handed bass or sometimes I play drums.
4. Jaco Pastorius. (Untitled), unbelievable inspiring
JT: Yes, I have been close to many great musicians compositions and performance and put together with
and have been in many amazing situations. But in this JI: What are your top five desert island bass records
great precision.
L overs ’
“A bass is just a tool that I use to express and 5. Shameless to say, but I would need to bring my
own first CD: ‘Pay As You Earn’, recorded in 1993,
create. I’m never interested in the type of strings featuring Don Braden, Tom Harrell, Cyrus Chestnut
and Carl Allen. Everyone plays great on this. I
or amps I use, I even don’t really care if it’s an

would just bring it to remind myself that I’ve done
BASS
something with my life. Since then I’ve made many

more recordings, but I could never make them better
acoustic or electric instrument.” then this first one (except perhaps the one that will be
released this month with my own Big Band).

question you didn’t mention Rashied Ali, who is the that you couldn’t possibly live without, and please journey of becoming an improvising bassist, or a jazz
most important career highlight for me. He is a real state why? The leader doesn’t have to be a bassist, but bassist, what were some methods that you found
master whom I deeply respect. He is a warrior, never please choose albums based on the role of the bass (no extremely useful to achieving your goals?
compromising, a believer in true art He is willing to pun intended).
risk everything he has to be loyal to the music. I’ve JT: My tactics were this: Take every gig you can, that’s
JT: Well, I would need certain records just to keep when you find out what you need to know and what’s
been in his group for over eight years now and it has
myself inspired: missing. Also search for situations where everyone
changed my view as an artist drastically. For example
it made me think of the energy of creating music, else in the band is better then you. That’s my advice
1. The Poll Winners (Barney Kessel, Ray Brown, Shelly
rather then the notes or rhythms that we play. Most to young musicians. If you are smart and serious this is
Mann). It’s swinging so hard and the arrangements
other musicians respect him, but it’s sad to see that he how you learn fast.
are superb. It’s actually a series of three records. This
doesn’t get the recognition from the critics. music is simple but keeps me sane and happy. JI: How do you neutralize stress? what activities do
JI: What is it about musical improvisation that you you do outside of music to better prepare you for
2. The Genius of Ray Brown. This is a big band record
find so valuable? What does it offer to you, your band- playing/practicing success??
that features Ray as well as Cannonball Adderley.
mates, and the listeners? What motivates you and There are two of them, but any one is fine. A young
drives you forward? JT: In my case I feel that I have an inner drive to play,
Ray at his best! He has always inspired me to practice create and compose. You can wake me up at any time
because his playing is so honest and clear. to play, and I’m ready even after 35 hours of traveling.
JT: Ultimately it is all about creativity. I can only be
satisfied if everyone in the band is listening and giving The real deal is to feel relaxed and secure. For me this
all they can to create the best performance possible. has only to do with the people around me: I guess
There is nothing more boring then playing with www.joristeepe.com Continued on Page 55

Esperanza Spalding

By Gary Heimbauer
Esperanza Spalding is an amazingly talented twenty timate and people are really listening. On the big
four year old bassist, composer and singer who has stages, the artists seem somewhat detached.
been wowing audiences, critics and peers since she was
barely out of her teens. Along with leading her own ES: Yeah, but that sh*t with Herbie (Hancock) was
internationally touring groups, she is also a member of crazy! I never heard Dave Holland play electric be-
Joe Lovano’s UsFive and Trio Fascination band. She is fore! Wow!
a native of Portland, Oregon, where she played violin
JI: Believe it or not, I missed it.
throughout her youth before picking up the upright bass
at age fourteen. At twenty one, she became one of the ES: What!? I’m sorry for you!
youngest teachers in the history of the prestigious Berklee
College of Music. This rising star has released two CDs JI: I spent a few hours writing a book of questions,
as a leader—“Junji,” and “Esperanza.” Last summer she almost like essays for you, so I’m going to be a little
appeared on the David Letterman and Jimmy Kimmel corny here and read some on them off to you. Here’s
show. We spoke with her on a Monday morning after a one: Although you are extremely talented in a musi-
week long stint with Lovano and UsFive at the Village cal sense, I think a lot of your success is because of
Vanguard, preparing for the recording of their new CD
Folk Art, recently released on Blue Note Records.
BASS
JI: The Friday night set was amazing! I love the Van- “I’ve been given a gift to
guard. I was right up front, practically on the stage.
deliver, so I want to make
ES: Cool! It was a great week, but last night was just sure that I’m in a way doing a gift to deliver, so I want to make sure that I’m in a
L overs ’
incredible! way doing my responsibility for having the glory and
my responsibility for having the joy of being able to do it, and different people
JI: I first heard you on NPR doing an interview, but I will express that in really different ways. That’s just
hadn’t really heard you until the 2008 Newport Jazz the glory and the joy of how I see it, but I think that everybody that plays
Festival.
being able to do it.” music sees it in a similar way but may express it in a
different way. It also helps to be around musicians
celebration
ES: Oh! Did you see my set? who have been doing this for a really long time and
to listen to how they think and talk about the art,
JI: Yeah! I caught your set and I met you afterwards. your personality, your values, your perspective and
and that may be part of it to—that I really listen to
I said hello to you, but that set was so great! I wrote a your rock solid vision. You have an air of supreme
the people that I spend time with whether they are
review of the festival last month and about half of it confidence, yet without a speck of arrogance, and
really young or old or whatever, but when you are
was about your set! But what a mistake it was to put plenty of humility. You seem to have a very intimate
spending time with someone that is so great and so
you on the little stage. relationship with what people call the zone. You
humble and you try to get inside of why they do what
take risks and you go on adventures. So you have all
they do, it makes you go, okay, if they are thinking
ES: Oh no—no, no! this perspective at such a young age. What do you
that and I just started this, damn, I better get on my
attribute this to?
knees and start praying to the music Gods and hope
JI: Well, the thing is, so many people wanted to see
that I could really contribute to this thing that we’re
your set, but the space was limited, but I think that ES: Have you seen that movie Ratatouille?
all involved in.
you got a lot more popular from the time they sched-
uled you to the time of the festival. What’s your take JI: No, I haven’t. JI: You seem like you’re incredibly optimistic and
on that? you have a strong ability to give to others. Do you
ES: I was gonna quote a part of it. I don’t know how
to answer that question. I would have to say, “Oh, see your growing notoriety as purely opportunity or
ES: Well, in the grand scheme of things I’m such a could there be danger to your artistry in that?
well I learned that smart thing that I said in this
new player, so for me, I felt pretty appropriate being
place,” and to me everything that you just quoted,
on that stage, and I think it was a testament to all of ES: Well, there is a danger that I actually just discov-
that’s just how I operate I guess, so I’m not sure
the press and things that have been happening that ered this week. I was in a really bizarre weird funk
what source to quote. All I can say is that my basic
so many people were interested. But all in all, I think because the danger that can happen is, you can live
approach to life encompasses that mentality about
it was better to have it that way than to put me on the sort of in this—well let me put it this way—with the
the music, so I’m really not sure how to answer that
stage that maybe somebody who was more seasoned opportunities that are happening, the more support
other than, I think in a way, that’s how all serious
or who had been around longer really deserves to be I get, means I’m playing more with my band which is
musicians think on a certain level. All musicians are
on, but if things keep going good, then next time incredible, but this summer, most of the work I did
really coming from similar places but in my mind,
they’ll want to put me on a bigger stage and that will was with my own music, my own projects, my own
the aspect of my spiritual connection or my con-
be cool. Everybody doesn’t have to see me all at once nection with a higher power, in context of how it arrangements, and I’m kind of like a tyrannical
and then for people that didn’t get to see me, next relates to music is in the sense of—(pause)—it’s a bandleader. I kind of really know what I want to
time they’ll get to see me, and it will be better. service and it’s a function to which I’ve been given hear and I’m a little strict about having the musi-
cians try to emulate that sound.
JI: The truth is, at Newport, the best performances
are on the smaller stages because it’s much more in- www.esperanzaspalding.com

Tom Knific
By Eric Nemeyer
JI: The name of your recent CD Mayan Myths remarkably stable in terms of personnel. Highlights
intrigues me, especially with all the talk about the are my students and colleagues productivity and
Mayan Calendar and with so many Crop Circles creativity. And the fact that so many keep in contact
appearing with Mayan symbolism. Can you talk and reassure us of the value of their time here is
about where that name came from, and the music on truly important to me. Having students go out the
that album? door and land positions with major touring artists,
establish successful working bands, and even win
TK: Names are important to me – and with
instrumental music, title options can be an open
book. I try for titles to reflect the spirit or inspiration
of the music - sometimes playful, sometimes poetic, “I do believe struggle is
and often with the potential for several meanings. My
newest CD, Lines of Influence, has a multi-entendre character building and may
meaning. The title track was the first work written with
my son John, so there are the familial lines. But there’s
ultimately help. Many artists
also the idea that the influences don’t flow in one seem to provide more than
direction generationally. They bounce back and forth.
The piece also references musical lines that influenced enough of this internally.” is something truly healthy about putting yourself out
celebration
John and I. To answer your question, Mayan Myths there - taking chances, accessing one’s conscious and
is a CD that has at its core a 3-movement piece, subconscious ideas in real time. What a wonderful
“The Mayan Suite,” composed by saxophonist Trent their own professorships is a high. And it just seems thing it is to respond to the musical environment, to
Kynaston. Trent drew inspiration from tours we had to keep happening. On a personal note, I had a play off of other musicians who are in the moment
of Central America and specifically the Mayan temple landmark birthday recently. Former students showed as well - which is certainly why musicians bond the
in Tulum, Mexico, which is interpreted as The Warrior up from throughout my entire career. It is a wonderful way they do. Listeners “get” that something is going
Temple. The Mayan goddess, Ix Chel, also know as feeling of connection and continuity. Also, my newest on, some kind of magic. And it is clear, in trying to
Lady Rainbow makes an appearance in a sultry bolero. group, which recorded Lines of Influence, is made up describe the experience, the spoken word, comes in a
I actually named the CD, as a reference to the suite, of all alumni. The drummer, Keith Hall, is now on slow second to enjoying the experience. Motivation
L overs ’
and the inherent mystery of that civilization that we our faculty. That really puts everything in context. for me comes in trying to get closer and closer to being
tried to capture. And we have no idea what their music And in terms of why it has worked, I would say that in touch with the music, getting ideas and emotional
sounded like, so there is nothing but myth to draw on, we are extremely hands on, performance orientated, content across sincerely, and doing so while trying to
or create our own, which is the case here.
JI: You’ve been an avid educator for many years now,

teaching double “…taking chances, accessing one’s conscious and
BASS
bass at Western Michigan University since 1987. subconscious ideas in real time. What a wonderful thing
You’ve also taught at it is to respond to the musical environment, to play off of
Michigan State University, the Cleveland Institute other musicians who are in the moment as well - which is
of Music, and presented over a hundred master
classes worldwide. Can you talk about the challenges certainly why musicians bond the way they do. Listeners
and rewards of being an educator, and some of the
highlights for you?
“get” that something is going on, some kind of magic.”
TK: One of the substantial challenges was building
a program. The degree program was started shortly and the opposite of a cookie cutter program. Certain grow as an artist. There is no room for complacency in
after I arrived at Western Michigan University. We information is taught to all, but we encourage and this genre. All I need to do is consider the many greats
also had the first jazz degree program in our state. promote individual strengths and concepts. In short, who came before us, and those who are contributing
So we got to dream our program, given available we promote high standards in a creative context. And today – how much more motivation can one ask for?
resources, etc. Challenges – even 20 years ago, it was for the last six years, we have had a slick partner club,
always surprising to find faculty resistant to America’s The Union, which provides over 100 professional JI: What was it that initially inspired you to become
classical music at an American institution of higher dates annually to faculty and students. It is great for a bassist?
learning. However, our successes won most over morale and musical opportunity.
TK: I started as a guitarist, a youngster of the Beatles
early on. And because we are located in a relatively
JI: What is it about musical improvisation that yougeneration. I had a great first teacher, Jim Leihenseder,
small market, we have had to work extra hard to keep
find so valuable? who got me into harmony and jazz before out of
things professionally relevant and connected. To that
elementary school. I immediately played electric bass
end, we have a tremendous flow of major artists and
TK: Improvisers, jazz people in general, are very in middle school and began studying double bass in
educators as guests. Billy Hart has passed the 15 year
much in the moment people musically. For me, there 9th grade. My father was a bassist earlier in life, and
mark as a visiting artist, Fred Hersch, 6 years, and
although not active at the time, I was used to seeing
Stefon Harris 4 years. We have a wonderful faculty –
the instruments in the house. Essentially, I wanted
supremely dedicated, professionally active, and we are www.tomknific.com to start studying European classical music, and the

bass made the most sense. In a beautiful aside, my always sublime. It s always a pleasure hearing him bassist, what were some methods that you found
father came back to playing bass in his late 70’s and deal with odd meters – as in Lucky Seven. (4) Super extremely useful to achieving your goals?
continues to this day at age 83 - sometimes, several Bass, Vol. I - Ray Brown. So I need to have Ray – but
gigs a week!. In elementary and middle school, I there are just so many great ones. If I take this, I get TK: Listening and absorbing are the most important
used to rush home to catch Ray Brown on the Merv Christian McBride and John Clayton as a bonus! This pathways to developing a voice, a voice with depth
Griffin show. And my first jazz LP’s around that time is a playful bass party. I had the pleasure of hearing and resonance. This means transcribing, either
included Ron Carter on several CTI releases. The them live in Houston. We published a transcription solely to memory or also committing to paper - and
seeds were planted! Growing up in Cleveland, I had of Rays’ “Sculler Blue’s” from the CD, every note, top certainly not just bassists. Getting into every playing
that wonderful orchestra to listen to, and studied for to bottom. (5) Heavy Weather – Weather Report. Jaco opportunity possible. Young players learn so much
seven years with then Cleveland Orchestra principal, Pastorius - I cant imagine not having access to Jaco, so from peers. I was deeply fortunate to grow up in an
Lawrence Angell. I have had great teachers whose this would be the one -a classic. I am already regretting environment with players older and more developed,
shoulders I still stand on - Franco Petracchi as well as recordings not chosen – not a fun exercise! willing to bring me along. Those lessons run deep.
time with Frank Diliberto, Eugene Levinson, Stuart Dating myself now, but there was not a plethora of
Sankey and Dave Holland. I count John Clayton as JI: When you first embarked on the sophisticated published materials when I was getting going. The
a mentor. I can’t begin to tell you the influence of journey of becoming an improvising bassist, or a jazz Jazz Education revolution had not yet occurred. I
drummer Billy Hart, who I have performed, recorded Continued on Page 55
and taught with for nearly 20 years.
JI: What are your thoughts about electric vs. acoustic The New York Public Library for the Performing Arts presents
bass?
TK: I enjoy both. Double bass is the world I spend

the vast majority of my time. THE DUKE
JAZZ SERIES
Much of the music I listen to is from that tradition.
I have a strong classical background, continue to
play with chamber ensembles, contemporary music
ensembles, and perform solo literature for recitals,
Beginning in Fall 2008, The New York Public Library for the
and write for these mediums. I also do quite a bit
of arco work in jazz and creative music. There is Performing Arts hosts eight live jazz performances, featuring a
something about being responsible for creating all the selection of Chamber Music America award-winning artists and
sound. Having said that, it is fun to play electric bass – their innovative jazz ensembles.
feels a bit like a sports car coming off the double bass.
And for certain music, it is the rule. The articulation
options, percussive qualities that are possible make it
so. For me, there is no “vs.” between them. They are
different animals with different musical roles.
“Relentlessly
that you couldn’t
creative. ”
possibly live without, and please state why? —Nate Chinen,
Photo: Jimmy Katz
The New York Times

TK: I have a hard time with these kind of questions.
Like so many of us, a lifetime of collecting recordings
and sound files makes for massive repositories. And
I always fear leaving one off when doing this sort of
thing. But here goes.
(1) Chant du Contrebasse - Daniel Marillier. Daniel is

DREW GRESS /
a French classical virtuoso who values lyricism above
all else. He also records new music and does novel
arrangements of transcriptions for the bass. This one
7 BLACK BUTTERFLIES
is with string orchestra accompaniment, and was August 26, 2009
recorded in a church. Beautiful. (2) You Must Believe Doors open at 7pm; concert at 7:30pm / Bruno Walter Auditorium
In Spring - Bill Evans, with Eddie Gomez. Through
111 Amsterdam Ave @ 65th Street / The New York Public Library for the
some cosmic coincidence, as a college kid, I was at Fat
Performing Arts Dorothy and Lewis Cullman Center/ Free Admission / 212.870.1793
Tuesday’s in New York for what turned out to be Bill
Evans last performance. It was the first time I heard Upcoming Concerts in the Duke Jazz Series:
him live. Marc Johnson was performing with Bill. They
did mostly material from the CD. Michel LeGrand, BRIAN LYNCH/SPHERES OF INFLUENCE
who composed the title track, was in the audience - September 26, 2009
magic all night long. It takes little effort for me to be
PETER APFELBAUM / THE NEW YORK HIEROGLYPHICS
right there in my mind. The beauty of Eddie’s playing
November 13, 2009
on the CD, and lyricism of his solos and the context
has always made this a must. (3) Critical Mass -Dave Funding for this
Holland. Again, I would need to have Dave Holland series was provided
by The Doris
along, and this is a great one. Dave’s writing, and his Duke Charitable
playing as a rhythm section member and soloist are Foundation.

Noteworthy Performances
Credit: Courtesy of Blue Note
Kevin Eubanks Tierney Sutton

www.kevineubanks.com www.tierneysutton.com
Blue Note: Tues 8/18 – Sun 8/23 Iridium: Wed 8/19 – Sun 8/23
Kevin has been the musical director of the Tonight Show The Tierney Sutton Band continues to benefit from their
Band for many years now, but he has never stopped cookin’ years of playing together. Their latest release, Desire,
features some amazing musical landscapes and a very
with his own Quartet. For this string of gigs he will be joined adventurous and spiritual presentation. Some tunes, such
by Marvin “Smitty” Smith on drums, Bill Pierce on saxophone as “It’s Only a Paper Moon,” are taken to extraordinary
and a bassist TBA. This Philadelphia native has travelled the places, making a listener re-consider the depth of what was
world playing his music and has shared the stage with such often looked past as just another standard. This group has
luminaries as Slide Hampton, Art Blakey, McCoy Tyner, Ron loads of chemistry and tours constantly, so catch them while
Carter, Sam Rivers, and Roy Haynes. you can.
Ali Jackson Quintet Donny McCaslin Quartet

www.alidrums.com www.donnymccaslin.com
Jazz Standard: Tues 8/18 – Wed 8/19 St. Peter’s Church - Jazz On The Plaza: Thurs 8/6
The last time this group played at the Jazz Standard, they St. Peter’s may be a church, but it has been one of the
received one of the most enthusiastic write-ups we’ve ever hippest jazz spots in the city since the days of bebop and
Pastor Gensel. It is affectionately known as “The Jazz
given. Ali’s playing is what it’s all about. It’s miles deep, Church.” Every Thursday in July they will be having some
but will make you smile in ecstasy at the same time. Last of the cities best groups play from 12:30 – 1:45 on the plaza
time he had Jonathan Batiste on piano, but Aaron Goldberg at 53rd Street and Lexington, and our pick is the Donny
will on duty this time around. Also in the band are Wayne McCaslin Quartet. It was a hard decision considering that
Escoffery on sax, Vincent Gardner on bone, and Ben Wolfe the other three Thursdays feature Winard Harper, Ingrid
on bass. Jensen, and the Jazz Knights.

Credit: John Patitucci
Eddie Gomez Houston Person

The National Jazz Museum in Harlem: Thurs 8/27 www.houstonperson.com
Lenox Lounge: Fri 8/14 – Sat 8/15
Bassist Eddie Gomez is a native of Puerto Rico who grew Houston Person is one of the living legends, having recorded
up in NYC. He is most noted for his work with Bill Evans more than 75 albums on Prestige, Westbound, Mercury,
from 1966-1977. He’s also played with Miles Davis, Dizzy Savoy and Muse Records. He has also recorded with Charles
Gillespie, Gerry Mulligan, Benny Goodman, Buck Clayton, Brown, Bill Charlap, Lena Horne, Charles Earland, Etta
Marian McPartland, Paul Bley, Wayne Shorter, Steps Ahead, Jones (who he toured with for years), Lou Rawls, and Horace
Silver. He is most known for his soulful style of playing—he
Steve Gadd, Jeremy Steig, Herbie Hancock, Tony Williams,
epitomizes the soul jazz saxophone style, while also being
Al Foster, Chick Corea and Carli Muñoz. versed hard bop and swing.
Credit: Jerry Lacay
Tribute to Ray Barretto: Featuring Peter Branin, John Di Hank Jones Trio
Martino, Steve Turre, Chembo Corniel, Vince Cherico, www.officialhankjones.com
and Boris Kozlov Birdland: Tues 8/25 – Sat 8/29
Creole Restaurant: Fri 8/21 – Sat 8/22
Ray Barretto is often referred to as the ‘Godfather of Latin Hank Jones is the epitome of a ‘Living Legend’ and it is no
jazz.’ He was a Grammy Award-winning Puerto Rican jazz secret why the National Endowment for the Arts inducted
musician who began infusing his incredible percussion work him as a “Jazz Master.” He has been at the forefront of the
into bebop when he was first heard by Charlie Parker back Jazz world for 70 years, and is one of the few surviving
in 1949. He went on to play with Tito Puente, The Rolling members of the group in the famous photograph, “A Great
Stones, the Bee Gees, Celia Cruz and many other legendary
acts. He passed away in 2006. The band performing this Day in Harlem.” He is the brother of drummer Elvin, and
tribute features some of the best musicians New York has trumpeter/composer Thad.
to offer!
Chembo Corniel featured in Tribute to Ray Barretto
Howard Alden & Warren Vache John Patitucci with Joe Lovano & Brian Blade
www.howardalden.com www.johnpatitucci.com
Dizzy’s Club Coca Cola: Tues 8/11 – Sun 8/16
Barge Music: Thurs 8/20
This trio features what are arguably the best bassist, tenor saxophonist
Guitarist Howard Alden is one of the most highly regarded and drummer of their day, together in one group! The leader and bassist,
Patitucci, has a bio that cannot be compressed into this little space. He
guitarists of his generation. The 50 year old seven string
currently plays in Wayne Shorter’s band, and has played on countless
virtuoso has recorded over a dozen albums with Concord albums with artists as diverse as B.B King, Bonnie Raitt, Chick Corea,
Jazz, and overdubbed all of the guitar work for Sean Penn Herbie Hancock, Michael Brecker, George Benson, Dizzy Gillespie,
in Woody Allen’s “Sweet and Lowdown.” Warren Vache is a Natalie Cole, Bon Jovi, Queen Latifah, Sting, and Carly Simon. He’s
also played with Stan Getz, Wynton Marsalis, Joshua Redman, Michael
trumpeter, cornetist and flugelhornist from New Jersey who Brecker, Randy Brecker, Freddie Hubbard, Tony Williams, Hubert Laws,
is known for his swing style of playing. Mulgrew Miller, and James Williams. The list goes on.

AUGUST—Local & Regional
______________________________________________________________
Caramoor Jazz Festival: August 1-2 George Wein’s Newport Jazz Festival 55: August 7-9
Katonah, NY Newport, RI
Litchfield Jazz Festival: July 31-August 2 Aug 1: Jean-Michel Pilc Trio w/ Chris Tordini, Ari Aug 7: Etta James and the Roots Band; Howard Alden/
Kent, CT – (Kent is located in the northwest corner of Hoenig; Cedar Walton: 50 Years of Giant Steps: The Anat Cohen Quartet; Aug 8: Mos Def; Branford Marsalis
Connecticut at the intersection of Routes 7 and 341.) Music of Coltrane and Walton; Gerald Clayton Trio; Quartet; Joshua Redman Double Trio; Esperanza
July 31: Opening Night Gala; Lewis Nash; Jane Chuchito Valdez Quartet; Dianne Reeves “Strings Spalding; Cedar Walton All-Stars with Lew Tabackin
Monheit; Aug 1: Dafnis Prieto; Trio Da Paz w/ Leny Attached” with Romero Lubambo, Russell Malone; Aug & Curtis Fuller; Hiromi’s Sonicbloom; Vandermark
Andrade; Wycliffe Gordon & Jay Leonhart Quartet; 2: Junior Mance Trio; Cyrus Chestnut Trio; Luciana 5; Christian McBride; Vijay Iyer Trio; Marsalis Music
Bucky Pizzarelli & Benny Green; Bill Henderson Souza w/ Romero Lubambo; Randy Weston’s African Presents Miguel Zenon; North Carolina Central Big
Quartet; Preservation Hall Jazz Band; Aug 2: Ted Rhythms Trio. www.caramoor.org Band; Branford-Joey Calderazzo Duo and Claudia
Nash-The Mancini Project; Lionel Loueke Trio; Dena Acuna; Aug 9: Tony Bennett; Dave Brubeck Quartet;
DeRose Quartet featuring Claudio Roditi; Houston Charlie Parker Festival: August 29-30 Roy Haynes Fountain of Youth Band; Michel Camilo;
Person Quartet; Pancho Sanchez Latin Jazz Band New York, NY Joe Lovano; UsFive; The Bad Plus w/ Wendy Lewis;
and much more! www.litchfieldjazzfest.com, Aug 29: Frank Wess Quintet; Gary Bartz; Jose James; Conversation w/ Christian McBride; Ernest Ranglin;
Phone: (860) 567-4162 Aaron Parks; Aug 30: Cedar Walton Quartet; Papa Millennial Territory Orchestra; Brian Blade & The
Vazquez Pirates Troubadores; Pyeng Threadgill; Dred Fellowship Band; Rudresh Mahanthappa’s Indo-Pak
TWDJazz09_JazzImprov.qxp:Layout 1 6/16/09 5:18 PM Page 1
Scott Trio. www.cityparksfoundation.org Coalition; Rashied Ali-Charles Gayle-William Parker’s
SEPTEMBER 4–6 LENOX, MA
TANGLEWOOD Visit us on Facebook at

tanglewoodjazzfestival.org/blog
JAZZ FESTIVAL
OZAWA HALL
SEPT 4 FRIDAY 8PM SEPT 5 SATURDAY 8PM SEPT 6 SUNDAY 8PM
An Evening with Paquito d’Rivera "Reverse Thread" "A Triumph of Trumpets" with the
with the Regina Carter Quartet Jon Faddis Quartet and special guests
SEPT 5 SATURDAY 2PM Wallace Roney and Sean Jones
Radio Deluxe with John Pizzarelli "Dreaming the Duke"
and Jessica Molaskey with special guests with Nnenna Freelon, Harolyn Dave Holland Octet with Chris Potter, Robin
Bucky Pizzarelli, Aaron Blackwell and Mike Garson Eubanks, Antonio Hart, Alex Sipiagian, Gary
Weinstein, Harry Allen Live taping Smulyan, Nate Smith, and Steve Nelson
for national radio broadcast. SEPT 6 SUNDAY 2PM
“A Piano Duet” with Kenny Barron TICKETS $17-75
and Mulgrew Miller ONE DAY LAWN PASS $34
888-266-1200 • tanglewood.org
Vanguard Jazz Orchestra
Media Sponsor:
TICKETS $17-75 ONE DAY LAWN PASS $34 888-266-1200 • tanglewood.org

“By Any Means”; Alfredo Rodriguez; The Rodriguez Moser’s Composers Big Band. www.lakegeorgearts.org
Brothers. www.jazzfestival55.com Tanglewood Jazz Festival: September 4-6
Historic Lewiston Jazz Festival: August 28-29 Lenox, MA
Lewiston, NY Notable Performers: Boston Symphony Orchestra;
Notable Performers: Peter Malinverni, Gap Mangione. Paquito D’Rivera; Regina Carter; Nnenna Freelon; Kenny
www.lewinstonjazz.com Barron; Mulgrew Miller; John Pizzarelli; Dave Holland; Jon
Faddis; Harolyn Blackwell. www.berkshirefinearts.com
AUGUST—National
______________________________________________________________
SEPTEMBER & OCTOBER—National
______________________________________________________________
Satchmo Summer Fest: July 30-August 2
New Orleans, LA Anacortes Jazz Festival: October – Details to be
www.fqfi.org/satchmosummerfest Announced
Anacortes, WA; www.anacortes.org
Long Beach Jazz Festival: August 7-9
Long Beach, CA Catalina Island Jazztrax Festival: October 2-18
Aug 7: Dave Sanborn, TBA; Aug 8: Jonathan Butler, Avalon, CA
Richard Elliot & Rick Braun; Ledisi; Les McCann Swiss Three Weekends of Jazz! www.jazztrax.com
Movement; Hiroshima; Brian Bromberg; Clarence
McDonald & Evolution; Jazz Search Winner; Aug 9: Grand Hotel Labor Day Jazz Festival: September 4-7
Angie Stone; Ramsey Lewis; Steve Cole; Leela James; MacKinac Island, MI
Marc Antoine & Paul Brown; Al Williams Jazz Society; Notable Performers: Dee Dee Bridgewater, Earl Klugh,
Jazz Search Winner. www.rainbowpromotions.com Sheila Jordan. www.grandhotel.com
Markham Jazz Festival: August 14-16 Jazz By The Boulevard Music and Arts Festival:
Markham, Ontario, Canada September 11-13
www.markhamjazzfestival.com Fort Worth, TX; www.fortworthjazz.com
Mt. Hood Jazz Festival: August 15-17 Monterey Jazz Festival: September 18-20
Gresham, OR; www.mthoodjazz.org Monterey, CA; www.montereyjazzfestival.org
Orange County Classic Jazz Festival: August 6-9 Sedona Jazz Festival: September 22-27
Costa Mesa, CA; www.oc-classicjazz.org Sedona, AZ; www.sedonajazz.com
AUGUST—International
______________________________________________________________ Summit Jazz: October 9-11
Denver, CO; www.summitjazz.com
Jazz Festival Willisau: August 26-30
Willisau, Switzerland; www.jazzwillisau.com West Coast Jazz Party & Brunch Cruise:
September 3-6
Oslo Jazz Festival: August 10-15 Irvine, CA; www.westcoastjazzparty.com
Oslo, Norway; www.oslojazz.no
Ziegler Kettle Moraine Jazz Festival: September 11-12
Red Sea Jazz Festival: August – Details to be West Bend, WI; www.kmjazz.com
Announced
Eilat, Israel ; www.redseajazzeilat.com SEPTEMBER & OCTOBER—International
______________________________________________________________
Sildajazz: August 12-16 DølaJazz – Lillehammer Jazz Festival: October 15-18

Haugsund, Norway; www.sildajazz.no Lillehammer, Norway; www.dolajazz.com
Zomer Jazz Fiets Tour: August 28-29 Guelph Jazz Festival: September 9-13
Groningen, Netherlands; www.zjft.nl Guelph, Ontario Canada; www.guelphjazzfestival.com
SEPTEMBER—Local and Regional

______________________________________________________________ Rimouski Festi Jazz International: September 3-6
Rimouski, Quebec Canada; www.festijazzrimouski.com
COTA Jazz Festival: September 11-13
Delaware Water Gap, PA; www.cotajazz.org
Long Beach (Long Island, NY) Jazz Festival:

September 4-7
Long Beach, NY; www.longbeachjazzfest.com Our character is but the stamp
on our souls of the free choices of good
Lake George Jazz Festival: September 19-20 and evil we have made through life.”
Lake George, NY
Sept 19: Bill Mays Interventions Trio; Ignacio Berroa
Quartet; Giacomo Gates; Christian Scott Quintet; Sept
20: Roland Vasquez Quintet; Steve Turre Quintet; Diane —John Cunningham Gelkie

Calendar of Events
• Mon 8/3: Erin Rogers, Tom Swafford & Yoni Niv at The
How to Get Your Gigs and Events Listed in Jazz Inside™ NY University of the Streets. 7:00pm. $5 donation. 130
Submit your listings via e-mail to jazz@jazzinsidemagazine.com. Include date, times, location, E. 7th St. @ Ave. A. Monthly laboratory for experimental
phone number for additional information and or tickets/reservations. Deadline: 14th of the & classical composers. www.paulpinto.bravehost.com/
month preceding publication (e.g. May 14 for June issue). Listings placed on a first come basis. comformerperposers.
• Mon 8/3: Tessa Souter, CD Release Party for new
New York City & 9:00pm. Pat Bianchi @ 11:00pm & 12:30am. $10 cover. recording on Motema, Blue Note, 131 W Third St., (betw.
129 MacDougal St. 212-529-5945. www.lalanternacaffe. 6th & MacDougal), 8pm, 212-475-8592, www.bluenote.net
com. www.giladhekselman.com. www.patbianchi.com
• Mon 8/3, 8/10, 8/17, 8/24, 8/31: Jazz Foundation of America
• Sat 8/1: Dave Frishberg & Rebecca Kilgore at Feinstein’s
Jam at Local 802 Musician’s Union Building. 7:00pm.
at Loews Regency. 8:30pm. 540 Park Ave. @ 61st St. 212-
Bring your instrument & join New York’s jazz legends. 322
339-4095. http://feinsteinsattheregency.com • Sun 8/2, 8/9, 8/16, 8/23, 8/30: Junior Mance & Hide
W. 48th St. (Bet. 8th & 9th Ave.) http://jazzfoundation.org
Tanaka at Café Loup. 6:30pm. No cover. 105 W. 13th St. @
• Sat 8/1: Valerie Capers with John Robinson & Rudy
6th Ave. 212-255-4746. www.juniormance.com • Mon 8/3: Maria Neckam at La Lanterna Caffe. 8:00pm-
Lawless at Nuyorican Poets Café. 9:00pm. $15. Following
11:30pm. $10 cover. 129 MacDougal St. 212-529-5945.
by jazz jam and open mic. Complimentary banana • Sun 8/2: Laura Hull Jazz Quartet at Blue Note. 12:30pm &
www.lalanternacaffe.com. www.marianeckam.com
puddin’. 236 E. 3rd St. (Bet. B & C Ave.) 212-465-3167. 2:30pm. $24.50 includes brunch, show & 1 drink. 131 W. 3rd
www.nuyorican.org St. 212-475-8592. www.bluenote.net • Mon 8/3: Jazz for Curious Readers with Stephanie
Crease at National Jazz Museum in Harlem. 7:00pm.
• Sat 8/1: Joe Sucato, Yoichi Uzeki, PJ Roberts & Mitch • Sun 8/2, 8/9, 8/16, 8/23, 8/30: Peter Mazza at La Lanterna
Free. Discussion about her book, Duke Ellington: The
Perrins at Bar 66. 8:30pm. $5. No min. 66 Charlton St., Caffe. 8:00pm-11:30pm. $10 cover. 129 MacDougal St.
Author. 104 E. 126th St., Suite 2C. 212-348-8300.
Four Points, Sheraton, SoHo. 347-528-3534. http:// 212-529-5945. www.lalanternacaffe.com.
www.jazzmuseuminharlem.org
bar66nyc.blogspot.com
• Sun 8/2, 8/9: Ehud Asherie & Terry Waldo at Fat Cat.
• Mon 8/3-Tues 8/4: Joris Teepe Big Band at Nublu. 9:00pm
• Sat 8/1: Zemog at Blue Note. Late Night Groove Series. 6:00pm 75 Christopher St. @ 7th Ave. 212-675-6056.
& 11:00pm. 62 Ave. C
12:30am.131 W. 3rd St. 212-475-8592. www.bluenotejazz. www.fatcatmusic.org
com • Mon 8/3, 8/10, 8/17, 8/24, 8/31: Vince Giordano &
• Sun 8/2: Primordial Jazz Funktet at Drom. 8:00pm.
His Nighthawks Orchestra at Sofia’s Restaurant,
• Sat 8/1: Chip Shelton Quintet at Creole Restaurant. $10 cover. 85 Ave. A. 212-777-1157. www.dromnyc.com.
Edison Hotel. 3 sets, 8:00pm – 11:00pm. $15 cover, $15
8:00pm & 10:00pm. $15 cover. 2167 Third Ave. @ 118th St. www.danfurman.com/pjf
min. “Dancing to the Music of the 1920’s and 1930’s.”
212-876-8838. www.creolenyc.com
• Sun 8/2, 8/9, 8/16, 8/23, 8/30: Bob Kindred with John Hart 221 W. 46th St. (Bet. Broadway & 8th). 212-719-5799.
• Sat 8/1: Annette A. Aguilar & Stringbeans at Bennerson & Steve LaSpina at Café Loup. 12:30pm. Sunday brunch www.myspace.com/VinceGiordanotheNighthawks
Park. 3:00pm. 64th St. & Amsterdam Ave. www.jazzmobile.org from $8.50-$16.50. $5 bar min. 105 W. 13th St. @ 6th Ave.
• Mon 8/3-Tue 8/4: Joris Teepe Big Band, Don Braden,
212-255-4746.
• Sat 8/1: La Lanterna Caffe. Gilad Hekselman @ 7:00pm Gene Jackson, Earl McIntyre, Michael Mossman, Mark
August 3 August 17 August 25-30
Bill O’COnnell’s CArlOs henriQuez MusiC OF AntOniO

triple plAy QuArtet CArlOs JOBiM
w/Dave Valentin & Richie Flores w/Ali Jackson, Robert Rodriguez
& Felipe Lamoglia
& stAn getz
August 4-9 w/Trio Da Paz, Joe Locke, Harry Allen,
Maucha Adnet, Romero Lubambo
CedAr WAltOn August 18
& Nilson Matta
QuArtet ChiCO hAMiltOn & After Hours: Jimmy Madison & HMK Trio
w/Vincent Herring, David Williams euphOriA reservAtiOns
August 31 212-258-9595/9795
& Joe Farnsworth After Hours: Karolina Strassmayer
After Hours: Rick Germanson Trio & Drori Mondlak WAlter BlAnding www.jalc.org
August 10 August 19-23 Quintet Artist Sets: $20-35

7:30 & 9:30 pm
ChristiAn MCBride rOy hAynes & w/11:30 pm set Fri & Sat
W/speCiAl guest the FOuntAin OF After Hours Sets: $10-20
Student rates available
August 11-16 yOuth
w/Jaleel Shaw, Martin Bejerano
JOhn pAtituCCi/ & David Wong
JOe lOvAnO/ August 24
BriAn BlAde dAn niMMer triO
After Hours: Richie Goods
w/David Wong & Pete Van Nostrand
& Nuclear Fusion w/Mike Clark,
Helen Sung & Jeff Lockhart

Gross and others, NuBlu 62 Avenue C, NYC. Music from Leo Traversa & Vanderlei Pereira at Zinc Bar. 9:30pm. • Wed 8/5: Joris Teepe Big Band at Fat Cat. 9:00pm &
new CD on Challenge Records, www.joristeepe.com 82 W. 3dr St. 212-477-ZINC. 11:00pm. 75 Christopher St. @ 7th Ave. 212-675-6056.
www.fatcatmusic.org
• Tues 8/4: Houston Person on 135th St. bet. 7th & 8th Ave. • Tues 8/4: Jazz for Curious Readers at National Jazz
7:00pm. 212-866-4900. www.jazzmobile.org Museum in Harlem. 7:00pm. Free. “Wynton Marsalis: • Wed 8/5: Benny Powell at Grant’s Tomb. 7:00pm. 122nd
Small Groups.” 104 E. 126th St., Suite 2C. 212-348-8300. St. & Riverside Dr. 212-866-4900.
• Tue 8/4: Richard Lee Wendell and Friends, One 83
Restaurant, 1608 First Avenue, New York, (Between • Wed 8/5: Mitch Perrins Group with Joe Sucato at Bar 66.
E. 83/84 Streets), 7:30-10:30pm, 212-327-4700, • Tues 8/4: Mike Longo Funk Band at NYC Baha’i 8:30pm. $5. No min. 66 Charlton St., Four Points, Sheraton,
www.one83restaurant.com Center. 53 E. 11th St. (Bet University Place & Broadway) SoHo. 347-528-3534. http://bar66nyc.blogspot.com
212-222-5159. www.bahainyc.org/jazz.html.
• Tues 8/4: Ken Hatfield with Harvie S at Fetch. 7:00pm. No • Wed 8/5, 8/12, 8/19, 8/26: Jonathan Kreisberg Trio
cover. 1649 Third Ave. (Bet. 92nd & 93rd St.) 212-289-2700. • Tues 8/4, 8/11, 8/18, 8/25: Annie Ross at Metropolitan at La Lanterna Caffe. 8:00pm-11:30pm. $10 cover. 129
www.kenhatfield.com. Room. 9:30pm. 34 W 22nd St. (Bet. 5th & 6th Ave.) MacDougal St. 212-529-5945. www.lalanternacaffe.com.
212-206-0440. www.metropolitanroom.com.
• Tues 8/4: Jack Wilkins & Dan Adler at Bella Luna • Thurs 8/6: Jason Campbell with Pat Bianci & Wayne
Restaurant. 8:00pm. 584 Columbus Ave. @ 88th St. 212- • Tues 8/4: Andrea Wittgens at Barnes & Noble. 6:00pm. Henderson at Perks Jazz Club. 8:00pm. No cover or min.
877-2267. www.jackwilkins.com Free. 1972 Broadway @ W. 66th St. 123rd & Manhattan Ave. www.jasoncampbelljazz.com
• Tues 8/4, 8/11, 8/18, 8/25: Joel Frahm Trio at La Lanterna • Wed 8/5: 55 Bar. Emilio Teubal with Felipe Salles, Sam • Thurs 8/6-Sun 8/9: Improvisation & Composition
Caffe. 8:00pm-11:30pm. $10 cover. 129 MacDougal St. Sadigurski, Franco Pinna & Moto Fukushima @ 6:00pm. Workshop with Marc Mommaas & Tony Moreno. $575
212-529-5945. www.lalanternacaffe.com. Noah Preminger with Frank Kimbrough, Joe Martin & adult; $525 student under 26. 676 Riverside Dr., #4A. 917-
Matt Wilson @ 10:00pm. 55 Christopher St. 212-929-9883. 340-0270. www.newyorkjazzworkshop.com
• Tues 8/4: Tommy James with Mark McGowan, Chris
www.55bar.com.
Byers, Hassan (JJ Wiggins) Shakur & Brian Grice at • Thu 8/6: Joris Teepe Quintet, Smalls 183W 10th Street @
Blaue Gans. 8:00pm. No cover. 139 Duane St. (Bet. W. • Wed 8/5: Erika Matsuo at Drom. 7:00pm $10; $12 at door. 7th Ave, NYC. www.joristeepe.com
Broadway & Church St.) 212-571-8880. www.kg-ny.com 85 Ave. A. 212-777-1157. www.dromnyc.com
• Thurs 8/6: Mingus Dynasty Quintet at Central Park
• Tues 8/4: Jenny Scheinman with Nels Cline, Jim Black & • Wed 8/5: Joris Teepe Big Band, Don Braden, Gene SummerStage. 7:30pm. Free. “Asbury Shorts: An Evening
Matt Penman at (le) poisson rouge. 7:00pm. $15 advance; Jackson, Earl McIntyre, Michael Mossman, Mark Gross of the World’s Best Short Films.”
$17 at door each day. 158 Bleecker St. 212-505-FISH. www. and others, Fat Cat 75 Christopher @ 7th Ave, NYC. Music
• Thurs 8/6: Gilad Hekselman Trio at Fat Cat. 7:00pm.
lepoissonrouge.com. www.myspace.com/jennyscheinman from new CD on Challenge Records, www.joristeepe.com
75 Christopher St. @ 7th Ave. 212-675-6056.
• Tues 8/4, 8/11, 8/18, 8/25: Iris Ornig Quartet at The • Wed 8/5: Susan Pereira & Sabor Brasil with Noah Bless, www.fatcatmusic.org
Crooked Knife. 7:00pm. 29 E. 30th St. (Bet. Madison & Manu Koch, Itaiguara & Vanderlei Pereira at Celebrate
• Thu 8/6: Morrie Louden Trio, One 83 Restaurant,
Park) 212-696-2593. www.thecrookedknife.com Summer in Midtown 2009. 12:30pm. Free. 101 Park Ave
1608 First Avenue, New York, (Between E. 83/84 Streets),
@ 40th St. http://susanpereira.com
Tues 8/4: Paul7/28/09
• JSaug09 Meyers with Donny
11:47McCaslin,
AM Page Helio Alves,
1 7:30-10:30pm, 212-327-4700, www.one83restaurant.com
THU-SUN AUG 13-16
STEVE KUHN TRIO STEVE SWALLOW - AL FOSTER

MON AUG 17
�MINGUS�
MINGUS BIG BAND
�MINGUS�
�MONDAYS� �MONDAYS�
“Jazz Venue of the Year” - ALL ABOUT JAZZ • “Best Jazz Club” - NEW YORK MAGAZINE & CITYSEARCH
THU-SAT JULY 30-AUG 1 TUE & WED AUG 18 & 19
FREDDY COLE QUARTET

HARRY ALLEN
WITH SPECIAL GUEST JULY 31 & AUG 1
ALI JACKSON QUINTET
WAYNE ESCOFFERY - VINCENT GARDNER - AARON GOLDBERG - BEN WOLFE
SUN AUG 2 CLOSED FOR PRIVATE EVENT THU-SUN AUG 20-23
MON AUG 3
JOANNE BRACKEEN
�MINGUS�
MINGUS ORCHESTRA
�MINGUS�
QUARTET
TUE AUG 4 RAVI COLTRANE - E.J. STRICKLAND (AUG 20, 22 & 23) - ADAM CRUZ (AUG 21)
SOMI PLUS SPECIAL GUEST EDDIE GOMEZ

MON AUG 24
MINGUS ORCHESTRA
�MINGUS� �MINGUS�
WED AUG 5 �MONDAYS�
SASHA DOBSON
�MONDAYS�
TUE AUG 25
ERNESTINE ANDERSON
THU-SUN AUG 6-9
SACHAL VASANDANI
WED AUG 26
QUARTET LAFAYETTE HARRIS JR. - LONNIE PLAXICO - WILLIE JONES III

JULIA DOLLISON+KERRY MARSH:
THE MUSIC OF MARIA SCHNEIDER
PLUS SPECIAL GUEST HOUSTON PERSON MARIA SCHNEIDER - BEN MONDER - FRANK KIMBROUGH - JAY ANDERSON - CLARENCE PENN
MON AUG 10 THU-SUN AUG 27-30
�MINGUS�
MINGUS DYNASTY LARRY WILLIS QUINTET
�MINGUS�
TUE & WED AUG 11 & 12 JOE FORD - STEVE DAVIS - BUSTER WILLIAMS - BILLY DRUMMOND
SEAN JONES GROUP

BRIAN HOGANS - ORRIN EVANS - LUQUES CURTIS - JOHN DAVIS
�MINGUS�
�MONDAYS� MINGUS DYNASTY
MON AUG 31
�MINGUS�
�MONDAYS�

• Thurs 8/6: Mike Rodriguez at La Lanterna Caffe. 8:00pm- http://feinsteinsattheregency.com
11:30pm. $10 cover. 129 MacDougal St. 212-529-5945. • Tues 8/11: Ken Hatfield with Gene Torres & Steve Kroon
www.lalanternacaffe.com. www.trumpetplayerprofiles.com at Fetch. 7:00pm. No cover. 1649 Third Ave. (Bet. 92nd &
• Thurs 8/6: Donny McCaslin Quartet at St. Peter’s Church. 93rd St.) 212-289-2700. www.kenhatfield.com.
12:30pm. Jazz on the Plaza. Free. 53rd & Lexington. • Tues 8/11: Jazz for Curious Readers at National Jazz
212-935-2200. http://saintpeters.org/jazz Museum in Harlem. 7:00pm. Free. “Wynton Marsalis:
• Thurs 8/6: Chembo Corniel at Nuyorican Poets Big Band.” 104 E. 126th St., Suite 2C. 212-348-8300.
Café. 236 E. Third St. (Bet. B & C Ave.) 212-465-3167. www.jazzmuseuminharlem.org
www.nuyorican.org. www.myspace.com/chemboro • Tues 8/11: Warren Smith & Composer’s Workshop
• Thurs 8/6: 55 Bar. Amy Cervini with Anat Cohen, Yair Orchestra at NYC Baha’i Center. 53 E. 11th St.
Evnine & Matt Aronoff @ 7:00pm. Vardan Ovsepian (Bet University Place & Broadway) 212-222-5159.
with Margret Grebowicz, Tim Miller, Josh Davis & Dan www.bahainyc.org/jazz.html.
Weiss @ 10:00pm. 55 Christopher St. 212-929-9883. • Tues 8/11: Tommy James with Mark McGowan, Dave
www.55bar.com. www.amycervini.com Glasser, Kengo Nakamura & Brian Grice at Blaue Gans.
• Thurs 8/6, 8/13, 8/20, 8/27: Joan Crowe at Metropolitan 8:00pm. No cover. 139 Duane St. (Bet. W. Broadway &
Room. 9:45pm. 34 W 22nd St. (Bet. 5th & 6th Ave.) Church St.) 212-571-8880. www.kg-ny.com
212-206-0440. www.metropolitanroom.com. • Tues 8/11: Jack Wilkins & Bucky Pizzarelli at Bella
• Thurs 8/6: Richard Seff with Chita Rivera at Barnes & Luna Restaurant. 8:00pm. 584 Columbus Ave. @ 88th St.
Noble. 6:00pm. Free. 1972 Broadway @ W. 66th St. 212-877-2267. www.jackwilkins.com
• Fri 8/7: Jeremy Pelt at Marcus Garvey Park. 7:00pm. • Tue 8/11: Richard Lee Wendell and Friends, One 83
122nd St. & 5th Ave. 212-866-4900. www.jazzmobile.org Restaurant, 1608 First Avenue, New York, (Between
E. 83/84 Streets), 7:30-10:30pm, 212-327-4700,
• Fri 8/7: Brad Jones’ Avant Lounge at Blue Note. Late www.one83restaurant.com
Night Groove Series. 12:30am.131 W. 3rd St. 212-475-8592.
www.bluenotejazz.com • Wed 8/12: Tish Oney at Barnes & Noble. 6:00pm. Free.
1972 Broadway @ W. 66th St.
• Fri 8/7: 55 Bar. Oz Noy at 55 Bar. 10:00pm. 55 Christopher
St. 212-929-9883. www.55bar.com. • Wed 8/12: Sean Smith with John Ellis, Keith Ganz &
Russell Meissner at 55 Bar. 7:00pm. 55 Christopher St.
• Fri 8/7: Janine Alondres and Trio, One 83 Restaurant, 212-929-9883. www.55bar.com.
7:30-10:30pm, 212-327-4700, www.one83restaurant.com • Wed 8/12: The Atlantic Quartet at Bar 66. 8:30pm. $5.
No min. 66 Charlton St., Four Points, Sheraton, SoHo.
• Fri 8/7: La Lanterna Caffe. Paul Bollenback @ 347-528-3534. http://bar66nyc.blogspot.com
7:00pm & 9:00pm. Patrick Cornelius @ 11:00pm &
12:30am. $10 cover. 129 MacDougal St. 212-529-5945. • Wed 8/12: Jimmy Heath at Grant’s Tomb. 7:00pm. 122nd
www.lalanternacaffe.com. www.paulbollenback.com. St. & Riverside Dr. 212-866-4900. www.jazzmobile.org
www.patrickcornelius.com • Wed 8/12: Ken Hatfield with Eric Hoffman & Gene Torres
• Fri 8/7-Sat 8/8: Brian Lynch, Little Johnny Rivero, Willie at Trinity Lower East Side Lutheran Parish Garden.
Martinez, Hans Glawischnig, Peter Branin & John 8:00pm. Free, outdoors. 602 E. 9th St. @ Ave. B (Charlie
Di Martino at Creole Restaurant. 8:00pm & 10:00pm. Parker Pl.) www.kenhatfield.com
$15 cover. 2167 Third Ave. @ 118th St. 212-876-8838. • Wed 8/12: Rudder at (le) poisson rouge. $15. 158
www.creolenyc.com Bleecker St. 212-505-FISH. www.lepoissonrouge.com.
• Sat 8/8: Ben Tyree Trio at Blue Note. Late Night www.myspace.com/rudderbandnewyork August 2009 Jazz Schedule
Friday & Saturday
Groove Series. 12:30am.131 W. 3rd St. 212-475-8592. • Wed 8/12: Jazz Is: Now! with Jonathan Batiste at National August 1: Onaje Allan Gumbs
www.bluenotejazz.com Jazz Museum in Harlem. 7:00pm. Free. 104 E. 126th St., August 7 & 8: Valerie Capers
• Sat 8/8: Nate Sutton Band at Bar 66. 8:30pm. $5. Suite 2C. 212-348-8300. www.jazzmuseuminharlem.org August 14 & 15: Houston Person
No min. 66 Charlton St., Four Points, Sheraton, SoHo. • Thurs 8/13: Jason Campbell with Pat Bianci & Wayne August 21 & 22: Danny Mixon Quartet & Birthday Celebration
347-528-3534. http://bar66nyc.blogspot.com Henderson at Perks Jazz Club. 8:00pm. No cover or min. August 28 & 29: Vocalist, Carrie Jackson
Sat 8/8: La Lanterna Caffe. Marshall Gilkes @ 7:00pm 123rd & Manhattan Ave. www.jasoncampbelljazz.com NEW EVERY TUESDAY NIGHT
& 9:00pm. Dave Stryker @ 11:00pm & 12:30am. • Thurs 8/6: Chembo Corniel at Nuyorican Poets August 4 & 11: JOEY MORANT
$10 cover. 129 MacDougal St. 212-529-5945. www. Café. 236 E. Third St. (Bet. B & C Ave.) 212-465-3167. August 18 & 25: REGGIE WOODS ENSEMBLE
lalanternacaffe.com. http://marshallgilkes.com/home.html. www.nuyorican.org. www.myspace.com/chemboro
www.davestryker.com
• Thurs 8/13: 55 Bar. Alison Wedding with Henry Hey &
• Sun 8/9: Vinnie Zummo Trio with Janice Zummo at Blue Michael League @ 7:00pm. Jonathan Kreisberg with
Note. 12:30pm & 2:30pm. $24.50 includes brunch, show & Henry Hey, Will Vinson, Joe Martin & Greg Ritchie @
1 drink. 131 W. 3rd St. 212-475-8592. www.bluenote.net 10:00pm. 55 Christopher St. 212-929-9883. www.55bar.com.
• Mon 8/10: Sachal Vasandani at La Lanterna Caffe. • Thurs 8/13: Stacy Dillard/Greg Glassman Quintet at Fat
8:00pm-11:30pm. $10 cover. 129 MacDougal St. 212-529-5945. Cat. 8:30pm. 75 Christopher St. @ 7th Ave. 212-675-6056.
www.lalanternacaffe.com. www.sachalvasandani.com www.fatcatmusic.org
• Mon 8/10: Guilherme Monteiro at Barnes & Noble. • Thurs 8/13: Vijay Iyer at National Jazz Museum in Harlem.
6:00pm. Free. 1972 Broadway @ W. 66th St. 6:30pm. Free. 104 E. 126th St., Suite 2C. 212-348-8300.
• Tue 8/11-Sat 81/5: Richie Goods Nuclear Fusion with Mike www.jazzmuseuminharlem.org
Clark, Helen Sung, Jeff Lockhart, Dizzy’s Club Coca Cola, • Thurs 8/13: Dave Allen with Matt Clohesy & Henry Cole at
Jazz at Lincoln Center, Broadway at 60th St., After Hours Bar Next Door. 8:00pm. www.daveallenjazz.com
sets: 11pm Tue-Thu, 12:30am, Fri-Sat ($10)
• Thu 8/13: Marco Panascia Trio, One 83 Restaurant, 1608
• Tues 8/11: Pucci Amanda Jhones at Feinstein’s at Loews First Avenue, New York, (Between E. 83/84 Streets), 7:30-
Regency. 8:30pm. 540 Park Ave. @ 61st St. 212-339-4095. 10:30pm, 212-327-4700, www.one83restaurant.com

• Thurs 8/13-Fri 8/14: Judith Wexler with Jeff Colella, www.lalanternacaffe.com. www.petereldridge.com
Bill Moring & Anthony Pinciotti at Feinstein’s at • Tues 8/18-Wed 8/19: Diva Jazz Trio at Feinstein’s at
Loews Regency. 8:30pm. $39-$60. 540 Park Ave. @ Loews Regency. 8:30pm. 540 Park Ave. @ 61st St.
61st St. 212-339-4095. http://feinsteinsattheregency.com. 212-339-4095. http://feinsteinsattheregency.com
www.judywexler.com
• Tue 8/18: Bobby Broom and trio, Dennis Carroll, bass;
• Thurs 8/13: Dave Allen at La Lanterna Caffe. 8:00pm- Kobie Watkins, drums; 8:30 & 11:00pm
www.lalanternacaffe.com. www.daveallenjazz.com • Birdland, 315 W. 44th St., Tickets & Information:
212-581-3080, www.bobbybroom.com
• Thurs 8/13: Winard Harper Sextet at St. Peter’s Church.
12:30pm. Jazz on the Plaza Free. 53rd & Lexington. • Tues 8/18: Jazz for Curious Listeners at National Jazz
212-935-2200. http://saintpeters.org/jazz Museum in Harlem. 7:00pm. Free. “Wynton Marsalis:
Orchestral.” 104 E. 126th St., Suite 2C. 212-348-8300.
• Fri 8/14: Jeremiah Hosea at Blue Note. Late Night www.jazzmuseuminharlem.org
Groove Series. 12:30am.131 W. 3rd St. 212-475-8592.
www.bluenotejazz.com Sun 8/23: • Tues 8/18: Ken Hatfield with Harvie S & Valery Ponomarev
at Fetch. 7:00pm. No cover. 1649 Third Ave. (Bet. 92nd &
• Fri 8/14-Sat 8/15: Chuchito Valdes at Creole Restaurant. 93rd St.) 212-289-2700. www.kenhatfield.com.
8:00pm & 10:00pm. $15 cover. 2167 Third Ave. @ 118th St.
4th: Mike Longo Funk Band 212-876-8838. www.creolenyc.com • Tues 8/18: Jeff Siegel Quintet at NYC Baha’i Center. 53
E. 11th St. (Bet University Place & Broadway) 212-222-5159.
11th: Warren Smith and the Composer’s • Fri 8/14: La Lanterna Caffe. Pete McCann @ 7:00pm & www.bahainyc.org/jazz.html.
9:00pm. Nick Moran @ 11:00pm & 12:30am. $10 cover.
Workshop Orchestra • Tues 8/18: Tommy James with Mark McGowan, Dave
129 MacDougal St. 212-529-5945. www.lalanternacaffe.
18th: Jeff Siegal Quintet com. www.petemccann.com. www.nickmoranmusic.com Glasser, Hassan (JJ Wiggins) Shakur & Brian Grice at
Blaue Gans. 8:00pm. No cover. 139 Duane St. (Bet. W.
25th: Vibraphonist Warren Chiasson Group • Fri 8/14: Janine Alondres and Trio, One 83 Restaurant, Broadway & Church St.) 212-571-8880. www.kg-ny.com
7:30-10:30pm, 212-327-4700, www.one83restaurant.com • Tue 8/18: Richard Lee Wendell and Friends, One 83
Restaurant, 1608 First Avenue, New York, (Between
• Fri 8/14: Brooklyn Boogaloo Blowout at 55 Bar. 10:00pm. E. 83/84 Streets), 7:30-10:30pm, 212-327-4700,
With Leah Siegel, John Ellis, Will Bernard, Andrew www.one83restaurant.com
Sherman, Tim Luntzel & Tony Mason. 55 Christopher St.
212-929-9883. www.55bar.com. • Tues 8/18: Jack Wilkins & Howard Alden at Bella Luna
Restaurant. 8:00pm. 584 Columbus Ave. @ 88th St.
• Sat 8/15: Tal Ronen Quartet with Anat Cohen at Fat 212-877-2267. www.jackwilkins.com
Cat. 7:00pm. 75 Christopher St. @ 7th Ave. 212-675-6056.
www.fatcatmusic.org • Tues 8/18: Matthew Shipp & Lafayette Gilchrist at
The Highline Ballroom. 7:30pm. $15 advance; $20 at
• Sat 8/15: Tomas Doncker at Blue Note. Late Night door. 431 W. 16th St. (Bet. 9th & 10th Ave.) 212-414-5994.
Groove Series. 12:30am.131 W. 3rd St. 212-475-8592. www.highlineballroom.com
www.bluenotejazz.com
• Wed 8/19: Kate Pazakis at Barnes & Noble. 6:00pm. Free.
• Sat 8/15: La Lanterna Caffe. Lage Lund @ 7:00pm & 1972 Broadway @ W. 66th St.
9:00pm. Jon Irabagon @ 11:00pm & 12:30am. $10 cover.
AUGUST 2009 129 MacDougal St. 212-529-5945. www.lalanternacaffe. • Wed 8/19: Winard Harper at Grant’s Tomb. 7:00pm. 122nd
JAZZ VESPERS com. www.lage-lund.com. www.jonirabagon.com St. & Riverside Dr. 212-866-4900. www.jazzmobile.org
SUNDAYS AT 5:00 — FREE • Sat 8/15: Big Band Workshop at Bar 66. 8:30pm. $5. No • Wed 8/19: Francois Moutin with Jean-Michel Pilc, Joel
ALL ARE WELCOME! Frahm & Ari Hoenig at 55 Bar. 10:00pm. 55 Christopher
min. 66 Charlton St., Four Points, Sheraton, SoHo. 347-
528-3534. http://bar66nyc.blogspot.com St. 212-929-9883. www.55bar.com.
2 Sean Smith Trio
• Sat 8/15: Dor Green, Lela Keels, Sachiko Tatsuishi, • Wed 8/19: Peter Cincotti at The Highline Ballroom. 8:00pm
9 Klaro! Karolina Strassmayer Ricky DeMarco & Ira Hawkins at Shutter Café. 7:00pm. & 10:30pm. $25 advance; $30 at door. 431 W. 16th St. (Bet.
& Drori Mondlak “Summer Time Swing” presented by Jazz Singers 9th & 10th Ave.) 212-414-5994. www.highlineballroom.com
Workshop Collective. 433 W. 34th St. (Bet. 9th & 10th Ave.) • Wed 8/19: Martin Urbach Group at Bar 66. 8:30pm. $5.
16 Jan Leder Quartet 973-923-7932. No min. 66 Charlton St., Four Points, Sheraton, SoHo.
• Sun 8/16: Kuni Mikami & Hamp’s Boogie Band at Blue 347-528-3534. http://bar66nyc.blogspot.com
23 Andrew Lamb Trio
Note. 12:30pm & 2:30pm. $24.50 includes brunch, show & • Wed 8/19: Jazz Is: Now! with Jonathan Batiste at National
30 Sam Sadigursky 1 drink. 131 W. 3rd St. 212-475-8592. www.bluenote.net Jazz Museum in Harlem. 7:00pm. Free. 104 E. 126th St.,
& The Words Project • Sun 8/16: Harlem Day at Main Stage. 2:30pm. 135th St. & Suite 2C. 212-348-8300. www.jazzmuseuminharlem.org
Fifth Ave. 212-866-4900. www.jazzmobile.org • Wed 8/19: Francois Moutin with Jean-Michel Pilc, Joel
JAZZ ON THE PLAZA • Mon 8/17: Laura Hull at Barnes & Noble. 6:00pm. Free. Frahm & Ari Hoenig at 55 Bar. 10:00pm. 55 Christopher
THURSDAYS AT 12:30 — FREE 1972 Broadway @ W. 66th St. St. 212-929-9883. www.55bar.com.
SPONSORED BY MIDTOWN ARTS COMMON
• Mon 8/17: Allie at Yippie Café. 9 Bleecker St. • Thurs 8/20: Katie Bull, Landon Knoblock, piano; Joe
6 Donny McCaslin Quartet (Bet. Bowery & Elizabeth) www.yippiemuseum.org. Fonda, bass; Harvery Sorgen, drums; Jeff Lederer, tenor
http://www.myspace.com/alliegman sax; 55 Bar, 55 Christopher St., 7pm, No cover. www.55Bar.
13 Winard Harper Sextet com, www.KatieBull.com
• Mon 8/17: Elise Woods on 139th St. bet. 8th & Edgecombe
Ave. 7:00pm. 212-866-4900. www.jazzmobile.org • Thurs 8/20: Jason Campbell with Pat Bianci & Wayne
20 Ingrid Jensen Quartet
Henderson at Perks Jazz Club. 8:00pm. No cover or min.
• Mon 8/17: “The Story” with John Escreet, Lars 123rd & Manhattan Ave. www.jasoncampbelljazz.com
27 Jazz Knights 8-Piece Big Band Dietrich, Samir Zarif, Chris Tordini & Greg Ritchie
from West Point at 55 Bar. 10:00pm. 55 Christopher St. 212-929-9883. • Thurs 8/20-Sun 8/23: Vocal Workshop with Hilary Gardner
www.55bar.com. & Joshua Wolff and guest Mike Longo. $575 adult; $525
SAINT PETER’S CHURCH student under 26. 676 Riverside Dr., #4A. 917-340-0270.
Lexington Avenue at 54th Street • Mon 8/17: Peter Eldridge at La Lanterna Caffe. 8:00pm- www.newyorkjazzworkshop.com
www.saintpeters.org/jazz ● 212-935-2200 11:30pm. $10 cover. 129 MacDougal St. 212-529-5945.

• Thurs 8/20: Ingrid Jensen Quartet at St. Peter’s Church.
visitors center: OPEN M-F 10 AM - 4 PM
104 E. 126th Street, #2C, New York, NY 10035
12:30pm. Jazz on the Plaza Free. 53rd & Lexington. W W W. J M I H . O R G

212-935-2200. http://saintpeters.org/jazz
THE NATIONAL JAZZ MUSEUM IN HARLEM PRESENTS
Harlem Speaks
• Thu 8/20: Elias Bailey Trio, One 83 Restaurant, 1608
First Avenue, New York, (Between E. 83/84 Streets),
7:30-10:30pm, 212-327-4700, www.one83restaurant.com
• Thurs 8/20-Fri 8/21: Eric Comstock & Barbara Fasano
at Feinstein’s at Loews Regency. 8:30pm. $25 cover;
$25 min. 540 Park Ave. @ 61st St. 212-339-4095. A SPECIAL SERIES HONORING HARLEM HEROES
http://feinsteinsattheregency.com
• Thurs 8/20: Adam Levy at La Lanterna Caffe. 8:00pm- Aug. 13: Vijay Iyer Aug. 27: Eddie Gomez
www.lalanternacaffe.com. www.adamlevy.com
Pianist Bassist
Photo courtesy Richard Conde

• Fri 8/21: Antoinette Montague Group with Bill Easley at
Marcus Garvey Park. Free. Jazzmobile Summer Fest. 124th T IME : 6:30 -- 8:30 pm P RICE : Free
St. & Madison Ave. LOCATION: The NJMIH Visitors Center, 104 E. 126th Street, #2C
• Fri 8/21-Sat 8/22: Tribute to Ray Baretto with Steve
Turre, Chembo Corniel, Vince Cherico, Boris Koslov,
Peter Branin & John Di Martino at Creole Restaurant.
• Fri 8/21: La Lanterna Caffe. Chris Crocco’s Fluid
Trio @ 7:00pm & 9:00pm. John Ellis @ 11:00pm &
12:30am. $10 cover. 129 MacDougal St. 212-529-
August 28 Jonathan Batiste Trio
5945. www.lalanternacaffe.com. www.chriscrocco.com.
$18 ADVANCE $20 AT DOOR
www.johnaxsonellis.com
• Fri 8/21: The Bad Plus at The Highline Ballroom. 8:00pm
& 11:00pm. $22 advance; $25 at door. 431 W. 16th St. (Bet.
9th & 10th Ave.) 212-414-5994. www.highlineballroom.com
• Fri 8/21: Janine Alondres and Trio, One 83 Restaurant,
Jazz Is: Now!

7:30-10:30pm, 212-327-4700, www.one83restaurant.com NEW
• Sat 8/22: Mitch Perrins Group at Bar 66. 8:30pm. $5.
August 12 & August 19 | 7:00 pm PROGRAM
347-528-3534. http://bar66nyc.blogspot.com Jonathan Batiste with an open panel discussion on jazz culture and its
• Sat 8/22: La Lanterna Caffe. Randy Napoleon @ 7:00pm relevance in today's society & special musical guest/performances
& 9:00pm. Greg Skaff @ 11:00pm & 12:30am. $10 cover.
The NJMH Visitors Center, 104 E. 126th St., #2C
129 MacDougal St. 212-529-5945. www.lalanternacaffe.
com. www.randynapoleon.com. http://gregskaff.com
• Sun 8/23: Bossa Brasil at Jule’s Bistro. 8:30pm. Jazz for Curious Readers
65 Saint Marks Pl. 212-477-5560. www.julesbistro.com.
www.mauriciodesouzajazz.com Aug. 3: Duke Ellington:
• Sun 8/23: K.J. Denhert at Blue Note. 12:30pm & 2:30pm. The Author
$24.50 includes brunch, show & 1 drink. 131 W. 3rd St.
212-475-8592. www.bluenote.net
Jazz for Curious Listeners 7:00 - 8:30 pm | FREE
• Mon 8/24: Duke Ellington Legacy Band with Edward The NJMIH Visitors Center
Ellington III on 106th St. (Duke Ellington Blvd.) bet. Central Free classes celebrating Harlem and its legacy
104 E. 126th Street, #2C
Park West & Manhattan Ave. 7:00pm. 212-866-4900.
www.jazzmobile.org Tuesdays 7:00 - 8:30 p.m.
The NJMIH Visitors Center, 104 E. 126th Street, #2C
saturday panels
• Mon 8/24: Marlene Ver Planck at Barnes & Noble. 6:00pm.
Free. 1972 Broadway @ W. 66th St. Attend any individual class.
• Mon 8/24: Marianne Sollivan at La Lanterna Caffe. 8:00pm-
10AM – 4PM • FREE
www.lalanternacaffe.com. www.mariannesolivan.com Wynton Marsalis: The Composer INCLUDING FILMS, PANEL DISCUSSIONS
AND LIVE MUSIC
• Tues 8/25: Ken Hatfield with Gene Torres at Fetch. August 4: Small Groups
8/29: Jo Jones
7:00pm. No cover. 1649 Third Ave. (Bet. 92nd & 93rd St.)
212-289-2700. www.kenhatfield.com.
August 11: Big Band The Man Who Played Like The Wind
• Tues 8/25: Warren Chiasson Group at NYC Baha’i
August 18: Orchestral
The NJMIH Visitors Center
Center. 53 E. 11th St. (Bet University Place & Broadway) August 25: Chamber 104 E. 126th Street, #2C
212-222-5159. www.bahainyc.org/jazz.html.
• Tue 8/25: Richard Lee Wendell and Friends, One 83 the
Restaurant, 1608 First Avenue, New York, (Between DOCTOROW FAMILY

F O U N D AT I O N
E. 83/84 Streets), 7:30-10:30pm, 212-327-4700,

www.one83restaurant.com Funded in part by Council Member Inez E. Dickens, 9th C.D., Speaker Christine Quinn and the New York City Council

• Tues 8/25: Jack Wilkins & Harvie S. at Bella Luna • Tues 8/25: Jazz for Curious Listeners at National Jazz (Charlie Parker Pl.) www.kenhatfield.com
Restaurant. 8:00pm. 584 Columbus Ave. @ 88th St. Museum in Harlem. 7:00pm. Free. “Wynton Marsalis: • Wed 8/26: Brian Woodruff Sextet at Bar 66. 8:30pm. $5.
212-877-2267. www.jackwilkins.com Chamber.” 104 E. 126th St., Suite 2C. 212-348-8300. No min. 66 Charlton St., Four Points, Sheraton, SoHo.
• Tues 8/25: Bossa Brasil at Jule’s Bistro. 8:30pm. 65 www.jazzmuseuminharlem.org 347-528-3534. http://bar66nyc.blogspot.com
Saint Marks Pl. 212-477-5560. www.julesbistro.com. • Tues 8/25: Cecil Bridgewater & Jazzmobile Allstars • Wed 8/26: Gayle Scott & Lou Moneta with New York’s
www.mauriciodesouzajazz.com on 122nd St. bet. 7th & Lenox Ave. 212-866-4900. Finest Jazz Band at Feinstein’s at Loews Regency.
• Tues 8/25: Art Lillard’s On Time Band at 55 Bar. www.jazzmobile.org 8:30pm. 540 Park Ave. @ 61st St. 212-339-4095.
7:00pm. No cover. 55 Christopher St. 212-929-9883. • Tues 8/25: Cecil Taylor at The Highline Ballroom. 8:00pm http://feinsteinsattheregency.com
www.55bar.com. www.artlillard.com & 10:30pm. $25 advance; $30 at door. 431 W. 16th St. (Bet. • Wed 8/26: Frank Wess at Grant’s Tomb. 7:00pm. 122nd St.
• Tues 8/25: Tommy James with Mark McGowan, Dave 9th & 10th Ave.) 212-414-5994. www.highlineballroom.com & Riverside Dr. 212-866-4900. www.jazzmobile.org
Glasser, Hassan (JJ Wiggins) Shakur & Brian Grice at • Wed 8/26: Ken Hatfield with Eric Hoffman & Hans • Wed 8/26: Drew Gress / 7 Black Butterflies, Bruno Walter
Blaue Gans. 8:00pm. No cover. 139 Duane St. (Bet. W. Glawischnig at Trinity Lower East Side Lutheran Parish Auditorium, 111 Amsterdam Ave @ 65th Street / The New
Broadway & Church St.) 212-571-8880. www.kg-ny.com Garden. 8:00pm. Free, outdoors. 602 E. 9th St. @ Ave. B York Public Library for the Performing Arts Dorothy and
Lewis Cullman Center/ Free Admission Doors open at 7pm;
concert at 7:30pm, 212-870-1793
• Wed 8/26: Sing! Sing! Sing! at The Triad. 7:00pm. $10
cover; $10 min. “The Great American Songbook Sing-a-
long” hosted by Anne Phillips and Michael Shepley.” Lyrics
provided. 158 W. 72nd St. (Bet. Broadway & Columbus).
www.triadnyc.com. http://singsingsing-east.blogspot.com
• Thurs 8/27: Jason Campbell with Pat Bianci & Wayne
Henderson at Perks Jazz Club. 8:00pm. No cover or min.
123rd & Manhattan Ave. www.jasoncampbelljazz.com
• Thu 8/27: Willie Martinez La Familia Sextet, Nuyorican
Poets Café, 236 East 3rd St. between Aves B & C, Two Sets
@ 9:30 & 11:00, www.williemartinez.com, www.nuyorican.org.
www.flushingtownhall.org
• Thu 8/27: Adriano Santos Brazilian Jazz Quintet, David
August 1-2 WAllAce Roney Quintet Binney, alto sax, Helio Alves, piano, David Ambrosio, ac.
Bass, Dendê, percussion, Adriano Santos, drums; Zinc
August 3 lARRy coRyell subs FoR les PAul Bar, 9:30PM, 11PM, 1AM, 82 West 3rd Street, Greenwich
August 4 the cliFton AndeRson Quintet Village, 212-477-9462, www.zincbar.com,
• Thurs 8/27: Eddie Gomez at National Jazz Museum
August 5 gAbRiel esPinosA cd ReleAse in Harlem. 6:30pm. Free. 104 E. 126th St., Suite 2C.
212-348-8300. www.jazzmuseuminharlem.org
August 6-9 FRedA PAyne sings ellA FitzgeRAld
• Thu 8/27: David Silliman Trio, One 83 Restaurant, 1608
August 10 bucky PizzARelli subs FoR les PAul First Avenue, New York, (Between E. 83/84 Streets),
August 11 the Joe bAione sextet
• Thurs 8/27: Kelsey Jillette with Tom Abbott, Hiro Honma,
August 12-16 eliAne eliAs tRio- tRibute to bill evAns Jason Lawrence & Brad Whiteley at 55 Bar. 7:00pm.
55 Christopher St. 212-929-9883. www.55bar.com.
August 18 Jc hoPkins big bAnd www.kelseyjillette.com
August 19-23 tieRney sutton • Thurs 8/27: Tom Dempsey at La Lanterna Caffe. 8:00pm-
August 25 teRese genecco & heR little big bAnd www.lalanternacaffe.com. www.tomdempseymusic..com
• Thurs 8/27: Cynthia Holiday on 132nd St. bet. 7th & Lenox
August 26 ted kooshiAn’s stAndARd oRbit QuARtet Ave. 7:00pm. 212-866-4900. www.jazzmobile.org
cd ReleAse; the ed PAleRmo big bAnd • Thurs 8/27-Sun 8/30: Guitar Workshop with Vic Juris & Rez
Abbasi. $575 adult; $525 student under 26. 676 Riverside
August 27-30 dAvid sAnchez bAnd Dr., #4A. 917-340-0270. www.newyorkjazzworkshop.com
• Thurs 8/27: Jazz Knights: 18-piece big band from
West Point at St. Peter’s Church. 12:30pm. Jazz
on the Plaza. Free. 53rd & Lexington. 212-935-2200.
http://saintpeters.org/jazz
• Fri 8/28: Jonathan Batiste Trio 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 8/28: Stephanie Rooker at Blue Note. Late Night
Groove Series. 12:30am.131 W. 3rd St. 212-475-8592. www.
bluenotejazz.com
• Fri 8/28: Janine Alondres and Trio, One 83 Restaurant,
• Fri 8/28: Robert Glasper, Tarus Mateen & Kim Thompson

at 55 Bar. 10:00pm. 55 Christopher St. 212-929-9883. • Thurs 8/6: Reuben Radding/Daniel Carter Duo with
WANNA JAM?
www.55bar.com. Joe Branciforte Trio at Le Grand Dakar. 8:30pm. Free. Join the
NEW YORK
285 Grand Ave. (Bet. Clifton & Lafayette)
• Fri 8/28: La Lanterna Caffe. Victor Prieto @ 7:00pm &
9:00pm. Rodney Green @ 11:00pm & 12:30am. $10 cover. • Sat 8/8: KLARO at ParlorJazz. 9:00pm & 10:30pm. $20
JAZZ
129 MacDougal St. 212-529-5945. www.lalanternacaffe. incl. both sets, open wine bar, light refreshments & dessert.
com. www.victorprieto.net. www.rodneygreenmusic.com 119 Vanderbilt Ave. 718-855-1981.
ACADEMY
• Fri 8/28: Ghanniyya Green at Marcus Garvey • Sun 8/9: Andrew Rathbun Trio at Brooklyn Lyceum.
Park. 7:00pm. 122nd St. & 5th Ave. 212-866-4900. 9:00pm & 10:30pm. 227 4th Ave. 866-gowanus.
www.jazzmobile.org www.brooklynlyceum.com
• Fri 8/28-Sat 8/29: Dr. Mambo & Experience Ensemble with • Tues 8/11: Louise Dam Eckardt Jensen with Kevin Shea,
Dwight Brewster, Bill Jacobs, Alex Blake, Neil Clarke, Brandon Seabrook & Tom Blancarte at Le Grand Dakar.
KC Benjamin & Chacho Ramirez at Creole Restaurant. 8:30pm. Free. 285 Grand Ave. (Bet. Clifton & Lafayette)
• Wed 8/12: Awakening Orchestra at Brooklyn
Lyceum. 8:00pm & 9:30pm. 227 4th Ave. 866-gowanus.
• Sat 8/29: Saturday Panels at National Jazz Museum in www.brooklynlyceum.com
Harlem. 10:00am. Free. “Jo Jones: The Man Who Played
• Sat 8/15: Art Lillard’s Heavenly Band at Tea Lounge.
Like the Wind.” 104 E. 126th St., Suite 2C. 212-348-8300.
8:30pm & 10:00pm. 837 Union St., Park Slope.
718-789-2762. www.tealoungeNY.com. www.artlillard.com
• Sat 8/29: Caleb Curtis Quintet at Bar 66. 8:30pm. $5.
• Sun 8/16: Joe Magnarelli at Brooklyn Lyceum.
9:00pm & 10:30pm. 227 4th Ave. 866-gowanus.
347-528-3534. http://bar66nyc.blogspot.com
www.brooklynlyceum.com
• Sat 8/29: Charlie Parker Jazz Festival with Frank Wess
• Tues 8/18: Dave Ballou, Ben Gerstein, James Ilgentritz
Quintet, Gary Bartz, José James & Aaron Parks. From
& Harris Eisenstadt at Le Grand Dakar. 8:30pm. Free.
3:00pm. Free. Marcus Garvey Park, 124th St. & Mt. Morris
Park. www.cityparksfoundation.org
285 Grand Ave. (Bet. Clifton & Lafayette)
Now Registering
• Sat 8/29: La Lanterna Caffe. Brandon Lee @ 7:00pm &
• Wed 8/19: Chris McNulty & Paul Bollenback Group
at Brooklyn Lyceum. 8:00pm & 9:30pm. 227 4th Ave.
2009-2010
9:00pm. Will Winson @ 11:00pm & 12:30am. $10 cover.
866-gowanus. www.brooklynlyceum.com
Enroll
129 MacDougal St. 212-529-5945. www.lalanternacaffe.com.
www.bleejazz.com. www.willvinson.com • Thurs 8/20: Howard Alden & Warren Vache at Bargemusic.
• Sat 8/29: Darien at Blue Note. Late Night Groove Series.
8:00pm. $25; $15 student. Fulton Ferry Landing, at the foot Online!
of the Brooklyn Bridge. 718-624-2083. www.bargemusic.org.
12:30am.131 W. 3rd St. 212-475-8592. www.bluenotejazz.com
• Sun 8/23: Gary Fisher at Brooklyn Lyceum.
• Sat 8/29: Eldar Djangirov at The Highline Ballroom.
8:00pm. $20 advance; $25 at door. 431 W. 16th St. (Bet. 9th
& 10th Ave.) 212-414-5994. www.highlineballroom.com
• Tues 8/25: Tim Kuhl with Michael Attias, James Ilgenfritz
• Sun 8/30: Marta Gomez at Blue Note. 12:30pm & 2:30pm.
& Ryan Mackstaller at Le Grand Dakar. 8:30pm. Free. 285
$24.50 includes brunch, show & 1 drink. 131 W. 3rd St.
Grand Ave. (Bet. Clifton & Lafayette)
212-475-8592. www.bluenote.net
• Wed 8/26: Jean Rohe at Brooklyn Lyceum.
• Sun 8/30: Donny McCaslin with Ben Monder, Adam Cruz
& Ricky Rodriguez at 55 Bar. 7:00pm. 55 Christopher St.
212-929-9883. www.55bar.com.
• Thurs 8/27: Rob Schwimmer at Bargemusic. 8:00pm. $25;
• Sun 8/30: Charlie Parker Jazz Festival with Cedar
$15 senior; $10 student. Fulton Ferry Landing, at the foot of
Walton Quartet, Papo Vazquez Pirates Troubadores,
the Brooklyn Bridge. 718-624-2083. www.bargemusic.org.
Pyend Threadgill & the Dred Scott Trio. From 3:00pm.
Free. Tompkins Square Park, E. 8th St. bet. Aves. A & B. • Thurs 8/27: Veronica Nunn Trio at Puppets Jazz Bar.
www.cityparksfoundation.org 6:00pm. $10. 481 Fifth Ave., Park Slope (Bet. 11th & 12th St.)
• Mon 8/31: Michelle Walker at La Lanterna Caffe. • Sun 8/30: Akiko Pavolka at Brooklyn Lyceum.
8:00pm-11:30pm. $10 cover. 129 MacDougal St. 9:00pm & 10:30pm. 227 4th Ave. 866-gowanus.
212-529-5945. www.lalanternacaffe.com. www.myspace. www.brooklynlyceum.com
com/michellewalkerjazz • Thurs 9/3: Jacob Varmus Quartet with Toru Dodo, Kevin
Thomas & Brian Woodruff at Puppets. 9:00pm. $6 cover,
$10 min. 481 5th Ave., Park Slope. (Bet. 11th & 12th St.)
Brooklyn
Queens
• Sun 8/2: Dave Allen with Donny McCaslin, Drew Gress &
Adam Cruz at Solo Kitchen & Bar. 9:00pm. 1502 Cortelyou
Rd. www.daveallenjazz.com • Thurs 8/6: Lonnie Youngblood at 111-34 198th St. & Hollis.
• Tues 8/4: Justin Wood Trio at Le Grand Dakar. 8:30pm. 7:00pm. 212-866-4900. www.jazzmobile.org
Free. 285 Grand Ave. (Bet. Clifton & Lafayette) • Thurs 8/6: Boilermaker Jazz Band with Paul Cosentino at
• Wed 8/5: Ras Moshe at Brooklyn Lyceum. 8:00pm & Forest Hills. 7:00pm. Free. 70th Road bet. Queens Blvd &
9:30pm. 227 4th Ave. 866-gowanus. www.brooklynlyceum.com Austin St. www.jazzthursdays.com
• Thurs 8/6: Luiz Simas with Adriano Santos & Itaiguara • Fri 8/7, 8/14, 8/21, 8/28: Hiromi Suda with Hiroya
at Bargemusic. 8:00pm. $25; $20 senior; $15 student. Tsukamoto & Keita Ogawa at Linn. 8:00pm. 29-13
Fulton Ferry Landing, at the foot of the Brooklyn Bridge. Broadway, Astoria. 718-204-0060. www.linnrestaurant.com.
718-624-2083. www.bargemusic.org. www.hiromisuda.com

• Sat 8/9: Lew Picardi Orchestra at Flushing Town Hall Main St., Madison. 973-822-2899. www.shanghaijazz.com. The River Queen. Noon-4:00pm. $89 includes music &
Garden. 1:00pm. 137-35 Northern Blvd. 718-463-7700. • Sat 8/8: Joris Teepe Big Band at Puffin Foundation. food. Leaves Bogan’s Brielle Basin at Barnegat Bay. Call
www.flushingtownhall.org 8:30pm & 10:00pm. 20 Puffin Way, Teaneck. 732-830-3496 for ordering & directions. www.njjs.org
• Sat 8/9: Carol Sudhalter 8-piece band at Queens Library, • Mon 8/10: Swingadelic at Maxwell’s. 9:00pm. No • Mon 8/24: Swingadelic at Maxwell’s. 9:00pm. No
Central Branch. 3:00pm. Free. 89-11 Merrick Blvd., cover. 1039 Washington St., Hoboken. 201-653-1703. cover. 1039 Washington St., Hoboken. 201-653-1703.
Jamaica. 718-990-0700. www.maxwellsnj.com www.maxwellsnj.com
• Tues 8/11: Arturo O’Farrill at Louis Armstrong House & • Tues 8/11-Wed 8/12: John Pizzarelli & Jessica Molaskey • Wed 8/26: Nicki Parrott at Shanghai Jazz. 24 Main St.,
Archive. 7:00pm. 34-56 107th St., Corona. 212-866-4900. at Shanghai Jazz. 6:30pm & 8:15pm. $79 each for full- Madison. 973-822-2899. www.shanghaijazz.com.
www.jazzmobile.org course dinner & show. 24 Main St., Madison. 973-822-2899. • Thurs 8/27: Jack Wilkins & Howard Alden at Glen Rock
• Thurs 8/13: 18-piece Ensemble of Police Officers at www.shanghaijazz.com. Inn. 7:00pm. 222 Rock Rd., Glen Rock. 201-445-2362.
Forest Hills. 7:00pm. Free. 70th Road bet. Queens Blvd & • Tues 8/11: Taj Mahal & Bonnie Raitt at NJPAC Prudential • Sat 8/29: Rob Paparozzi Quartet at Shanghai Jazz. 24
Austin St. www.jazzthursdays.com Hall. 7:30pm. $43.25-$88.25. One Center St., Newark. Main St., Madison. 973-822-2899. www.shanghaijazz.com.
• Fri 8/14: Jazzberry Jam at Marcus Garvey Park. 7:00pm. 888-466-5722. www.njpac.org
• Sun 8/30: Bossa Brazil at Market in the Middle. Noon.
122nd St. & 5th Ave. 212-866-4900. www.jazzmobile.org • Tues 8/11: Swingadelic on Central Ave., Westfield. No cover or min. 516 Cookman Ave., Asbury Park.
• Thurs 8/20: The Brawner Brothers at Forest Hills. 7:00pm. Sweet Sounds of Downtown Jazz Series in 732-776-8886. www.marketinthemiddleasburypark.com.
7:00pm. Free. 70th Road bet. Queens Blvd & Austin St. Westfield. www.swingadelic.com www.mauriciodesouzajazz.com
www.jazzthursdays.com • Thurs 8/13, 8/20, 8/27: Mauricio de Souza Trio at • Mon 8/31: Bossa Brazil at Labrador Lounge. 7:00pm.
• Sun 8/23: Willie Martinez at Flushing Town Hall Green St. Café. 5:00pm. No cover or min. 20 Green No cover or min. 3581 Rt. 35 N, Normandy Beach. 732-830-
Garden. 1:00pm. 137-35 Northern Blvd. 718-463-7700. St., Newark. (Across from City Hall). 973-642-7373. 5770. www.kitschens.com. www.mauriciodesouzajazz.com
www.flushingtownhall.org www.mauriciodesouzajazz.com
• Thurs 8/13: Vic Danzi & Lou Sabini at Glen Rock Inn.
7:00pm. 222 Rock Rd., Glen Rock. 201-445-2362. …And Beyond
Bronx
• Thurs 8/13: Morris Nanton Trio at Shanghai Jazz. 24
Main St., Madison. 973-822-2899. www.shanghaijazz.com. • Sat 8/1: Ladysmith Black Mambazo at Belleayre
• Sun 8/2, 8/9, 8/16, 8/23, 8/30: Alexander McCade Group • Fri 8/14: Mauricio de Souza Trio at Green Olive. 8:00pm. Music Festival. 8:00pm. $55, $40, $30, $25. Tent Off
at Cullens Tavern. 5:00pm. 4340 White Plains Rd. No cover or min. 455 Passaic St., Hackensack. 201-487- Route 28, Highmount, NY. 800-942-6904, ext. 1344.
718-655-8955. www.amccabemusic.com 0759. www.northjersey.com. www.mauriciodesouzajazz.com. www.belleayremusic.org. www.mambazo.com
• Mon 8/3: Lou Donaldson at Co-Op City. 7:00pm. Greenway • Fri 8/14: Grover Kemble Trio at Shanghai Jazz. 24 Main • Sat 8/1: Caramoor Jazz Festival, Venetian Theater. Jean-
@ Section 5. 212-866-4900. www.jazzmobile.org St., Madison. 973-822-2899. www.shanghaijazz.com. Michel Pilc, Chris Tordini & Ari Hoenig perform Modern
Lights @ 3:00pm. Cedar Walton’s “50 Years of Giant Steps”
• Thurs 8/13: Arturo O’Farrill at 141st St. bet. Willis & • Sat 8/15: Dave Stryker Trio at Shanghai Jazz. 24 Main @ 4:15pm. Gerald Clayton, Joe Sanders & Justin Brown
Alexander Ave. 7:00pm. 212-866-4900. www.jazzmobile.org St., Madison. 973-822-2899. www.shanghaijazz.com. @ 5:30pm. Chuchito Valdés Quartet and Dianne Reeves’
• Sat 8/15: Ray Schinnery on 153rd St. bet. Convent & • Sun 8/16: Bossa Brasil at Langosta Lounge. 1:00pm. Strings Attached with Romero Lubambo & Russell Malone
Amsterdam Ave. 7:00pm. 212-866-4900. www.jazzmobile.org 1000 Ocean Ave., Asbury Park. 732-455-3275. @ 8:00pm. $59, $44, $29. 149 Girdle Ridge Road, Katonah,
• Thurs 8/20: Dave Gibson on Lyman Pl. bet. Freeman & www.langostalounge.com. www.mauriciodesouzajazz.com NY. 914-232-5035. http://caramoor.org
169th St. 7:00pm. 212-866-4900. www.jazzmobile.org • Mon 8/17: Allan Vaché with Matt Hoffmann, Randy • Sat 8/1: Litchfield Jazz Festival. Dafnis Prieto @ noon.
Reinhart, Mark Shane, Brian Nalepka, Kevin Dorn & Trio Da Paz & Leny Andrade @ 1:45pm. Wycliffe Gordon
Terry Blaine at Bickford Theatre. 8:00pm. $15 in advance; & Jay Leonhart Quartet @ 3:30pm. Benny Green & Bucky
Staten Island Pizzarelli @ 5:15pm. Bill Henderson Quartet @ 7:00pm.
$18 at door. On Columbia Turnpike @ Normandy Heights
Road, east of downtown Morristown. 973-971-3706. Preservation Hall Jazz Band @ 8:45pm. $55 tent, $35 lawn
www.njjs.org in advance; $65 tent, $45 lawn at gate; kids under 12 free on
• Mon 8/10: Annette A. Aguilar & Stringbeans at Tappen lawn. Kent School, One Macedonia Rd. (Rt. 341), Kent, CT.
Park. 7:00pm. 212-866-4900. www.jazzmobile.org • Wed 8/19: Bucky Pizzarelli at Shanghai Jazz. 24 Main
St., Madison. 973-822-2899. www.shanghaijazz.com. • Sun 8/2: Litchfield Jazz Festival. Ted Nash Quartet @
noon. Lionel Loueke Trio @ 1:30pm. Dena DeRose
• Wed 8/19: Allan Vaché with Vinnie Corrao, Brian Nalepka Quartet featuring Claudio Roditi @ 3:30pm. Houston
New Jersey
& Kevin Dorn at Ocean County Library. 8:00pm. $13 Person Quartet @ 5:15pm. Poncho Sanchez Latin Jazz
advance; $15 at door. 101 Washington St., Toms River. Band @ 7:00pm. $55 tent, $35 lawn in advance; $65 tent,
732-255-0500. www.ocean.edu $45 lawn at gate; kids under 12 free on lawn. Kent School,
• Sat 8/1: Sherrie Maricle & The DIVA Jazz Orchestra at
Centenary College. 5:00pm & 8:00pm. Hackettstown. • Wed 8/19: John Zweig with Carrie Jackson & Rick Crane One Macedonia Rd. (Rt. 341), Kent, CT.
www.divajazz.com at Highlawn Pavilion. 7:00pm. No cover or min. 381 Eagle • Sun 8/2: Caramoor Jazz Festival, Venetian Theater.
Rock Ave., West Orange. 973-731-3463. www.highlawn.com Junior Mance Trio @ 2:30pm. Cyrus Chestnut Trio
• Sat 8/1: Herbie Hancock & Lang Lang with New Jersey
Symphony Orchestra, John Axelrod, conductor, at • Thurs 8/20-Fri 8/21: Eric Frazier CD Release Party, Cecil’s @ 3:30pm. Luciana Souza & Romero Lubambo @
NJPAC Prudential Hall. 8:00pm. $29-$118. One Center Jazz Club, 364 Valley Rd., W. Orange, NJ, 973-736-4800, 4:45pm. Randy Weston African Rhythms Trio @ 6:00pm.
St., Newark. 888-466-5722. www.njpac.org 9pm, 10:30pm, 12am, $15. www.ericfraziermusic.com $50, $35, $20. 149 Girdle Ridge Road, Katonah, NY.
914-232-5035. http://caramoor.org
• Sat 8/1: Tony DeSare Trio at Shanghai Jazz. 24 Main St., • Thurs 8/20: Bucky Pizzarelli & Jerry Bruno at Glen Rock
Madison. 973-822-2899. www.shanghaijazz.com. Inn. 7:00pm. 222. Rock Rd., Glen Rock. 201-445-2362. • Fri 8/7: Pablo Ziegler’s Trio for Luevo Tango at
Belleayre Music Festival. 8:00pm. $25. Lodge Off
• Mon 8/3: Neville Dickie at Bickford Theatre. 8:00pm. • Thurs 8/20: Swingadelic at Sinatra Park. 7:00pm. Route 28, Highmount, NY. 800-942-6904, ext. 1344.
$15 in advance; $18 at door. On Columbia Turnpike @ Hoboken. www.swingadelic.com www.belleayremusic.org. www.pabloziegler.om
Normandy Heights Road, east of downtown Morristown.
• Fri 8/21 & Sat 8/22: Junior Mance at Shanghai Jazz. 24 • Fri 8/7: George Wein’s Jazz Festival 55 in Newport,
973-971-3706. www.njjs.org
Main St., Madison. 973-822-2899. www.shanghaijazz.com. RI. Etta James, Howard Alden & Anat Cohen Quartet
• Thurs 8/6: Bob DeVos & Dave Stryker at Glen Rock Inn. @ 8:00pm. $35-$89. International Tennis Hall of Fame,
• Fri 8/21: Mauricio de Souza Trio at Green Olive. 8:00pm.
7:00pm. 222 Rock Rd., Glen Rock. 201-445-2362. 194 Bellevue Ave. www.jazzfestival55.com
No cover or min. 455 Passaic St., Hackensack. 201-487-
• Fri 8/7: Joris Teepe Big Band, Cecils Jazz Club 364 Valley 0759. www.northjersey.com. www.mauriciodesouzajazz.com. • Sat 8/8: 3D Ritmo de Vida at The West Gate, Best
Rd - West Orange, NJ, www.joristeepe.com Western. 11:15pm. Hudson 26, Route 59, Nyack, NY.
• Sun 8/23: Riverboat Swing with Ed Polcer, Midiri
• Sat 8/8: Claudio Roditi Quartet at Shanghai Jazz. 24 Brothers, Mark Shane, Frank Tate & Joe Ascione on 845-358-8100. www.westgatelounge.com.

JACK KLEINSINGER
Highlights In JAZZ
Presents
• Sat 8/8: Leny Andrade with Cesar Camago Mariano/
Romero Lubambo Duo at Belleayre Music Festival.
8:00pm. $55, $40, $30, $25. Tent Off Route 28, Highmount,
NY. 800-942-6904, ext. 1344. www.belleayremusic.org.
N e w Yo r k ' s L o n g e s t R u n n i n g J a z z C o n c e r t S e r i e s
• Sat 8/8: George Wein’s Jazz Festival 55 in Newport, RI.
*** F i n a l Ye a r * * *
Mos Def, Branford Marsalis Quartet, Joshua Redman
Trio, Esperanza Spalding, Cedar Walton with Lew
Tabackin & Curtis Fuller, Hiromi, Vandermark 5, Jane Four Great JAZZ Concerts
Monheit, Christian McBride Trio, Vijay Iyer Trio, Miguel Thurs. Sept. 10, 2009 - 8 pm Thurs. Nov. 12, 2009 - 8 pm
Zenón Quartet, North Carolina Central Big Band,
Branford-Joey Duo & Claudia Acuña from 11:30am-
Living
Cabaret
7:00pm. $15-$100. Fort Adams State Park, Harrison Ave.
www.jazzfestival55.com
Jazz Legends
• Sun 8/9: George Wein’s Jazz Festival 55 in Newport,
RI. Tony Bennett, Dave Brubeck Quartet, Roy Haynes
Band, Michel Camilo, Joe Lovano, Christian McBride,
Jazz Buddy Bucky
Steve Bernstein Band, Bad Plus with Wendy Lewis, Barbara DeFranco Pizzarelli
Carroll
James Carter, Brian Blade Band, Rudresh Mahanthappa with with
Band, By Any Means, Rodriguez Brothers, Roy Guzman
Quintet. 11:30am-7:00pm. $15-$100. Fort Adams State Jay Leonhart John Pizzarelli
Park, Harrison Ave. www.jazzfestival55.com
Paula Joe Cohn Martin Pizzarelli
West
• Fri 8/14: Kevin Mahogany at Belleayre Music Festival.
8:00pm. $25. Lodge Off Route 28, Highmount, NY. Ron Odrich Mickey Roker
800-942-6904, ext. 1344. www.belleayremusic.org.
• Sat 8/15: Kevin Eubanks Band at Belleayre Music
Ed Metz, Jr.
Festival. 8:00pm. $55, $40, $30, $25. Tent Off Thurs. Oct. 8, 2009 - 8 pm Thurs. Dec.10, 2009 - 8 pm
Route 28, Highmount, NY. 800-942-6904, ext. 1344.
www.belleayremusic.org.
• Sun 8/23: BB King with Marcia Ball, John Lee Hooker Hot Jazz Celebrating The
Jr., Christopher Robin Band & Eran Troy Danner at
Ives Concert Park. Starts @ 4:00pm. $85, $44, $35;
$25 lawn. On the Westside Campus of Western CT State
From New Orleans... Swing Masters
Evan Christopher
University, University Blvd., Danbury. 203-438-5795. Terry
Duke Heitger
www.ivesconcertpark.com
Ken
Gibbs Freddie
• Fri 8/28: Lewiston Jazz Festival. Mambo Kings @ 5:30pm.
Pete Malinverni & Jody Sandhaus with Ron Corsaro’s
...To Israel Peplowski Recalls
Lionel
Bryant
Anat Cohen Recalls Recalls
Upstate Express @ 8:15pm. on the main stage. Other
Benny
Hampton Charlie
performers all day in various town venues. Free. Lewiston, Ehud Asherie Goodman Christian
NY. www.lewistonjazz.com
with
• Sat 8/29: Lewiston Jazz Festival. Don Menza Septet @ with
George Masso - Jackie Williams Derek Smith
7:30pm in band shell.Gap Mangione @ 8:00pm on the main
stage. Other performers all day in various town venues. Johnny Varro - Joe Ascione Nicki Parrott • Alvin Atkinson
Free. Lewiston, NY. www.lewistonjazz.com
Subscriptions are only $130 Produced in association with:
for all four Concerts BMCC TRIBECA

Performing Arts Center
Tickets for individual concerts Borough of Manhattan
may be ordered for:
Advertise
Community College
$35.00/students $32.50 199 Chambers Street
Mail Order Form to:
Here Highlights in Jazz, 7 Peter Cooper Rd., New York, NY 10010

Checks payable to: Highlights in Jazz
(Enclose a self-addressed stamped envelope)
Reserve by the  Please send ______ subscription(s) at $130.00 each for the
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Patitucci Continued from Page 9
started out. the whip in math and all those other subjects. But you knew to solve a certain problem. Then you go,
when it came to music, I was ‘all in.’ 24/7, I was trying “Wow, I should try using that again because I haven’t
JP: But it’s a process and you got to be in it for life. to listen to music, study music, pester people who I’d used that in a while.” You’ll re-awaken something that
Once you agree to that, you’re straight. You have to go to hear play if I liked their playing—‘How do you you haven’t explored in a while that you learned a long
be willing to be in it for life. That’s what I tell my do this? What are you doing?’ I just really wanted time ago. Or the other thing is that it really makes you
students. It’s not, “I’ll do this for a while and then to know so I never stopped being like that. I just try have to become clearer in explaining things to people
this and then everything will be cool and I won’t have to expand the music that I’m curious about and it’s because different people learn the stuff differently. So
to learn any more.” No, this is life, you are going to natural, because I like a lot of different styles, and you have to be creative and find the key to open up
be doing this forever and if you want to wrestle with there’s so much to learn. Sometimes you are learning each individual kid’s understanding, whether it’s of
this instrument, you got to have a lot of commitment, a bunch of stuff and you’re working on stuff and you the instrument itself, which is a huge can of worms,
because it’s physically demanding and it takes put on a Charlie Parker record again and it just freaks the bass. I make my students work on the classical stuff
everything you got. you out and you go, “Wow. I though I kind of had an too, to learn the instrument and really work on their
understanding of the bebop language and now I can sound. The mark of a great jazz musician is your sound.
JI: So that would lead to you perhaps making a see that it’s just way deeper than that.” And your rhythmic feeling has to be just amazing.
comment on the essential qualities or attitudes, You have to have a great sound. You have to have a
beyond musical skills, that people who are pursuing JI: So there’s always more to learn. When I interviewed beautiful sound and you have to have a great time feel
this music or creative path, and are committed to Pat Metheny he said that the vast majority of the and have to make the music feel great. So rhythmically
expressing themselves creatively and artistically, need people who will hear this music – and think that it is you have to be very strong and developed so with
to possess. brand new - haven’t even been born yet. those two things you can learn a lot on the bass, by
working on sound production with all of the technical
JP: Well, I think you have to have a serious work ethic. JP: Right, exactly, and they’ll keep going back and things that are a big huge thing when you are studying
You have to be willing to put everything into it. You discovering it. It’s incredible. It’s deep music and it’s the bass with classical music. Then obviously we have a
have to be willing to be teachable and you have to be timeless. It’s not like certain kinds of music, and I like whole other set of things that we have to learn to with
willing to accept and be honest with yourself about all kinds of music. There’s certain kinds of pop music the language of jazz, or the language of bebop, and the
the things you can’t do yet, so that you can work on that’s timeless but there is a lot of pop music that’s not rhythmic language—also the articulations, and the
them—instead of just practicing all of the stuff that timeless. It’s very tempocentric—it’s connected to a things that make it feel right—the blues. The blues is
you know how to do already. You have to be willing sound at a certain time and then once that goes away, incredibly important and that’s something that I really
to sound bad to get better—in the practice room, you you just kind of go, ‘Well that sounds dated,’ where try to stress to my students because now you have a
know? You got to be willing because if you don’t, if as if you listen to an old R&B record like a Stevie generation of kids that all want to play music in odd
you don’t sometimes sound bad in the practice room, Wonder record or those old Jackson Five records, time signatures all the time. (laughs) But, they have to
you’re not practicing, you know what I mean? You’re or an O’Jays record, its timeless—or a James Brown be able to play a slow and a medium blues. (laughs)
not going to get better. You got to be willing to record. You can listen to that from now to Kingdom
slow down and work on some stuff and develop the come and you go, “Wow, that is really hip.” JI: Right, or to play a ballad with intensity. When I
stuff that just doesn’t come out easily if you want to was younger and someone told me to listen to Shirley
get to the next level and get more freedom on your JI: With a lot of the jazz, as you were saying, when Horn or Jimmy Scott, I probably would have jumped
instrument. So that’s the thing. You really have to be you go back and listen to it, you realize that so much out of my skin. But once I discovered the intensity
honest with yourself. I always tell the students, “Look is there you hadn’t heard the previous time you of her play something like “Basin Street Blues” at an
man, I have a checklist. I always know the things that listened—these subtleties. incredibly slow tempo, it blew me away. It was more
bug me about my playing and I work on them. And intense than so much that is played at some super fast
there is always something more and that’s part of the JP: Yes, and as a bass player, I keep going back and try
tempo with lots of volume.
fun. I really enjoy practicing, so try to learn how to to listen as I grow in my understanding of the music
enjoy the process—that’s a big deal. and there are a lot of things in what Pettiford and JP: Exactly, and these are the things. We try to
Blanton played that are just really astounding—and help students develop deep skills and feeling for
JI: This kind of commitment is not for everybody— obviously, after those guys too. But there’s so much the music—not to just be cerebral, or play what’s
spending six or eight or ten hours in the practice room. stuff that happened, you know? It’s really incredible. fashionable now. Those things are interesting too. But
Every one has to do it because we love doing it. There was so much innovation, you know? There in particular, when the kids express interest in the odd
were all kinds of things each particular guy brought meter stuff, I try to steer them to the stuff that I think
JP: Yeah, and then obviously when you get older to the table and the instrument kept expanding. The
Danilo was pioneering many years back, with the use
and you have a family and everything, you just can’t bass has just really, really, really grown a lot since,
Afro-Cuban music and not just that but African music
do that many hours anymore. They just don’t exist. when you think about the first guys like Pops Poster
in all the Americas—in Panama and Chile and how
So you have to find a way to be organized and try to and everything. They were just innovating on the
you can use those rhythms and use claves and different
get the job done with less, but you still have to try to instrument and finding new techniques, and then
things in different meters. That makes it really more
regularly get in there, so you have to have that work you fast forward to now and think about all the guys
soulful. It has a connection to a groove where you
ethic. It keeps you moving forward. in between, you know? It’s mind boggling how the aren’t always counting all the time. Once you learn
instruments keep developing and expanding. a rhythmic pattern that you can play off of, then you
JI: It sounds like you clearly have a healthy curiosity
about ideas and people—in and out of music. Talk JI: We were talking about the educational process and can expound on that. It’s more of a groove and relating
a little bit about how that curiosity evolved over the of course you’re involved as a clinician and educator to the African concept which is less about sitting there
years? and going, 1-2, 1-2, 1-2-3, and more about finding a
and you’re teaching at City College in Harlem. Talk
groove within the time signature that relates to a clave
about how working with students has challenged,
JP: I think I’ve always been insatiable in wanting to supported or otherwise impacted your artistry and or a figure that can be repetitive in your mind. Even
know stuff. Some people need school to motivate the kinds of benefits that you get from teaching. when you are stretching on it wildly, you still have
them to learn. They need somebody to be pushing a center that helps you so that you’re doing it with
them to learn stuff. I was kind of the opposite—when JP: Well, it’s great because a lot of times when a your heart and your soul. So it’s visceral and not just
it came to music anyway. Other subjects, yes, I was just student comes in with a certain problem to solve, cerebral. That’s the stuff when it gets really interesting
like everybody else. I needed somebody to be cracking sometimes you wind of accessing stuff that you forgot Continued on Page 52

Calendar of Events
Birdland Blue Note Cecil’s Jazz Club Cleopatra’s Needle
315 West 44th Street 131 W Third St. 364 Valley Rd. 2485 Broadway
(betw. 8th & 9th Aves.) (betw. 6th & MacDougal) West Orange, NJ 07052 (betw. 92nd & 93rd St.)
212-581-3080 212-475-8592 973-736-4800 212-769-6969
AUGUST www.birdlandjazz.com www.bluenote.net www.cecilsjazzclub.com cleopatrasneedleny.com
1 - Sat Lou Donaldson 4 Bob James & Earl Klugh Margie “Gia” Notte Ken Simon 4
2 - Sun Arturo O’Farrill 5 Bob James & Earl Klugh Toru Dodo 3
3 - Mon Limbsakimbo; Jim Caruso Tessa Souter Cecil’s Big Band Roger Lent Jam
4 - Tue Ted Nash 4 Larry Carlton Bruce Williams Jam Session Robert Rucker Jam
5 - Wed David Ostwald Band; Trio 3 Larry Carlton Mid-Week Mellow Out Jon Weiss Open Mic
+ Geri Allen
6 - Thu Trio 3 + Geri Allen Larry Carlton Blues Jam Session Dan Furman 3
7 - Fri Birdland Big Band; Trio 3 + Larry Carlton Joris Teepe Big Band Evan Schwamm 4
Geri Allen
8 - Sat Trio 3 + Geri Allen Larry Carlton Steve Myerson Steve Carrington 4
9 - Sun Arturo O’Farrill 5 Larry Carlton Toru Dodo 3
10 - Mon Victoria Shaw; Jim Caruso Ronny Jordan Trio Cecil’s Big Band Roger Lent Jam
11 - Tue Steve Tyrell Bruce Williams Jam Session Robert Rucker Jam
12 - Wed David Ostwald Band; Lenny Steve Tyrell Mid-Week Mellow Out Jon Weiss Open Mic
Andrade
13 - Thu Leny Andrade Steve Tyrell Blues Jam Session Keith Ingham 3
14 - Fri Birdland Big Band Steve Tyrell Cecil Brooks III’s Birthday Bruce Harris 4
Bash
15 - Sat Steve Tyrell Cecil Brooks III’s Birthday Ken Simon 4

Bash
16 - Sun Arturo O’Farrill 5 Gil Scott-Heron Cecil Brooks III’s Birthday Toru Dodo 3
Bash
17 - Mon Nick Adams; Jim Caruso Tim Eriksen Cecil’s Big Band Roger Lent Jam
18 - Tue Bobby Broom 3 Kevin Eubanks Bruce Williams Jam Session Robert Rucker Jam
19 - Wed David Ostwald Band; Richie Kevin Eubanks Mid-Week Mellow Out Jon Weiss Open Mic
Beirach 5
20 - Thu Richie Beirach 5 Kevin Eubanks Blues Jam Session Mamiko Watanabe 3
21 - Fri Birdland Big Band; Richie Kevin Eubanks Eric Frazier Joonsam Lee 5
Beirach 5
22 - Sat Richie Beirach 5 Kevin Eubanks Eric Frazier Lance Murphy 4
23 - Sun Arturo O’Farrill 5 Kevin Eubanks Toru Dodo 3
24 - Mon Sally Mayes; Jim Caruso Gordon Chambers Roger Lent Jam
25 - Tue Hank Jones 3 Roy Ayers Robert Rucker Jam
26 - Wed David Ostwald Band; Hank Roy Ayers Jon Weiss Open Mic
Jones 3
27 - Thu Hank Jones 3 Roy Ayers Renaud Penant 3
28 - Fri Birdland Big Band; Hank Roy Ayers Waldron Ricks 4

Jones 3
29 - Sat Hank Jones 3 Roy Ayers Blue Haze over NY
30 - Sun Arturo O’Farrill 5 Roy Ayers
31 - Mon Darmon Meader 5; Jim Robert Rodriguez

Caruso

Calendar of Events
Cornelia St. Café Deer Head Inn Dizzy’s Club Dizzy’s Club
29 Cornelia St. 5 Main Street Coca Cola After Hours
(bet. W 4th & Bleecker) Delaware Water Gap, PA Broadway at 60th St., 5th Fl Broadway at 60th St., 5th Fl
212-989-9319 18327 212-258-9595 212-258-9595
AUGUST corneliastreetcafe.com www.deerheadinn.com www.jazzatlincolncenter.com/dccc www.jazzatlincolncenter.com
Izzy-Chris; John D’Amato; J. “Sweet” Sue Terry 4 Cedar Walton 3 Eli Yamin 4 Corniel 5
1 - Sat Valentine-Sunday Saints
2 - Sun Brooklyn Project Richie Roche & Nelson Cedar Walton 3

Hill
3 - Mon Simon Mulligan’s Cham- Bill O’Connell - Dave Valentin

ber Series & Richie Flores
4 - Tue Simon Mulligan’s Cham- Cedar Walton 4 Rick Germanson 3

ber Series
5 - Wed Simon Mulligan; James Trivia Game Cedar Walton 4 Rick Germanson 3
Weidman
6 - Thu Enoch Arden; Ben Jesse Green Jazz Jam Cedar Walton 4 Rick Germanson 3
Waltzer 3
Andy Bey Matt Vashlishan 4 Cedar Walton 4 Rick Germanson 3
Saturday, August 1 7 - Fri
Margie “gia” Notte 8 - Sat Frank Kimbrough; Dan

Tepfer
Zen for Primates Cedar Walton 4 Rick Germanson 3
Friday, August 7 9 - Sun

Dan Kaufman 3; Randy
Ingram 3; Jesse Stacken
Davey Lantz 3 Cedar Walton 4
Joris teepe 10 - Mon William Komaiko Christian McBride
CD release party 11 - Tue

Sachiko Kato; Taka Kigawa;
Joshua Fried; Jed Distler
John Patitucci, Joe Lovano & Richie Goods 4
Brian Blade
Saturday, August 8 12 - Wed Gene Pritsker; Kirk Trivia Game John Patitucci, Joe Lovano & Richie Goods 4
steve MyersoN Nurock
Matt Aucoin; Jes Distler; Frank
Brian Blade
Spencer Reed Blues John Patitucci, Joe Lovano & Richie Goods 4
CD release party 13 - Thu LoCrasto/Josh Mease
Jam Brian Blade
Jung Lin; Jed Distler; Jacob Sherrie Maricle Diva Trio John Patitucci, Joe Lovano & Richie Goods 4
Fri. & Sat., August 14 & 15 14 - Fri Sacks; Russ Lossing; Hankus
Brian Blade
Netsky
CeCil Brooks iii 15 - Sat
Barbara Sfraga Po’Jazz;
George Colligan; E Yamamoto
George Young 4 John Patitucci, Joe Lovano & Richie Goods 4
BirthDay Bash Eric Plaks 5; Bill Evans; 3 Spirit

Brian Blade
John Patitucci, Joe Lovano &
16 - Sun
80th Birthday Celebr. Brian Blade
Fri. & Sat., August 21 & 22
Brad Shepik 4 Carlos Henriquez 4
eriC Frazier 17 - Mon
Chrysalis Chico Hamilton Karolina Strassmayer & Drori
CD release party 18 - Tue
Mondlak
Ila Cantor Group Trivia Game Roy Haynes 4 Karolina Strassmayer & Drori
Sundays in August 19 - Wed
Mondlak
CloseD 20 - Thu Mike Baggetta 4 Jesse Green Jazz Jam Roy Haynes 4 Karolina Strassmayer & Drori
Mondlak
Mondays - August 3, 10 & 17 21 - Fri Ben Monder 3 Tom Whaley 3 Roy Haynes 4 Karolina Strassmayer & Drori
CeCil’s Big BaND Mondlak
Gerry Hemingway 5 Bob Dorough 3 Roy Haynes 4 Karolina Strassmayer & Drori
w/ Mike lee 22 - Sat
Mondlak
23 - Sun Speakeasy Roy Haynes 4

Tuesdays - August 4, 11 & 18
JaM sessioN 24 - Mon Dan Weiss Dan Nimmer 3
w/ BruCe williaMs 25 - Tue Nir Felder Group Music of Antonio Carlos Jobim Jimmy Madison & HMK Trio
& Stan Getz
Wednesdays - August 5, 12 & 19 26 - Wed Martin Urbach 7 Trivia Game Music of Antonio Carlos Jobim Jimmy Madison & HMK Trio
& Stan Getz
MiD-week Mellow out 27 - Thu French Nights Spencer Reed Blues Music of Antonio Carlos Jobim Jimmy Madison & HMK Trio
Jam & Stan Getz
Thursdays - August 6, 13 & 20 Son of Pony Go Trio Music of Antonio Carlos Jobim Jimmy Madison & HMK Trio
28 - Fri
Blues JaM sessioN & Stan Getz
29 - Sat Liar Show Mike Stephans Spatial Music of Antonio Carlos Jobim Jimmy Madison & HMK Trio
Edition & Stan Getz
30 - Sun Liar Show Wayne Smith & Spencer Music of Antonio Carlos Jobim
Reed & Stan Getz
31 - Mon Spoke Walter Blanding 5

Iridium The Jazz Gallery Jazz Standard Joe’s Pub
1650 Broadway 290 Hudson St. 116 E 27th St. 425 Lafayette St.
(below 51st St.) (below Spring St.) 212-539-8778
212-582-2121 212-242-1063 212-576-2232 www.joespub.com
AUGUST www.iridiumjazzclub.com www.jazzgallery.org www.jazzstandard.net
1 - Sat Wallace Roney Band Malaby - Sanchez - Rainey Freddy Cole 4 Fionn O Lochlainn/Brazz
Tree; London Review;
Clinton Curtis
2 - Sun Wallace Roney Band Jesca Hoop; Rachel Bay

Jones
3 - Mon Les Paul 3 Mingus Orchestra Kendel Carson; Cooper

Boone
4 - Tue Laurie Krauz & Daryl Kojak Alyson Williams Craig Wedren; Dana Leong
8
5 - Wed Gabriel Espinosa 7 SIM Faculty Sasha Dobson Happy Ending Music; Julian
Velard
6 - Thu Freda Payne Ernestine Anderson 4 + Ma’ayan Castel/Miz Metro;

Houston Person Henry Butler
7 - Fri Freda Payne Lage Lund 4 Ernestine Anderson 4 + Spencer Day; Sam Bradley;
Houston Person Rob Murat
8 - Sat Freda Payne Ernestine Anderson 4 + Spencer Day; Sam Bradley

Houston Person
9 - Sun Freda Payne Ernestine Anderson 4 + Reverend John DeLore;

Houston Person Emma Hunton
10 - Mon Les Paul 3 Mingus Dynasty Frankie Negron; William

Fitzsimmons
11 - Tue Joe Baione 6 Sean Jones 5 William Fitzsimmons
12 - Wed Eliane Elias Sean Jones 5 Cheryl Wheeler; Baye

Kouate
13 - Thu Eliane Elias Steve Kuhn 3 Tracy Bonham; Auktyon
14 - Fri Eliane Elias Avishai Cohen TRIVENI Steve Kuhn 3 Goldspot; DK Dyson/Don
Byron
15 - Sat Eliane Elias Steve Kuhn 3 Erik Mongrain; Plastic People;

Razia Said
16 - Sun Eliane Elias Steve Kuhn 3 Nick Hallett
17 - Mon Les Paul 3 Mingus Big Band Matt Doyle; Peterson
18 - Tue JC Hopkins Band Ali Jackson 5 Angel Taylor; Kassey Chambers,

Shane Nicholson
19 - Wed Tierney Sutton Ali Jackson 5 W.P.A.
20 - Thu Tierney Sutton Joanne Brackeen 4 + Mike Viola

Eddie Gomez
Tierney Sutton Gilad Hekselman 4 Joanne Brackeen 4 + Amber Rubarth; Marcus & EJ
21 - Fri
Eddie Gomez Strickland; Kiss This
22 - Sat Tierney Sutton Loren Stillman 4 Joanne Brackeen 4 + Venn Diagrams & Clay McLeod
Chapman; Burnt Sugar; Lady
Eddie Gomez Rizo
23 - Sun Tierney Sutton Joanne Brackeen 4 + First Fig; Lady Rizo

Eddie Gomez
24 - Mon Les Paul 3 Mingus Orchestra Francisco Mela
25 - Tue Terese Genecco Sachal Vasandani Clay Ross
26 - Wed Ted Kooshian 4 Julia Dollison & Kerry Our Hit Parade
Marsh
27 - Thu David Sanchez Band Larry Willis 5 Tamar-kali
28 - Fri David Sanchez Band Eric Revis 4 Larry Willis 5 Stephane Wrembel; Henry
Wolfe
29 - Sat David Sanchez Band Eric Revis 4 Larry Willis 5 Jose Pepito Gomez
30 - Sun David Sanchez Band Larry Willis 5 Kind Monitor
31 - Mon Les Paul 3 Mingus Dynasty

Kitano Lenox Lounge Smalls
66 Park Avenue 288 Lenox Avenue 183 W. 10th
(at 38th St.) (above 124th St.) 212-252-5091
212-885-7119 212-427-0253 smallsjazzclub.com
AUGUST www.kitano.com www.lenoxlounge.com
1 - Sat Mark Murphy 4 Allan Gumbs Harry Whitaker 4; Charles Davis 4;

Spencer Murphy 3
2 - Sun LaFayette Harris 3 Terry Waldo 3; Marion Cowings 4;

Spike Wilner; Alex Stein 4
3 - Mon Patience Higgins 4 Falkner Evans 3; Ari Hoenig 3

Aug 1 9:00PM SOUL OF THE BLUES FESTIVAL
4 - Tue Joey Morant Fredrik Noren; Ken Fowser & Behn
Aug 2 8:30PM THE BROOKLYN PROJECT Gillece 5
Aug 3 8:30PM PIANO FESTIVAL: SIMON MULLIGAN’S Linda Presgrave 4 Nathan & Max Lucas 3 Jay Leonhart; Gerald Clayton 3; Frank
5 - Wed
CHAMBER MUSIC SERIES Basile 4
Aug 4 8:30PM PIANO FESTIVAL: SIMON MULLIGAN Mark Sherman 4 Good Home Cooking Band John Merrill 3; Joris Teepe 5; Sacha
6 - Thu
Aug 5 8:30PM PIANO FESTIVAL: SIMON MULLIGAN & Perry 3
JAMES WEIDMAN 7 - Fri Grady Tate 4 Valerie Capers Karolina Strassmayer & Drori Mondlak;
Richie Vitale 5; Lawrence Leathers
Aug 6 7:00PM ENOCH ARDEN; A CELEBRATION OF THE
200TH BIRTHDAY OF ALFRED, 8 - Sat Grady Tate 4 Valerie Capers Lee Kostrinsky; Dwayne Clemons 5;
LORD TENNYSON Richie Vitale 5; Stacy Dillard 3
9:00PM BEN WALTZER TRIO LaFayette Harris 3 Terry Waldo 3; Marion Cowings 4; Dave
9 - Sun
Aug 7 9:00PM GNU VOX SPECIAL: ANDY BEY Schnitter 5; Alex Stein 4
Aug 8 9:00PM PIANO FESTIVAL: FRANK KIMBROUGH
10 - Mon Patience Higgins 4 Adam Birnbaum 3; Ari Hoenig 3
10:30PM PIANO FESTIVAL - DAN TEPFER, SOLO PIANO:
VARIATIONS ON THE GOLDBERG VARIATIONS Joey Morant Jon Roche 2; Itai Kriss 4; Ken Fowser &
11 - Tue
Aug 9 8:30PM PIANO FESTIVAL: RANDY INGRAM TRIO Behn Gillece 5
10:00PM PIANO FESTIVAL: JESSE STACKEN 12 - Wed Mercedes Hall 4 Nathan & Max Lucas 3 Dan Tepfer; Owen Howard 5; Nick
Aug 10 8:30PM PIANO FESTIVAL: WILLIAM KOMAIKO Hempton 4
Aug 11 8:30PM PIANO FESTIVAL: COMPOSERS 13 - Thu Karolina Strassmayer-Drori Good Home Cooking Band Ehud Asherie 2; Albert Rivera 5; Sacha
Mondlak 4 Perry 3
COLLABORATIVE SPECIAL
14 - Fri Gary Smulyan 3 Houston Person Yuko Kimura 4; John Marshall 5; Alex
Aug 12 8:30PM PIANO FESTIVAL: KIRK NUROCK
Hoffman 3
Aug 13 8:30PM PIANO FESTIVAL: FRANK LOCRASTO-
15 - Sat Gary Smulyan 3 Houston Person Ralph Lalama 3; John Marshall 5;
JOSH MEASE Spencer Murphy 3
Aug 14 9:00PM PIANO FESTIVAL - DUOS LaFayette Harris 3 Terry Waldo 3; Marion Cowings 4;
16 - Sun
Aug 15 9:00PM PIANO FESTIVAL - SOLOS - AND A TRIO Spike Wilner; Alex Stein 4
Aug 16 8:30PM PIANO FESTIVAL Patience Higgins 4 Michael Kanan 3; Ari Hoenig 4
17 - Mon
BILL EVANS’S 80TH BIRTHDAY CELEBRATION
Aug 17 8:30PM GUITAR FESTIVAL: BRAD SHEPIK QUARTET 18 - Tue Reggie Woods Band Spike Wilner; Grant Stewart 4; Corin
Stiggall
Aug 18 8:30PM GUITAR FESTIVAL: CHRYSALIS
19 - Wed Mauricio de Souza 4 Nathan & Max Lucas 3 Peter Bernstein; Frank LoCrasto 3;
Aug 19 8:30PM GUITAR FESTIVAL: ILA CANTOR GROUP Anderson Twins 5
Aug 20 8:30PM GUITAR FESTIVAL: MIKE BAGGETTA QUARTET Scott Robinson 4 Michael Max Fleming Ehud Asherie 2; Victor Prieto 4; Dwayne
20 - Thu
Aug 21 9:00PM BEN MONDER TRIO Clemons 5
10:30PM 21 - Fri Ken Peplowski 4 Danny Mixon 4 Jeremy Pelt 4; Lawrence Leathers
Aug 22 9:00PM DRUMS FESTIVAL:
10:30PM GERRY HEMINGWAY QUINTET 22 - Sat Ken Peplowski 4 Danny Mixon 4 Jon Roche 5; Lee Kostrinsky; Jeremy
Pelt 4; Spencer Murphy 3
Aug 23 6:00PM SPEAKEASY: STORIES FROM THE BACKROOM
Aug 24 8:30PM DRUMS FESTIVAL: DAN WEISS DUO 23 - Sun LaFayette Harris 3 Terry Waldo 3; Neal Smith 5 ; Alex
Stein 4
Aug 25 8:30PM GUITAR FESTIVAL: NIR FELDER GROUP
24 - Mon Patience Higgins 4 Neal Smith 5
Aug 26 8:30PM DRUMS FESTIVAL: MARTIN URBACH
CD RELEASE 25 - Tue Reggie Woods Band Fred Hersch 3; Jonathan Kreisberg 4;
Aug 27 8:30PM GNU VOX FESTIVAL: HEATHER MASSE Ken Fowser & Behn Gillece 5
Aug 28 6:00PM SON OF PONY Ben Geyer 6 Nathan & Max Lucas 3 Jay Leonhart; Omer Avital; Dmitry
26 - Wed
Aug 29 9:00PM GNU VOX FESTIVAL: SHEILA JORDAN & Baevsky 4
10:30PM JAY CLAYTON 27 - Thu Misha Piatigorsky 3 Michael Max Fleming Hans Glawischnig & Ben Monder; Rick
Germanson 3; Sacha Perry 3
Aug 30 8:30PM TWILIGHT TIME
Aug 31 8:30PM SPOKE Ebony Jo-An & Blackgold En- Carrie Jackson Brad Linde 7; Joe Magnarelli 4; Alex
28 - Fri
semble Hoffman 3
29 - Sat Ebony Jo-An & Blackgold En- Carrie Jackson Ned Goold 3; Joe Magnarelli 4; Stacy
semble Dillard 3
30 - Sun LaFayette Harris 3 Terry Waldo 3; Marion Cowings 4;
Roberta Piket 3; Alex Stein 4
31 - Mon Patience Higgins 4 Seamus Blake 5

Fulton Ferry Landing, Brooklyn
info@bargemusic.org
(718) 624-2083
www.bargemusic.org
AUGUST
One 83
Restaurant
1608 First Ave
(Betw. East 83rd-84th St)
212-327-4700
Smoke
2751 Broadway
(at 105th St.)
212-864-6662
www.smokejazz.com
The Stone
Ave. C and Second St.
www.thestonenyc.com
Village Vanguard
178 Seventh Ave. S
(below W 11th St.)
212-255-4037
villagevanguard.net
bargemusic
august jazz calendar: thursdays at 8pm
1 - Sat Jazz Brunch; Orrin Evans Johannes Lauer/Tyshawn Ethan Iverson - Reid Ander- 6 luiz simas trio
Sorey; First Meeting son - Paul Motian Brazilian Jazz Night
2 - Sun Jazz Brunch; Chris Ingrid Laubrock 3 Ethan Iverson - Reid Ander-
Washburne 6 son - Paul Motian
20
howard aldeN guitar
3 - Mon John Farnsworth 5 Laurie Anderson & Colin Greg Osby 6 warreN vache Cornet
Stetson
4 - Tue Richard Lee Wendell Mike LeDonne 4 Kris Davis; Johannes Lauer Greg Osby 6
27 roB schwimmer
Jam Session 4 piano and theremin
5 - Wed Dezron Douglas Weiss-Sorey; Tyshawn Greg Osby 6

Sorey 3
6 - Thu Morrie Louden Trio Smoke Big Band Oblique I; Oblique II Greg Osby 6
7 - Fri Janine Alondres Arturo O’Farrill 5 Oblique III; Mushin Greg Osby 6
and Her Trio
8 - Sat Jazz Brunch; Arturo Jesse Elder & Aya Nishina; Greg Osby 6
O’Farrill 5 Jesse Elder 5
9 - Sun Jazz Brunch; Chris Martin Urbach 3; Matana Greg Osby 6

Washburne 6 Roberts 3
10 - Mon John Farnsworth 5 Vanguard Jazz Orchestra
11 - Tue Richard Lee Wendell Mike LeDonne 4 Terrence McManus 5; Vijay J.D. Allen 3
Jam Session Iyer & High Priest
12 - Wed Freddie Bryant 4 BOMB-X; Fay Victor 3 J.D. Allen 3
13 - Thu Marco Panascia Trio SMOKE Big Band Craig Taborn; Dan Weiss 3 J.D. Allen 3
14 - Fri Janine Alondres Brad Mehldau / Peter Gerry Hemmingway; Wayne J.D. Allen 3
and Her Trio Washington / Joe Farns- Krantz & Mark Guiliana
worth
Have you always

Jazz Brunch; Brad Mehldau / Pete Robbins 5; Ben Ger- J.D. Allen 3
15 - Sat Peter Washington / Joe Farns-
worth
stein 6
wanted to write
16 - Sun Jazz Brunch; Chris BassDrumBone; Peripatet- J.D. Allen 3
Washburne 6 ics
17 - Mon John Farnsworth 5 Vanguard Jazz Orchestra
18 - Tue Richard Lee Wendell

Jam Session
Mike LeDonne 4 Joe Albano 5; Steve Ruel 4 Jason Moran 3 reviews of jazz
19 - Wed
20 - Thu Smoke Big Band

Fieldwork
Pascal Niggenkemper 3;
Jason Moran 3
Jason Moran 3
performances
& recordings?
Elias Bailey Trio Okkyung Lee 3
21 - Fri Janine Alondres Melvin Sparks Robbins-Pavone-Sorey; Jason Moran 3

and Her Trio Tom Rainey 3
22 - Sat Jazz Brunch; Melvin Mario Pavone 4 Jason Moran 3
23 - Sun
Sparks
Jazz Brunch; Chris
Washburne 6
John Zorn Improv Night Jason Moran 3 Jazz Inside™
24 - Mon
Richard Lee Wendell
John Farnsworth 5
Mike LeDonne 4
Vanguard Jazz Orchestra
Fay Victor 3; In Medias Res Paul Motian - Joe Lovano -

Magazine
25 - Tue
Jazz Inside™ NY
Jam Session Bill Frisell
26 - Wed George Colligan Wu-Wei: Chapter One; Wu- Paul Motian - Joe Lovano -
Wei: Chapter Two Bill Frisell
David Silliman Trio Smoke Big Band Wu-Wei: Chapter Three; Paul Motian - Joe Lovano -
Jazz Inside™
27 - Thu
Wu-Wei: Chapter Four Bill Frisell
28 - Fri Janine Alondres Tribute to Charlie Parker Wu-Wei: Chapter Five; Wu- Paul Motian - Joe Lovano -
Online
and Her Trio Wei: Postlude Bill Frisell
29 - Sat Jazz Brunch; Tribute to Thomas Morgan; Kyle Paul Motian - Joe Lovano -
Charlie Parker Quass 4 Bill Frisell
30 - Sun Jazz Brunch; Chris Steve Lehman & Craig Paul Motian - Joe Lovano -
Washburne 6 Taborn Bill Frisell Please respond ONLY via e-mail:
31 - Mon John Farnsworth 5 Vanguard Jazz Orchestra Jazz@JazzInsideMagazine.com

Clubs & Venues
55 Bar, 55 Christopher St. (betw 6th & 7th Ave.), 212-929-9883, corneliastreetcafe.com 718-486-6791, www.lailalounge.com
www.55bar.com Creole Café, 2167 Third Ave (at 118th), 212-876-8838. Le Grand Dakar Cafe, 285 Grand Ave, Clinton Hill, Brooklyn,
92nd Street Y, 1395 Lexington Ave, New York, NY 10128 Crossroads at Garwood, 78 North Ave., Garwood, NJ 07027, http://nymag.com/listings/restaurant/le-grand-dakar/
212.415.5500, www.92ndsty.org 908-232-5666 Le Madeleine, 403 W. 43rd St. (betw 9th & 10th Ave.), New York,
ABC — No Rio, 156 Rivington St. (betw Clinton & Suffolk), 212- Cutting Room, 19 W. 24th St, Tel: 212-691-1900, New York, 212-246-2993, www.lemadeleine.com
254-3697, www.abcnorio.org www.thecuttingroomnyc.com Le Figaro Café, 184 Bleecker (at MacDougal), 212-677-1100
Aaron Davis Hall, City College of NY, Convent Ave., 212-650- Detour, 349 E. 13th St. (betw 1st & 2nd Ave.), 212-533-6212, Lenox Lounge, 288 Lenox Ave. (above 124th St.), 212-427-0253,
6900, www.aarondavishall.org www.jazzatdetour.com www.lenoxlounge.com
Alice Tully Hall, Lincoln Center, Broadway & 65th St., 212-875- Division Street Grill, 26 North Division Street, Peekskill, NY, Les Gallery Clemente Soto Velez, 107 Suffolk St. (at Rivington
5050, www.lincolncenter.org/default.asp 914-739-6380, www.divisionstreetgrill.com St.), 212-260-4080
Allen Room, Lincoln Center, Time Warner Center, Broadway and Dizzy’s Club Coca Cola, Broadway at 60th St., 5th Floor, 212-258- Lima’s Taste, 122 Christopher St., 212-242-0010
60th, 5th floor, 212-258-9800, www.lincolncenter.org/default.asp 9595, www.jalc.com Living Room, 154 Ludlow St. (betw Rivington & Stanton),
American Museum of Natural History (Starry Nights), 81st St. & Dorian’s, 226 W. 79th (betw Bdwy/Amst), 212-595-4350 212-533-7235, www.livingroomny.com
Central Park W., 212-769-5100, www.amnh.org The Ear Inn, 326 Spring St., NY, 212-226-9060, www.earinn.com Makor, 35 W. 67th St. (at Columbus Ave.), 212-601-1000,
Anyway Café, 34 E. 2nd St., 212-533-3412 or 212-473-5021, eighty-eights, 1467 Main Street, Rahway, NJ, 732-499-7100 www.makor.org
www.anywaycafe.com El Museo Del Barrio, 1230 Fifth Ave (at 104th St.), Tel: 212-831- Marie’s Jazz Bar, 51 W. 46th, bet 5th-6th Av, 212-944-7005
Arthur’s Tavern, 57 Grove St., 212-675-6879 or 917-301-8759, 7272, Fax: 212-831-7927, www.elmuseo.org Merkin Concert Hall, Kaufman Center, 129 W. 67th St. (betw
www.arthurstavernnyc.com The Encore, 266 W. 47th St., 212-221-3960, www.theencorenyc.com Broadway & Amsterdam), 212-501-3330, www.ekcc.org/merkin.htm
Arts Maplewood, P.O. Box 383, Maplewood, NJ 07040; 973-378- Enzo’s Jazz at The Jolly Hotel Madison Towers: 22 E 38th St. at Metropolitan Room, 34 West 22nd Street New York City, NY
2133, www.artsmaplewood.org Madison Ave. (in the Whaler Bar located in the lobby) 10012, 212-206-0440, www.metropolitanroom.com
Avery Fischer Hall, Lincoln Center, Columbus Ave. & 65th St., Fat Cat, 75 Christopher St. (at &th Ave.), 212-675-7369, MetroTech Commons, Flatbush & Myrtle Ave., Brooklyn, NY,
212-875-5030, www.lincolncenter.org www.fatcatjazz.com 718-488-8200 or 718-636-4100 (BAM)
Backroom at Freddie’s, 485 Dean St. (at 6th Ave.), Brooklyn, NY, Feinstein’s at Loew’s Regency, 540 Park Avenue (at 61st Street), Minton’s Playhouse, 210 W. 118th St, (at St. Nicholas Ave.), www.
718-622-7035, www.freddysbackroom.com NY, 212-339-4095, feinsteinsattheregency.com uptownatmintons.com, 212-864-8346
BAM Café, 30 Lafayette Ave., Brooklyn, NY, 718-636-4100, Firehouse 12, New Haven, CT, 203-785-0468, www.firehouse12.com Mirelle’s, 170 Post Ave., Westbury, NY, 516-338-4933
www.bam.org Five Spot, 459 Myrtle Ave, Brooklyn, NY, Tel: 718-852-0202, Fax: Mixed Notes Café, 333 Elmont Rd., Elmont, NY (Queens area),
Bar4, 7 Ave and 15th, Brooklyn NY 11215, 718-832-9800, 718-858-8256, www.fivespotsoulfood.com 516-328-2233, www.mixednotescafe.com
www.Bar4.net Flushing Town Hall, 137-35 Northern Blvd., Flushing, NY, Mo-Bay Uptown, 17 W. 125th St., 212-876-9300,
Barbes, 376 9th St. (corner of 6th Ave.), Park Slope, Brooklyn, 718-463-7700 x222, www.flushingtownhall.org www.mobayrestaurant.com
718-965-9177, www.barbesbrooklyn.com Frank’s Cocktail Lounge, 660 Fulton St. (at Lafayette), Brooklyn, Mo Pitkins, 34 Avenue A, New York, NY, 212-777-5660
Barge Music, Fulton Ferry Landing, Brooklyn, 718-624-2083, NY, 718-625-9339, www.frankscocktaillounge.com Montauk Club, 25 Eighth Ave., Brooklyn, NY, 718-638-0800,
www.bargemusic.org Freddy’s Backroom, 485 Dean St., Brooklyn, NY 11217, 718-622-7035 www.montaukclub.com
B.B. King’s Blues Bar, 237 W. 42nd St., 212-997-4144, Galapagos, 70 N. 6th St., Brooklyn, NY, 718-782-5188, Museum of the City of New York, 1220 Fifth Ave. (between 103rd
www.bbkingblues.com www.galapagosartspace.com & 104th St.), 212-534-1672, www.mcny.org
Beacon Theatre, 74th St. & Broadway, 212-496-7070 Garage Restaurant and Café, 99 Seventh Ave. (betw 4th and Musicians’ Local 802, 332 W. 48th St., 718-468-7376 or 860-231-
Birdland, 315 W. 44th St., 212-581-3080 Bleecker), 212-645-0600, www.garagerest.com 0663
Blue Note, 131 W. 3rd St., 212-475-8592, Gishen Café, 2150 Fifth Ave., 212-283-7699. NAMA, 107 W. 130th. (bet Lenox & 7th Av.), 212-234-2973
www.bluenotejazz.com/newyork Glen Rock Inn, (Glen Rock, New Jersey) 222 Rock Road, Newark Museum, 49 Washington Street, Newark, New Jersey
Bluestone Bar & Grill, 117 Columbia St., Brooklyn, NY, 718-403- Glen Rock, NJ 07452, 800-400-2362 07102-3176, 973-596-6550, www.newarkmuseum.org
7450, www.bluestonebarngrill.com The Goat, 21 South Orange Ave. So. Orange, NJ New Jersey Performing Arts Center, 1 Center St., Newark, NJ,
Blue Water Grill, 31 Union Square West, 212-675-9500 973-275-9000, www.thegoatcafe.typepad.com 07102, 973-642-8989, www.njpac.org
Bodles Opera House, 39 Main St, Chester, NY 10918, Greenwich Village Bistro, 13 Carmine St., 212-206-9777, New School Performance Space, 55 W. 13th St., 5th Floor (betw
www.bodles.com www.greenwichvillagebistro.com 5th & 6th Ave.), 212-229-5896, www.newschool.edu.
Bourbon Street Bar and Grille, 346 W. 46th St, NY, 10036, Harlem Tea Room, 1793A Madison Ave., 212-348-3471, New School University-Tishman Auditorium, 66 W. 12th St., 1st
212-245-2030, contact@bourbonny.com, www.harlemtearoom.com Floor, Room 106, 212-229-5488, www.newschool.edu
contact@frenchquartersny.com Helen’s, 169 Eighth Ave. (betw 18th & 19th St.), 212-206-0609, New York City Baha’i Center, 53 E. 11th St. (betw Broadway &
Bowery Poetry Club, 308 Bowery (at Bleecker), 212-614-0505, www.helensnyc.com University), 212-222-5159, www.bahainyc.org
www.bowerypoetry.com Hopewell Valley Bistro, 15 East Broad St, Hopewell, NJ 08525, Night & Day, 230 Fifth Ave., Brooklyn, NY (at President St.), 718-
BRIC Studio, 647 Fulton St., Brooklyn, NY, Tel: 718-855-7882 609-466-9889, www.hopewellvalleybistro.com 399-2161, www.nightanddayrestaurant.com
x53, Fax: 718-802-9095, www.bricstudio.org Houston’s, 153 E 53rd St, New York, 10022, 212-888-3828 Night of the Cookers, 767 Fulton St., Brooklyn, NY, Tel: 718-797-
Brooklyn Exposure, 1401 Bedford Avenue, Brooklyn, NY 11216, Il Campanello Ristorante, 136 W. 31st St. (betw 6th and 7th Ave.), 1197, Fax: 718-797-0975
718-783-8220 212-695-6111, www.ilcampanelloristorante.com North Square Lounge, 103 Waverly Pl. (at MacDougal St.),
Brooklyn Public Library, Grand Army Plaza, 2nd Fl, Brooklyn, Iridium, 1650 Broadway (below 51st St.), 212-582-2121, 212-254-1200, www.northsquarejazz.com
NY, 718-230-2100, www.brooklynpubliclibrary.org www.iridiumjazzclub.com Nublu, 62 Ave. C (betw 4th & 5th St.), 212-979-9925, www.nublu.net
Cachaça, 35 West 8th St (bet. 5th/6th Aves), 212-388-9099 Jazz 966, 966 Fulton St., Brooklyn, NY, 718-638-6910 Nuyorican Poet’s Café, 236 E. 3rd St. (betw Ave. B & C), 212-505-
www.cachacajazz.com Jazz at Lincoln Center, 33 W. 60th St., 212-258-9800, www.jalc.org 8183, www.nuyorican.org
Café 111, 111 Court St., Brooklyn, NY, 718-858-2806, Frederick P. Rose Hall, Broadway at 60th St., 5th Floor Oak Room at The Algonquin Hotel, 59 W. 44th St. (betw 5th and
www.cafe111online.com Dizzy’s Club Coca-Cola, Reservations: 212-258-9595 6th Ave.), 212-840-6800, www.thealgonquin.net
Café Bar, 247 Eldridge (Houston, Stanton), 212-505-0955 Rose Theater, Tickets: 212-721-6500 Orbit, 2257 First Ave. (at 116th St.), 212-348-7818,
Café Carlyle, 35 E. 76th St., 212-570-7189, www.thecarlyle.com THE ALLEN ROOM, Tickets: 212-721-6500 www.orbiteastharlem.com
Café Loup, 105 W. 13th St. (West Village) , between Sixth and Jazz Gallery, 290 Hudson St., Tel: 212-242-1063, Fax: 212-242- Orchid, 765 Sixth Ave. (betw 25th & 26th St.), 212-206-9928
Seventh Aves., 212-255-4746 0491, www.jazzgallery.org Oro Blue, 333 Hudson St. (at Charlton St.), 212-645-8004
Café St. Bart’s, 109 E. 50th St. (at Park Ave.), 212-888-2664, The Jazz Spot, 375 Kosciuszko St. (enter at 179 Marcus Garvey Pace Downtown Theatre, 3 Spruce St. (betw Park Row & Gold St.),
www.cafestbarts.com Blvd.), Brooklyn, NY, 718-453-7825, www.thejazz.8m.com 212-346-1715
Café Steinhof, 422 Seventh Ave. (14th St., Park Slope S.), Brooklyn, Jazz Standard, 116 E. 27th St., 212-576-2232, www.jazzstandard.net Parlor Entertainment, 555 Edgecomb Ave., 3rd Floor (betw 159 &
NY, 718-369-7776, www.cafesteinhof.com Jimmy’s, 43 East 7th Street (between 2nd and 3rd Ave), 160 St.), 212-781-6595, www.parlorentertainment.com
Caffé Buon Gusto, 151 Montague St., Brooklyn, NY, 718-624- 212-982-3006 Parlor Jazz, 119 Vanderbilt Ave. (betw Myrtle & Park), Brooklyn,
3838, www.caffebuongustoonline.com Joe’s Pub at the Public Theater, 425 Lafayette St & Astor Pl., NY, 718-855-1981, www.parlorjazz.com
Cami Hall, 165 W. 57th, 212-978-3726, www.camihall.com 212-539-8778, www.joespub.com Peddie School-Jazz Fridays Series, South Main St. Box A,
Carnegie Club, 156 W. 56th St., 212-957-9676, John Birks Gillespie Auditorium (see Baha’i Center) Hightstown, NJ 08520, 609-490-7500
www.hospitalityholdings.com Jules Bistro, 65 St. Marks Place, Tel: 212-477-5560, Fax: 212-420- www.peddie.org/community/Capps/concerts.asp
Carnegie Hall, 7th Av & 57th, 212-247-7800, www.carnegiehall.org 0998, www.julesbistro.com Perch Cafe, Brooklyn
Cecil’s Jazz Club & Restaurant, 364 Valley Rd, West Orange, NJ, Kitano Hotel, 66 Park Ave., 212-885-7000 or 800-548-2666, Perk’s, 535 Manhattan Ave, New York NY 10027,
Phone: 973-736-4800, www.cecilsjazzclub.com www.kitano.com 212-666-8500
Charley O’s, 713 Eighth Ave., 212-626-7300 The Kitchen, 512 W. 19th St., 212-255-5793 Performance Space 122, 150 First Av., 212-477-5829, www.ps122.org
The Church-in-the-Gardens, 50 Ascan Ave., Forest Hills, NY, Knickerbocker Bar & Grill, 33 University Pl., 212-228-8490, Porter’s, 216 Seventh Ave. (bet 22nd & 23rd), 212-229-2878
718-268-6704, www.thechurchinthegardens.org www.knickerbockerbarandgrill.com Priory Restaurant & Jazz Club: 223 W Market St., Newark, NJ
Cleopatra’s Needle, 2485 Broadway (betw 92nd & 93rd), The Knitting Factory, 74 Leonard St., Tel: 212-219-3132, 07103, 973-639-7885
212-769-6969, www.cleopatrasneedleny.com www.knittingfactory.com Proper Café, 217-01 Linden Blvd., Queens, NY 11411, 718-341-
Cobi’s Place, 158 W. 48th (bet 5th & 6th Av.), 516-922-2010 Kush, 191 Chrystie Street, New York , NY, 212-677-7328 2233, jazz Wednesdays
Community Church of NY, 40 E. 35th St. (betw Park & Madison L&M Loft, 170 Tillary St. #205, Brooklyn, 718-855-5952. Prospect Park Bandshell, 9th St. & Prospect Park W., Brooklyn,
Ave.), 212-683-4988, www.ccny.org La Lanterna (Next Door at La Lanterna), 129 MacDougal Street, NY, 718-768-0855
Copeland’s, 547 W. 145th St. (at Bdwy), 212-234-2356 New York, 212-529-5945, www.lalanternarcaffe.com Pumpkins, 1448 Nostrand Ave, Brooklyn, 718-284-9086,
Cornelia Street Café, 29 Cornelia St., 212-989-9319, www. Laila Lounge, 113 N. 7th St. (betw Wythe & Berry), Brooklyn, NY, www.pumpkinsjazz.com

Puppets Jazz Bar, 294 5th Ave. at 1st Street, Park Slope, Brooklyn, Terra Blues, 149 Bleecker St. (betw Thompson & LaGuardia),
NY, 718-499-2627, www.PuppetsJazz.com 212-777-7776, www.terrablues.com
Rare, 416 W. 14 St. (betw 9th Av & Washgtn), 212-675-2220 Theatre Row, 410 W. 42nd, 212-714-2442, www.theatrerow.org
RARE Jazz at The Lexington Lounge, 303 Lexington Ave (at 38th Tito Puente’s Restaurant and Cabaret, 64 City Island Avenue,
St.), 212-481-8439 City Island, Bronx, 718-885-3200, www.titopuentesrestaurant.com
Red Eye Grill, 890 Seventh Ave. (at 56th St.), 212-541-9000, Tonic, 107 Norfolk St. (betw Delancey & Rivington), Tel: 212-358-
www.redeyegrill.com 7501, Fax: 212-358-1237, tonicnyc.com
Richie Cecere’s Restaurant and Supperclub, 2 Erie Street Town Hall, 123 W. 43rd St., 212-997-1003
Montclair, NJ 07042, 973.746.7811, www.RICHIECECERE.com Triad Theater, 158 W. 72nd St. (betw Broadway & Columbus Ave.),
River Room, Riverbank State Park, Riverside Drive at 145th Street, 212-362-2590, www.triadnyc.com
212-491-1500, www.theriverroomofharlem.com Tribeca Performing Arts Center, 199 Chambers Street, 10007,
Robin’s Nest Restaurant & Bar, 2075 1st Av, 212-316-6170 info@tribecapac.org, www.tribecapac.org
Rose Center (American Museum of Natural History), 81st St. Trumpets, 6 Depot Square, Montclair, NJ, 973-744-2600, www.
(Central Park West & Columbus), 212-769-5100, www.amnh.org/rose trumpetsjazz.com
Rose Hall, 33 W. 60th St., 212-258-9800, www.jalc.org the turning point cafe, 468 Piermont Ave. Piermont, N.Y. 10968
Rosendale Café, 434 Main St., PO Box 436, Rosendale, NY 12472, (845) 359-1089, http://www.turningpointcafe.com/
845-658-9048, www.rosendalecafe.com Village Vanguard, 178 7th Avenue South, 212-255-4037, 212-741-0091, www.thecoll.com
Roth’s Westside Steakhouse, 680 Columbus Ave., Tel: 212-280- www.villagevanguard.net Five Towns College, 305 N. Service Rd., 516-424-7000, ext.163,
4103, Fax: 212-280-7384, www.rothswestsidesteakhouse.com Vision Festival, 212-696-6681, info@visionfestival.org, Dix Hills, NY
Ruby Lounge, 186 E. 2nd St., 212-387-9400 www.visionfestival.org Greenwich House Music School, 46 Barrow St., Tel: 212-242-
Rustik, 471 DeKalb Ave, Brooklyn, NY, 347-406-9700, www. Watchung Arts Center, 18 Stirling Rd, Watchung, NJ 07069, 4770, Fax: 212-366-9621, www.greenwichhouse.org
rustikrestaurant.com 908-753-0190, www.watchungarts.org Juilliard School of Music, 60 Lincoln Ctr, 212-799-5000
St. John’s Lutheran Church, 115 Milton St. (betw Manhattan Ave. Watercolor Café, 2094 Boston Post Road, Larchmont, NY 10538, LaGuardia Community College/CUNI, 31-10 Thomson Ave.,
& Franklin St.), Brooklyn, NY, 718-389-4012 914-834-2213, www.watercolorcafe.net Long Island City, 718-482-5151
St. Mark’s Church, 131 10th St. (at 2nd Ave.), 212-674-6377 Weill Receital Hall at Carnegie Hall, 57th & 7th Ave, 212-247- Lincoln Center — Jazz At Lincoln Center, 140 W. 65th St., 10023,
St. Nick’s Pub, 773 St. Nicholas Av (at 149th), 212-283-9728 7800 212-258-9816, 212-258-9900
St. Peter’s Church, 619 Lexington (at 54th), 212-935-2200, Williamsburg Music Center, 367 Bedford Avenue, Brooklyn, NY Long Island University — Brooklyn Campus, Dept. of Music,
www.saintpeters.org 11211, (718) 384-1654 www.wmcjazz.org University Plaza, Brooklyn, 718-488-1051, 718-488-1372
Sanctuary, 25 First Ave. (above 1st St), 212-780-9786 Zankel Hall, 881 7th Ave, New York, 212-247-7800 Manhattan School of Music, 120 Claremont Ave., 10027,
Savoy Grill, 60 Park Place, Newark, NJ 07102, 973-286-1700 Zebulon, 258 Wythe St., Brooklyn, NY, 11211, 718-218-6934, 212-749-2805, 2802, 212-749-3025
Schomburg Center, 515 Malcolm X Blvd., 212-491-2200, www.zebuloncafeconcert.com New Jersey City University, 2039 Kennedy Blvd., Jersey City, NJ
www.nypl.org/research/sc/sc.html Zinc Bar, 90 W Houston St., 212-477-8337, www.zincbar.com 07305, 888-441-6528
Shades Bar, 720 Monroe St., Hoboken, NJ 07030, 888-374-2337, Zuni, 598 9th Ave # 1, New York, NY 10036, 212-765-7626 New School, 55 W. 13th St., 212-229-5896, 212-229-8936
www.shadesofhoboken.com New York University-Jazz/Contemporary Music Studies, 35
Shanghai Jazz, 24 Main St., Madison, NJ, 973-822-2899, RECORD STORES West 4th St. Room#777, 212-998-5446, 212-995-4043
www.shanghaijazz.com Princeton University-Dept. of Music, Woolworth Center Musical
Shelly’s, 104 W. 57th St. (betw 6th & 7th Ave.), 212-245-2422, Barnes & Noble, 1960 Broadway, at 67th St, 212-595-6859
Colony Music Center, 1619 Broadway. 212-265-2050, Studies, Princeton, NJ, 609-258-4241, 609-258-6793
www.shellysnewyork.com Queens College — Copland School of Music, City University of
Showman’s, 375 W. 125th St., 212-864-8941 www.colonymusic.com
Downtown Music Gallery, 342 Bowery (between 2nd & 3rd St), NY, Flushing, 718-997-3800
Shrimp Box on City Island, 64 City Island Ave, Bronx, NY, 718- Rutgers Univ. at New Brunswick, Jazz Studies, Douglass Campus,
885-3200 212-473-0043
J&R Music World, 23 Park Row (across from City Hall Park), PO Box 270, New Brunswick, NJ, 908-932-9302
Sidewalk Café, 94 Ave. A, 212-473-7373 SUNY Purchase, 735 Anderson Hill Rd., Purchase, NY
Silvermine Tavern, 194 Perry Ave. Norwalk, CT 06850, 203-847- 212-238-9000, www,jr.com
Jazz Record Center, 236 W. 26th St., Room 804, 914-251-6300, 914-251-6314
4558, www.silverminetavern.com Turtle Bay Music School, 244 E. 52nd St., New York, NY 10022,
Sista’s Place, 456 Nostrand Ave. (at Jefferson Ave.), Brooklyn, NY, 212-675-4480, www.jazzrecordcenter.com
Norman’s Sound & Vision, 67 Cooper Sq., 212-473-6599 212-753-8811, www.tbms.org
718-398-1766, www.sistasplace.org William Paterson University Jazz Studies Program, 300 Pompton
Skippers Plane Street Pub Restaurant & Jazz Club, 304 Princeton Record Exchange, 20 South Tulane Street, Princeton,
NJ 08542, 609-921-0881, www.prex.com Rd, Wayne, NJ, 973-720-2320
University Ave. Newark NJ 07102 (Across from Essex County
College), 973-733-9300, www.skippersplanestreetpub Rainbow Music 2002 Ltd., 130 1st Ave (between 7th & St. Marks
Pl.), 212-505-1774 RADIO
Slipper Room, 167 Orchard St. (at Stanton St.), 212-253-7246,
www.slipperroom.com Scotti’s Records, 351 Springfield Ave, Summit, NJ, 07901, WBGO 88.3 FM, 54 Park Pl, Newark, NJ 07102, Tel: 973-624-
Small’s, 183 W. 10th St. (at 7th Ave.), 212-929-7565, 908-277-3893, www.scotticd.com 8880, Fax: 973-824-8888, www.wbgo.org
www.fatcatjazz.com WCWP, LIU/C.W. Post Campus
Smith’s Bar, 701 8th Ave, New York, 212-246-3268 MUSIC STORES WFDU, http://alpha.fdu.edu/wfdu/wfdufm/index2.html
Smoke, 2751 Broadway, 212-864-6662, www.smokejazz.com Charles Colin Publications, 315 W. 53rd St., 212-581-1480 WKCR 89.9, Columbia University, 2920 Broadway
Snug Harbor Cultural Center, 1000 Richmond Terr., Staten Jody Jazz, 35 White St., 5th Floor, New York, NY 10013, Mailcode 2612, New York, NY 10027, Listener Line: (212) 854-
Island, NY, 718-448-2500, www.snug-harbor.org 212-219-4050, www.jodyjazz.com 9920, www.columbia.edu/cu/wkcr, jazz@wkcr.org
Sofia’s Restaurant - Club Cache’ [downstairs], Edison Hotel, Manny’s Music, 156 W. 48th St. (betw. 6th and 7th Ave), One Great Song, Hosted by Jay Harris, www.wmnr.org (at 6 on
221 W. 46th St. (between Broadway & 8th Ave), 212-719-5799 212-819-0576, Fax: 212-391-9250, www.mannysmusic.com Saturdays, and at www.tribecaradio.net at 11AM Sundays and again
Solomon’s Porch, 307 Stuyvesant Ave., Brooklyn, NY, Drummers World, Inc., 151 W. 46th St., NY, NY 10036, 212-840- on Monday and Thursday nights at 11PM.)
718-919-8001 3057, 212-391-1185, www.drummersworld.com
South Orange Performing Arts Center (SOPAC), One SOPAC Roberto’s Woodwind & Brass, 149 West 46th St. NY, NY 10036, PERFORMING GROUPS
Way, South Orange, NJ 07079, www.sopacnow.org, 973-313-2787 Tel: 646-366-0240, Fax: 646-366-0242, Repair Shop: 212-391- Westchester Jazz Orchestra, Emily Tabin, Exec. Director,
South Street Seaport, 207 Front St., 212-748-8600, 1315; 212-840-7224, www.robertoswoodwind.com PO Box 506, Chappaqua, NY 10514, 914-861-9100,
www.southstseaport.org. Rod Baltimore Intl Woodwind & Brass, 168 W. 48 St. New York, www.westjazzorch.org
Spoken Words Café, 266 4th Av, Brooklyn, 718-596-3923 NY 10036, 212-302-5893
Stanley H. Kaplan Penthouse, 165 W. 65th St., 10th Floor, Sam Ash, 160 West 48th St, 212-719-2299, www.samash.com
212-721-6500, www.lincolncenter.org ADDITIONAL JAZZ RESOURCES
Sadowsky Guitars, 20 Jay St. Brooklyn, NY, 718-422-1123,
Stella Adler Studio, 31 W. 27th St., 3rd Floor, 212-689-0087, www.sadowsky.com Big Apple Jazz, www.bigapplejazz.com, 718-606-8442, gordon@
www.stellaadler.com Steve Maxwell Vintage Drums, 723 7th Ave, 3rd Floor, New York, bigapplejazz.com
The Stone, Ave. C & 2nd St., www.thestonenyc.com NY 10019, 212-730-8138, www.maxwelldrums.com Louis Armstrong House, 34-56 107th St, Corona, NY 11368,
Stonewall Bistro, 113 Seventh Ave., 917-661-1335 718-997-3670, www.satchmo.net
Sugar Bar, 254 W. 72nd St., 212-579-0222 SCHOOLS, COLLEGES, CONSERVATORIES Institute of Jazz Studies, John Cotton Dana Library, Rutgers-
The Supper Club, 240 W. 47th St., 212-921-1940, Univ, 185 University Av, Newark, NJ, 07102, 973-353-5595
www.thesupperclub.com 92nd Street Y, 1395 Lexington Ave, New York, NY 10128 Jazzmobile, Inc., 154 W. 126th St., 10027, 212-866-4900,
Sweet Rhythm, 88 Seventh Ave. S. (betw Grove & Bleecker), 212.415.5500; www.92ndsty.org www.jazzmobile.org
212-255-3626, www.sweetrhythmny.com Brooklyn-Queens Conservatory of Music, 42-76 Main St., Jazz Museum in Harlem, 104 E. 126th St., 212-348-8300,
Swing 46, 349 W. 46th St.(betw 8th & 9th Ave.), Flushing, NY, Tel: 718-461-8910, Fax: 718-886-2450 www.jazzmuseuminharlem.org
212-262-9554, www.swing46.com Brooklyn Conservatory of Music, 58 Seventh Ave., Brooklyn, NY, Jazz Foundation of America, 322 W. 48th St. 10036,
Symphony Space, 2537 Broadway, Tel: 212-864-1414, Fax: 212- 718-622-3300, www.brooklynconservatory.com 212-245-3999, www.jazzfoundation.org
932-3228, www.symphonyspace.org Charles Colin Studios, 315 W. 53rd St., 212-581-1480 New Jersey Jazz Society, 1-800-303-NJJS, www.njjs.org
Table XII, 109 E. 56th St., NY, NY, 212-750-5656 City College of NY-Jazz Program, 212-650-5411, New York Blues & Jazz Society, www.NYBluesandJazz.org
Tea Lounge, 837 Union St. (betw 6th & 7th Ave), Park Slope, Columbia University, 2960 Broadway, 10027 Rubin Museum, 150 W. 17th St, New York, NY,
Broooklyn, 718-789-2762, www.tealoungeNY.com Drummers Collective, 541 6th Ave, New York, NY 10011, 212-620-5000 ex 344, www.rmanyc.org.

Around Town
performed with greats like Wynton Marsalis, Harry high school musicians and alumni of the York College
Belafonte and Dizzy Gillespie. In 1995 he began Summer Jazz Program. The ensemble performs in
Latin Jazz Pianist Arturo directing Chico O’Farrill’s Afro-Latin Jazz Orchestra, notable New York City venues and is returning for the
O’Farrill, August 11, a group dedicated to preserving the musical legacy fourth year to the Louis Armstrong House Museum,
Free Jazzmobile Concert at of his father. The band had a residency at Birdland where it is always a big hit.
for more than a decade and has toured around the The members of the Tin Pan Blues Band
Louis Armstrong House Museum world; its recent release “Song for Chico” won the describe themselves as Ray Charles and Tom Waits at

2008 GRAMMY for Best Latin Jazz Album of the a Bourbon Street Parade. This festive four-man combo
Louis Armstrong was famous for playing
Year. In addition to his career as a master musician, celebrates the most dominant and enlightened strains
trumpet on his balcony to the delight of his neighbors
Mr. O’Farrill works extensively in education, teaching of American music from the early 20th century: jazz,
in working-class Corona, Queens. Continuing the
everything from high school students to master’s blues, and popular song. The Tin Pan Blues Band is
tradition, the Louis Armstrong House Museum is
candidates. He is currently on the faculty of SUNY making its first appearance at the Louis Armstrong
pleased to present Arturo O’Farrill and his Afro-Latin
Purchase. House Museum.
Jazz Orchestra on Tuesday, August 11, for the eighth
It is only natural for jazz musicians to play in Both events are free. Regularly scheduled house
edition of Jazzmobile at LAHM. Organized for the
the home of the legendary Satchmo, who moved tours will take place during the concerts. Tickets are
benefit of our neighbors and the general public, the
to Corona, Queens, with his wife Lucille in 1943. $8; $6 for seniors and students with ID. Admission
event will begin at 7 pm outside Louis’s home on
includes a 40-minute guided tour of the historic
107th Street (between 34th and 37th Avenues). www. The couple spent the rest of their lives in this house.
Now their residence—still containing its original house, and entry to the museum’s current exhibit.
louisarmstronghouse.org
Jazzmobile is a trailer that opens up to become a furnishings—is a National Historic Landmark
stage, and its annual stop at Armstrong House inspires administered by Queens College. The tour explores WHEN: Saturdays, August 1 and 22, 2009, from
a jazz block party--perhaps the only one in New York. the life and legacy of Louis Armstrong and includes 1:00 pm to 3:30 pm.
tape recordings of him enjoying a meal with Lucille
at his dining room table, chatting with friends in his WHERE: The museum is located at 34-56
living room, or practicing the trumpet in his den. 107th Street in Corona, Queens. Directions, visit
For more information on the concerts and the Louis http://www.louisarmstronghouse.org/visiting/
Armstrong House Museum, including directions, visit overview.htm.
www.louisarmstronghouse.org.
Jazzmobile has been presenting free outdoor
concerts every summer since 1964, bringing the great
jazz artists of our time directly to the public.
Massachusetts Upbeat
This concert is free and open to the public and is about Jazz Tourism
sponsored by the New York State New Marketing Initiative Celebrates
Council on the Arts, the New York City Department
of Cultural Affairs, and the Louis Armstrong
Bay State’s Jazz Scene
Educational Foundation.
Massachusetts is singing the praises of its vibrant
jazz scene to visitors this summer, as tourism officials
introduce MassJazz, a new marketing initiative to
Hot Jazz and Cool Garden promote the Bay State’s extensive jazz activities year
round to the tourism industry.
at the Louis Armstrong Organizers of the campaign have issued a 40-page
House Museum MassJazz Travel Guide detailing hundreds of outdoor
Rising Musical Stars Play and indoor concerts, jazz festivals, nightclubs, radio
programs, hotel brunches and jazz connections for
Outdoor Concerts on Two Saturdays: out-of-town visitors and local residents. Details are
August 1 and 22 also available on http://www.massjazz.com/.
“The beauty of jazz is its influence from musical
The Armstrong House Will Be Open for Tours from cultures from across the world, while remaining a
Arturo O’Farrill Noon to 4 pm -- distinctly American art form,” said Governor Deval
Patrick. “We want to translate the unique features
Outstanding young bands will play old-time of Massachusetts’s jazz heritage into a strong tourism
Paying tribute to Satchmo on his birthday week, jazz
standards in Hot Jazz/Cool Garden, a free brand that appeals to both domestic and international
aficionados from all over the world relax in the balmy
concert series launched last summer by the Louis visitors.”
night air alongside longtime Corona residents, some
Armstrong House Museum. Made for the While promoting jazz concerts, festivals and
of whom remember when Louis lived on the block.
shade, the programs will take place in the museum’s clubs, organizers also plan to support the state’s
The entire family is invited to bring folding chairs and
Japanese garden on the first and fourth Saturdays of hospitality industry by publicizing jazz gigs and jazz
come ready to have a good time!
August, from 1:00 pm to 3:30 pm. brunches in hotels, restaurants and other venues.
Born in Mexico, raised in New York City, world-
Hot Jazz/Cool Garden was created to showcase “All summer and fall visitors can hear great jazz
renowned pianist and composer Arturo O’Farrill was
new groups that specialize in traditional jazz. This from Boston to the Berkshires, Cape Cod to the
exposed to Afro-Latin music at an early age: He’s
year’s lineup features the York College Blue Notes on North Shore, and everywhere in between,” said Betsy
the son of Arturo “Chico” O’Farrill, who helped
August 1 and Tin Pan Blues Band on August 22. The Wall, executive director of the Massachusetts Office
popularize the genre. The younger O’Farrill received
Louis Armstrong House will remain open for tours on of Travel & Tourism. “Our goal is to offer jazz as a new
formal training at the Manhattan School of Music,
both dates. way of showcasing the many cultural and hospitality
the Brooklyn College Conservatory and the Aaron
A big band in residence at York College/CUNY, amenities Massachusetts has to offer.”
Copland School of Music at Queens College, and has
the York College Blue Notes comprises talented local Wall pointed to the strong jazz presence in
regions across the state, with festivals taking place Jazz Festival in Boston each September, which draws then consider what Kansas City jazz master Ahmad
in Boston, Falmouth, Lenox, Marblehead, Melrose, upwards of 70,000 participants. Alaadeen has to say in the release of his first jazz
Pittsfield, Provincetown, Salem and Worcester over In addition to bolstering visitor attendance improvisation and history manual.
the next four months. at BeanTown, Tanglewood and a dozen other jazz Primarily known by his surname, Alaadeen, The
“Of the many cultural riches we have in festivals across the state, organizers hope to develop Rest of the Story is presented in a simplified manner
Massachusetts, our jazz treasures deserve to be music education as a tourism product too. They’ll with easy to understand terms. Alaadeen’s methods
celebrated in the tourism industry,” said MassJazz also promote summer jazz courses offered at local help guide intermediate to advanced artists in finding
founder Michael P. Quinlin, who developed the universities and at cultural venues like Jacob’s Pillow, themselves as soloists, while laying down a foundation
campaign with Massachusetts Office of Travel & which offers jazz dance workshops each July. to the art of improvisation. Written by a traditional
Tourism, Berklee College of Music, Tanglewood Jazz The MassJazz Travel Guide is available for free in musician, Alaadeen offers a performer’s perspective
Festival and other jazz advocates in the state. tourism centers around the state and in local concert rather than that of a theorist who may not play on a
Quinlin said that Massachusetts has a stellar venues, jazz clubs, hotels and restaurants. It is being regular basis.
tradition of producing popular jazz musicians like pianist distributed to incoming conventions, tour operators What’s unique about Alaadeen’s jazz method
Chick Corea, drummer Roy Haynes, saxophonists and travel agencies throughout North America and to manual and approach is that he encourages creativity
Sonny Stitt, Phil Woods and many others. select international outlets. and individuality in playing. “When I was coming
For up-to-date information about jazz activities up if you took a solo and sounded like anyone else,
In addition, Massachusetts offers some of the
year round, visit http://www.massjazz.com/. To you would be booted off the stage,” said Alaadeen.
world’s best jazz study programs at Berklee College
request further information, contact MassJazz at 617 Written in old school script, one aim of the manual
of Music, New England Conservatory, UMASS/
696 9880 or massjazz@comcast.net is to encourage music soloists to play with originality
Amherst and other universities throughout the state. from their instincts and gut.
Numerous jazz leaders have studied or taught in While the manual is not a step-by-step guide,
Massachusetts, including Quincy Jones, Diana Krall, it does contain lesson plans for jazz educators and
Branford Marsalis, Esperanza Spalding, Archie Shepp soloists. Also included are stories and photos from
and Yusef Lateef. User-Friendly Jazz Alaadeen’s life experience that are a part of our oral
“Today thousands of young people are studying Improvisation tradition. This experience contains musical values,
music here, and there is a long tradition of jazz knowledge and lesson, surprising stories of struggle
musicians learning their craft here and taking it out to
Methods to Finding Yourself as a Soloist
and great perseverance that should not be lost.
the rest of the world,” said Tom Riley, vice president
Do you have the desire to swing and make it your
of external affairs at Berklee. In addition to its year Music educators and soloists benefit from the manual
own thing? If you are a jazz educator or soloist,
round programs, Berklee hosts the annual BeanTown Continued on Page 53

Live Performance Reviews
ning – a tune titled “Oy Masti Masti which featured cally fruitful, though only occasional, pairing of Joe
Sean Nowell Group a very European style type feel and Mr. David Eggar Venuti and Zoot Sims. These cats impressively proved
Smalls Jazz Club on cello, who was simply incredible. Again tremen- why they are among the brightest of the legatees of
July, 2009 dous saxophone work from Nowell, an eye-popping the two legendary past masters.
solo from Eggar, and a very funk based guitar solo Pizzarelli went into his vocal mode with a
from Felder had you wanting more. smooth rendering of “Under a Blanket of Blue,” the
By Christopher Lams Mr. Nowell was also very personable, engaging beginning of the vocal section of the evening. He was
the audience as he explained the stories behind the soon joined by Kilgore and Molaskey on “We Take
One of the greatest aspects of being a jazz critic songs. on the Town,” another Pizzarelli tune that is catchy
in New York City is the element of discovery. To be The evenings first set closed with a gorgeous and fun. The ladies gave a knowing reading of “I
asked to attend a performance by an emerging jazz arrangement of the Beatles tune “I Will” which was Knew Him When,” before Kilgore gave us her take
artist, one with whom I have not previously been simply beautiful. A top-notch arrangement and anon “Pennies from Heaven,” with some scatted assis-
familiar, and then to be blown away by their perfor- other fantastic solo from cellist Eggar was just what tance from Pizzarelli, and a sublime version of one
mance is one of the joys of jazz. Hence add another the arrangement ordered. of those tunes that you hear and wonder why it is not
interesting and creative musician to my list. His Well it happened on this night again. I was not more frequently performed, “I’m Making Believe,”
name is Sean Nowell. Nowell is a monster tenor saxo- familiar with tenor saxophonist Sean Nowell – and penned by Mack Gordon and James V. Monaco. Mo-
phonist from Alabama who is slowly taking hold of now I’m a fan, very much enjoying his new release ti- laskey returned to advise us to “Wrap Your Troubles
the New York City scene. With extremely refreshing tled The Seeker. in Dreams.” Both of these ladies are superior jazz in-
compositions and chops that would make Tony Atlas fluenced vocalists who understand lyrics and phras-
proud - I would advise the New York City jazzbo to ing in a way that few others do.
keep an eye out on Mr. Nowell. John Pizzarelli and Guests
Need Story. It was time to give the spotlight over to the
On this gorgeous New York evening at Smalls The Pizza Party other Pizzarelli, brother and bassist Martin for “You
Jazz Club, the Sean Nowell Group (as he calls it) were Be the Judge,” a loving tribute to one of the great jazz
Birdland, New York City bassists of them all, Milt Hinton. No John Pizza-
taking the stage to celebrate his latest release. The set
opened up with a track titled “New York Vibe” from June 23-27, 2009 relli gig would seem complete without his revisiting
the new Posi-Tone release entitled The Seeker. And his biggest crowd pleaser, “I Like Jersey Best.” With
may I add - after getting a copy of this disc it is clearly the broadly beaming composer/lyricist Joe Cosgriff
up for running as a top ten in my collection for 2009. By Joe Lang looking on, Pizzarelli interpolated his impressions of
The opener slid in with a drum intro from Joe Ab- a multitude of other singers, including Paul Simon,
batantuono, which led right into the head, attracting John Valenti, owner of Birdland, sure knows Bruce Springsteen, Bob Dylan, Lou Reed, Lou Rawls
the listener’s attention and drawing one in instantly. how to throw a party! All you need do is to hire John and several others, into his extended and raucous
Nowells compositions are not only a demonstration Pizzarelli, ask him to bring along a crew of swinging version of this wacky and wonderful song. When he
of some serious tenor playing, but his melody lines cohorts, and voila, “The Pizza Party” happens, with alternated between his impressions of Billie Holiday
are very catchy. The piece featured exceptional solos an explosion of terrific music bringing the crowd to and Madeleine Peyroux, with no variation between
by Nowell, his guitar counterpart Nir Felder and Art one peak of enjoyment after another. the two, it brought down the house.
Hirahara on piano. I can’t overstate how important It is not only the music that satisfies, but also the To bring this highly entertaining evening to a
to take hold of a crowd right out of the gate and Now- charismatic and witty personality of Pizzarelli who is conclusion, Pizzarelli brought all instrumental hands
ell did just that. He had me! as fast with a quip as anyone on the scene today. His back on deck for another of his new tunes, “Some-
humorous between song patter, full of hip references, body Called Hanley,” and they left all on hand satis-
and gentle joshing of acquaintances in the audience, fied, but sorry that this interlude of unadulterated
brings a special extra element of entertainment to a good times had come to an end.
first rate jazz experience.
On Thursday evening of the five-day run, Pizza-
relli and his guitar was joined by vocalists Jessica Mo-
laskey (Mrs. Pizzarelli) and Rebecca Kilgore, tenor
saxophonist Harry Allen, violinist Aaron Weinstein,
pianist Larry Fuller, bassist Martin Pizzarelli and
“You have to know what
drummer Tony Tedesco. This is a group of superior
jazz players who also know how to project a sense of you want to get. But when you know
enthusiasm and joy in their performances. that, let it take you. And if it seems to take
“Lady Be Good” served as the opener, with each you off the track, don’t hold back because
of the players given an opportunity to strut their that is instinctively where you want to be.
stuff in the spotlight, highlighted by Pizzarelli’s scat- And if you hold back and try to be always
ting in unison with his guitar explorations. There where you have been before,
were several Pizzarelli originals on the program, one you will go dry.”
devoted to the selections from the new Arbors CD
“New York Vibe” was followed up by a composi- PIZZArelli Party with the Arbors All Stars. One of
tion titled “Domnowski Park” - which again featured these, “Strollin’ Down to Nola,” a tribute to the New
Nowell grabbing the tune by the horns and showing York City recording studio where the album was re-
his mastery of the tenor saxophone. This selection corded, proved to be an engaging bluesy number that —Gertrude Stein
featured a gorgeous piano solo by Hirahara. felt instantly familiar. “Joe and Zoot,” a feature for
Next up was my personal favorite of the eve- Weinstein and Allen, is Pizzarelli’s nod to the musi-

Avant-Jazz “No, America, no jazz”.
— Art Blakey
Reflections on Culture FOREIGN MUSICIANS IN
and Community AMERICA: THE ARTISTS VISA
By Patricia Parker
Our country is embroiled in a struggle for the In order to expand the audience/community base,
minds and hearts of its citizens. In a top-down, soci- it would be beneficial to serve a larger role in com-
ety, driven not by human concerns, but increasingly munities outside our immediate circles. Nowadays
dominated corporate interests, who and what creates it often seems as though we need our audience more
culture? than they need us. This is not only a problem; it is a
The role of culture is to reflect as well as inspire. Victoria M. Ingber
It simultaneously creates and is created by the peo-
ple. When culture is dominated by the need to make “In order to expand the Art Blakey would not be an example of a jazz
Musician with the minimal level of success necessary
money, society inevitably suffers. audience/community base, it to be eligible for an Artist Visa. For any foreigner
For many in our society, the word “culture” has interested in working in the US, certain strategies
come to mean consumerism, advertisements, and would be beneficial to serve dictated by the US Immigration Service will result
in an Artist Visa. The requirements for this type of
fashion. Much of the security we traditionally as-
sociate with “American Life” has been eroded by ac-
a larger role in communities visa, also known as the O-1 Visa are as follows:
tions taken out of fear, political manipulation, and a outside our immediate circles. Foreign Musician will need at least 3 of the
following:
suffering economy. Mass media continues to claim a
greater role in creating and defining our world and its
Nowadays it often seems as • CDS and demos;
cultures. As our globe has grown smaller, top-down, though we need our audience • Performances at prestigious venues;
• Letters of recommendation written by experts in
bottom line, commercial thinking has infiltrated
all of the arts. Culture has quietly slipped from the
more than they need us.” the field;
• Performances as lead in groups;
hands of the people. • Published announcements of gigs;
Undeniably, artists play a unique and vital role • Material published about foreign musician in
in the cultivation of culture. As artists, we consider lie. Unfortunately, it is also an accepted myth, a myth magazines, newspapers, internet, etc;
ourselves an integral part of culture, yet we are be- that we can not afford to let stand. • Membership in exclusive music organizations;
• Articles written by the foreign musician-in
coming so marginalized as to barely exist. In fact, our Alone, an artist may not be able to build a better books, magazines, and newspapers, etc;
existence is consistently questioned. (Is jazz dead?) world but what we do can help humanize the one that • Awards, certificates, honors, prizes; and / or
We pinch ourselves to ensure our reality. we live in. If we come together in community, we can • High yearly income.
Even now, we find ourselves subject to the age- weave a strong fabric using art as the thread. First we US Orchestra, Symphony, Music Group,
old tactic of divide and conquer. With a cut in the must imagine then create a culture in which art is a Representative, Agent or Manager will be
cloth of society and a tug on the thread of commu- unifying concept. This is only possible through an ef- needed to:
nication, the fabric of our culture will rip with the fort to reach out and draw in the community around • Sign all forms and petitions;
slightest pressure. Through advertisements and other us. And through a better understanding of the needs • Provide Tax ID Number or Social Security #;
media, we are encouraged to think exclusively in the of our community we can be responsive and less mar- • Provide basic information, such as address,
email, phone numbers, etc. Beside those who
short term. This myopia makes it easy to be marginal- ginalized. To properly address the problems we face
are entering due to their excellence in the music
ized and then “conquered.” Today, we need not fear we must act from a belief that what we do and don’t field, there are musicians entitled to enter the
control by foreign powers as much as we need to be- do is important, and what we do and don’t do does in US to work if they can be considered “culturally
ware the moneyed influences that are unresponsive fact, make a difference. unique”, such as Yoruban jazz musicians from
to our human needs and rights— but are so effec- This is not about building an Arts for Art, Inc. West Africa.
tively distracting us from them. The less we support community. This is Arts for the world in which we Bear in mind that many books and articles on the
the overall “mass media,” the more control we have live, a broad concept for all of artists and our ex- subject are very long and written in crazy legalese.
over our place in culture. tended communities. Immigration law can be understood best by a musician
We live, work and play as members of commu- My definition of Community is based on ex- when tailored to the needs of the musician. When
nities and Community could be the answer to these panded definition of family, and like any family, you done correctly, the results are amazing.
problems. Through building community we can be- don’t always have to like them but, bottom line, you Victoria Ingber is an immigration
gin to regain our power. By building coalitions the can’t live without them. They are your family. attorney specializing in the arts for
importance of art can be realized and our voices
over 25 years. In addition to being
heard. To do this, we need to see ourselves as inte-
gral members of a diversified community. So who is
an expert in the field of the transfer
our community? It is our family, friends, the schools of foreign talent to the US, Mrs.
with whom we are associated, as well as other artists Ingber is a voting member of New
“A lot of people mistake York Artists Equity Association,
of the same and different aesthetics and disciplines.
a short memory for a Inc. and the recipient of the 2003
We can come together around common cause. This
is possible as long as we can see our commonality and clear conscience.” National Leadership Award presented
not fall prey to divisive tactics. by the Presidential Committee for
For the health of our community we must ex- Women in Business. For questions:
pand our reach beyond our fellow artists. We need to —Doug Larson
212-686-3838; vingber@gmail.com.
include people who need and value what artists do.

Venue Review
“The musicians that attend and
Cleopatra’s Needle 2485 Broadway & 92nd St. run the sessions are nothing
By Gary Heimbauer but supportive. …”Toru Dodo,
When most people hear “Cleopatra’s Needle,” well known musicians because they are expensive,
who runs our Sunday night
they probably think of the big obelisk in Central Park, but even though we have a great reputation, we stay jam …is great as a musician…
or perhaps form a mental image of the ancient Egyp- open—we have no cover. It is completely free. We are
tian queen’s sewing accessories, but it is also the name good in Jazz, but we are good at other things as well.” very respected….he doesn’t
of one of the most unique and valuable jazz clubs in By doing this, he has managed to keep the snob- push you around and he allows
Manhattan, and it was chosen for good reason. The bery and ego element out of the club. Cleopatra’s Nee-
owner, Maher Hussein, is a native of Egypt who af- dle is a haven for young and talented up-and-coming the evolution of the night to
ter moving to the United States opened the club with musicians who are just looking to play on a few tunes happen by itself.”
his brother in 1989. Not only is the name a reference at a jam session without being dissected by their peers
to their homeland—it is also a symbol of Hussein’s while playing to a room full of sneering faces. The is a great teacher and he is as humble as Toru.” Hus-
philosophy and vision. He explains, “The needle was musicians that attend and run the sessions are noth- sein’s philosophy has worked. You will hear many
originally built in an Egyptian city for celebration ing but supportive. Hussein recognizes the value in musicians sitting in from age 18 to 80 on all different
named Heliopolis. A king at that time decided to this. He explains, “It’s not easy to find a musician that instruments, throughout the night. Even legends rec-
make a city for celebration and when he made that is good, that everyone likes, and that people feel com-
“… jazz is in my blood now. I
Credit: Photos by Ed Newman. www.flickr.com/photos/ednewman

hear it day and night… jazz
and blues comes from our
deepest human roots. It is
understandable to anyone. It
communicates who we are, even
from the Middle East.”
city, he put the needle, the monument, in front of

it and one of them is here in New York now—a gift
from Egypt to the United States. So this concept of
celebration is very much related to the club.”
There is more than one reason to celebrate when
you are at Cleopatra’s Needle. A few of them include:
no cover charge, a jam session every night, a great
line-up of scheduled jazz acts, and the opportunity to
eat some of the best Mediterranean food in town at a
reasonable price.
There are two kinds of places to see jazz that
serve food—the one’s that are primarily restaurants “Cleopatra’s Needle is a haven for young and talented up-and-
and as a bonus have live jazz, and then the ones that
are primarily jazz clubs and as a bonus have a food
coming musicians who are just looking to play on a few tunes at a
menu. In the latter category would be all the major jam session without being dissected by their peers while
ones like Birdland, Blue Note, Iridium, Jazz Standard
and Smoke (a few blocks above Cleopatra’s Needle),
playing to a room full of sneering faces.”
and in the former category, well, nothing really worth fortable around, which is what you need for the jam ognize the value and vibe of this place. My first time
mentioning as far as music is concerned. However, session. The musicians will not come if you are very at the club, Harry Connick Jr. came in to play a few
standing with one foot firmly planted in both worlds dominating or pushy. You can find plenty of good tunes, and this past time I was there, I was told I just
is Cleopatra’s Needle. Hussein has managed to create musicians, but not many who can run a jam session. missed Wynton Marsalis and Eric Lewis joining the
a very unique situation by refusing the temptation of If you can, you are lucky, and Toru Dodo, who runs jam a couple of nights before. Fortunately, the pho-
a cover charge for all these years. He has developed our Sunday night jam, is one of the best. He’s great as tographer who told me was kind enough to let me use
a loyal following that come for his food, and he has a musician, and as a person. He is very respected and his photos for this article!
allowed a vibrant and unique music scene to develop it’s easy to play with him. He doesn’t push you around On Sundays, Mondays and Tuesdays, the jam
as well. Hussein explains, “People call all the time, es- and he allows the evolution of the night to happen session is in the primetime slot. Monday features a
pecially from Europe, Japan and Canada wanting to by itself. He is not dominating anything. ‘You play, singer’s open mic from 4-8 with Keith Ingham, and
book gigs for well known musicians, but it is difficult now you don’t play’— you will never find this. That’s the Toru Dodu jam from 8-1AM. Tuesdays feature
for us because we are a very small place and I give the why he’s been here so long. I also have a very good jam the jam with Roger Lent from 8-1AM and Wednes-
gigs to musicians in New York. Other clubs can hire session on Monday nights, with Roger Lent. Roger

CD Reviews Continued from Page 80
days with Robert Rucker from 8-1AM. Other nights
College.
have a great array of scheduled performers such as Ken
Teubal formed La Balteuband four years ago—a
Simon, Steve Carrington, Waldron Ricks, Ranaud
group that blends jazz and elements of Argentine “Nearly all men can stand
Pennant, Bruce Harris, and Lance Murphy for the
music like chacarera and zamba rhythms and the adversity, but if you want to test a
month of August along with many others in August.
sound of tango. Un Monton de Notas is their second man’s character, give him
All of those performances will be followed by a late
release. This music is complex and forward thinking
night jam session from 12-3AM. There is a house gui- [money and] power.”
while remaining elegant, accessible and even
tar amp and drum set, and for pianists, Hussein just danceable at times. It is full of odd meters, changes
purchased a brand new Yamaha baby grand! in meter, and rich harmonies, but it is pulled off with
Why jazz? I posed this question to Hussein, —Abraham Lincoln
grace—perhaps because this rhythmic complexity,
and there was no hesitation when he explained, “Al- which may be something modern to jazz, has been an
though it originally came from my brother’s vision, integral part of the music of South America for many
who passed away, jazz is in my blood now. I hear it lifetimes. It is something that Teubal had internalized
day and night, and it is a part of us now. I find that very early on. The album retains a folkloric quality as
jazz and blues comes from our deepest human roots. modern as it may be.
It is understandable to anyone. It communicates who Joining him are some of the other New York
we are, even from the Middle East. It is connected to based bright young lions of this sound, including
our folk music. The guy who sits here with his guitar Felipe Salles and Xavier Perez on sax, Franco Pinna
and starts to play something a little bluesy maybe, and on drums and percussion and Moto Fukushima on
the guy sitting under a tree in Egypt when he starts to electric bass.
play his flute, can be playing the same thing. There is
a definite connection, and people have created music JUSTIN VASQUEZ
like this since ancient times for celebration.”
In the food department, there is also some- TRIPTYCH. www.justinvasquez.com. Triptych;
thing for everybody here. I’ve found that a good Nimbus; Invitation; Fields; One & Only; Red. Green.
way to judge the entirety of a Mediterranean food Blue; End of the Day; Stella by Starlight.
establishment’s cuisine is to try their hummus— PERSONNEL: Justin Vasquez, alto & soprano
Cleopatra’s Needle had the best hummus I’ve ever saxophones; Aaron Parks, piano; Adam Rogers,
had. It has a very complex but balanced flavor, and acoustic and electric guitars; Orlando Le Fleming,
bass; Clarence Penn, drums; Gregoire Maret,
they left some husks and pieces of the chick peas in
the blend, giving it a great texture. Next, I enjoyed
ALLEN TOUSSAINT harmonica; Gretchen Parlato, voice.
some lentil soup with carrots and their khodar
THE BRIGHT MISSISSIPPI — www. By Matt Marshall
curry—an assortment of curried vegetables with
allentoussaint.com. Egyptian Fantasy; Dear Old
raisins, chutney, and coconut, which was also very Southland; St. James Infirmary; Singin’ The Blues;
good. Other items on the menu include flavors from Fitting comfortably within the modern jazz
Winin’ Boy Blues; West End Blues; Blue Drag; idiom, saxophonist Justin Vasquez’s debut release
Greece, Italy, and the Middle East. There are a mul- Just A Closer Walk With Thee; Bright Mississippi;
titude of pasta dishes, various soups, many vegetar- Triptych offers a few nice surprises as well. Check
Day Dream ; Long, Long Journey; Solitude. out the Vasquez original “Fields,” which layers alto
ian options such as couscous, and vegetarian mou- PERSONNEL: Allen Toussaint, piano/vocals; Don and soprano sax with a strumming acoustic guitar,
saka, and meat dishes such as kibbehsinaya, chicken Byron, clarinet; Nicholas Payton, trumpet; Marc grounding but bright piano and a humming harmonica
marsala and roast hen. If you like seafood, they have Ribot, acoustic guitar; David Piltch, upright bass; Jayto fashion a free-flowing modern piece that passes
fish sandwiches, baked salmon or blue fish, and for Bellerose, drums/percussion; Brad Mehldau, piano; like a refreshing summer breeze that also holds the
desert, you can get baklava, apricot pudding, rice Joshua Redman, tenor saxophone. sharp whiff of something significant. Citing a desire
pudding, cheese cake, or carrot cake. The average
to explore evolution through the title track, Vasquez
entrée price is fifteen dollars, and from five to ten By Dan Bilawsky continues the quest throughout the record. The music is
dollars for appetizers and sides.
familiar just before twisting into something new, which
Physically, the club is characterized by a main Classic early jazz material, a cast of musicians might likewise strike a known chord on an unexpected
room, about 45’ x 30’ with a large central island to-die-for and the brilliant musical mind of pianist instrument or the pairing or tripling of such.
style bar that is fully stocked and surrounded by and New Orleans legend Allen Toussaint all converge
tables for eating. The stage is opposite the main en- to create a once-in-a-lifetime dream record. Sidney
trance in the back right side of the room, and there Bechet’s “Egyptian Fantasy” opens the album and
is another isolated dining room behind the stage. Don Byron and Nicholas Payton fly around one
The lighting is dim and the feng shui is cozy. another as they solo with glee. “Dear Old Southland”
In today’s economy, the business models that is pure magic as Toussaint gently caresses the keys
have appealed to the frugal minded and empty- and the interplay between the pianist and guitarist
pocketed are doing better than ever, and as Hussein
“To be nobody but yourself
Marc Ribot, on “St. James Infirmary” and elsewhere,
confirms, “Day by day we are getting better and is priceless. Whether Toussaint is casually mingling in a world which is doing its best,
better—that’s all I can say. We are very reasonable through the music with Byron (“Just A Closer night and day, to make you everybody
so people are still coming.” Whether you are a fresh- Walk With Thee”), dancing with Ribot (on Django else, means to fight the hardest battle which
man or a veteran player, a casual or a serious listener, Reinhardt’s “Blue Drag”) or gently delivering a slice any human being can fight;
a food lover, someone looking to wind down with a of Ellingtonia with guest Joshua Redman (“Day And never stop fighting.”
drink at a hip bar, or even a sports person looking to Dream”), he always knows just what to say and how to
watch a game on TV, Cleopatra’s Needle won’t do say it.
you wrong. For more information, visit www.cleo- —e.e. cummings
patrasneedleny.com.

Interview
Johnny Garry
By Gary Heimbauer
JI: How did you get your start in the music business? work only that one night, but he kept me, Barney. He JG: Oh man, you couldn’t beat it. You had to pay
gave me a big eighteen dollars a week, so I stayed, and two bucks to come in, and you could stay all night if
JG: You remember Josh White? He was a folk singer then I was talking to Mary Lou and all these people you like, you know? Not like today. You go in a jazz
and he was working at Café Society in the Village and and she was telling me, “If you like this business, you club today, you sit down for one set—then you get
he lived on my block on 50th Street in New York and ought to stick with it.” But I wanted to be a musician, out. But the third thing that happened for me that
I was working in the garment center for a while and you see? I had a C melody saxophone, but the teacher I love is Jazzmobile, for what it stands for, and what
he came by my stoop and he said, “Would you like told me that I needed another profession, so that it does for people who can’t afford to see jazz. They
to make ten dollars?” and I said, “Ten dollars doing didn’t work out. So I stayed with it, because Mary say jazz is dead and I say it’s not. It’s just expensive.
what?” He said, “Well, there’s this guy at Café Society Lou Williams was very good to me. She kept me But to be around people like Basie and Ellington and
that they call a prop boy, you know he moves the props going and said, “Hey, if you like the business, there’re all the greats, I had a chance to work around them
and stuff from the stage,” only it wasn’t a stage, they just
other things you can do.” But I met great people in because of Sarah and they accepted me just like I was
had a dance floor and he said, “Well you have to move there. I met Paul Robeson, Adam Clayton Powell in one of them, man. That’s a great feeling to be sitting
a piano. He’s sick,” and I said, “Yeah, I’ll do that forthere, Hazel Scott came in, Meade Lux Lewis, Albert in the room with Duke Ellington, talking to him like
ten dollars.” So I went down there that night to Café Ammons, they all worked that place, and then Sarah I’m talking to you. It’s beautiful man—beautiful—
Society. “I want you to move this piano for Mary Lou came in. I was there about two years when she came absolutely gorgeous.
Williams,” because she was one of the artists there— in, and then she told me that if she ever made any
Lena Horne was the singer, and Eddie Haywood money, she’d hire me and that started my trend to the JI: Count Basie and Duke Ellington were two iconic
would have the band. So he said to me, “Take it easy big time, as I call it. But I enjoyed that. But I enjoy band leaders, and their sound was so different. I would
with the piano,” and I said, “Well, I got to go there what I do here at Jazzmobile too, at 85 years old. But imagine that they were a lot different on a personal
right in front of these people because they are right upI’ll tell you, in this business I met some great people level as well. Can you comment on that?
on you with these tables.” I figured, I’ll do it my way. I
my man—great jazz musicians—which I think are the
took the tail of the piano and swung it out and caught best. They are the best. JG: Well, to me Basie was just like a kid. He was soft.
the keyboard part to slow it down, you dig? Then I got Well, not soft, but nothing bugged him. And you can
the stool and when Mary Lou Williams came out, I JI: What were some of the highlights for you, over the tell that in the way his music is—the simplicity in it.
put the stool under her and this lady was there writing years, working with so many legendary musicians? You got to pat your foot when you hear Basie. Duke,
for the New Yorker, or something, and she wrote that on the other hand, was a maestro, man. Talking to him
she came to see the show at the Café, but their was this JG: Well, first when I started working for Sarah. But was like talking to a god!
JI: Kind of larger than life, huh?

“But the third thing that happened for me that I JG: Yeah—oh man. He was something else, and
love is Jazzmobile, for what it stands for, and what working with Sarah, I got to go around all these people
because she would be on the same bill with all them—
it does for people who can’t afford to see jazz.” Basie and Ellington and Louis Armstrong. Louis used
to tell some great stories about Bessie Smith when we
were sitting in the room with him, and I felt just like
I was one of them, and they never asked me to leave.
“Today, everything is laid out for the musicians— And then I met Frank Wess, Jimmy Heath, Frank
Foster, Benny Powell, and we rode the buses together.
the reservations in the hotel and everything. I still think I am part of them because Jimmy Heath
always calls me up and says, “You know, you are over
With these people, the old timers—Ben Webster, 80 now— you’re 85, so you’re in the park” - because
he says when you’re 59, you get into the park. But he
and all of them, you know, they played this music says you got to try to get out of it at 110th street and we
have the 80’s club now. When Roy Haynes was with
and they weren’t rewarded right monetarily, us, when I was with Sarah, he was the drummer for
about five years. He’s another one. He’s 80-something
but they didn’t give up.” and I called him I think on his birthday one time, and
I said, “Boy, you’re in the park. Try to come out!” He
says, “I’m coming out babe, I’m coming out.” You got
to get to 110th street.
young black fella there who fascinated her with this the big highlight was when I managed Birdland - the JI: That’s a great metaphor. It shows how much of a
piano. So anyway, that was the beginning. real one. I managed Birdland on 52nd and Broadway
New Yorker you are.
from 1960-1965.
JI: What year was that and how old were you? JG: Yeah, Jimmy Heath comes up with some great
JI: Wow, 1960 to 1965 was one of the greatest five
stuff all the time. But there were some great moments
JG: I’m about seventeen or eighteen—this is in 1941. year blocks in jazz! So many amazing bands were
with Sarah, really great concerts and things.
And then I started putting in nights. I was supposed to playing at that time.
Continued on Page 56
50 August 2009 • Jazz Inside NY

™ • www.jazzinsidemagazine.com To Advertise CALL: 215.887.8880
Interview
Antoinette Montague
By Eric Nemeyer
JI: You’re one of the more active independent and fellows who love this music to help to raise it up.
artists who is also successfully powering your artistic And, each time the music raises up even a little bit, it
pursuits, and helping other artists as well, by applying provides potential for us all.
your business acumen and smartly and consistently
engaging in marketing and promotion. JI: That’s true. And the benefits can come back in
direct and indirect ways. Certainly, when decision-
AM: From the beginning, I was learning from Carrie makers at clubs and festivals see that someone is
Smith and Norman Simmons. Papa Jo Jones said: taking the initiative and making their own investment
“Musicians don’t have problems that they can’t solve to promote, they take note. People in business
among themselves.” The world changed. Technology recognize that artists who are actively promoting have
has developed that has opened the door for artists to higher visibility, and as a result more of a following
empower themselves and pick up where the labels and and more or developing recognition – which helps
companies reduced or withdrew financial support the businesses that hire performers also succeed by
for artists to do their craft. The world of independent the people and business the artist might generate. It is
artists has grown as a result. And, who’s independent? a mutually beneficial situation. Plus, business people
Even people who have contracts are independently are more likely to resonate with people who have some
responsible for going and making sure that they business savvy and who are like them, rather than
deliver. I live in two worlds. I’m a Human Resources someone who is approaching them their hand out
professional by day, as Vice President of a publishing asking for something over demonstrating a way they
firm. In that world, they think I don’t know about can help the business as well.
marketing. I come out into the jazz world, and they
all think I know. My repeat customers – the people AM: It would be great if everyone liked us. But not
who keep coming out to hear me and who bring everyone is going to like you. But short of that, we can
take responsibility for ourselves. I take responsibility.
I’m responsible for me – the heart of me, the spiritual
person in me that wants to treat people very, very
nicely and making them feel pretty at the end of the AM: I’m grateful that even in this economy I’m
“It is rewarding to day, if they are involved with the jazz family. There is doing what I have to do to invest and to follow-up
something we can all do during the recession – or at and keep what I believe in – out there, in high profile.
collectively come any time – and it doesn’t cost a dime. That is, we can Kenny Washington produced. We collaborated on
treat each other with greater elegance. the production. He picked some tunes and I picked
together with peers and And, in jazz, artists and audiences don’t want actors some. We developed them from skeletal structure to
and actresses, and for you to be phony and jive on an idea. He’s a very good A&R person. The songs have
fellows who love this stage – unlike in other idioms. What I like most about to mean something to me – otherwise I’m not singing
this idiom is that it has me whittling down to the real it. This was the second time we worked together. We
music to help to raise it me and understanding I can do better all the time. had grown from the first experience – and it was
And, that’s not to minimize who and what I am. I’m great. It was pleasurable in the studio. Kenny can hear
up. And, each time the thankful for many things. Physically, last June 2008, paint dry. Mulgrew Miller is on piano, Bill Easley on
I was 215 pounds. Now, I’m at 137. I never had any clarinet, flute, sax. He’s got a new recording coming out
music raises up even health problems. But, now I know how to eat, and I himself. He’s a great player. And, Peter Washington is
take care of myself. I have a responsibility, And, we on bass. This is the same personnel I had on the first
a little bit, it provides represent something bigger than ourselves. recording. I wrote the title tune, “Behind The Smile,”
a blues, notated by Bertha Hope.
potential for us all.” JI: What kinds of things are you doing ongoing to
continue to develop your skills and artistry? JI: Could you share some of the words of wisdom
you’ve received as you’ve pursued this creative path?
AM: Every Wednesday I get together with Mike Longo.
He’s trying to put more music in me – encouraging me AM: Carrie Smith said that if you’re going to get out
extra people – are people who help me fill clubs. As to practice and do better. He is helping me develop my there, the difference is marketing. She said that if she
a result, I get the opportunities to work. This year I technique and understanding music. Then I go over had had more marketing, she would have been a bigger
was hired by the Newark Museum. It was an honor. to 112th Street and see Jim Carson, a vocal coach – name. She’s got a recording she did with Dionne
Newark is also my hometown. I was looking to do that for quite a few good singers. His work on Across the Warwick and Dee Dee Warwick singing backgrounds
gig for a long time. Sheila Anderson, who is an on-air Universe just went platinum. I also listen a lot more for her. Those are all Newark singers – and they’re
personality at WBGO, hired me. To be able to have and a lot differently – to melodies, chords. I’m trying something else. My Newark, by the way, was not hard
done a good job, get a good write-up – that means to develop more spontaneity and take more risks. times for me. Anyway, I’ve learned that it works to be
the promo stuff is paying off, to help the people who less self-serving and more self-sacrificing.
are hiring you and doing promotion on their end. It JI: Talk about your new recording.
is rewarding to collectively come together with peers

Patitucci Continued from Page 36 Cioglia Continued from Page 14
to me. Not when people play “All The Things You Are” for many years and I always loved the way Joe played. to accomplish. As a listener, primarily, I appreciate
in 11/8, at quarter note equals 350 beats per minute. Obviously, Brian and I for the last ten years have been music that can be both attainable, recognizable and
I’m sorry, that’s not what makes me excited. That’s just playing together a lot and become very close and so I yet just as fresh and enticing in a particular moment.
me. And I played a lot of music that’s in odd meters. I guess I wanted to give myself time to get a little better This duality is compelling to me and that’s the direc-
get asked to do it on records all the time and it could before I tried to do a trio record, because obviously tion I tend towards and I believe that listeners in gen-
be wonderful if it’s done with feeling in the right way. people think of Sonny Rollins’ Freedom Suite and eral relate to that as well. The fact that I live in New
At City College, it’s great because there is an emphasis Night at the Village Vanguard with Sonny Rollins and York is a great motivation for me. The quantity and
on the interactive perspective, where the group sound it’s kind of daunting to think, “Oh gee, I don’t want the high level of this city’s musicians, who are masters
is more important than just, ‘I got to do my thing.’ anybody to even put my name in the same sentence.” of improvisation is definitely a driving force for me. I
Those records are legendary and revered but I do like can’t think of another city in the world that this oc-
JI: John, how do you stay balanced and recharge that format for the bass. Sonically it’s great. You can curs. Not to mention that you have first hand access
your battery, given the stress of modern life, and really have room to make a beautiful and large bass to so many forms of music from all over the globe al-
all the things you have going on in your career? Do sound because there’s not a lot of density around it, so ways at an extremely high level. This experience is in
you ever have to get away from the music or your the bass can be really rich and so can the drums and so line with my upbringing back in Brasília and I really
responsibilities for a moment in order to re-center? If can the tenor for that matter, because you’ve opened appreciate it. I feel very at home in New York.
so, what kinds of things do this for you? up this space for them to be. And harmonically and
rhythmically, there’s all this room for dialogue which JI: What was it that initially inspired you to become
JP: Well, one thing that’s nice is that we have some is fascinating and a lot of fun. That’s the main reason a professional musician? How did it all start?
friends that invite us in the summers up to Cape and then there are some tributes to people like Joe
Cod - so we go by the ocean with some friends to Henderson and Freddie Hubbard and Sonny Rollins As I said, after high school I was dwelling with the
hang out and that’s always a great re-charger. You and Monk and Trane. The idea, Remembrance, which idea of becoming an architect/urbanist. I had that in
know, it just depends really—sometimes you get so mind but also new that music would always be a big
is also the title of the last piece, is for Mike Brecker. But
crazed with trying to catch-up on stuff and stay on the idea, is for people, musicians and friends that have part of my life. The opportunity to go Boston and
top of everything and it gets to be too much. I like really inspired me and the idea is to celebrate them study music shifted my course. Now, I can’t see my-
the Yankees too. My daughter and I a few weeks ago while they’re here and be present and appreciative of self doing anything else. I’d still like to study other
got to go to a Yankee game and that was really fun. I the ones that are here now as well as remembering the areas such as literature and history but music is the
like to watch them on TV too. As I’ve gotten older, ones that have already gone on. primary focus. Eventually I’d like to go back to
I’ve gotten more into taking vacations and also sort school for a master’s and doctorate degree in music.
of having hobbies which. I always kind of liked sports. JI: Sure, there’s a certain reverence about it. It sounds This will have to wait though.
I wish I could play on a team for adults but I haven’t like you grew up in a similar situation as I did when in
really figured out how to put that in my schedule. Like the 50’s and 60’s with both sets of grandparents, lots of
I mentioned earlier, I like the church life that we have family and a reverence for older people – all making it Coolman Continued from Page 16
which is really great for me. That really encourages me a natural to appreciate and develop relationships with
and recharges my batteries. I also like to cook. My wife people who have a lifetime of experience and wisdom some composing. Interactive relationships with my
and I love to cook together, too. and achievement - like Jimmy Heath and Benny “fans” through the internet.
Golson – for whom I have so much respect.
JI: What do you cook? JI: What is it about musical improvisation that you
JP: Yeah, and you know, I played with those guys, find so valuable? What does it offer to you, your band-
JP: I cook a lot of Italian food. My wife can do all that and those guys are incredible. You play with them mates, and the listeners? What motivates you and
but she’s also a phenomenal baker. She makes all kinds and you’re like, wow! And I’m going out on this tour drives you forward?
of chocolate cakes and incredible sweets and all kinds with Roy Haynes who’s in his 80’s. Tomorrow we
of stuff. So I like food, that’s a hobby—cooking, I like leave and go to Europe and that’s just incredible! The TC: Those are several questions. Improvisation is
wine too—learning about it and stuff. My daughter guy is still burning, and playing his tail off. What an the act of problem solving. It is also the product of
has a wonderful friend in the neighborhood and the inspiration and what a living encyclopedia of jazz. I teamwork, or lack thereof, and in it’s best moments
parents are really great so last night we went over there always call him the walking encyclopedia of jazz. He illustrates the finest artistic qualities in mankind. It is
and had a wonderful dinner and talked about a lot played with everyone and is so broad stylistically. It’s a metaphor for life. I am motivated by the desire to
of things. Just being with people does it for me. I’m just incredible. learn, the need to grow, and the realization that the
more old fashioned I guess. Now-a-days that would be beauty lies in the striving. One never gets it together
(laughs), because we’re not texting or emailing. We’re JI: John, is there anything else that you would like to completely.
just hanging out and talking, you know? mention that I haven’t prompted you for?
JI: What was it that initially inspired you to become a
JI: Can you talk about your new trio album, JP: No, but I hope people will take a listen to my new bassist? How did it all start?
Remembrance, with Brian Blade and Joe Lovano? How record, Remembrances, because I think it’s got some
did the idea for the project, and all of the material different sounds on it … and just to hear Brian and Joe TC: Hearing Ray Brown. Period.
come about? What are some of the characteristics of play. You don’t have to listen to me at all. Just listen to
the record? JI: What are your thoughts about electric vs. acoustic
the way Joe and Brian play together. They’re incredible.
bass?
There’s a lot of respect for the tradition but also a lot
JP: The seeds came from a rehearsal in around 2001 of forward thinking. There’s some interesting interplay
or 2000 when we were rehearsing for a CD called and a lot of different styles too. There’s everything TC: One is a guitar and one is a violin.
Communion up at Joe’s place upstate and he had this from a West African feel on one tune and then a piece
beautiful room with a high ceiling. Brian and I set up with string octet and alto clarinet and drums with a
that you couldn’t possibly live without, and please
in there and we were rehearsing just trio because the bowed bass. There’s some real straight ahead stuff on
state why?
pianist couldn’t make the rehearsal and it felt so good there and there’s also a cross section of different things
and it sounded so good. It just felt incredible and we as well. TC: Such lists are entertaining, I suppose, but
were just looking at each other like, “Wow! Maybe we ultimately not very useful. People should find their
should make a trio record.” So that idea stayed with me own muse. Regardless, in no particular order:

(1) The Bridge by Sonny Rollins – A triumph in at anytime. As you can surmise by now, I am not a great musicians play and improvise with you. For
human development. sentimentalist. The idea of the “spirits moving me” is listeners, I hope they enjoy the sound as much as I
bullshit for the most part, as far as I am concerned. I enjoying performing.
(2) Kind of Blue by Miles Davis – True magic caught
never evaluate the value of an idea or lack thereof. I
on record. A rarity in any era.
throw the scraps into a cardboard box. Eventually, one JI: What motivates you and drives you forward?
(3) Jazz at Massey Hall by Charlie Parker - A magical such item can become the germ for a creative flow that
example of a revolution in modern American music. culminates in a composition. CH: My family is my number one priority. Growing
up, it was my mom, father and brother, and now, it is
(4) Duke At His Very Best by the Duke Ellington my two beautiful kids and wife. Another motivation
Orchestra – One of the classic Ellington bands is being part of this music and its culture. Sometimes
featuring Jimmy Blanton and Ben Webster. Although Henriquez Continued from Page 18
it seems as if the odds can be against you as a
there were others, Blanton was the most formidable CH: First of all, the main thing that has to be musician. But the overall struggle is worth it.
influence on jazz bass playing in the twentieth learned as a bassist is foundation. You have to learn
century. to play the instrument before you can embark on JI: What was it that initially inspired you to become
(5) The Awakening by Ahmad Jamal – The great sophisticated journeys as a bassist. I am constantly a professional musician? How did it all start?
dramatist of jazz. He tells a story and invites the improvising as a jazz bassist. The one thing that sets
listener to utilize his/her imagination and creativity. jazz apart from other styles of music is the nature of CH: My parents. They were both artists - my father
improvising on the spot without repetition. It is a played the trombone and my mother was a dancer.
My top five will likely be different tomorrow…… Seeing their musical backgrounds created my desire
living movement.
to be a musician. It all started with parents pushing
JI: Some say that stress and angst make for good me to learn piano, clarinet, and tenor saxophone. My
journey of becoming an improvising bassist, or a jazz
art, and others say you need to find serenity to really father knew of a classical guitar teacher in my
bassist, what were some methods that you found intermediate school years. I studied classical guitar
express yourself. What do you do to stay balanced?
extremely useful to achieving your goals? for six years, switching to double bass by 13 years of
CH: The mind of a musician is always a crazy one. It age. And the rest I am working on.
TC: Although I have received excellent tutelage from
is very hard for the normal being to really understand
many great teachers, the best method for me has been
what goes through a musician’s mind. Precise
to train my ear, listen to and carefully study - transcribe
accuracy is a leisure in the mind of a musician. To Around Town Continued from Page 45
and analyze - recordings of the masters, to play by ear,
others it would be stressful. Musicians basically think
and to screw up so much that I provided myself with in a couple of ways:
ahead of the game. Like a Gemini, we are constantly
ample learning opportunities. (1) Gain a basic knowledge of what came beforehand
thinking of what to do next. Unfortunately, we depict
and build upon it
JI: Some say that stress and angst make for good problems and situations which could cause you
(2) Use of ability to hear and analyze
art, and others say you need to find serenity to really problems as a normal being. It is always said that a
(3) Focus on technique, then harmony skills
express yourself. Have you found that your life outside great mind has great losses, and the person living the
(4) Learn to listen. In order to be a good player,
of music, or your state of mind in general have a direct great mind usually does not benefit. I am constantly
a musician must first be a good listener. One
correlation to your playing? If so, what activities do dealing with musicians. I deal with my problems
example of this is learning to hear the distance
you do outside of music to better prepare you for through music and choose to fix them with music.
between notes.
playing/practicing success?? But the most important thing outside of a musician
is a sturdy family that understands your art.
Perhaps Alaadeen’s most important contribution
TC: No. I think these postulates are highly overrated
JI: What is the greatest compliment that you can in the manual is his commentaries and written
and needlessly examined and reexamined ad infinitum.
receive as a musician? language. Alaadeen believes soloists must understand
When performing, I owe every fiber of my being to the
them in order to get through the music. “This is
music, for better or for worse. That is my obligation and
CH: When a person who was at the concert says, significant because it becomes easier if they listen
my give-back. I have a job to do. Outside of music, the
“I’ll see you on the next gig!” I feel that when you to the language,” Alaadeen said. One of Alaadeen’s
best activity I have found to keep myself in an optimal
can heal somebody’s heart with your music, it is the favorite sections in the manual is the discovery
mental and spiritual state has been to connect as often
closest you can get to our creator. section. “It opens up your mind. I think the students
as possible with the natural world - usually through
should discover themselves. For example, take a
fly fishing. I approach that with as much passion as JI: Can you talk about your current activities, chord or group of notes, then expand on it,” replied
I do anything in my life. Listen to Beethoven’s sixth musically, and what is on the horizon? the master saxophonist, educator and composer.
symphony to further illuminate the point. Whether
Alaadeen and his manual “The Rest of the Story”
my extra-musical life experiences impact positively or CH: I am still with the Jazz at Lincoln Center play a small role in growing jazz. Together they clear
negatively on my music is for the listener to decide. Orchestra and with my brother, Wynton Marsalis. up some things that may have been missing in jazz
In January, I recorded about ten tracks and plan to instruction. “I am contributing to future generations
JI: What is the greatest compliment that you can release a CD later this year. I want to book more gigs in a way that keeps the music going,” he replied. “The
receive as a musician? with my band and am continually conducting master end result is always performance. Passing jazz on to
classes. One day, I will be the music director for one future performers is what education is all about,”
TC: That I shared something valuable with another
of Jazz at Lincoln Center’s “Latin in Manhattan” Alaadeen said.
person.
concert series. Alaadeen has been formally recognized as
JI: Can you talk about your process of composing? both, a performing artist of the highest caliber, and
JI: What is it about musical improvisation that you as an important contributor to his community in
Is it something you can do like clockwork, or do you
find so valuable? What does it offer to you, your many momentous ways. A very significant educator,
wait for inspiration to hit?
band-mates, and the listeners? teaching jazz in both the school system and privately
TC: Anytime I have a melodic, harmonic, rhythmic, for 35 years, Alaadeen has been compiling his teaching
CH: The value of musical improvisation is being
formal, or pan-inspirational idea, I write it down methods since the 70s. He was approached by the
free to play whatever you want. It offers us an
immediately, regardless of its size or scope. It can come
opportunity to express ourselves and to have other Continued from Page 56

Goods Continued from Page 17
a pretty amazing feeling to be on stage, close my eyes and transcribe a lot of solos. I did transcribe some bass so someone recommended me and I got the gig. I
and really feel each and every band member talking solos, but I was more interested in improvising like a couldn’t read a note but I had a groove, so I listened
to each other, having a grand conversation without horn or guitar player. There were a lot of singers that I and eventually started to put it together. When I was
words. The audience can really feel this, and it draws would listen to, and try to emulate their phrasing and halfway through my junior year, my band director
them in. As the conversation starts to get more heated riffs on my bass. Learning to play melodies on the bass ordered me to play acoustic bass during rehearsal. I
and passionate, the audience starts to give off an helped me a lot. resisted because I didn’t know how but he won and I
energy, off of which the band feeds. Man! I get excited fell in love. We played Thad Jones “Dedication” and I
just talking about it! Music is about emotion. When I JI: Some say that stress and angst make for good grew a blister that popped all on the same tune and I
can make someone really feel something emotional, I art, and others say you need to find serenity to really didn’t even care. I had fallen into something new and
know I am doing my job. That’s what drives me. express yourself. Have you found that your life outside I was excited.
of music, or your state of mind in general have a direct
JI: What was it that initially inspired you to become a correlation to your playing? If so, what activities do JI: What are your thoughts about electric vs. acoustic
bassist? How did it all start? you do outside of music to better prepare you for bass?
playing/practicing success??
RG: My first instrument was the piano at age 5 and BM: I started on electric, so I still love playing it
then several other instruments until I settled on the RG: Ahh Yes! I am a strong believer that life is music when I get a chance to. It’s a different touch in the
electric bass in ninth grade and then the acoustic bass and music is life. Everything in this life is connected. right hand but the left hand is close to the same. I
in my freshman year at Berklee. Growing up in the Anything I do, I relate to my music. Playing sports has still really love the sound of it when I hear it as a
black community, when people talked about a song, always been a major part of my life. So much of sports listener and I think it is a valid instrument as far as
they usually didn’t talk about or sing the melody or is a mental game, just as it is with music. Sometimes being able to express yourself.
the guitar solo. It was the bass line that got them. I when I figure out a problem in my basketball or tennis
didn’t really choose the bass. I was a drummer in high game, I also fix a problem in my music. JI: What are your top five desert island bass records
school and was messing around with the bass and it that you couldn’t possibly live without, and please
became an addiction. The next thing I knew, people JI: What is the greatest compliment that you can state why? The leader doesn’t have to be a bassist,
were asking me to play bass in their band. I just went receive as a musician? but please choose albums based on the role of the
with the flow. bass (no pun intended).
RG: The greatest compliment I can receive as a
JI: What are your thoughts about electric vs. acoustic musician is when someone tells me that I made them BM: I like so many different kinds of bass players
bass? feel something. I think from my experience of growing that I don’t think I could pick out five, but I do
up in the church, emotion has played a major roll in have some desert island records. The ones that
RG: They are two different instruments. They can my music. I really feel it when I play, and I hope that come to mind are Duke and Trane for the deep
serve the same purpose, but they can also play very the audience does as well. spiritual feeling and Jimmy Garrison, Lee Morgan’s
different roles. I would hate to have to choose one or The Procrastinator for Ron Carter and the feel of
the other. I love them both. JI: Can you talk about your process of composing? the rhythm section, Herbie’s Speak Like a Child for
Is it something you can do like clockwork, or do you Ron Carter, Chick’s Now He Sings, Now He Sobs
JI: What are your top five desert island bass records that wait for inspiration to hit? Do you do a little at a time, for the freedom, spirit and Miroslav, and Presenting
you couldn’t possibly live without, and please state why? or have waves of clarity? Thad Jones and Mel Lewis for the energy and
The leader doesn’t have to be a bassist, but please choose creativity and of course, Richard Davis.
albums based on the role of the bass (no pun intended). RG: For me, writing is usually something that is
inspired. Sometimes I can sit down at the piano, and JI: When you first embarked on the sophisticated
RG: (1) Quincy Jones “Walking in Space”. Ray Brown two hours later I have a completed song. Other times journey of becoming an improvising bassist, or a jazz
on “Killer Joe” You can’t swing harder than that! I can work on a song for months to get it just right. bassist, what were some methods that you found
(2) Stanley Clarke “School Days” What! I still don’t Sometimes I don’t set out to write a tune; I just play extremely useful to achieving your goals?
believe its possible to play that fast! - yet still soulful. either the piano or bass and next thing you know, I
(3) Herbie Hancock “Flood” Paul Jackson and Mike have a tune. As far as clarity goes, I usually don’t get BM: When I first started I had a groove but not
Clark together - groove at its finest! (4) Jaco Pastorius that until the tune is played with the band. necessarily the best steady time. I worked a lot with a
“Jaco Pastorius” a true innovator of the bass! (5) metronome and playing with records to strengthen my
Ahmad Jamal “At the Pershing.” Israel Crosby on bass JI: Can you talk about your career as an educator? time and ears. I think being open to all music is very
shows that a bass line can be the same as a melody. What are the challenges and rewards? important to the development of young musicians.
I know you said top five, but can I just throw in a RG: I love to teach. I have not accepted any university JI: Some say that stress and angst make for good
Marcus Miller record? Any one will do. jobs yet primarily because I already have so much art, and others say you need to find serenity to really
going on right now. However, I do workshops, master express yourself. Have you found that your life outside
JI: When you first embarked on the sophisticated classes, and private instruction. Teaching for me is a of music, or your state of mind in general have a direct
journey of becoming an improvising bassist, or a jazz way to give back some of the knowledge that was correlation to your playing? If so, what activities do
bassist, what were some methods that you found passed down to me. It’s challenging because I have to you do outside of music to better prepare you for
extremely useful to achieving your goals? find a way to articulate the way I approach music and playing/practicing success??
the way I think. Teaching is not only about giving. I
RG: I learned to read music when I was five years get a lot out of teaching. I learn and re-explore my BM: I love music but can’t stand the business of music,
old and learned to play by ear when I was six - that’s path to where I am now. My knowledge is challenged, so my family, working on my house, and playing sports
really when I started improvising. I had formal jazz and I think that’s a good thing. and exercising in general, help me forget about all of
and classical theory in high school, but being the free- that. And when I’m stressed out, playing always makes
spirited Aquarius that I am, I have always devoted a me feel better.
lot of time to playing whatever I want - even when Moring Continued from Page 19
I didn’t have a clue about theory. I think that’s true we ever did a gig but I learned a lot. I got into high JI: What is the greatest compliment that you can
improvisation. I also used to play along with records school and they needed a bass player in the jazz band, receive as a musician?

BM: When someone knew it was me on a recording gym often when at home. Literature has been a part
just by hearing it, which has only happened a few times. of my life - I had a double major in French literature
I also think it’s great when an audience member remarks “It’s surprising how many as an undergrad, and try to develop my interior life
on how the band sounds like a band. Then I know I did with reading and art in general. I am a foodie, and
persons go through life without ever
my job. love movies. I think of family first, the immediate, the
recognizing that their feelings toward other extended, and the musical. I also draw so much from
JI: Can you talk about your process of composing? Is it people are largely determined by their my two sons, who are really living proof of evolution.
something you can do like clockwork, or do you wait for feelings toward themselves, and if you’re not
inspiration to hit? comfortable within yourself, you can’t JI: What is the greatest compliment that you can
be comfortable with others.” receive as a musician?
BM: I have never considered myself a gifted composer
although I do enjoy it. I’m at my best when I have a TK: From the listener, the compliment that means
deadline because it seems to come pretty fast when I just the most, is when they sincerely express being moved,
sit down and do it. Sometimes I write the melody first —Sydney J. Harris touched in some way. That they believe they heard
and other times the harmony. That’s about it. your story. Feel connected from the music. Everybody
wants to be understood. Basic human nature. And to
evoke a sense of this, in real time, with strangers, is
Teepe Continued from Page 20 Knific Continued from Page 23 an incredible privilege. Sir Roland Hanna wrote a
beautiful piece titled “A Story Often Told, Seldom
Heard” relating to not being heard, understood.
that’s why I’ve moved to New York. I found lots of developed practice methods combining my own
Having had the honor of working with him on
cats there who are on a similar journey. approach as well as adopting work I had done on the
many occasions, I find it hard to believe he would
guitar, which seemed to give me a bit of a harmonic
JI: What is the greatest compliment that you can need to consider this. Compliments from colleagues
edge. I created routines of outlining chords, scale and
receive as a musician? can be most profound, the understanding that you
arpeggio patterns, which I use and teach to this day.
were partners in something really special. Peaking
Now, there are wonderful publications that I fully
JT: If someone who calls me for a gig really wants ME as an ensemble, and acknowledging that, is one of
endorse and enjoy myself and as teaching methods
to do it! It could be a club owner or another musician, the great pleasures in life. Jazz is wonderful in that
including Mike Richmond’s Contemporary Walking
or anyone. It is just reassuring. the mentor concept is very much alive, and there is
Bass Lines, John Goldsby’s Compendium, Gary
nothing like being acknowledged by someone you
Campell’s Expansions, Walt Weiskopf ’s Intervalic
JI: Can you talk about your process of composing? hold in highest esteem.
Approach. For technique, my teacher Franco Petracchi’s
Is it something you can do like clockwork, or do you Simplified Higher Technique is a must.
wait for inspiration to hit? Do you do a little at a time, JI: Can you talk about your process of composing?
or have waves of clarity? JI: Some say that stress and angst make for good TK: Composing and performing are very different
art, and others say you need to find serenity to really processes for me. As we said earlier, exciting
JT: This definitely comes in waves. I get best results express yourself. Have you found that your life outside
when under pressure, but I never know exactly when I of music, or your state of mind in general have a direct performances sometimes emanate form exciting or
discover or create something original. Sometimes it’s a correlation to your playing? If so, what activities do challenging circumstances. If needed, I can practice
struggle and other times it comes very easy. For sure I you do outside of music to better prepare you for or perform anywhere, anytime. However, composing
need to write it down immediately or I loose it in a few playing/practicing success? seems to require some space, some time to get to the
minutes. Listening to other music sometimes helps, place where I feel in touch with my best resources.
but other times it is just disturbing my own idea’s. With my muse, so to speak. Emotionally, I find it
TK: In that tension and resolution are important to
an almost vulnerable place, but recognize the value
art, certainly music, I appreciate that thought. But I
JI: Can you talk about your career as an educator? think it comes down to personal vision, standards, of it. Intellectually, I can write under a variety of
What has the experience been like? What are the and those elements that go into this quest to be circumstances, but in my heart, I know it is not the
challenges and rewards? same. So it is the opposite of clockwork.
true to one’s sense of that. I do believe struggle is
character building and may ultimately help. Many So I write primarily from inspiration – usually
JT: I’m Director of Jazz Studies at a College in Europe
artists seem to provide more than enough of this people, or places, and sometimes events. I am
- the Prince Claus Conservatory in the Netherlands -
internally. Sometimes the spark between band mates, currently writing for a new CD and am enjoying an
and I manage this from my home in New York. We
or bandleaders can add to that condition. Sometimes unprecedented amount of inspiration. I would love
have 92 students from 21 different countries. In
it comes down to invoking survival instincts, like to hold on to this for the rest of my life! Recently, I
addition I’m adjunct professor of Bass at Queens
when the stresses of travel require you to be at the top have written two works with my son, John - a very
College, and I’m also the Bass Instructor at Wachovia’s
of your game after not sleeping for 24 hours or more. different approach, but tremendously fulfilling. We
Jazz For Teens at the New Jersey Performing Arts
Some of my most memorable performances have been bounce ideas off of each other and sculpt away until
Center. It’s a lot of responsibility, but I love to teach.
under these conditions. But I would hope that to be we have something with which we are satisfied as a
Basically I see this as passing on information to
the exception rather than the rule. It is really about project.
‘hungry’ students. Naturally this is very rewarding and
accessing what one has absorbed and studied over the
inspiring, I learn from them as well, because I first
years. Obviously, there is nothing more valuable than I can’t begin to tell you how cool that is. Writing for
need to get the information organized for myself. The
being in the moment, so whatever it takes to arrive at commissions is yet a different process. It combines
challenges are dealing with students who don’t
that. I draw tremendously on my life outside of music the above process with the realities of time and place
practice, but I try to keep distance from negative
and have actually most recently been consciously – what will serve the project best – and with a
energy that comes on my path!
working on channeling these resources for successful deadline. The trick for me is to marry the pragmatic
performances. For me, it is about keeping the spirit of aspects with the inspiration. I really enjoy the
those you love with you on stage. In terms of outside challenge.
activities – and there is never enough time - I try to
keep a fitness routine, love running, and get to the

Garry Continued from Page 50 JI: That’s true, but the majority of the music that I am
JI: Her singing was so effortlessly amazing. How did interested in was created during your generation.
she do it? With all that range, did she have to warm “A person reveals his/her true
JG: Well, if you ever come to the city, you can call character in the way that they treat
up before shows?
me and come down, and I’ll try to enlighten you as
someone who can do nothing
JG: No, no—she didn’t need to warm up. much as I can.
for them.”
JI: She went out cold? JI: I really appreciate that. Like you said, you are
part of that generation. Your first hand knowledge is
JG: Yes, she went out cold. I think God sometimes, something I could never know and only imagine!
say for instance—Kobe Bryant or Michael Jordan. I
think sometimes God gives certain things to certain JG: Well, the generation today is good too, but Around Town Continued from Page 53
people and nobody else has it and it’s amazing. No things are different—with travelling too. Because
Missouri Folk Arts Program to apply for a grant to
warm up or nothing and a lot of people don’t believe with those guys in the old bands, with Ellington and
share his methods in a manual. This jazz master has
me, but I was with Sarah for about twelve years, and Basie, they would jump off the bus and they’d run
made a strong international impression not only as a
on and off again, so a total of about twenty. She to try to get a room. Today, everything is laid out
performer and educator, but also as a recording artist
never had a sore throat. She never missed a gig— for the musicians—the reservations in the hotel and
on his own ‘ASR label. Alaadeen is the recipient of
Sassy the amazing one. Billy Eckstine used to call her everything. With these people, the old timers—Ben
a dozen major awards and has participated in six
‘hard rock.’ She never cracked. She was beautiful to Webster, and all of them, you know, they played this
media documentaries. He has performed with major
me. But really man, everybody was beautiful to me— music and they weren’t rewarded right monetarily,
industry icons such as Jay McShann, Miles Davis,
honest; all the greats—just to be sitting in a room but they didn’t give up. Some of them guys, they’d
Ella Fitzgerald, Stan Kenton, Lester Bowie, Billie
with them. I worked for Nancy Wilson, I worked for get dressed in the bus, you know? And we’d just
Holiday, Duke Ellington Orchestra, The Count Basie
Patti Page. In those days, they didn’t pay you when keep rollin’ after the concert. But they paid dues—
Orchestra, The Tonight Show Band and countless
you didn’t work, so I had to hustle other gigs if Sarah Heath, Frank Wess, Powell—I’m speaking of them
others.
wasn’t working. Do you remember Rose Murphy? because I was really tight with them. I was tight with
The Rest of the Story is published by
How old are you man? everybody, but these were my main artists. Frank
Fandeen Publishing Company and is available
Wess and I were seat partners on the bus. I used to
for purchase at Alaadeen.com. For large orders from
JI: I’m only twenty-six. talk to Philly Joe—not Philly Joe, Papa Jo Jones all
educational institutions, please contact Victoria
the time, although I worked with Philly Joe, and I
“Fanny” Dunfee for a pricing at fanny@alaadeen.
JG: (Laughs) You don’t remember nothing! heard him tell people what jazz was, and he would
tell them all the elements. He’d say, “Jazz is music com or (913) 831-4396.
to listen to, to dance to, and to make love by,” and
I’ve never forgotten that—never. He was funny man,
Papa Jo. He wouldn’t even turn on window wipers
Jammin’ On The Hudson –
FREE
when it rained. He said they didn’t keep time.
JI: (Laughs) That’s hilarious. August 9, 23

JG: Yeah, he said no way. I got a motto here in the ‘Jammin’; The Summer Concert Series for the ‘serious’
Powerful,
office. I picked it up in Kansas City. I still go out Jazz Lover! features world-class players, appearing
with Dr. Billy Taylor, who is a big part of Jazzmobile, every other Sunday. What could be more inviting
of course, and he says, “When words fail, music than listening to the sounds of great Jazz Artists, cast
Internet speaks,” and I think that’s so hip—so hip.
This is an excerpt from the forthcoming interview

out over The Hudson River, at sunset, for Free?!
On Sunday August 9th The Co-operation
performs. The band is led by Mickey Bass, bassist,
Marketing & with Johnny Garry scheduled to appear in Jazz Inside
Magazine, quarterly edition. Jazz Inside Magazine is
whose experience includes Art Blakey & the Jazz
Messengers among others. The objective of this band
Promotional
available by subscription and at retailers nationwide. is to keep alive, and fresh, both ‘Hard-bop’ and ‘Post-
bop - the living Legacy of this Music. A ‘vintage’
recording of this Band is “Sentimental Mood”
Tools For (Chiaroscuro), recently re-issued on “Early Bird

Records”.
This ‘Co-operation will feature vibraphonist
Jazz Artists, “Integrity is not a
conditional word. It doesn’t blow
Bryan Carrott, trombonist Clifford Adams, and
trumpeter Josh Evans, along with Charles Davis Jr.
Companies &
in the wind or change with the weather. on tenor sax.
It is your inner image of yourself, and if Sunday August 23rd will feature saxophonist
you look in there and see a man Frank Wess, whose vast experiences includes
Organizations who won’t cheat, then you know

he never will.”
membership in the classic Count Basie Orchestra of
the 1950s and 60s, television work with The David
Frost Show Band and more. A National Endowment
for the Arts Jazz Master, Wess will be accompanied
Call 215-887-8880 by Ilya Lushtak, guitar; Tal Ronen, bass; Denis
Mackrel, drums.
info@jazzinsidemagazine.com — Unknown

Jazz Education Sourcebook
HOW TO SUBMIT SCHOOL PROGRAM LISTINGS:

Jazz Inside’s Jazz Education Sourcebook and Program Guide – Part 1 includes schools, programs and
contact information and more. This section is designed to provide information for career-oriented students,
hobbyists, musicians, fans and anyone wanting to continue and expand their education about improvisation,
composing, arranging, performing, the history of jazz, the artists, recordings and more. Part 2 will be
published in the September issue. Schools may contact : Gary@JazzInsideMagazine.com to submit listings.
ADVERTISING FOR ARTISTS, CLINICIANS, SCHOOLS:

HURRY! Make Sure Your Ad Is In The Jazz Education Sourcebook-Part 2,
Contact Eric Nemeyer, 347-637-0054 or 215-887-8880, or e-mail to Eric@JazzInsideMagazine.com to advertise in
the Jazz Education Sourcebook and Program Guide – Part 2, in the September issue of Jazz Inside NY Magazine.
Brooklyn-Queens Conservatory of Music— Columbia University—Center for Jazz Studies

LOCAL Queens Campus Professor George Lewis
______________________________________________________________________ Kenneth Murphy 2960 Broadway, MC 1812 - 621 Dodge Hall
42-76 Main Street New York, NY 10027
92nd Street Y Flushing, NY 11355 212-851-1633, GL2140@columbia.edu
1395 Lexington Avenue 718-461-8910 www.jazz.columbia.edu, Admissions: (212) 854-2522
New York, NY 10128 www.bqcm.org Faculty: Ann Douglas, Brent Edwards, Farah Jasmine Griffin,
212.415.5500 George Lewis, Robert O’Meally, John Szwed, Christopher
Programs include Jazz Keyboard, Jazz Combos and Jazz Charles Colin Studios Washburne
Workshops. The annual Jazz In July Summer Program includes 315 West 53rd Street
an array of performances by internationally renowned artists New York NY 10019 CUNY York College
212-581-1480 94-20 Guy R Brewer Blvd
ASCAP (American Society of Composers, Authors, & info@charlescolin.com Jamaica, NY 11451
Publishers) www.charlescolin.com Tom Zlabinger
Frances Richard Department of Music
One Lincoln Plaza City College of New York—Jazz Program http://york.cuny.edu
New York, NY 10023 Scott Reeves 718-262-2000
212-621-6327 Music Department
frichard@ascap.com 138th St. & Covent Avenue C.W. Post University
www.ascap.com New York, NY 10031 T.K. Blue
sreeves@ccny.cuny.edu Department of Music
Brooklyn-Queens Conservatory of Music— www.ccny.cuny.edu 720 Northern Boulevard
Brooklyn Campus Bachelor Degrees: B.FA in Jazz, Classical, Music Technology, Brookville, NY 11548-1300
Earl McIntyre or Jazz Education; B.A. in Music or Music Education (516) 299-2930
58 7th Avenue Faculty: Includes Daniel Carillo, Alison Deane, David Del Tredici, music@cwpost.liu.edu
Brooklyn, NY 11217 Ray Gallon, Barbara Hanning, Michael Holober, Stephen www.liu.edu/~svpa/music
718-622-3300 Jablonsky, Chadwick Jenkins, Paul Kozel Faculty: T.K. Blue, Andy Fusco, Richard Iacona, Mark Marino,
emtuba@verizon.net John Ray, Ron Stanton, Earl Williams
www.bqcm.org
Drummers Collective,
541 6th Ave, New York, NY 10011,
212-741-0091, www.thecoll.com

Five Towns College Long Island University
305 N. Service Road Bob Aquino
Dix Hills, New York 11746 Department of Music, 1 University Plaza
Admissions: 631-656-2110 Brooklyn, NY 11201
Web Site: www.ftc.edu 718-488-1668, robert.aquino@liu.edu
E-Mail: Admissions@ftc.edu www.liu.edu/brooklyn/music
Admissions Contact: Bob Aquino
Five Towns College music department offers one of the finest Bachelor Degrees: B.FA and B.A.
Jazz/Commercial music programs in New York State. At the Faculty: Eddie Allen, Freddie Bryant, Jack Wilkins, Cliff
graduate level, Five Towns College offers a program in Jazz/ Korman, Dwayne Broadnax, Vince Cherico, Sam Newsome,
Commerical Music leading to the Master of Music (M.M.) with Carlo DeRosa, Gloria Cooper, Bob Aquino
concentrations in performance, composition/arranging, music
history and music technology. In addition a Doctor of Musical Long Island University—Brooklyn Campus
Arts (D.M.A.) degree is also offered. Concentrations offered at Sam Newsome
the doctoral level include music education, performance, music Brooklyn Campus
history, literature and composition/songwriting. The program 1 University Plaza
is designed to meet the needs of professional musicians, Brooklyn, NY 11201-5372
audio recording engineers, music business executives, (718) 488-1000, samuel.newsome@liu.edu
multimedia specialists, and active professionals working in Peter Rogine, Five Towns College professor www.liu.edum www.samnewsome.com
the music industry, music education, or a music related field. Faculty: Eddie Allen, Freddie Bryant, Jack Wilkins, Cliff
Graduate courses are scheduled for the late afternoon or early Korman, Dwayne Broadnax, Vince Cherico, Sam Newsome,
evening for the convenience of working professionals. For Carlo DeRosa, Gloria Cooper, Bob Aquino
more information, contact an Admissions Representative at
631-656-3129. Financial aid and scholarships are available. Lucy Moses School
129 West 67th Street
New York, NY 10023
Tel: 212-501-3360
Fax: 212-874-7865
lucymosesschool@kaufman-center.org
www.kaufman-center.org/lucy-moses-school
Programs include lessons, classes, workshops and ensembles
for children and adults.
Manhattan School of Music

Justin DiCioccio
Five Towns College sax student
120 Claremont Avenue
New York, NY 10027
212-749-2802, jdicioccio@msmnyc.edu
Jazzmobile
www.msmnyc.edu
Robin Bell-Stevens, CEO
Faculty: Includes Jay Anderson, Michael Abene, Justin
Five Towns College sax student 154 W. 127th Street, Second Floor
DiCioccio, Bobby Sanabria, Jaime Baum, Rodney Jones, Samir
New York, NY 10027
Chatterjee, Kenny Barron, David Liebman, Luis Bonilla, Cecil
212-866-4900
Bridgewater, Jospeh Locke, John Blake, Theo Bleckmann
http://jazzmobile.org
Greenwich House Music School,
Jazzmobile, Inc. is a not-for-profit 501(c)(3) art and culture
46 Barrow St., Tel: 212-242-4770, Fax: 212-366-9621, www. New Jersey City University
organization. The organization, founded by Billy Taylor, and now
greenwichhouse.org Ed Joffe
celebrating its 45th Anniversary is a pioneering organization in
2039 Kennedy Boulevard
Jazz Education and mobile jazz concerts. For more information
Hunter College of CUNY Jersey City, NJ 7305
about educational activities and performances, visit the website
Ryan Keberle 201-200-3091
- http://jazzmobile.org
Department of Music edjoffe@aol.com
695 Park Avenue www.njcu.edu
Juilliard Institute for Jazz Studies
New York, NY 10021 Bachelor Degrees: B.M. in Performance (Jazz & Classical),
Carl Allen
212-771-5020 B.A. in Music, Music Education, or Music Business
60 Lincoln Center Plaza, Rm. 222
ryan@ryankeberle.com Graduate Degrees: M.M. in Performance (Jazz & Classical),
New York, NY 10023-6590
www.hunter.cuny.edu/~music Multiple Woodwind Performance, or Music Education
212-799-5000
Faculty: Ryan Keberle, Priscilla Owens Faculty: Ed Joffe, Richard Lowenthal
callen@juilliard.edu
www.juilliard.edu
Jazz At Lincoln Center New School Jazz & Contemporary Music Program
Carl Allen’s Assistant - Artistic Director of Juilliard Jazz Studies
60th & Broadway Martin Mueller
Bachelor Degrees: Jazz Studies
New York, NY 55 W. 13th Street
Graduate Degrees: Master of Music, Jazz Studies, Artist
http://jalc.org/jazzED/ New York, NY 10011
Diploma – pre-professional curriculum in the Juilliard Institute
Jazz At Lincoln Center produces 20 education programs 212-229-5896
for Jazz Studies (a collaboration with Jazz at Lincoln Center)
and resources that fall within four audience categories - muellerm@newschool.edu, www.jazz.newschool.edu
Faculty: Includes Carl Allen, Kenny Barron, Ron Blake, Kendall
Students and Teachers, Kids and Families, Adults and Online Teri Lucas is Ext. 4589
Durelle Briggs, George Colligan, Xavier Davis, Richard
Learners. Jazz For Young People Concerts, Middle School lucast@newschool.edu
DeRosa, Billy Drummond, Ray Drummond, Mark Gould, David
Jazz Academy, Essentially Ellington High School Jazz band Faculty: Includes Ahmed Abdullah, Junko Arita, Daniel Beliavsky,
Grossman, Eddie Henderson, Ted Nash, Ben Wolfe
Program, Band Director Academy, Workshops, Clinics. JALC Jay Bianchi, Ben Bierman, Jane Ira Bloom, Richard Boukas,
Education programs reach over 50,000 participants each year Joanne Brackeen, Cecil Bridgewater, Brian Camelio, Steve
LaGuardia Community College
through direct instruction and another 30,000 indirectly with Cardenas, Jeff Carney, Joe Chambers, Haim Cotton, Alexis
CUN I, 31-10 Thomson Ave.,
curricula and print music library. Cuadrado, Andrew Cyrille, Gerard D’Angelo, Armen Donelian,
Long Island City, 718-482-5151
Mario Escalera, Ray Gallon, Hal Galper, George Garzone, Dave
Glasser, Dan Greenblatt, Chico Hamilton, and many more

Drum Instruction “The Professional Way”
New York University www.qc.edu/music, Admissions: (718) 997-5200
Jazz/Contemporary Music Studies Graduate Degrees: M.M. in Jazz Performance and Jazz
Composition
John Sarracco
Dr. David Schroeder
Faculty: David Berkman, Paul Bollenbeck, Vince Cherico, Gene
Drummer/Educator
35 West 4th Street Room # 980 Suite # 777
New York, NY 10012 Jackson, Pablo Aslan, Ron Carter, Leon Dorsey, Antonio Hart, ph. 718.351.4031
212-998-5446, ds38@nyu.edu Luis Bonilla, Steve Turre, Mark Feldman, Theo Bleckman, drummerboy@si.rr.com
www.education.nyu.edu/music.jazz Richard Harper Sheila Jordan, J. D. Walter, Michael Mossman.
Chair of Department of Music: Dr. Lawrence Ferrara
Bachelor Degrees: B.M. in Music Performance and Jazz Studies Rutgers University at New Brunswick Faculty: Includes David Demsey, Vincent Herring, Rich Perry,
Graduate Degrees: M.A. and Ph.D. in Music Performance and Stanley Cowell Nancy Marano, Gene Bertoncini, Paul Meyers, Armen Donelian,
Jazz Studies 100 Clifton Avenue Harold Mabern, Mulgrew Miller, Janet Reeves, James Weidman,
Faculty: Includes Dr. Dave Schroeder, Bruce Arnold, Donald New Brunswick, NJ 08903-0270 Steve LaSpina, Marcus McLaurine, Horacee Arnold, Bill
Friedman, Memo Acevedo, George Garzone, Gabriel Alegria, 732-932-9302, scowell@rci.rutgers.edu Goodwin, Kevin Norton, Cecil Bridgewater, Richard DeRosa,
Robin Eubanks, Ron McClure, Stefon Harris, and many more www.musicweb.rutgers.edu Jim McNeely, Clark Terry.
Bachelor Degrees: Bachelor of Music
Purchase College—Jazz Institute Master Degrees: Master of Music Weill Music Institute at Carnegie Hall
Purchase College, SUNY Faculty: Ralph Bowen, Stanley Cowell, William Fielder, Conrad 881 7th Avenue
Todd Coolman Herwig, Vic Juris, Victor Lewis, Mike Richmond New York, NY 10019
735 Anderson Hill Road 212-903-9741
Purchase, NY 10577 Turtle Bay Music School www.weillmusicinstitute.org
914-251-6716 244 E. 52nd St.
todd.coolman@purchase.edu New York, NY 10022,
www.purchase.edu/music 212-753-8811 REGIONAL
Bachelor Degrees: B.M. in Performance—Jazz Studies www.tbms.org ______________________________________________________________________
Graduate Degrees: M.M. in Performance—Jazz Studies; New York, New Jersey, Pennsylvania, Connecticut,
Performer Certificate; Artist’s Diploma William Paterson University Massachusetts, New England and Mid-Atlantic
Faculty: Includes Eric Alexander, Jon Faddis, John Fedchock, David Demsey
Doug Munro, Charles Blenzig, Todd Coolman, Richie Morales, 300 Pompton Road Berklee College of Music
Ted Piltzecker, Wilson Corniel, Jr., Arturo O’Farrill Wayne, NJ 7470 Nick Balkin
973-720-2268 1140 Boylston St.
Queens College—Copland School of Music demseyd@wpunj.edu, www.wpunj.edu Boston, MA 2215
Michael Mossman B.M. in Jazz Studies and Performance, Sound Engineering Arts/ (617) 747-2222
Flushing, NY 11367 Jazz Concentration, Music Management/Jazz Concentration Bachelor Degrees: Music Education, Film Scoring, Songwriting,
718-997-3823 and Music Education/Jazz Concentration Performance, Music Production & Engineering, Music
michael.mossman@qc.cuny.edu M.M. in Jazz Studies, Concentrations in Perf, Arranging Synthesis, Music Business/Management, Music Therapy,
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Contemporary Writing & Production, Composition, Professional Fairfield University www.moravian.edu/music
Music, Jazz Composition, dual major options Brian Torff Admissions: (610) 861-1300
Faculty: Includes Bill Pierce and Walter Beasley, saxophone;, 1073 N. Benson Road Bachelor Degrees: B.M. in Performance (Jazz or Classical),
JoAnne Brackeen, piano; Kenwood Dennard, drums; Kevin Fairfield, CT 06824 Music Education, Composition, or Sacred Music; B.A. in Music
Mahogany, voice; Mick Goodrick, guitar; Phil Wilson, trombone. (203) 254-4000, or Elementary Education
brian@briantorff.com, Faculty: Dan DeChellis, Anthony Gairo, Alan Gaumer, Byron
Colgate University www.fairfield.edu Landham, Lou Lanza, Steven Mathiesen, Gary Rismiller, Pal
Glenn Cashman Undergraduate Adm. (203) 254-4100 Rostock, David Roth, Dr. Neil Wetzel, Peter Smyser.
13 Oak Drive Faculty: Orin Grossman, Laura Nash, Brian Torff
Hamilton, NY 13346 New England Conservatory
(315) 228-6688 Fredonia College, SUNY Ken Schaphorst
gcashman@mail.colgate.edu Bruce Johnstone 290 Huntington Avenue
www.colgate.edu Mason Hall, School of Music Boston, MA 2115
Faculty: Glenn Cashman Fredonia, NY 14063 (617) 585-1388
(716) 673-4640 jazz@newenglandconservatory.edu
Duquesne University music@fredonia.edu www.newenglandconservatory.edu
Michael Tomaro www.fredonia.edu Bachelor Degree: B.M. or Undergraduate Diploma in Jazz
Mary Pappert School of Music Admissions: (716) 673-3251
600 Forbes Avenue Faculty: Bruce Johnstone, John Bacon, Harry Jacobson, Linda
Pittsburgh, PA 15282 Phillips
tormarom@duq.edu Manhattan School of Music
www.duq.edu Hartford Conservatory 2009-1010 Jazz Concert Calendar
Faculty: Ronald Bickel, Joe Dallas, Jim Guerra, Sean Jones, Walter Gwardyak
Tony Mowod, Brian Stahurski, Michael Tomaro, John Wilson 834 Asylum Avenue
Highlights—Preview
Hartford, CT 6105
East Stroudsburg University Fall 2009
(860) 246-2588
Betsy Buzzelli-Clarke Friday, October 9
jprell@hartfordconservatory.org
Music Department Focus: The Music of Eddie Sauter, with Joe Lovano,
www.hartfordconservatory.org
200 Prospect Street soloist
Admissions: (860) 246-2588
East Stroudsburg, PA 18301 Borden Hall, MSM Jazz Philharmonic Orchestra, Justin
Bachelor Degrees: Accredited Arts Diploma
(570) 422-3052, bbuzzelli@po-box.esu.edu DiCioccio, Conductor
Faculty: Dave Dana, Bob DePalma, Giacomo Gates, Jay Wood
www.esu.edu Eddie Sauter: Focus, Robert Graettinger/Stan Kenton:
Admissions: (570) 422-3211 City of Glass
Howard University Jazz Studies
Faculty: Robert Miller, Patrick Dorian, Terry Flatt, James College of Arts and Sciences, Jazz Studies
Maroney, Otis French, Elizabeth Buzzelli-Clarke 2400 6th St NW Thursday, Oct. 22 BDN
Washington, DC 20059 The Music of Clare Fischer, Bill Potts: The Jazz Soul of
Eastman School of Music (202) 806-7097 Porgy and Bess
Harold Danko millerconnaitre@hotmail.com MSM Concert Jazz Band, Justin DiCioccio, Conductor
26 Gibbs Street www.coas.howard.edu/music/index.html
Rochester, NY 14604 Admissions: (202) 806-7082 Friday, Oct. 23 BDN
585-274-1449 Bachelor Degrees: B.M. in Jazz Studies, Music Business – Jazz, Ray Santos - A Life in Latin Music
hdanko@esm.rochester.edu Music Education, Composition, Music History, Music Therapy, A tribute to a living master, the definitive arranger of big
www.rochester.edu/eastman/jazz Music Business band Afro-Cuban music
Admissions: Dr. Adrian Daly, daly@esm.rochester.edu Graduate Degrees: Master of Music, Master of Music Education MSM Afro Cuban Jazz Orchestra
Department Secretary: Sheryle Charles Bobby Sanabria, Director
scharles@esm.rochester.edu; Ext. 1440 Ithaca College
Bachelor Degrees: Jazz Studies and Contemporary Media James J. Whalen Center for Music Tuesday, November 3 BDN
Graduate Degrees: M.M. in Jazz Studies and Contemporary 3322 Ithaca College Sketches of Spain
Media Ithaca, NY 14850-7240 MSM Jazz Orchestra, Justin DiCioccio, Conductor,
Faculty: Jeff Campbell, Harold Danko, Bill Dobbins, Clay 607-274-3366 Artist-in Residence Dave Liebman, soloist
Jenkins, Mark Kellogg, Ramon Ricker, Dave Rivello, Bob www.ithaca.edu/music Gil Evans: Sketches of Spain
Sneider, Dariusz Terefenko, Rich Thompson, Walt Weiskopf Music Admissions Director—Thomas Kline
tkline@ithaca.edu Spring 2010
Bachelor Degrees: B.M. in Jazz Studies Friday, Feb. 12- Feb.14
Charles Mingus Festival & Second Annual High School
MattCrisCuolo
Faculty: Lauri Robinson-Keegan, Michael Titlebaum, Louise /
mygatt Band Competition
Master classes, workshops, concerts and jam sessions
culminating in the Second Annual Charles Mingus High
New CD: Lehigh University
School Jazz Band Competition
Bill Warfield
tell Me a Bedtime story Music Department, Zoellner Arts Center
420 East Packer Avenue Wed. March 24 BDN
Bethlehem, PA MSM Jazz Philharmonic Orchestra, Justin DiCioccio,
orderline: 203-856-4040 (610) 758-5192, wlw2@lehigh.edu, Conductor featuring vocalist Jane Monheit
or send $15 to: www.lehigh.edu/~inmsc/
Wed. April 21 ML
Admissions: (610) 758-3839
58 W. Meadow road Faculty: Dave Riekenberg, Bill Warfield Chamber Jazz Ensemble: Michael Patterson & Friends
Wilton, Ct 06897 with Gene Bertoncini, guitar, and Sara Caswell, violin
Moravian College
Neil Wetzel Manhattan School of Music
Moravian College Music Department 120 Claremont Avenue
www.mattcriscuolo.com 1200 Main Street New York, NY 10027-4698
Bethlehem, PA 18018 www.msmnyc.edu
610-861-1650, music@moravian.edu,

Manhattan School of Music Jazz Arts Robert Sirota,
President
msm Jazz oN
Jazzheads
New releases
Justin DiCioccio, Conductor
make
Dave Liebman, Soloist
PORGY & BESS

Manhattan School of Music Jazz Orchestra
LIVE
your
www.jazzheads.com
JH1165
mark
Justin DiCioccio,
Assistant Dean / Chair
Jazz Arts Program
www.Jazzheads.com
INFormaTIoN
Office of Admission
and Financial Aid
Manhattan School of Music does
Manhattan School of Music
not discriminate on the basis of 120 Claremont Avenue
sex, race, religion, sexual orienta-
tion, color or national or ethnic New York, New York 10027
origin, parental or marital status,
and age or disability in the recruit-
212 749 2802 ext 2
ment or admission of its students, admission@msmnyc.edu
and in the administration of its Remy LeBoeuf on alto saxophone
Brian Hatton
educational programs, financial and Jonathan Barnes on trumpet

assistance programs, and student
activities. It is an Equal Opportunity
Employer.
www.msmNyc.edu
Performance, Jazz Composition, or Contemporary Improvisation SUNY Potsdam (410) 704-2839
Graduate Degrees: M.M., Graduate Diploma, D.M.A., or Artist 44 Pierrepont Avenue dballou@towson.edu, www.towson.edu/music
Diploma in Jazz Performance, Jazz Composition, or Contemporary Potsdam, NY 13676 Admissions: 410-704-2836 - Ad Sales: 410-704-3375
Improvisation (315) 267-2423 Faculty: Jeffrey Antoniuk, David Ballou, Michael Decker,
Faculty: Includes Charlie Banacos, Jerry Bergonzi, Ran Blake, zvacekbr@potsdam.edu Steve Herberman, James McFalls, Timothy Murphy, Jeremy
Fred Buda, Frank Carlberg, Gary Chaffee, Anthony Coleman, www.potsdam.edu/crane Ragsdale, Jeff Reed
Sa Davis, Dominique Eade, Robin Eubanks, George Garzone, Admissions: (315) 267-2775
Billy Hart, Andre Hayward, Jon Hazilla, Jerry Leake, John Bachelor Degrees: B.A. in Music; Minor in Jazz Studies University of Connecticut
Lockwood, Cecil McBee Faculty: Bret Zvacek Earl MacDonald
1295 Storrs Road, Unit 1012
Orange County Community College Syracuse University Department of Music Department of Music
Chris Parker Joe Riposo Storrs, CT 6269
115 South Street 200 Crouse College 860-486-0670
Middletown, NY 12771 Syracuse, NY 13244-1010 earl.macdonald@uconn.edu
(845) 341-4791, cparker@sunyorange.edu 315-443-2191 www.jazz.uconn.edu
www.sunyorange.edu jriposo@syr.edu Admissions: Deb Trahan (860) 486-3731
Admissions: Vinny Cazzetta, 845-341-4726 www.vpa.syr.edu Bachelor Degrees: B.A. Jazz Studies Emphasis
Faculty: Chris Parker, Hilarie Clark-Moore, Stanley Curtis, Christa Faculty: Joe Riposo Faculty: Earl MacDonald, Kenny Davis, John Mastroianni, Bill
Damaris, Peter Galipeau, Vivian Graziano, David Miele, Dana Reynolds
Perna, Steve Raleigh, Levern Rollins-Haynes, Kevin Scott Temple University
Terell Stafford University of Maine
Peabody Institute at Johns Hopkins University Esther Boyer College of Music and Dance Richard Nelson
Gary Thomas, Director of Jazz Studies 2001 N 13th Street 46 University Drive
1 East Mt. Vernon Place Philadelphia, PA 19122 Augusta, ME 04330-9410
Baltimore, MD 21202-2397 (215) 204-8036, tstaffor@temple.edu 207-621-3274
410-659-8100, gthomas@jhu.edu www.temple.edu/music richardn@maine.edu
www.peabody.jhu.edu Admissions: music@temple.edu www.uma.maine.edu
Bachelor Degrees: B.M. in Jazz Performance in Trumpet, Bachelor Degrees: B.M. in Jazz Instrumental Performance, Jazz Faculty: Russ Lombardi, William Moseley, Richard Nelson,
Percussion, Double Bass, Saxophone, Flute, Piano, Guitar, Voice Vocal Performance, Jazz Arranging and Composition, Music Chuck Winfield
Faculty: Nasar Abadey, Paul Bollenback, Jay Clayton, Michael Education with a Jazz Component, Music Therapy with a Jazz
Formanek, Donvonté McCoy, Timothy Murphy, Gary Thomas Component University of Maryland
Faculty: Jeremy Barker, Bruce Barth, Luis Bonilla, Don Collins, Chris Vadala
Princeton University Alison Crockett, Louis DeLise, Craig Ebner, Steve Fidyk, Ed Clarice Smith Performing Arts Center
Department of Music Flanagan, Tom Giacabetti, Erik Johnson, Greg Kettinger, Tom College Park, MD 20742
Anthony Branker Lawton, Dan Monaghan, Carl Mottola, Mike Natale, Dick Oatts, 301-405-5519
Woolworth Center Musical Studies Madison Rast, Arcenia Rosal, Ben Schachter, Jaleel Shaw, cv@umd.edu
Princeton, NJ 08544-1007 Terell Stafford www.music.umd.edu
609-258-2219 Admissions: (301) 405-5031
branker@princeton.edu The College of Saint Rose Faculty: Tom Baldwin, Gerard Kunkel, Jon Ozment, Ben
www.princeton.edu/~puje Paul Evoskevich Patterson, Leigh Pilzer, Chuck Redd, Chris Vadala
Bachelor Degrees: B.A. in Music; Certificate in Musical 432 Western Avenue
Performance (Jazz) Albany, NY 12203 Univ. of Massachusetts—Amherst
Graduate Degrees: M.A. & Ph.D. in Composition and Musicology (518) 454-5195 Jeff Holmes
Faculty: Anthony Branker, Ralph Bowen, Michael Cochrane, evoskevp@strose.edu Department of Music—Jazz Studies
Bruce Arnold, Brian Glassman, John Arrucci www.strose.edu FAC 263
Bachelor Degrees: B.S. in Music Industry and Music Amherst, MA 01003
Rowan University Education 413-545-6046
Dennis DiBlasio Graduate Degrees: M.A. in Music Technology, M.S. in Ed. in jwhomes@music.umass.edu
201 Mullica Road Music Education umass.edu/music/
Glassboro, NJ 08071 Faculty: Paul Evoskevich, Robert Hansbrough, Joseph Eppink, Marilyn Kushick—Publicity: mkushick@music.umass.edu
(856) 256-4651 Yvonne Chavez Hansbrough, Susan Harwood, Dennis A. Bachelor Degrees: B.M and B.A. in Jazz Performance
deblasio@rowan.edu Johnston, Young Kim, Michael Levi, Marry Anne Nelson, Bruce plus Performance, Music Education, History, Theory, or
www.rowan.edu/music Roter, Barbara Wild Composition
Admissions: (856) 256-4200 or admissions@rowan.edu Graduate Degrees: Jazz Composition & Arranging plus History,
Faculty: Dennis DiBlasio, Douglas Mapp, George Genna, Hartt School at University of Hartford Composition, Music Education, Performance, Conducting, or Theory
Tom Giacabetti, Eddie Gomez, John Guida, Tony Miceli, Jim 200 Bloomsfield Avenue Faculty: Jeffrey Holmes, David Sporny, T. Dennis Brown, Willie
Miller, Joe Morello, George Rabbai, Robert Rawlins, Anthony West Hartford, CT 06117-1599 Hill, Catherine Jensen-Hole, Robert Ferrier, Arturo O’Farrill,
Salicandro, Tom Traub, Ed Vezinho (860) 768-4465, harttadm@hartford.edu Eugene Uman, Robert Gullotti, David Berkman
www.hartford.edu/hartt
SUNY Binghamton Bachelor Degrees: Instrumental Performance and Vocal University of Rhode Island
Michael Carbone Performance Professor Joe Parillo
Music Department Master Degrees: Instrumental Performance and Vocal Music Department
PO Box 6000 Performance 105 Upper College Road
Binghamton, NY 13902 Faculty: Nancy Anderson, Rogerio Boccato, Christopher Kingston, RI 2881
(607) 777-2627 Casey, Steve Davis, Richard Goldstein, Jimmy Greene, Eddie (401) 874-2765, jparillo@uri.edu, www.uri.edu
mcarbone@stny.rr.com Henderson, Randolf B. Johnston, Jr., Andy LaVerne, René Admissions: (401) 874-7100
www.music.binghamton.edu McLean, Eric McPherson, Shawnn Monteiro, Nat Reeves, Bachelor Degrees: B.A. in Jazz Studies
Undergrad Admissions: (607) 777-2171 Edward Rozie, Gabor Viragh, Peter Woodard Faculty: Joe Parillo, Eric Hofbauer, John Monllos, Eric Platz,
Faculty: Michael Carbone David Zinno
Towson University Music Department
SUNY Potsdam Dave Ballou University of Southern Maine
Bret Zvacek 8000 York Road Chris Oberholtzer
Crane School of Music Towson, MD 21252-0001 School of Music

37 College Avenue American River College PO Box 870405
Gorham, ME 4038 Dyne Eifertsen Tempe, AZ 85287
(207) 780-5126 4700 College Oak Drive 480-965-5069
oberholt@usm.maine.edu Sacramento, CA 95841 www.music.asu.edu/jazz
www.usm.maine.edu/music (916) 484-8261 Bachelor Degrees: B.M. in Jazz Performance
Admissions: (207) 780-5670 eifertdc@arc.losrios.edu Graduate Degrees: M.M. in Music Education (Jazz Emphasis)
Faculty: Trent Ryan Austin, Les Harris, Jr., Chris Humphrey, www.arc.losrios.edu/~music Faculty: Michael Kocour, Dom Moio, Justin Brotman, Sam
Chris Oberholtzer, Michelle Snow, Thomas Snow, Bill Street, Bachelor Degrees: A.A. in Jazz Studies Pilafian, Clarke Rigsby, Bryon Ruth, Mark Sunkett
Bronek Suchanek, Gary Wittner Faculty: Dyne Eifertsen, Joe Gilman, Art LaPierre, Jacosa Limitau
Auburn University
University of the Arts Arizona State University Music Department
Marc Dicciani Michael Kocour 101 Goodwin Hall
320 South Broad Street School of Music Auburn, AL 36830-5420
Philadelphia, PA 19102
(215) 717-6342
mdicciani@uarts.edu, www.uarts.edu
Admissions: (215) 717-6030 THE JUILLIARD SCHOOL | JOSEPH W. POLISI, President
Bachelor Degrees: Bachelor of Music in Jazz Studies
Graduate Degrees: Master of Music in Jazz Studies, Master of
Arts in Teaching in Music
Faculty: Includes Marc Dicciani, Chris Farr, John Fedchock,
Rick Van Horn, Gerald Veasley, and many more
Jazz Bassist,
Weill Music Institute at Carnegie Hall
alumnus, and
881 7th Avenue
New York, NY 10019 Juilliard Jazz Artist-
(212) 903-9741, ptw@weillmusicinstitute.org in-Residence
Christian McBride
West Chester University
Dr. John Vilella performs with
School of Music student Eddie
Swope Hall Barbash, on
West Chester, PA 19383 alto sax.
(610) 436-2495, jvilella@wcupa.edu
Photo: Hiroyuki Ito

www.wcupa.edu/cvpa
Western Connecticut State University

Dr. Dan Goble
181 White Street
Juilliard Jazz
Department of Music, Western Connecticut State Univ Carl Allen
Danbury, CT 6810 Artistic Director
203-837-8354, gobled@wcsu.ctstateu.edu Laurie A. Carter
www.wcsu.edu/music Executive Director
Admissions: (203) 837-9000
Benny Golson
Faculty: Jamie Begian, Andrew Beals, Chris DeAngelis, Chris
Morrison, David Ruffels, Dave Scott, Jeff Siegel, Peter Tomlinson
Artistic Consultant
Christian McBride
Jazz Performance Education
Artist in Residence
Williams College
Andy Jaffe Benny Green
Visiting Artist
Bachelor of Music
Bernhard Music Center
54 Chapin Hall Drive Saxophone Master of Music
Ron Blake
Williamstown, MA 1267
413-597-4049, Joe Temperley Artist Diploma
� Curriculum Tailored to Each Student’s Need
ajaffe@williams.edu, music.williams.edu Trombone
Admissions: (413) 597-2211 Steve Turre
Faculty: Freddie Bryant, Jeff Holmes, Andrew Jaffe, Erik Trumpet � Perform, Tour, Participate in Master Classes
Lawrence, Conor Meehan, Teri Roiger Eddie Henderson � Extraordinary Faculty & Top Guest Artists
Christian Jaudes
Joseph Wilder Apply by December 1, 2009
NATIONAL Guitar All applicants must meet Juilliard’s jazz audition requirements.
______________________________________________________________________ Rodney Jones
B.M. requires high school diploma or equivalent
Piano
Amarillo College Kenny Barron M.M. requires bachelor of music
PO Box 447 Frank Kimbrough Artist Diploma (a post-graduate, tuition-free program)
Amarillo, TX 79178 Drums requires college degree or extensive experience
www.actx.edu/~music Carl Allen
Faculty: Dr. James Raucher, Dr. Jim Laughlin Billy Drummond Auditions in New York, February 26 – March 5, 2010
Kenny Washington
Send Applications and Pre-Screen Recording to:
American Conservatory of Music Bass Juilliard Admissions, 60 Lincoln Center Plaza, New York, NY 10023
Dr. Mary Ellen Newsom Ron Carter
252 Wildwood Road (212) 799-5000
David Grossman
Hammond, IN 46324 Ben Wolfe www.juilliard.edu/jazz
(219) 931-6000, www.americanconservatory.edu

(334) 844-4165 (209) 946-3970 5151 State University Drive
music@auburn.edu sanderso@pacific.edu Los Angeles, CA 90032
http://media.cla.auburn.edu/music/ www.brubeckinstitute.org (323) 343-4060
Admissions: (334) 844-6425 janice 946-2415, jbenedi@calstatela.edu
Faculty: Ramon Vasquez www.calstatela.edu
vasqurf@auburn.edu University of the Pacific Conservatory of Music Admissions: (323) 343-3901
Patrick Langham Bachelor Degrees: B.A. or B.M.
Augusta State University 3601 Pacific Ave Graduate Degrees: M.A. or M.M.
Dr. Robert Foster Stockton, CA 95211 Faculty: Jeff Benedict, Paul De Castro, James Newton,
2500 Walton Way (209) 946-3970 Deborah Holland
Augusta, GA 30904 plangham@paciific.edu
(706) 737-1453 www.pacific.edu California State University, Monterey Bay
rfoster@aug.edu Faculty: Patrick Langham (saxophone, director of jazz studies) Richard Bains
www.aug.edu/music/ Degrees Offered: Bachelor of Arts in Jazz Studies, B.M in 100 Campus Center, Bldg 30
Admissions: (706) 737-1632 Music Education Seaside, CA 93955
Bachelor Degrees: B.A. or B.M in Performance; B.M. in Music (831) 582-4085
Education California Institute of the Arts richard_bains@csumb.edu
Faculty: Linda Banister, Richard Brasco, Robert Foster David Roitstein http://music.csumb.edu/site/x3510.xml
24700 McBean Parkway Admissions: 831-582-5111
Augustana College Valencia, CA 91355 Paul Contos, Ray Drummond - PT Faculty
Steve Grismore 661-255-1050, roit@calarts.edu Bachelor Degrees: B.A. in Music
639 38th Street www.calarts.edu Faculty: Richard Bains, Paulette Gissendanner, Paul Contos,
Rock Island, IL 61201 Bachelor Degrees: B.FA in Jazz Studies, James Ferguson
(309) 794-7233 Graduate Degrees: M.FA in Jazz Studies
mugrismore@augustana.edu Faculty: Charlie Haden, David Roitstein, Joe LaBarbera, Darek California State University Sacramento
www.augustana.edu Oles, Larry Koonse, Wadada Leo Smith, Vinny Golia, Paul Steve Roach
Faculty: Joseph Ott, Steve Grismore Novros, Miroslav Tadic, Aaron Serfaty, John Fumo 6000 J. Street Sacramento
Sacramento, CA 95819-6015
Baker University California State University, Northridge (916) 278-5155
J.D. Parr Gary Pratt roach@csus.edu
406 8th Street 18111 Nordhoff Street www.csus.edu/music
Baldwin City, KS 66006 Northridge, CA 91330-8314 Admissions: (916) 278-6011
(785) 594-4507 (818) 677-2743, gary.pratt@csun.edu, www.csun.edu Bachelor Degrees: B.M. in Jazz Studies, Applied Performance,
www.bakeru.edu Bachelor Degrees: B.M. in Jazz Studies Composition, or Music Education
Bachelor Degrees: B.A., B.S., or B.M.ed. Faculty: Matt Harris, Gregg Bissonette, Matt Falker, Robert Hurst, Graduate Degrees: M.M. in Performance, Conducting,
Faculty: John Buehler, J.D. Parr Alex Iles, Don Kasper, Rob Lockart, John Pisano, Bobby Shew Composition, Music Education, or Music History and Literature
Faculty: Julia Dollison, Aaron Garner, Steve Homan, Rick Lotter,
Bloom School of Jazz Kerry Marsh, Mike McMullen, Gerry Pineda, Steve Roach, Matt
David Bloom California State University at Bakersfield Robinson, Phil Tulga
218 S. Wabash Avenue #600 Doug Davis
Chicago, IL 60604-2444 9001 Stockdale Highway Central Missouri State University
312-957-9300 Bakersfield, CA 93311 Dr. David Aaberg
dbloom1@interaccess.com (661) 654-3093, ddavis@csub.com, Dept. of Music—HUD 118
www.bloomschoolofjazz.com www.csub.comAdmissions: (661) 664-3036 PO Box 800
Faculty: Doug Davis, Jim Scully Warrensburg, MO 64093
Bowling Green State University (660) 543-4909
Jeff Halsey California State University at Fullerton aaberg@ucmo.edu
College of Musical Arts Chuck Tumlinson www.ucmo.edu/music
Ridge and Willard Street 800 North State College Faculty: David Aaberg
Bowling Green, OH 43403 Fullerton, CA 92834
(419) 372-8148 (714) 278-5523 Chicago College of Performing Arts at Roosevelt
jhalsey@bgnet.bgsu.edu ctumlinson@fullerton.edu University
www.bgsu.edu/colleges/music www.fullerton.edu Heather McCowen
Bachelor Degrees: Music Education, Music Performance, Music Bachelor Degrees: B.M. in Jazz/Commercial Music Emphasis, 430 S. Michigan Avenue
Composition, Jazz Studies, World Music, and Music History Instrumental Chicago, IL 60605
Graduate Degrees: Guitar Performance, Jazz Studies Graduate Degrees: M.M. in Instrumental Performance, M.M. (312) 341-3789
Faculty: Chris Buzzelli, Jeff Halsey in Composition music@roosevelt.edu
Faculty: Chuck Tumlinson, Bill Cunliffe, Laura Harrison, Jeff ccpa.roosevelt.edu
Brevard College Ellwood, Ron Escheté, Luther Hughes, Paul Kreibich, Andrew Jerry Prophet / Jazz Studies - Dept.
Steve Wilson Martin, Mark Massey, Charles Sharp Paul Wertico / Contact after June 1st. Fiscal Yr. End of July
400 North Broad St. Bachelor Degrees: B.M.
Brevard, NC 28712 California State University East Bay Faculty: Includes Jerry DiMuzio, Carey Deadman, Steve Berry,
wilsonk@brevard.edu Dave Eshelman Neal Alger, Rob Amster, Ruben Alvarez, Phil Gratteau, Jo Ann
www.brevard.edu Music Department Daugherty, Jackie Allen
Admissions: (828) 883-8292 25800 Carlos Bee Blvd
Bachelor Degrees: B.A. in Jazz Studies, Performance, or Hayward, CA 94542 Chicago Jazz Ensemble
Composition (510) 885-3735 Kat Ryan
Faculty: Steve Wilson class.csueastbay.edu/music Columbia College
Faculty: Johannes Wallmann, Dann Zinn 600 South Michigan Avenue
Brubeck Institute, University of the Pacific Chicago, IL 60605
Steve Anderson California State University at Los Angeles 312-344-6269
3601 Pacific Ave Dr. Jeffery Benedict www.chijazz.com
Stockton, CA 95211 Department of Music kryan@colum.edu

Assistant Department Chair: Mary Blinn mblinn@colum.edu
Faculty: Jon Faddis, Artistic Director; Scott Hall, Education Director

College of the Mainland
Sparky Koerner
1200 Amburn Road
Texas City, TX 77591
(409) 938-1211
skoerner@com.edu
www.com.edu
Admissions: Kelly Musick, Registrar: (409) 938-1211 ext. 496 or kmusick@com.edu
Degrees: Associate of Arts
Columbia College of Chicago

Scott Hall
600 South Michigan Ave.
Chicago, IL 60605
(312) 344-6322
schall@colum.edu, www.colum.edu/Academics/Music/about/Jazz_Faculty.php
Faculty: Dan Anderson, Bill Boris, Frank Dawson, Diane Delin, Richard Dunscomb, Jon Faddis,
Scott Hall, Tom Hipskind, Audrey Morrison, Duane Thamm, Peter Saxe, Barry Winograd
Cornish College of Arts

Chuck Deardorf
1000 Lenora Street
Seattle, WA 98121
(206) 726-5031
cdardorf@cornish.edu
www.cornish.edu
Admissions: admission@cornish.edu / Sarah Burgess - Admin. #1 Beth Fleenor
Bachelor Degrees: B.M.
Faculty: Includes Kent Devereaux, Chuck Deardorf, Randy Halberstadt, Jim Knapp, Jovino
Santos Neto, Margie Pos, Julian Priester
Cuyahoga Community College

Steve Enos
2900 Comm. College Avenue Cyrus
Cleveland, OH 44115
(216) 987-4256
stephen.enos@tri-c.edu
www.tri-c.edu
Faculty: Steve Enos, Ernie Krivda, Joe Hunter, Lee Bush, Bryan Thomas, Demetrius
Steinmetz, Rob Ticherich, Ray Porrello, Jackie Warren
DePaul University
Bob Lark
804 W. Belden Ave
Chicago, IL 60614
(773) 325-4397
rlark@depaul.edu
http://music.depaul.edu
music_adm@depaul.edu
Bachelor Degrees: Jazz Studies, Performance, Composition, Music Education
Graduate Degrees: Jazz Performance, Jazz Composition, Music Education, Performance
Faculty: Timothy Coffman, Mark Colby, Kirk Garrison, Bob Lark, Thomas Matta, Larry Novak,
Bob Palmieri, Ron Perrillo, Bob Rummage, Kelly Sill, Bradley Williams
Duke University
John V. Brown
105 Mary Duke Viddle Music Building
Durham, NC 27208
(919) 660-3385
jbrown@duke.edu
www.duke.edu
Admissions: (919) 660-3300
Faculty: John V. Brown
jbrown@duke.edu
919-660-3385
East Carolina University

Carroll V. Dashiell, Jr.
School of Music
Fletcher Music Center

Greenville, NC 27858-4353 Pat Harbison; Admissions: musicadm@indiana.edu Michigan State University
(252) 328-6240 Faculty: David Baker, Luke Gillespie, Patrick Harbison, Steve Rodney Whitaker
dashiellc@mail.ecu.edu Houghton, Brent Wallarab, Thomas Walsh Jazz Studies Program
www.ecu.edu/music/jazz (812) 855-9846 102 Music Building
Admissions: (252) 328-6851 Left message East Lansing, MI 48824-1318
Faculty: Jeffrey Bair, Carroll Dashiell, Ernest Turner (517) 432-2194
Jackson State University whitak22@msu.edu
Elmhurst College Dr. Russell Thomas www.music.msu.edu
Doug Beach Music Dept, Box 17055 Admissions: (517) 355-2140
Jazz Studies Jackson, MS 39217 Bachelor Degrees: Composition and Music Theory, Jazz
190 Prospect Avenue 601-979-2574, rthomas@ccaix.jsums.edu Studies, Performance, Music Therapy, Music Education, Music
Elmhurst, IL 60126 www.jsums.edu/jsumusic Graduate Degrees: Performance, Musicology, Theory,
(630) 617-3518 Admissions: (601) 979-2100 or admappl@jsums.edu Composition, Conducting, or Education
dougb@elmhurst.edu Bach. Degrees: B.M.E. or B.M.; Grad Degr: M.M.E, M.M. Doctoral Degrees: Performance, Composition, Conducting, or
B.M. in Jazz Studies, jazz studies minor, b music business, Faculty: Russell Thomas, Dowell Taylor, David Ware Education
music ed Faculty: Wess Anderson, Derrick Gardner, Randy Gelispie,
http://public.elmhurst.edu/music/1299562.html University of Louisville School of Music Joe Gloss, Diego Rivera, Rick Roe, Rodney Whitaker, Sunny
Faculty: Doug Beach, Jamey Aebersold Jazz Studies Program Wilkinson
Louisville, KY 40292
Elon University Mike Tracy Middle Tennessee State University
Jon Metzger miketracy@louisville.edu Department of Music
Music Department (502) 852-1623, www.louisville.edu/music/jazz Don Aliquo
Campus Box 2800 Admissions: Toni Robinson (502) 852-6032 or gomusic@ 2620 Dorset Street
Elon, NC 27244 louisville.edu Murfreesboro, TN 37130
(336) 278-5683 Bachelor Degrees: B.A. w/ Jazz Emphasis, B.M Jazz Perfromance, 615-904-8362
jmetzger@elon.edu M.M Jazz Performance, M.M Jazz Composition and arranging daliquo@mtsu.edu
www.elon.edu/jazz Faculty: Ansyn Banks, Jim Connerley, Chris Fitzgerald, John frank.mtsu.edu/~music
Bachelor Degrees: Music Performance, Music Education, Music LaBarbera, Jason Tiemann, Jerry Tolson, Mike Tracy, Craig Bachelor Degrees: B.M. in Jazz Studies
Faculty: Jon Metzger, Dr. Stephen A. Futrell, Virginia Novine- Wagner, Tyrone Wheeler Master Degrees: M.A. in Jazz Studies
Whittaker, Dr. Thomas Erdmann, Dr. Matthew Buckmaster Faculty: Don Aliquo, Jamey Simmons, Tom Giampietro, Shawn
JazzSchool Purcell, Pat Coil, Jim Ferguson, Dr. David Loucky, Lalo Davila,
Florida International University Susan Muscarella Rich Adams, Socrates Garcia
Mike Orta 2087 Addison St.
School of Music Berkeley, CA 94704 Millikin University
11200 SW 8th Street, WPAC 12 510-845-5373 Randall Reyman
Miami, FL 33199 swing@jazzschool.com 1184 W. Main Street
(305) 348-1414, ortam@fiu.edu, www.music.fiu.edu Faculty: www.jazzschool.com Decatur, IL 62522
Mike Orta, Sam Lussier, Gary Campbell, Errol Rackipov, Nicky Admissions: (510) 845-5373 (217) 424-6319
Orta, Arturo Sandoval Faculty: Laurie Antonioli, Bill Aron, Joe Bagale, Wil Blades, rreyman@mail.milikin.edu
Sheldon Brown, Andre Bush, Jeremy Cohen, Christy Dana, www.millikin.edu/music
Florida State University Wayne Wallace, Faculty: Andrew Burtschi, Brian Justison, Manley Mallard,
Leon Anderson, Jr. Jazzschool.com Randy Reyman, John Stafford II, Stephen Widenhofer
College of Music sheryllynn@jazzschool.com
Florida State University swing@jazzschool.com Morehead State University
Tallahassee, FL 32306-1180 Dr. Gordon Towell
(850) 644-1048 L.A. Music Academy 120 Baird Music Hall
landers2@fsu.edu Joe Pocaro, Ralph Humphrey, Tierney Sutton, Jerry Watts, Morehead, KY 40351
www.music.fsu.edu Tariqh Akoni (606) 783-2198, g.towell@moreheadstate.edu
Music Admissions: musicadmissions@fsu.edu / 850.644.6102 370 S. Fair Oaks Avenue www.moreheadstate.edu/music
Bachelor Degrees: B.A. in Jazz Studies Pasadena, CA 91105 Admissions: (606) 783-2000 or admissions@moreheadstate.edu
Graduate Degrees: M.M. in Jazz Studies (626) 568-8850 Bachelor Degrees: B.M. in Jazz Performance; B.M.E.
Faculty: Leon Anderson, Jr., Brian Gaber, Rodney Jordan, info@lamusicacademy.edu Graduate Degrees: M.M., M.M.E.
William Kennedy, Paul McKee, William Peterson, Marcus www.lamusicacademy.edu Faculty: Glenn Ginn, Steven Snyder, Gordon Towell
Roberts, Scotty Barnhart Faculty: Includes Ralph Humphrey, Joe Porcaro, Dave Beyer,
Tariqh Akoni, Tierney Sutton, Jerry Watts, Jr. Mount Hood Community College
Fresno City College Susie Jones
Michael Dana Loyola University 26000 S.E. Stark Street
Jazz Studies John Mahoney Gresham, OR 97030
1101 E. University Avenue Music Department (503) 491-7158
Fresno, CA 93741 6363 St. Charles Avenue Box 8 jones@mhcc.edu
(559) 442-4600, mike.dana@fresnocitycollege.edu New Orleans, LA 70118 www.mhcc.edu
www.fresnocitycollege.edu (504) 865-2164 Faculty: Susie Jones
Faculty: Julie Dana, Michael Dana, Gary Deeter, Dale mahoney@loyno.edu
Engstrom, Larry Honda, Olga Quercia www.music.loyno.edu Musician’s Institute
Faculty: John Mahoney Steve Lunn
Indiana University 1655 McCadden Place
Dr. David Baker McNally Smith College of Music Hollywood, CA 90028
School of Music Dr. Mike Bogle (800) 255-PLAY
1201 E. 3rd St. 19 Exchange Street East admissions@mi.edu
Bloomington, IN 47405 Saint Paul, MN 55101 www.mi.edu
818-855-1583 (651) 291-0177, mbogle@mcnallysmith.edu Bachelor Degrees: Bachelor of Music
bakerd@indiana.edu www.mcnallysmith.edu
www.music.indiana.edu Bachelor Degrees: B.M. in Performance

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North Carolina Central University http://musicdance.sfsu.edu/
Department of Music Undergrad Admissions: (415) 338-2037
Ira Wiggins
P.O. Box 19406 San Jose State University
Durham, NC 27707 Aaron Lington
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919-530-7214 One Washington Square
iwiggins@nccu.edu San Jose, CA 95192-0095
www.nccu.edu/music (408) 924-4673, aaron.lington@sjsu.edu
Admissions: Contact Jocelyn Foy at (919) 530-6218 www.music.sjsu.edu
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Bachelor Degrees: B.M. in Jazz Performance, B.A. in Music Bachelor Degrees: B.A. in Jazz Studies, Studio Arts, and
Education, Music Liberal Arts, Sacred Music, and Music Industry General Studies; B.M. in Music in Composition, Performance,
Faculty: Ira Wiggins, Ed Paolantonio, Thomas Taylor, Robert and Music Education
Trowers, Lenora Helm, Arnold George, Baron Tymas, LeRoy Virginia Groce-Roberts, Joe Hodge, Jeff Lewis, Aaron Lington,
Barley, Brian Horton, Branford Marsalis, Joey Calderazzo John Shifflett, Frank Sumares, Rick Vandivier, Wayne Wallace
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North Central College Shenandoah Conservatory
Jack Mouse 1460 University Drive
30 N. Brainard Street Winchester, VA 22601
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Naperville, IL 60540 http://www.su.edu/conservatory/index.cfm
(630) 637-5984 Bachelor Degrees: B.M. in Jazz Studies, Commercial Music,
jmousedrum@aol.com Music Therapy, Music Education, and Performance; B.S. in
www.noctrl.edu Arts Management
Faculty: C. Brian Kidd
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Admissions: (630) 637-5800
Faculty: Philip A. Ewell, Eugene T. Mouse, Barbara S.
Vanderwall, Ramona M. Wis, Jeordano S. Martinez, Linda Sonoma State University
Ogden Hagen, Lawrence G. Van Oyen Mel Graves
1801 East Cotati Avenue
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Northern Arizona University Rohnert Park, CA 94928
Joel DiBartalo (707) 664-2134
Flagstaff, AZ 86011 mel.graves@sonoma.edu
(928) 523-3496 www.sonoma.edu
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Joel.dibartolo@nau.edu Admissions: Mary Rogers (707) 664-2324
www.cal.nau.edu/music Alan Kleinschmidt: alan.kleinschmidt@sonoma.edu
Faculty: Mel Graves, Bob Afifi Mike Mainieri is available for
Faculty: Joel DiBartalo
master classes/clinics/workshops.
Northern Illinois University Southern Illinois University
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Ron Carter at Carbondale Mike’s career spans 6 decades
School of Music Philip Brown
as a performing artist, composer,
Dekalb, IL 60178 SIU School of Music
Mail Code 4302 arranger, bandleader, producer and
(815) 753-0643
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rcarter@niu.edu Carbondale, IL 62901 President of his own record label,
www.niu.edu/music (618) 453-5812 NYC Records Inc.
Admissions: (815) 753-0446 or admissions@niu.edu rallison@siu.edu
Faculty: Ronald Carter, Robert Chappell, Art Davis, Tom www.siu.edu/~music/ensembles/fac_jazztet.html
As bandleader of Steps Ahead for
Garling, Fareed Haque, Richard Holly, Willie Pickens, Kelly Admissions Contact: Karen Clayton (618) 453-7316;
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Sill, Rodrigo Villanueva Department of Music: (618) 536-8742 30 years, he is still active touring
Faculty: Robert Allison, Philip Brown, Ron Coulter, Richard with the seminal group, which in
Northwestern University Kelley, Timothy Pitchford itself has been a workshop in
School of Music progress. At last count, more
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711 Elgin Road Southern Illinois University
at Edwardsville
than 40 musicians have performed
Evanston, IL 60208-1200
(847) 491-3141, musiclife@northwestern.edu Brett Stamps with the Steps Ahead. He has held
music.northwestern.edu Department of Music master classes, clinics & lectures
Box 1771 SUIE
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Faculty: Daniel J. Farris, Victor Goines, Paul Wertico worldwide and performed
Edwardsville, IL 62026-3705 in the educational field with
San Diego State University (618) 650-2026
dstamps@siue.edu small ensembles & big bands.
Bill Yeager
School of Music and Dance www.siue.edu/music
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5500 Campanile Drive Faculty: Brett Stamps, Reggie Thomas See Mike’s complete bio
San Diego, CA 921182-7908 and discography at
(619) 594-4680, yeager1@mail.sdsu.edu Stanford Jazz Workshop & Festival
www.jazz.sdsu.edu PO Box 20454 www.mikemainieri.com
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Faculty: Bill Yeager, Rick Helzer, Richard Thompson, Lori Bell, Stanford, CA 94309
Bob Ross, Gilbert Castellanos, Kevin Delgado, John Flood, Mike (650) 856-4155
Holguin, Scott Kyle, Bob Magnusson, John Rekevics, John Wilds info@stanfordjazz.org PRIvAte leSSoNS
Jim Nadel, Director at Mike’s studio are also available for
San Francisco State University www.stanfordjazz.org
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intermediate and advanced students.
School of Music and Dance
Dee Spencer Texas A&M University, Kingsville
1600 Holloway Avenue Dr. Paul Hageman BooKINGS:
San Francisco, CA 94132 Music Department, MSC 174 email: mmvibe@aol.com
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(415) 338-1431 Kingsville, TX 78363 Phone: 212-496-1625
smd@sfsu.edu (361) 593-2806, kfpmhoo@tamuk.edu

www.tamuk.edu/music Admissions Contact: Tonia Hicks (205) 348-7112 or thicks@ University of Houston
Bachelor Degrees: B.M. with Teacher Certification, B.M. in music.ua.edu Noe Marmolejo
Music Performance Bachelor Degrees: B.M. in Jazz Studies Moores School of Music
Master Degrees: M.M. in Music Education Graduate Degrees: M.M. in Arranging Houston, TX 77204-4893
Faculty: Dr. Paul Hageman, James Warth Faculty: Chris Kozak, Jonathan Noffsinger, Mark Lanter, Tom Wolfe (713) 743-3191
nmarmolejo@uh.edu
Texas Christian University University of Arizona www.music.uh.edu
Curt Wilson Jeff Haskell Faculty: Joel Fulgham, David Klingensmith, Noe Marmolejo,
TCU Box 297500 School of Music Woody Witt, Mike Wheeler
Fort Worth, TX 76129 UA College of Fine Arts
817-257-6625, c.wilson3@tcu.edu Tucson, AZ 85721 University of Idaho
www.music.tcu.edu (520) 621-1341 Paul Wertico
Admissions: (817) 257-7602 or music@tcu.edu jhaskel@u.arizona.edu Lionel Hampton School of Music
Faculty: Curt Wilson, Thomas Burchill, Joey Carter, Joseph http://web.cfa.arizona.edu/music Box 444015
Eckert, Paul Rennick, Paul Unger, Brian West Moscow, ID 83844-4015
University of Central Oklahoma music@uidaho.edu
Texas State University—San Marcos Brian Gorrell www.class.uidaho.edu/music
Freddie Mendoza School of Music Music Admissions: ahardgrave@roosevelt.edu
601 University Drive 100 North University Drive Faculty: Alan Gemberling, Vern Sielert, Ian Sinclair, Daniel
San Marcos, TX 78666 Edmond, OK 73034 Bukvich, Vanessa Sielert
(512) 245-1462, fm11@txstate.edu 405-359-7989
www.txstate.edu/jazzstudies bgorrell@ucok.edu University of Illinois
Bachelor Degrees: Performance Degree in Jazz Studies www.ucojazzlab.com Chip McNeil
Graduate Degrees: Performance Degree in Jazz Studies Grad Admissions: Brian Gorrell College of Fine and Applied Arts
Faculty: Dr. Keith Winking, Freddie Mendoza, Hank Hehmsoth, Faculty: Lee Rucker, Brian Gorrell, Danny Vaughan, Kent 2136 Music Building
Butch Miles, David Dawson, Morris Nelms Kidwell, Jeff Kidwell, David Hardman, Clint Rohr, James Klages 1114 W. Nevada Street
Urbana, IL 61801
Texas Tech University University of Cincinnati (217) 333-9703, chipmc@uiuc.edu, www.music.uiuc.edu
Paul English Rick VanMatre Bachelor Degrees: Jazz and Improvisational Music
School of Music Box 42033 College-Conservatory of Music Performance, Composing/Arranging
Lubbock, TX 79409-2033 Cincinnati, OH 45221 Graduate Degrees: Masters in Jazz and Improvisational Music
(806) 742-2270, brad.leali@ttu.edu (513) 556-9447 Performance
www.depts.ttu.edu/music rick.vanmatre@uc.edu Faculty: Ron S. Bridgewater, Tito Carrillo, Lawrence Gray,
Admissions: (806) 742-2270 www.ccm.uc.edu/jazz Dana Hall, Joan B. Hickey, Charles McNeill, James Pugh,
Faculty: Jason Berg, Paul English, Ian Rollins Conservatory Admissions: (513) 556-5463; John Stephens, Glenn Wilson
ccmadmis@uc.edu
Oberlin Conservatory of Music Faculty: Chris Berg, Philip DeGreg, Marc Fields, Art Gore, University of Illinois at Chicago
at Oberlin College Bill Gwynne, Kim Pensyl, Paul Piller, James E. Smith, Rick Orbert Davis
Wendell Logan VanMatre, John Von Ohlen Department of Performing Art/MC/255
39 W. College Street 1040 W. Harrison
Oberlin, OH 44074-1576 University of Colorado at Boulder Chicago, IL 60607-7130
(440) 775-8238, wendell.logan@oberlin.edu Dr. John Davis, College of Music (312) 996-2977, www.uic.edu
www.oberlin.edu/con Campus Box 301 Admissions: (312) 996-2977
Bachelor Degrees: Majors in Jazz Performance and Jazz Boulder, CO 80309-0301 Faculty: Ernie Adams, Ari Brown, Orbert Davis, Nicole Mitchell,
Composition 303-492-8810 Stewart Miller, Zvonmir Tot,
Faculty: Gary Bartz, Marcus Belgrave, Peter Dominguez, Robin davisj@colorado.edu
Eubanks, Bob Ferrazza, Billy Hart, Wendell Logan, Dan Wall. www.colorado.edu/music University of Kansas
Admissions: (303) 492-6352 Dan Gailey
Thelonious Monk Institute of Jazz Bachelor Degrees: Certificate in Jazz Studies Department of Music & Dance
Loyola University New Orleans Graduate Degrees: M.M. in Jazz Performance and Pedagogy, 452 Murphy Hall
6363 St. Charles Avenue D.M.A. in Jazz Studies Lawrence, KS 66047
New Orleans, LA 70118 Faculty: Dave Corbus, John Davis, Paul Erhard, Brad Goode, John (785) 864-3436, dgailey@ku.edu, www.ku.edu
Phone: (504) 865-2100 Gunther, Allen Hermann, Jeff Jenkins, Tom Myer, Paul Romaine, Admissions: (785) 864-3911
FAX: (504) 865-2500 Terry Sawchuk, Mark Simon, Douglas Walter, Keith Waters Faculty: Dan Gailey
Email: info@monkinstitute.org
University of Denver University of Kentucky
University of Akron Malcolm Lynn Baker Miles Osland
Jack Schantz Lamont School of Music School of Music
School of Music 2344 East Iliff Avenue 105 Fine Arts Building
Gozzetta Hall Denver, CO 80208 Lexington, KY 40506-0022
Akron, OH 44325-1002 (303) 871-6997 (859) 257-8173
(330) 972-6910, jackschantz@uakron.edu mbaker@du.edu miles.osland@uky.edu
www.uakron.edu/music www.du.edu/lamont www.uky.edu/finearts/music
Admissions: (330) 972-7100 Admissions: Jerrod Price (303) 871-6973 Admissions: (859) 257-1808
Faculty: Joe Augustine, Robert Fraser, Dean Newton, Bob Bachelor Degrees: B.M. in Jazz Studies – Performance, Jazz Bachelor Degrees: Bachelor of Arts, Bachelor of Music
McKee, Jack Schantz, Rich Shanklin, Tim Powell Studies – Composition and Arranging, Commercial Music – Graduate Degrees: Master of Arts, Master of Music
Performance, Commercial Music – Composition and Arranging, Faculty: Raleigh Dailey, Miles Osland, Lisa Osland
University of Alabama—School of Music Commercial Music – Technology
Chris Kozak Graduate Degrees: M.M in Performance – Jazz Emphasis and University of Louisville
P.O. Box 870366 Composition – Jazz Emphasis Louisville, KY 40292
Tuscaloosa, AL 35487 Faculty: Malcolm Lynn Baker, Arthur Bouton, Eric Gunnison, (502) 852-6032
205-348-6333 David Hanson, Alan Hood, Alan Joseph, Tom Ball, Mike Mike Tracy
ckosak@music.ua.edu, www.jazz.ua.edu Marlier, Marc Sabatella, Ken Walker, Donna Wickham School of Music

Jamey Aebersold Jazz Studies Program Las Vegas, NV 89154-5025 University of North Texas
miketracy@louisville.edu 702-895-3739, dave.loeb@ccmail.nevada.edu Darla Mayes
www.louisville.edu/music/jazz music.unlv.edu PO Box 305040
Admissions: (502) 852-1623 Bachelor Degrees: Bachelor of Music with a Concentration in Denton, TX 76203
Faculty: Ansyn Banks, Jim Connerley, Chris Fitzgerald, John Jazz Studies 940-565-3743
LaBarbera, Jason Tiemann, Jerry Tolson, Mike Tracy, Craig Graduate Degrees: Master of Music with a Jazz Studies darla@music.unt.edu
Wagner, Tyrone Wheeler emphasis www.music.unt.edu/jazz
Faculty: David Loeb, Bruce Paulson, Tom Warrington, Jobelle Bachelor Degrees: Bachelor of Music
University of Memphis Yonely Graduate Degrees: Master of Music
Dr. Jack Cooper Faculty: Neil Slater, Tony Baker, Rosana Eckert, Dan Haerle,
Jazz & Studio Music Department University of New Orleans Fred Hamilton, Stefan Karlsson, Brad Leali, John Murphy,
129 Music Building Edward Petersen James Riggs, Paris Rutherford, Jay Saunders, Lynn Seaton,
Memphis, TN 38152 Jazz Studies, Music Department Ed Soph, Mike Steinel, Steve Wiest
(901) 678-2541 Lakefront Campus
jcooper1@memphis.edu New Orleans, LA 70148 University of Northern Colorado
music.memphis.edu 504-280-6381 Dave Stamps
Admissions: (901) 678-3766 epeterse@uno.edu 501 20th Street Box 28
Bachelor Degrees: B.M. in Composition, Jazz & Studio music.uno.edu Greeley, CO 80639
Performance, Jazz & Studio Composition/Arranging, Music Admissions: (504) 280-1124 (970) 351-2577
Business, Music Education, Music History, Performance, and Faculty: Victor Atkins, Steve Masakowski, Ed Petersen, Brian jazzstudies@arts.unco.edu
Recording Technology Seeger, Leah Chase-Kamata, Evan Christopher, Thomas www.uncjazz.com
Graduate Degrees: Master of Music, Composition, Conducting, Fisher, Roland Guerin, Henry Mackie, Irvin Mayfield, Brent Bachelor of Music – Jazz Instrumental Emphasis
Jazz & Studio Music, Music Education, Musicology, Orff- Rose, Matt Rhody, Cindy Scott Master of Music – Jazz Instrumental Emphasis; Secondary
Schulwerk, Pedagogy, Piano, Strings, Suzuki Strings, Emphasis in Jazz Pedagogy at the Doctorate Level
Performance, Applied, and Collaborative Piano University of North Carolina - Greensboro Faculty: Dana Landry, Dave Stamps, Kevin Whalen, Erik
Faculty: Joyce Cobb, Jack Cooper, Tim Goodwin, Chip Chad Eby Applegate, Gray Barrier, Robert Murray, James Vaughn
Henderson, Chris Parker, Gerald Stephens P.O. Box 26167
Greensboro, NC 27402-6167 University of Northern Iowa
University of Miami 336-334-3237 Chris Merz
Frost School of Music ceeby@uncg.edu, www.uncg.edu/mus School of Music
Whitney Sidener Admissions: (336) 334-5243 110 Russell Hall
P.O. Box 248165 Bachelor Degrees: Bachelor of Music Cedar Falls, IA 50614-0246
Coral Gables, FL 33124-7610 Faculty: Chad Eby, Wycliffe Gordon, Steve Haines, Mark (319) 273-3077
305-284-5813 Mazzatenta, John Salmon, Tom Taylor merz@uni.edu
wsidener@miami.edu, www.music.miami.edu www.uni.edu/jazzstudies
Admissions: (305) 284-2241 or admission.music@miami.edu University of Admissions: Alan Schmitz (319) 273-7180 or schmidt@uni.
Director of Admissions: Catherine J. Tanner North Carolina - Charlotte edu
Faculty: Rainier Davies, Randall Dollahon, Christopher Will Campbell Bachelor Degrees: Bachelor of Arts and Bachelor of Music
Whiteman, Jason Furman, Stephen Rucker, John Yarling, Department of Music Graduate Degrees: Master of Arts in Music and Master in
Douglas Bickel, Whitney Sidener, Gary Keller, Gregory Gisbert, 9201 University City Boulevard Music
Alexander Norris, Dante Luciani, Timothy Brent, Rachel Lebon, Charlotte, NC 28223 Faculty: Chris Merz, Robert Washut, Bob Dunn, David Dunn
Lisanne Lyons, Juan Secada, Nicole Yarling (704) 687-4469
wlcampbe@uncc.edu University of South Carolina
University of Michigan music.uncc.edu Bert Ligon
School of Music Admissions: (704) 687-2213 Office of Music Studies
Ed Sarath Faculty: Will Campbell, Noel Freidline Columbia. SC 29208
1100 Baits Drive 803-777-4335, bligon@mozart.sc.edu
Ann Arbor, MI 48109-2085 University of www.music.sc.edu
734-764-0583, sarahara@umich.edu North Carolina - Wilmington Dean’s Office: (803) 777-4336
www.music.umich.edu, samuel@umich.edu Frank Bongiorno Faculty: Sonia Jacobsen, Kevin Jones, Bert Ligon
Faculty: Geri Allen, Andrew Bishop, Michael Gould, Marion 601 South College Road
Hayden, Robert Hurst, Mark Kirschenmann, Edwin Levy, Wilmington, NC 28403-3297 University of South Florida - School of Music
William Lucas, Ellen Rowe, Edward W. Sarath, Richard (910) 962-3390 Prof. Jack Wilkins
Stoelzel, Martha Travers, Dennis Wilson bongiornof@uncw.edu School of Music, FAH 110
http://www.uncwil.edu/music 4202 E. Fowler Avenue
University of Missouri - Kansas City Admissions: (910) 962-3243 Tampa, FL 33620
Prof. Bobby Watson Bachelor Degrees: Bachelor of Music in Performance (Jazz, (813) 974-2311, wilkins@arts.usf.edu
Conservatory of Music and Dance Instrumental) music.arts.usf.edu/jazz/
4949 Cherry Street Faculty: Steve Bailey, Frank Bongiorno, Joe Chambers, Robert Admissions: (813) 974-2311
Kansas City, MO 64110-2229 A. Russell, Jerald Shynett, Andy Whittington B.M. in Jazz Composition and Jazz Performance
(816) 235-2900, watson@umkc.edu M.M. in Jazz Composition and Jazz Performance
www.umkc.edu/conservatory University of North Florida Faculty: Chuck Owen, Jack Wilkins, Tom Brantley, Jay
Bachelor Degrees: B.M. in Jazz & Studio Music; B.A. with Jazz J.B. Scott Coble, Per Danielsson Steve Davis, Valerie Gillespie, Mark
Concentration 4567 St. John’s Bluff Road South Neuenschwander, LaRue Nickelson, David Stamps
Graduate Degrees: M.A. with Jazz Concentration Jacksonville, FL 32224-2645
Faculty: Doug Auwarter, Rod Fleeman, Stan Kessler, Michael 904-646-2960 University of Southern California
Pagan, Al Pearson, Gerald Spaits, Dan Thomas, Bobby jbscott@unf.edu Ron McCurdy
Watson, Bram Wijnands, Roger Wilder www.unf.edu/coas/music Thornton School of Music
Bachelor Degrees: B.M. in Jazz Performance/Arranging and 840 West 34th Street
University of Nevada, Las Vegas Music; B.A. in Music Los Angeles, CA 90089-0851
Dave Loeb Faculty: Bunky Green, Lynne Arriale, Marc Dickman, Danny (213) 740-3119
Department of Music Gottlieb, Dennis Marks, J.B. Scott uscjazz@usc.edu
4505 Maryland Parkway www.usc.edu

Bachelor Degrees: Bachelor of Music and Bachelor of Arts Wayne State University Western Carolina University
in Performance Christopher Collins Pavel Wlosok
Graduate Degrees: Master of Music, Doctor of Musical Arts, Department of Music Music Department
and Graduate Certificate 4841 Cass Avenue 253 Coulter Building
Faculty: Includes David Arnay, Gilbert Castellanos, Ndugu Suite 1321 Cullowhee, NC 28723
Chancler, John Clayton, Peter Erskine, Anne Farnsworth, Detroit, MI 48202 (828) 227-3261, pwlosok@email.wcu.edu
Russell Ferrante, Angel Figueroa, Bruce Forman, Jason (313) 577-1780 music.wcu.edu
Goldman, Kathleen Grace, Alphonso Johnson, Kristin Korb, ac4080@wayne.edu
Thom David Mason, Ron McCurdy, Roy McCurdy, and many music.wayne.edu Western Michigan University
more Admissions: (313) 577-1800 Tom Knific
Bachelor Degrees: B.M. in Jazz Studies 1903 W. Michigan Avenue
University of Texas at Austin Graduate Degrees: M.M. in Jazz Performance Kalamazoo, MI 49008
Jeff Hellmer Faculty: Steve Carryer, Christopher Collins, Ronald Kischuk, 269-387-4710, thomas.knific@wmich.edu
Department of Music Russell Miller, Clifford Monear, Robert Pipho, Daniel Pliskow, www.wmich.edu/jazzstudies
Austin, TX 78712 Ernest Rogers, James Ryan, David Taylor Faculty: Tom Knific, John Campos, Scott Cowan, Keith Hall,
512-471-0744 Trent Kynaston, Robert Ricci, Diana Spradling, Stephen
jhellmer@mail.utexas.edu, www.music.utexas.edu Webster University Zegree
B.M. in Jazz Performance and Jazz Composition Paul DeMarinis
D.M.A. with Jazz Emphasis in Jazz Performance, Comp 470 East Lockwood Avenue Youngstown State University
Faculty: Dennis Dotson, John Fremgen, Jeff Hellmer, John St. Louis, MO 63119 Kent Engelhardt
Mills, David Neubert, Glenn Richter, Mark Sarisky, Brannen (314) 968-7039, demaripa@webster.edu 1 University Plaza
Temple, Mitch Watkins, Ronald Westray www.webster.edu Youngstown, OH 44555
Admissions: Niel DeVasto 314-968-6989 (330) 941-3636, kjenglehardt@ysu.edu, www.ysu.edu
University of Toledo B.M. in Jazz Performance, Jazz/Music Technology, Bachelor Degrees: B.M. in Performance with a Jazz
Gunnar Mossblad Composition, Performance (Voice, Keyboard, Guitar, Emphasis or Recording Emphasis, Performance, Education,
Department of Music Instrumental), and Music Education; B.A. in Music; Certificate Theory/Composition, and Music History
MS605 in Music Entrepreneurship Graduate Degrees: M.M. in Jazz Studies, Performance,
Toledo, OH 43606 M.M. in Jazz Studies (Performance or Composition Theory, Education, and Music History
(419) 530-4738 Emphasis) , Orchestral Performance, Voice, Keyboard, Faculty: Kent Engelhardt, David Morgan, Daniel Murphy,
gunnar.mossblad@utoledo.edu Guitar, Composition, Music Education, and Church Music; Glenn Schaft
www.utoledo.edu M.A. in Music with Emphasis in Pedagogy, Conducting,
Admissions: (419) 530-8700 Music History, and Theory
Bachelor Degrees: Bachelor of Music in Jazz; Bachelor of
Arts with a Jazz Emphasis; Jazz Minor
Graduate Degrees: Master of Music in Performance – Jazz
Track
Faculty: Mark Byerley, Norman Damschroder, Bradley
Felt, Jon Hendricks, Gunnar Mossblad, Jay Weik, Timothy
Whalen
University of the Pacific

Patrick Langham
Pacific Conservatory of Music artist composer educator
3601 Pacific Avenue
Stockton, CA 95211
(209) 946-3222, plangham@pacific.edu “Brilliant technique, mature conception
www.pacific.edu/conservatory and high polished arrangements”
Admissions: (209) 946-2211 — L.A. Times
Faculty: Patrick Langham, Michael Zisman
University of Tennessee Chicago Jazz Philharmonic

Mark Boling Artistic Director, Conductor
School of Music, Room 211 Buy the debut CD, “COLLECTIVE CREATIVITY”
1741 Volunteer Boulevard online at chijazzphil.org
Knoxville, TN 37996-2600
(865) 974-3241, music@utk.edu, www.music.utk.edu/jazz Clinical Associate Professor
Bachelor Degrees: B.M. in Jazz & Studio Music University of Illinois at Chicago
Graduate Degrees: M.M. in Jazz & Studio Music
Faculty: Mark Boling, Donald Brown, Keith Brown, Harold Available for
Holloway, Vance Thompson

Washburn University clinics, seminars, workshops
Craig Treinen
1700 SW College
& performances
Topeka, KS 66621
(785) 231-1010, craig.treinen@washburn.edu For booking inquiries
www.washburn.edu/cas/music
316 Records
Bachelor Degrees: Bachelor of Music Education and Bachelor
P.O. Box 805330 3sixteenrecords.com
of Music Performance orbertdavis.com
Graduate Degrees: Master of Arts Chicago, IL 60680
Faculty: Craig Treinen 312-604-2212 tel
312-573-8934 fax

CD REVIEWS • CD REVIEWS • CD REVIEWS
start off with “All Or Nothing At All” and Elling tells Graves and Gomez also manage to fight their way to
the story of Coltrane and Hartman next. Over the the fore and thunder along with the rapid-fire blowing
course of the rest of the album we’re treated to some from the horns.
fine piano work from Laurence Hobgood (“Dedicated Bley’s playing is more ethereal. It lies beneath
To You” and “They Say It’s Wonderful”), sweeping or outside the music to tug at the dirty, somewhat
saxophone playing from Ernie Watts (“What’s New”) unwieldy bulk with its mystical, tiny-piano strings. It
and a strings and voice arrangement of “My One And is the brain’s behind the furious action, leading with
Only Love” that will give you goose bumps. “Lush intelligent prodding and counterpoint rather than
DIEGO BARBER Life,” a standout on the original album, is a highlight
here as well. Elling is peerless in his ability to create
dictatorial show-stealing.
The record clocks in at just over 28 minutes,
a mood throughout an album and, along with this but wants for nothing, exposing the lazy editing and
CALIMA— Sunnyside Records SSC 1210. www.
talented cast of musicians by his side, he has turned indulgent production that hampers many an album in
sunnysiderecords.com Piru, 190 East; Desierto;
what might be a difficult vocal project to envision into the CD age. While clearly a work of the avant-garde
Catalpa; Lanzarote; Richi; Virgianna; Air.
an artistic triumph. (and it continues to challenge today, no less than it
PERSONNEL: Jeff Ballard, drums; Larry Grenadier,
did 45 years ago), Barrage follows perhaps the most
bass; Mark Turner, saxophone; Diego Barber, guitar.
traditional of all show-business dictates: always leaving
them wanting more. This album is good exercise for
By Matt Marshall
the replay button.
Spanish guitarist Diego Barber partners with
the dream supporting cast of drummer Jeff Ballard,
bassist Larry Grenadier and saxophonist Mark Turner
to fashion a leisurely jaunt livened by the threat and
excitement of its titular blowing fog. Sticking to his
classical guitar throughout, Barber is able to sculpt PAUL BLEY QUINTET
not only the expected sun-drenched numbers like
“Piru” and “Lanzarote,” but also the funky “Virgianna” BARRAGE—ESP-Disk’ ESP 1008. www.espdisk.
and—with considerable driving help from his mates— com. Batterie; Ictus; And Now the Queen; Around
the stormy “Catalpa” that fires with full-force on all Again; Walking Woman; Barrage. George Hoar
cylinders. “Richi,” a duet with Ballard, gives Barber PERSONNEL: Marshall Allen, alto sax; Dewey
the chance to display his virtuosity front and center, as Johnson, trumpet; Paul Bley, piano; Eddie Gomez, ORACLE—Northern Records. Web: www.
he reels off five minutes’ worth of quick-fingered and bass; Milford Graves, percussion. loudwhisper.com. Little Bass Suite; Oracle; Solyqua;
melodic acoustic guitar, replete with chest-thumping Solace Anon; Celestial Awake; Urban Legend; Gentle
snaps, pops and bends. By Matt Marshall Giant; Scenes from a Marionette; Farewell
PERSONNEL: George Hoar, electric and acoustic
Recorded in October 1964, Paul Bley’s Barrage bass, piano, wood koch flute, melodeon; Dave
is exactly that—a full-tilt onslaught of free-jazz Liebman, soprano sax (2); Mark Feldman, violin (8);
exploration. You can almost feel the gravel spit from Troy Conn, guitar (4, 7); Brian Sullivan, drums (2, 3);
beneath the quintet’s wheels to pelt you in the teeth. Tim Gordon, soprano sax (6); Kieran Loftus, electric
Fittingly, the pieces on the record are brief—sprints piano (2, 5); Kevin Lutke, guitar (6); Kira Kundu,
into the future; hard-hitting, full-action rounds of percussion (2, 4, 5, 6, 8); Carl Mendez, percussion
boxing. They are succinct statements of well-defined (2, 4, 5, 6, 8); Joe Nocilla, drums (4); Steve Rossilli,
craft wherein the highlighted structure has been drums (8); William Ware, vibes, marimba (3, 6, 8)
Kurt Elling whittled to its core, removing the outlying fluff not
to make the object more simple but to expose the By John Thomas
DEDICATED TO YOU: KURT ELLING
intricacies and experimentation coursing closer to the
SINGS THE MUSIC OF COLTRANE AND
bone. A free jazz Revolver. Bassist/composer/pianist George Hoar’s latest
HARTMAN— Concord Jazz CJA-31314-02. www.
All six tracks are the work of Bley’s ex-wife Carla, album, Oracle, features some beautiful and haunting
kurtelling.com. All Or Nothing At All; It’s Easy To
the composer and pianist perhaps best known for the compositions and an A-list of musicians. The album
Remember (A Jazz Story Memory); Dedicated To
revolution music she produced with Charlie Haden’s begins with a striking polyphonic solo bass suite that
You; What’s New (instrumental); Lush Life; Autumn
Liberation Music Orchestra. And the tunes take the was composed in a classical style, yet it evolves into
Serenade; Say It (Over And Over Again); They Say
character of many of the numbers produced by Paul an improvisational performance, showing the two
It’s Wonderful; My One And Only Love; Nancy With
Bley and Haden’s ex-boss Ornette Coleman in the five sides of George Hoar. The second piece is the title
The Laughing Face; Acknowledgements; You Are Too
or so years that preceded the recording of this album. track which is perhaps the highlight of the album.
Beautiful
The decidedly lo-fi production here—gray tape The beautiful melody is handled by Dave Liebman,
PERSONNEL: Kurt Elling, vocals; Ernie Watts,
hiss clouds and crowds the music into a nice, fuzzy on soprano saxophone, who infuses it with his soul-
saxophone; Laurence Hobgood, piano.
box of noise—keeps the squawks, blasts and trills stirring sound. Kieran Loftus plays electric piano, and
of Sun Ra voyager Marshall Allen on alto sax and uses an extremely synthetic patch that sounds like it’s
By Dan Bilawsky
trumpeter Dewey Johnson from leaving the playing from the 80’s. Along with drums, there are layers of
field altogether. They sound at times as if they’re other percussion sounds as well.
While imitation is the sincerest form of flattery,
blowing through waxed paper. The record’s muddy “Solyqua” begins with an energy building drum
it isn’t always the best demonstration of artistry.
pitch often blends the work of Bley and his bassist solo from Brian Sullivan that gives way to a complex
Thankfully, Kurt Elling manages the rare feat of paying
Eddie Gomez and drummer Milford Graves into a and multi-faceted melody harmonized and shared by
tribute to two legends, and an album they created,
single organism of scrambling percussion, stumbling, Hoar on piano and William Ware on vibes. Hoar’s
while also maintaining his own artistic vision and
bumbling through a fabulous choke of smoke. Yet piano playing is often rhythmically sloppy and the
voice. A string quartet and saxophonist Ernie Watts

CD SPOTLIGHT • CD SPOTLIGHT • CD SPOTLIGHT
Mike Mainieri
Arthur Kell Marnix Busstra
Quartet
Mike Mainieri: Vibraphone
Chemboro Records, Inc.
presents the Third CD release of:
Chembo Corniel & grupo Chaworó
“...everything that modern jazz
Marnix Busstra: Guitars, Bouzouki, Electric Sitar
Eric van der Westen: Double Bass
“things i Wanted to do”
Pieter Bast: Drums
should be: vibrant, challenging
music...The recording retains
all the energy of a kick-ass live
event and should receive serious
album-of-the-year consideration.”
- Jazz Improv Magazine
Legendary vibraphonist Mike Mainieri and leader of Steps

invited guests
Ahead, joins Dutch guitarist Marnix Busstra in “Twelve Pieces,” Dave Samuels • Ludovic Beier • Jimmy Bosch
an intimate, imaginative set of compositions that is brutally honest!
“...made the audience realize that one hardly ever gets to hear
On sale at
music played that way” —Koen Schouten (de Volkskrant) GB Records - 212.581.2468 • Casa Latina - 212.427.6062
www.arthurkell.com “Busstra, clearly influenced by John Scofield, demonstrates
...he’s an inspired, gifted improviser” —HP/ De Tijd
available Online
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aug 13, 2009 ~ the nuyorican Poet’s Cafe
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George Hoar BoB GlucK www.nuyorican.org
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Recently was nominated for best Jazz album
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“...openness and improvisational its ability to transcend yet incorporate so many
Featuring Dave Liebman & Mark Feldman acumen with shards of daring...
Compositions & Arrangements by a brilliant improviser” genres and styles of jazz and Latin music”
George Hoar (G.T.H. Music) —Jay Collins, Cadence —Cathy Gruenfelder, Jazz Improv Magazine
MUSICIANS
Mark Feldman, Violin “Unsigned Artist This is wonderful work from top to bottom, and
Dave Liebman, Soprano Sax of the Month” I can’t remember a newly released Latin-jazz album
Troy Conn, Guitar —Keyboard, June 2009 I’ve enjoyed this much. It’s energetic but heavily
Brian Sullivan, Drums
Kieran Loftus, Electric Piano romantic and furtively old-fashioned.
Kiera Kundu, Percussion —Marc Meyers, Jazzwax.com
Carl Mendez, Percussion
Joe Nocilla, Drums
Steve Rosslli, Drums
COntaCts
William Ware, Marimba, Vibes Chemboro Records, Inc - 201.218.2794
George Hoar, Acoustic and Electric Bass, chembocorniel@aol.com / chembocorniel@yahoo.com
Piano, Wooden Flute www.myspace.com/chemboro
www.loudwhisper.com facebook/Wilson Corniel
loudwhisper@juno.com
bOOKings / CliniCs
Hector Leguillow/Metro Talent Group New York, Inc
“Highly Creative 1383 Madison Street, suite 2R, Brooklyn N.Y. 11237
composer and CD and mp3s available at
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—DownBeat email: mtgnewyork@aol.com
www.electricsongs.com website: www.metrotalentgroupny.com
piano sounds like an old slightly off tune upright. he plays on the opener, “Welcome,” you can feel the an evolving sense of tempo. Lovano and Kuhn play
These two elements along with the quality of the eulogistic spirit in his touch. ‘Welcome’ seems more off each other beautifully and Baron creates weather
melody give it a very frantic feeling which may or may like ‘goodbye.’ In December of 2008, Kuhn and his trio patterns with the drums—alternately thunderous,
not have been intended. with David Finck and Joey Baron teemed up with oceanic or clear and breezy.
“Solace Anon” finds Hoar playing beautifully Joe Lovano at Avatar Studios in NYC to record a “Central Park West” is played as a duo between
on the piano. Again the melody and chords that he CD of ten tunes that Coltrane either wrote or made Lovano and Kuhn. The two play the tune with such
has arranged, along with the bowed bass put it in the legendary and two Kuhn originals. It is nice to have a ease and freedom. Lovano’s playing is completely
field of classical music, but then some Latin percussion Coltrane tribute record where the tenor player is not a reflexive, yet he is always allowing himself to truly be
enters and improvisation begins. Hoar’s improvisations Coltrane disciple. Lovano has definitely incorporated confronted by the call to action that each moment
on this composition are heartfelt and intense. Suddenly, an influence of Coltrane into his sound, but it is only brings, so his reflexes are always extremely active—
the tempo increases, and the melancholy quality turns one of many elements to what is a very distinct sound his virtuosity, spontaneity and personality are an
to hope and excitement. of his own. On this record, you will not find anyone incredible combination.
Track five has a very contemplative and trying to re-create anything. “Like Sonny” is given a Latin tinged treatment
otherworldly vibe and is entitled “Celestial Awake.” The opener, “Welcome,” originally appeared and Kuhn really shines on this one with his hand
This tune gives Hoar a chance to really shred on electric on Coltrane’s record Transition from 1965 and it independence, and the way his hands interact. Finck
bass, even though the tempo is slow. It is no surprise has a strikingly beautiful melody. It is treated like a takes a very tasty solo.
that he dedicated it to Eric Satie and Jaco Pastorius. precious flower, with the utmost delicacy by these The first of the two Kuhn originals is “With
“Gentle Giant” is a very pretty duo played between veteran musicians. Lovano and Kuhn play with a Gratitude,” which he plays solo. Through it, he tells
Hoar and Troy Conn on guitar—Conn gets a very Bill peaceful and serene affection, and Baron and Finck an incredibly rich and profound story of love, loss,
Frisell type of sound on this track. Hoar really gets to simply accentuate the efforts of the soloists, creating life and death. It has the quality of seeming to be
stretch out on this one, taking a more rubato approach textures and making exclamation points, allowing the composed and improvised at the same time.
to tempo. rubato tempo to be controlled by Lovano and Kuhn. “Configuration” is approached with complete
“Scenes from a Marionette” is an epic composition When the tune finished, I felt like I had just finished freedom and abandon, and Baron and Lovano jump
with some exciting twists and turns, through-composed meditating. on the opportunity. After a minute or so, Kuhn joins
from beginning to end. Mark Feldman plays beautifully Things get a little darker with “Song of Praise.” the action with equal intensity. At Lovano’s free-est
on violin. The tune begins with an unsettling introduction from moments, there is almost a primitive flamboyance,
“Farewell” is exactly that—the album closer, and Kuhn before Lovano states the deep minor melody. but there is always a sense of joy in his playing. I will
it ends how it began, with solo bass. For me, the opener Joey Baron reaches a climax of drum effects before only make a comparison because this is a tribute
and closer are the best two tunes on the album—he suddenly dropping into a swing groove as the solo album, but Coltrane’s playing is much darker.
arpeggiates two absolutely beautiful chord progressions section begins. Kuhn’s solo is as rich as can be, full The group approaches “Spiritual” in a free
that will go right through your chest. The closer has of tension and release, and superimposing different context for the first two minutes, before settling into
more of a joyful quality to it, where the opener was dark time signatures over the 4/4 structure. Finck is on a classic Jones/Coltrane/Garrison/Tyner sense of
and haunting. It is dedicated to his father, Arthur Hoar. his every move, seeming to almost think along with swing. Lovano plays a tarogato on this tune, which
him—great ears. When Lovano begins his solo, has a sound somewhere in between a soprano sax and
Kuhn lays out. Lovano then gets back into to melody a clarinet. Kuhn takes a very innovative and varied
as Kuhn creates un-structured textures behind him solo with one incredible idea after another. Baron’s
and Baron builds to a climax. drumming really has that classic Elvin Jones vibe,
“Crescent” also begins with a beautiful with its rolling explosions of rhythm. The album ends
introduction from Kuhn. His touch and harmonic with another incredibly personal solo original from
sensibilities make your eye lids droop in a sort of Kuhn entitled “Trance.”
ecstatic sense of calm. Lovano plays the song with What is most wonderful about this album is
love and care, and the abandon that love requires to that each player fully asserts their own identity, yet in
reverence to John Coltrane. They are not playing like
Steve Kuhn Trio W/ truly be expressed. Baron is playful and adventurous.
The band continues with their gentle and him or imitating the music and interplay of his great
Joe Lovano meditative exploration of Coltrane’s music with bands, but they are playing for him and in tribute to
the ballad “I Want To Talk About You.” It becomes the spirit of the man and his music. You can feel the
MOSTLY COLTRANE—ECM Records 2099 very clear on this tune, perhaps because Lovano isn’t love and gratitude emanating from the speakers
Web: www.ecmrecords.com Welcome; Song of Praise; playing on it, that Kuhn is approaching this project
Crescent; I Want To Talk About You; The Night Has a from a deeper place than trying to give tribute to
Thousand Eyes; Living Space; Central Park West; Like the sound and style of Coltrane. You can feel the
Sonny; With Gratitude; Configuration; Jimmy’s Mode; dedication to the man and his spirit. Kuhn plays with
Spiritual; Trance a gorgeous melodicism and a very open but acute
PERSONNEL: Steve Kuhn, piano; John Lovano, sense of time.
tenor saxophone, tarogato; David Finck, double-bass; Things really brighten up with an up-tempo
Joey Baron, drums version of “The Night Has a Thousand Eyes.” The
band plays it with a very straight forward and up-
By Cathy Gruenfelder lifting sense of harmony, and they swing their tails
off. Toward the end of the tune, Kuhn and Lovano
Jennifer Leitham
“In January, February and March of 1960, I was improvise together and push each other on before
LEFT COAST STORY—Sinistral Records 515 N.
privileged to work with John Coltrane at the Jazz going back into the head.
Oakland Ave Pasadena, CA 91101
Gallery in New York City. I will always cherish those Making a stark contrast to the previous tune
Something’s Coming; One Hand One Heart;
eight weeks. This music reflects my deep respect for is “Living Space,” the title track of Coltrane’s 1965
Somewhere; Blame it on My Youth; Dreamsville;
him,” writes Steve Kuhn. From the very first notes release. It is a searching and free modal piece with
The Studio City Stomp; Cast Your Fate to the Wind;

Detour Ahead; Ghost. Tom Harrell, trumpet, flugelhorn; Conrad Herwig,
PERSONNEL: Jennifer Leitham, bass, vocals; trombone; Al Foster, drums; David Hazeltine, piano;
Josh Nelson, piano; Randy Drake, drums; Richard John Webber, bass.
Greene, violin; John Chiodini, dobro-mandolin,
guitar; Ginger Berglund, Jane Brucker, background By Dave Miele
vocals. The tenor tradition is long and varied in jazz.
One of the latest in the long line is Sean Lyons, whose
latest release, Roar of Lyons, is filled with originals and
By Dave Miele
Jennifer Leitham is an engaging bassist, vocalist
Sean Lyons neo-standards that carry on that valued tradition. The
and arranger. Leitham is truly in complete control of disc opener is one of the most swingin’ tracks. Entitled
ROAR OF LYONS—Posi-Tone Records P.O. Box
her band, handling both the “top” and “bottom” as “Herk From the South End,” this original composition
2842 Venice, CA 90292
well as organizing the music. It is that organization would sound right at place on an album from the
www.posi-tone.com. Herk From the South End; Bonnie
and Leitham’s conception for the tunes that makes classic “Blue Note era.” The band plays the funky tune
Rose; Nostalgia; Soultrane; Blackbelt Bebop; Woody ‘N
Left Coast Story such an entertaining collection of in a boogaloo type vibe. Another of my favorite tunes
You; Ask Me Now; Poincianna; Realized Dream.
modern jazz. One of the most interesting aspects of on Roar of Lyons is Dizzy Gillespie’s “Woody ‘N You,”
PERSONNEL: Seán Lyons, tenor sax; Jim Rotondi,
the album is her treatment of three tunes from the
musical West Side Story. Leitham and the band have
interesting takes on “Something’s Coming,” “One
Hand One Heart” and “Somewhere.” The disc also
contains several other standards, as well as an odd
choice or two and an original by Ms. Leitham.
ROZANNE LEVINE &

CHAKRA TUNING
ONLY MOMENT—Acoustics ELE 417CD. www.
erjn.it/mus/whitecage.htm. Blues Lullaby in F; Thunder
Talks; Lying in Bed, Moving Through Space; She Said,
He Said; Lost Freedoms; Libra; Only Moment; Mothers
and Daughters; Town Meeting; Omega.
PERSONNEL: Rozanne Levine, alto, Bb and ½
clarinets, shakers, clapper, ocarina, bird whistle; Mark
Whitecage, Bb and ½ clarinets, soprano saxophone,
silver bowl, bird whistle, electronics; Perry Robinson,
Bb, sopranino and ½ clarinets, wooden flute, ocarina;
Rosi Hertlein, violin, voice, gongs, bells, tom tom,
rain stick.
By Matt Marshall
Here is a “nature” record, replete with all manner

of bird song, hoots and cooing, plus the sprinkling of
a rain stick, that nevertheless doesn’t sound specially
crafted to put you to sleep. That’s because Rozanne
Levine and her mates are pure musicians, using nature
as a touchstone for their musical debate, rather than
drifting into an endless Om of atmospheric mimicry.
The three reedists, Levine, Mark Whitecage and Perry
Robinson, sound a spirited interplay of voices that,
along with violinist/percussionist Rosi Hertlein’s
foggy mourn and branch-snapping alarms, pulls you
deeper into the forest. The cacophony of life only
grows in variety and wonder.

which swings hard even during the Latin sections. The groove is miles and miles deep. He could play two non-surprise: the arrangements for his vocals are first
disc is traditional sounding without being a rehash of notes and it could hit you deeper than some others rate. Then there’s the superb play list and sequencing,
classic styles. players can do over the course of a whole album. I varying styles and rhythms. Every one will find several
guess a great groove is something you either have or favorites.
don’t, and if groove were water, you’d have to go to his This reviewer’s choices are “This Masquerade,”
concerts with scuba gear. It is no secret why this 28 year “Laura,” “Speak Low,” “My Foolish Heart,” “A Time
old has been hired by artists like Terence Blanchard, Patti for Love,” and, naturally enough, the title track, “My
Austin, Lisa Stansfield, Stevie Wonder, Chaka Khan, the Shining Hour.” That makes up a majority of the tunes,
Brooklyn Tabernacle Choir, and Gretchen Parlato. all of them done up just to the liking, swing, Latin,
Of the ten tracks, all are originals except for “Walk ballad. The big-band sound makes for plenty of sound,
with Me” which is a traditional gospel. When you press plenty of dynamism, never overpowering the vocals.
play, you will here some very intense African music, but This is by no means to sell short tunes like “I Keep
Michael Olatuja by the time you get to the end, you’ll have heard gospel,
R&B, soul, funk and straight ahead jazz. For the most
Going Back to Joe’s” or “Bean” or “Bluesette.”
Oster’s voice is right there in the category of
SPEAK — ObliqSound BD005. Web: www. part, Olatuja plays electric bass, but he can also play a Kenny Rankin (Oster has a bit more soul) Bobby
obliqsound.com/backdrop. Ma Foya; Altar Call; stand up when the situation calls for it. Caldwell (Oster is, well, a tad less smooth), Al
Hold On;Little Sister; Le Jardin; Yi Yipada; Olatuja, who also produced the album, invited Jareau (Oster can scat with the best of them), and
a huge array of guest singers and musicians to play George Benson (not much guitar on these tracks,
Unconditional;Speak; Walk With Me; Mama Ola
on the album, and it makes sense when one considers notwithstanding the excellent comping and solo work
PERSONNEL: Michael Olatuja, electric and acoustic
the stylistic breadth of the album. Some of the singers of Randy Vincent). Saxophones dominate– taking
bass, Fender Rhodes; Lynden Davis Hall, vocals (1,3);
Andrew Roachford, vocals (3); Terri Walker, vocals include Eska Mtungwazi, Andrew Roachford, Terri most of the solos here, and that’s more than fine, with
(4); TY, spoken word (8); Onaje Jefferson, vocals Walker, Onaje Jefferson, his wife Alicia Olatuja and an almost full complement of alto, tenor, baritone (no
(5); Eska Mtungwazi, vocals; Alicia Olatuja, vocals neo-soul artist Lynden David Hall. Some of the soprano).
(5,7,9); Fami Temowo, guitar; Troy Miller, drums musicians include guitar wiz Femi Temowo, Jean “This Masquerade” comes right out of exotica,
(3,6,7,9,10); Jerry Brown, drums (2,4,5,8); Jason Toussaint, Jason Rebello and many more. a nice sense of clave throughout, emphasized by brass
Rebello, piano, Fender Rhodes, Moog (1,6,9,10); Olatuja is not only a great composer, but also and piano.“Laura” swings like never before. “Young
an inspired lyricist. His songs speak of love and and Foolish” features Vincent’s warm and romantic
Jean Toussant, soprano sax (10); Isaach Aryee, Fender
hope, while often reflecting his roots in the church. guitar work–just the right choice for the ballad feel.
Rhodes, organ (2-4); Luke Smith, keyboards (5);
As diverse as the album gets, his bass sound and “Speak Low” is done with full big-band arrangement,
Jason Michael Webb, keyboard (7); Thomas Dyani
distinct sense of time are always consistent, and are capturing the Latin mood in the AB sections, then
Akuru, percussion (1); Anyan Leke, talking drum,
always the propelling force of the music. His roots in swinging out at the Bridge and then maintaining that
(1); Volker Strater, percussion (6); Richard Temowo,
backing vocals (1-4,6,8); Anna Omakinwa, backing African music, gospel, R&B, and Jazz have combined tempo for the piano solo.
vocals (1-4,6,8); Sewuese Abwa, backing vocals (2,4,8); beautifully on this debut album, Speak “My Foolish Heart” is done up true to the
lyrics– vocal and piano, rendered tenderly, meaning
Brendon Guyatt, backing vocals (2,4,8); Heidi vogel,
and feeling combining. “A Time for Love” seems like
backing vocals (2,4,8); Rasiyah, backing vocals (2,4,8);
an ideal sound track for any number of cinematic love
Sky, backing vocals (4)
scenes, underscored by Peter Welker’s soft
flugelhorn soon joined by strings. It’s so reassuring to
By Cathy Gruenfelder
feel, to hear that vocalist and musicians understand
the lyrics and want to, care to interpret them.
Recorded between 2003 and 2004, British/
There is plenty of what are thought of as more
Nigerian bassist Michael Olatuja is finally releasing
traditionally jazz instrumentals, arranged here to
his debut album, Speak. When you hear this album,
you’ll immediately think, “Why the wait?!” Olatuja’s OSTER /WELKER JAZZ satisfy the most discriminating all-around musician.
What is telling here is that Oster is a musician himself,
ALLIANCE which, alas, can’t be said of all self-proclaimed jazz
vocalists. He knows his music and musicianship, and
SHINING HOUR–Jazzed Media, P.O. Box 270346 it shows.
Littleton, CO 80127, Sweet Pumpkin; Sophisticated
Lady; This Masquerade; Laura; I Keep Going Back to
Joe’s; Bean; Young and Foolish; Speak Low; My Shining
Hour; My Foolish Heart; Groovin’ High; Blusette; A
Time for Love.
PERSONNEL: Jeff Oster, vocals; Peter Welker and
Michael Whitwell, trumpet, flugelhorn; Fred Lipsius,
Mel Martin, Rob Roth, Scott Petersen, Johnny
Two for the Show Media offers special, one-on-one Barnett, sax; Peter Levin, B3 organ; Dave Matthews,
attention to the Jazz artist and their personal campaigns.
Our experience includes publicity, concert promotion,
Matt Clark, Fred Lipsius, piano; Rand Vincent, Phishbacher
artist development, and marketing. We have guitar; Chris Amberger, bass; Kevin Dillon, rums;
established media contacts (print, radio, and Louis Romero, percussion. PROVE THAT!—Lofish Music. Web: www.
television) and we have the ability and know-how to lofish.com. Decisions; Loopish; Cats; Mellow Moon
effectively translate our client’s goals. By Bob Gish Moaning; Will You Still Be Mine; Prove That; I Want
Call Chris DiGirolamo: 914-346-8677 You; Straight, No Chaser; Rabbitz in Space
www.twofortheshowmedia.com Jeff Oster can sing. No surprise there. Another PERSONNEL: Walter Fischbacher, keys; Thomas

Siffling, trumpet; Evan Gregor, bass; Joel Rosenblatt,
drums; Axel Fischbacher, guitar (track 5); Elisabeth
Lohninger, vocals (track 5); Bernhard Ullrich, tenor
sax (track 2, 8); Christian Howes, violin, cello (track
4); Christopher Marion, violin (track 4)
Prove That! is Walter Fischbacher’s seventh release

as a leader, and it is full of a diverse array of wonderful
moments. The New York based keyboardist and
producer moved here from Austria in 1994, although
he has continued to tour Europe ever since.
This album takes us from Acid-Jazz to modern odd-meter
stuff to fusion, to the unidentifiable. Phish goes back
and forth from acoustic piano to all sorts of synthesized
sounds, all in good taste, and never sounding cheesy.
Along with six originals, he completely re-defines the
Beatles’ “I Want You,” and Thelonious Monk’s “Straight,
No Chaser.” A ninth tune is contributed by singer
Elisabeth Lohninger entitled “Will You Still Be Mine.”
The album begins with a medium tempo groove
oriented number entitled “Decisions.” Phish records
layers of different keys sounds, and the melody sounds
as if it’s in an odd meter, although the groove is in 4/4.
His acoustic piano playing sits behind the beat in a very
funky way.
“Loopish” is a more straight ahead Latin blues
style tune. German trumpeter Thomas Siffling takes an
intense solo.
“Cats” is a medium/slow tempo number that
features gorgeous playing throughout. Phish again
moves through an array of keyboard sounds, creating
various moods within the song.
“Mellow Moon Moaning” begins with a gorgeous
but melancholy arpeggiated chord progression that
Siffling plays over beautifully. The piece develops in
quite an epic fashion with the help of violins and cellos.
Lohninger’s piece “Will You Be Mine” stands
alone on the record, in terms of style. It has a sort of
pop-rock drum beat, some tasty lines from Phish, and
an ‘easy listening’ melody and lyric combination from
Lohninger.
Phishbacher’s playing has a lot of similarity to Brad
Mehldau in his rhythmic approach and sense of phrasing.
This is apparent on the title track “Prove That!” which
features many cool twists and turns over the funky beat
and interesting set of changes. Phishbacher goes from
acoustic piano to his synth and Siffling puts some wah
on his trumpet.
“Rabbitz in Space” is pure acid jazz with its ‘drum
& bass’ style beat and reverb drenched vocal loops
where the title of the tune is repeated at various points.
Nevertheless, as with all the songs, Phish offers some
intense improvisations.
Prove That! is the work of a very diverse and multi-
faceted composer and musician. Some tracks can serve
as dance music, some for relaxation, and others for
serious straight-ahead listening.

www.jasonrigby.net. Magenta; Crux; Shift of Color;
Rigby commented that at the time he was developing
The Sage; Tone Poem; Slip; The Archer; Jealous Moon.
the concept for his second recording as a leader, The
PERSONNEL: Jason Rigby, tenor & soprano Sage, he was listening a lot to Miles Davis’ Miles at the
saxophones, flute; Russ Johnson, trumpet; Mike Fillmore. Even without the benefit of that revelation,
Holober, rhodes; Cameron Brown, bass; Gerald upon hearing The Sage the influence of Miles’ mid to
Cleaver, drums. late sixties music is apparent. Despite this The Sage
favorably documents Rigby’s distinguishable concept
JASON RIGBY By Ronald Lyles without succumbing to the trap of merely trying to
update the sound of what he was listening to.
In an interview recently published in Jazz In addition to Rigby’s own creativity, the success
THE SAGE – Fresh Sound New Talent FSNT 328.
Improv NY, New York based saxophonist Jason of his concept on The Sage is equally attributable to
the sympathetic members of the quintet. Trumpeter
Russ Johnson is impressive throughout. His lack of
a significant audible debt to Miles Davis is critical
to limiting the comparisons of the recording to
Miles’ music and the range of his sound and ideas are
consistently attention grabbing. Pianist Mike Holober
plays Rhodes [electric piano] exclusively and is
indispensable to the overall texture of the music. Bassist
Cameron Brown and drummer Gerald Cleaver make a
strong connection as a rhythm tandem.
Rigby composed all eight titles on the recording.
The focus of the compositions is less about melody
or themes and more about creating open and loose
soundscapes with occasional hints of the avant garde.
The opening track, “Magenta”, combines an Ornettish
theme with the Milesian texture of the music. Brown
provides a very quick and flexible pulse while Cleaver
thrashes away pushing the soloists. Here we get our
first glimpse of Rigby’s tenor playing. Like many his
sound comes out of the Coltrane lineage, but where
others stop at the Classic Quartet, Rigby sounds like
he also listened to late period Coltrane. He combines
a slightly hard tone and a willingness to approach the
extremes without ever fully committing to an entirely
free approach. Never settling on simply paint peeling
blowing, Rigby always sounds to be trying to construct
organized solos with a definite destination. “Crux” has
a similar approach to the preceding track and again
favorably features Rigby on tenor as well as a fine
solo from Johnson. Considering the preceding two
tracks, “Shift of Color” is appropriately placed in the
program. It has a slow and gentle flow with Rigby on
flute. The only soloist is Holober, who explores some
of the sounds and textures the Rhodes is capable of
producing. Throughout the disc Holober is attentive
to the Rhodes’ range of colors as opposed to adopting
a solely pianistic approach to the instrument.
“The Sage” reveals another potential parallel
to Rigby’s concept as it hints to the music produced

C D R E V I E W S • C D R E V I E W S • Roch
CD R EVIEWS
Lockyer
“Nondirectional is notable not only for
by trumpeter Dave Douglas’ quintet with similar plays his most pianistic solo on the Rhodes exhibiting Lockyer’s thoughtful solos and original
instrumentation. It starts with an introduction played a commendable flow of ideas. voice on the guitar but for his intriguing
by Cleaver alone until eventually it becomes a duet “The Sage” is an impressive recording that pushes the compositions…improvisations develop
between Cleaver and Johnson. Johnson’s slightly edges while remaining accessible to most listeners. It logically...a surprising amount of variety...
grainy sound resembles that of Douglas, which will be interesting to see whether Rigby continues to versatility in his playing....excellent modern
adds to the similarities in the music. Eventually the develop the concept heard on this recording, but for
jazz set...” —Scott Yanow
tune settles into a groove and Holober and Rigby now The Sage can be recommended to those interested
contribute solos. On the three minute “Tone Poem”, in stepping slightly beyond the mainstream.
Rigby and the band minus Johnson play some subtle
free form over skittering brush work from Cleaver.
Like many of the tunes “Slip” starts with an
introduction by members of the rhythm section before Booking:
the tune settles in and the horns emerge. Brown plays
Roch Lockyer
a nimble bass vamp accented by Cleaver. This and the
later “Jealous Moon” feature Rigby on soprano. Unlike 408-483-4858
his tenor playing, his approach on soprano sounds to www.rochlockyer.com
be more influenced by Wayne Shorter than Coltrane.
The latter tune features his strongest statement on the
soprano as he patiently solos in the middle range of
JIMMY RUSHING
the instrument.
THE SCENE LIVE IN NEW YORK–Highnote
“The Archer” while similar to most of the other
Records, Inc. 106 West 7th Street, New York, NY
tracks in mood, possibly contains the most impressive
10023. www.jazzdepot.com. Deed I Do; Gee Baby
solos by all three of the primary soloists. Johnson solos
Ain’t I Good to You; I Can’t Believe That You’re in Love
first and engages in a manipulation of sound that is
With Me; I Want a Little Girl; The Red Door; Goin’ to
fascinating. Rigby’s statement is the best example of
Chicago; I Cried for You; Everyday I Have the Blues;
his emphasis on structure during his solo. He focuses
It’s Noteworthy; Good Morning Blues.
on several phrases or group of notes that he mulls over
PERSONNEL: Jimmy Rushing, vocal; Zoot Simms,
and reworks in an engaging manner. Finally, Holober
tenor saxophone; Al Cohen, tenor saxophone; Dave
Free live jazz

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Tuesdays through Fridays
7:30-10:30pm
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Photo by Evan Lauber
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(Between E. 83/84 Streets)
Tuesdays with Fridays with
richard lee Wendell 212-327-4700 janine alondres
and Friends www.one83restaurant.com and Her Trio
Featuring jazz Trios on Thursdays by:

Morrie Louden (8/6) • Marco Panascia (8/13)
Elias Bailey (8/20) • David Silliman (8/27)
Victor Jones (9/3) • James Weidman (9/10)
Todd Herbert (9/17) • Linda Presgrave (9/24)

NEW! Frishberg, piano; Major Holley and John Beal, bass; Nidre; Ol’ Man River; Dream Haiku; She Is Standing;
The Fred Taylor Trio-Live At Cecil’s! Mousy Alexander, drums. El Silencio; Walk In Beauty; A Quiet Thing.
Volume 1 PERSONNEL: Lisa Sokolov, vocals, piano; Todd
By Bob Gish Reynolds, violin; Cameron Brown, bass; Gerry
Hemingway, drums; John DiMartino, piano; Jake
Jimmy Rushing not only knows the blues, he is Sokolov-Gonzalez, cello; Kermit Driscoll, electric bass.
the blues. From the very first track on this live scene
recording he stands his ground and delivers the real By Matt Marshall
stuff. “Deed I Do” seems like an affirmation for the
entire scene. “Do I know the blues?” Rushing seems to There’s no question that Lisa Sokolov has a
ask. “Deed I do. Deed I do,” is the soulful reply. And distinctive style of singing. At its best it has a Shirley
listeners need Rushing to remind them that the real Horn-like quality of late-hour conversation, its
thing still exists and can be found here in a recording significance heightened by darkness and spirits. At
CCR-FT-4_1
full of all the energy and excitement of hearing these its worst it contains all the overblown theatrics you’d
The intuitive trio in action wonderful old tunes being sung by a master. expect in a Saturday Night Live “jazz singer” skit. The
on a 2-disc CD and DVD set The personnel are top notch too, of course–an latter roars it’s ugly head on most of the standards
Now available on www.cdbaby.com all-star lineup of long established jazz men who all on this set, with Sokolov’s phrasing stretched into so
or direct from: Fred Taylor Music have a stellar discography of their owl. “Gee Baby many ridiculous dives and growls it’s hard to know
$15.00 check or money PO Box 1676 Ain’t I Good to You,” indeed! The beneficence whether to laugh or grimace. Her best work comes
order postpaid Mukilteo WA 98275-7876
abounds here for the audience. Good times. Good on the originals and lesser-known tunes, which she
Critical Praise for Circling music with that bluesy feeling permeating every doesn’t feel as compelled to brand with her uniquely
“ .... a satisfying disc worthy of repeated listening.”
John Vincent JazzReview.com
aspect of the project. The asides and passing remarks searing treatment. The traditional Yom Kippur prayer
April 2009 by Rushing and the band add to the ambiance and to “Kol Nidre” is the highlight, with Sokolov mimicking
“... Crane, Taylor and Ackerman... play as one
living breathing entity throughout Circling...” the groove. Banter couldn’t be better than it is here the swoons of her son Jake’s cello with harrowing,
Dave Miele, Jazz Improv Magazine
January 2009 as it is in jazz generally. open-vowel pleas.
“ ... the spare, piano-less trio on (Fred’s) new
CD offers ample room for three skillful players
All the tunes are oldies. All of them just great. “I
to ply their artful trade. ”
New Jersey Jazz Society 'Jersey Jazz'
Can’t Believe” is a virtual choir of chatter, lyrics, great
December 2008 jazz solos, and wonderful lines by the likes of Zoot. “I
Want a Little Girl” is a jewel. “Just a little girl to love
www.fredtaylormusic.com
www.sonicbids.com/fredtaylordrummer a lot.” Yes indeed. Rushing can make the politically
www.myspace.com/fredtaylordrummer incorrect not just palatable but down right tasty. That
email: fredt@fredtaylormusic.com
little girl might not have the looks, the lyrics go, but
man she can cook! And cook is just what this group of
veteran jazz musicians does.
There’s not a loser in the lot. “Goin’ to Chicago,”
“I Cried for You,” “Everyday I Have the Blues,” and,
EMILIO TEUBAL
& More...TM of course, “Good Morning Blues.” A bluesman like
UN MONTON DE NOTAS—Not Yet Records.
Rushing can sing about Chicago while in New York
Web: www.emilioteubal.com. Ping Pong; Before the
The Singers Center

naturally enough in that the blues, and the journeys
Outerspace; X-Cetera (After); Un Monton de Notas;
explicitly and implicitly stated make for a universal
El Amanecido; Baguala; (T) La Arania ’08; A La
trip. “Hurry down sunshine and see what tomorrow
An educational/performance center where singers learn, Pantalla A; Coda
brings.”
network, & perform any style of contemporary music. PERSONNEL: Emilio Teubal, piano, Fender
To be sure, blues lyrics are so profoundly simple
JazzTimes featured The Singers Center in an article on Rhodes, accordion; Xavier Perez, soprano and tenor
the Best Jazz Music Schools. that they say it all. And Rushing infuses each word
saxophone, flute; Felipe Salles, soprano & tenor
with that special vocal meaning. “You’ve got my brand
saxophone, bass clarinet, flute; Moto Fukushima,
WORKSHOPS & of honey. Guess I’ll have to put up with you.” Rushing
electric bass; Franco Pinna, drums, bombo leguero;
makes it all drip, man. Sweet and sad it is– sweet and
ONLINE CLASSES Kobi Solomon, clarinet; Ivan Barenboim, clarinet;
sad. Rushing proclaims, “Anybody asks you who sang
VOCAL JAZZ PROGRAM Greg Heffernan, cello; Marcelo Woloski, percussion,
this song, tell ’em little Jimmy Rushing . . . he’s been
hand clapping
THE GIG SERIES here and gone.”
THE RECORDING SERIES Ah, but he’s with us eternally thanks to wonderful
POP & MORE PROGRAM recordings such as The Scene Live in New York.
Director: VOCAL JAZZ MASTER SEMINARS Un Monton de Notas is the work of a musician
Grace Testani INDIVIDUAL STUDY whose sound reflects his biography. Teubal was born
Faculty: NYU-SCPS in Madrid in 1976 to parents who were exiled from
Certified Business & BUSINESS OF MUSIC
Life Coach & MORE... Argentina due to the dictatorship at that time. From
FREE webinars on Spain, he moved to England for a year, then to Mexico
Social Networking, Painless Accounting & more... City for five years, before finally returning to the city
that gave birth to the Tango in 1984. At that time,
212-222-6632 the nine year old Emilio began studying piano. After
singer@SingersCenter.com graduating from the National Conservatory of Buenos
www.SingersCenter.com LISA SOKOLOV Aires, where he studied composition, arranging and
PO Box 229 Cathedral Sta, NY, NY 10025 orchestration, he became an active performer in the
A QUIET THING — www.laughinghorserecords. jazz and tango scene of Buenos Aires until 1999,
a division of Grace Notes Music
com My One and Only Love; Succotash; You Go To when he moved to New York to earn his BFA at City
Thanks to CreativeComputingCenter.com My Head; You’re All I Need To Get By; Lush Life; Kol Continued on Page 49

Steve Maxwell vintage and CuStoM druMS
410 S. Michigan Ave. Ste 802
Chicago, IL. 60605 • 312-360-9881
723 7th Ave. • 3rd Floor
New York, NY. 10019 • 212-730-8138 intage and
Steve’s cell: 630-865-6849 o ur v m
y ru speci
www.maxwelldrums.com
Our Manhattan location is only a short distance from
omd ali
where Frank Ippolito had his great shop, which was where
s t s
Steve studied with Papa Jo Jones back in the early 70s and u
ts
c
where he got his first glimpse of the beauty of custom
drums from Al Duffy, who was truly the first custom
drum builder and a mainstay at Frank’s shop. We’re proud
MANHATTAN to be in Manhattan and we hope to carry on the tradition
of the great shops like Frank’s.
and CHICAGO NEW: Effective April 1, Willie Martinez joins our

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Our Manhattan shop is located at 723 the best in the business and his name is known all over
Manhattan. Repair shop is open, so come on down and
7th Ave. 3rd floor. We’re right at the let us help you with your gear.
corner of 7th avenue and 48th street,
which is known as “music row” in Our new shOp includes:
Manhattan. Our NYC manager is Jess craviOttO: World’s largest selection of Craviotto
one-ply snares and drum sets
Birch and he and Steve will both be at vintage: Extensive inventory of high end vintage
the shop. Steve is in the Chicago store snare drums, sets and cymbals
on Saturdays. MuseuM: A showcase for some of the rarest and
historic sets and snares.
gretsch: USA Custom drums in bebop sizes made
famous by the 60s era jazz greats and including our
Gretsch Vintage Tribute kits available only through
us. True vintage build out with rail consolette and even
burgundy sparkle among other colors.
cyMbals: Istanbul, Bosphorus, Zildjian, Old As, Old
Ks, Dream and our own Turkish made Session cymbals
· All of the great sticks, heads, hardware, bags,
etc that we offer.
At our Manhattan store

(all items are available for sale):
· Gene Krupa’s late 30s radio King snare drum
· Rare Slingerland black beauty snare drum.
One of only 12 known.
· Rare Gretsch cadillac nitron green
50s era 3 ply kit
practice space: Our NY store has drum set

practice available for rent on an hourly basis. Call 212-
730-8138 for details!
teaching studiO: Ron Tierno has relocated
his long standing teaching studio to our shop. Call Ron
directly at 646-831-2083 for lesson information and visit
his site at www.nydrumlessons.com
new! We now have our brand new vintage style Rail
Consolette tom holder assembly in stock. Check it out on
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stOre hOurs:
(chic): sat: 10–4 Other hours by appointment
(nyc): Mon-sat: 11–7 sun: closed Manager: Jess birch
WOR LD’S FINE S T J AZZ C LUB & R E S TAUR ANT
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L AT E N I G H T G R O OV E S E R I E S S U N DAY J A Z Z B R U N C H
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ZEMOG SAT, AUG 1 VINNIE ZUMMO TRIO SUN, AUG 9

W/ SPECIAL GUEST JANICE ZUMMO
BRAD JONES' AVANT LOUNGE FRI, AUG 7 KUNI MIKAMI & HAMP'S BOOGIE BAND SUN, AUG 16
BEN TYREE TRIO (BT3) SAT, AUG 8 K.J. DENHERT SUN, AUG 23
JEREMIAH HOSEA FRI, AUG 14 MARTA GOMEZ SUN, AUG 30
M O N DAYS AT T H E B L U E N O T E
TOMÁS DONCKER SAT, AUG 15
TESSA SOUTER - CD RELEASE SHOW MON, AUG 3
ADAM KLIPPLE & DRIVE BY LESLIE FRI, AUG 21
THE RONNY JORDAN TRIO MON, AUG 10
VINX SAT, AUG 22
TIM ERIKSEN MON, AUG 17
STEPHANIE ROOKER FRI, AUG 28
DARIEN SAT, AUG 29 GORDON CHAMBERS MON, AUG 24
ROBERT RODRIGUEZ TRIO MON, AUG 31
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www.jazzINSIDEMaGazINE.

coM AUGUST 2009

2 August 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com To Advertise CALL: 215.887.8880

New Releases from Resonance Records...

Resonance Big Band

For more info & free MP3 downloads visit:

4 August 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com To Advertise CALL: 215.887.8880

JOHN PATITUCCI TRIO

John Patitucci Trio LIVE!

The legendary bassist’s highly anticipated CD of all-new compositions

To Advertise CALL: 215.887.8880 August 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com 5

Credit: Eric Nemeyer

After some impromptu conversation with John, we

John Patitucci: I remember when I first got the gig

Jazz Inside: Could you share some conversations that

JP: With Wayne, he talks about life a lot and he

JI: Sure, which disconnects you from the group.

JP: Yeah—totally. And the truth is, you can never go

Credit: Eric Nemeyer

Credit: Eric Nemeyer

8 August 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com To Advertise CALL: 215.887.8880

To Advertise CALL: 215.887.8880 CRI2009

Credit: Eric Nemeyer

“One day I decided to buy a bass a friend was

Credit: Eric Nemeyer

JI: When you first embarked on the sophisticated

10 August 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com To Advertise CALL: 215.887.8880

PERFORMANCE SPOTLIGHT 82 West 3rd Street

section, contact Eric Nemeyer “Adriano Santos exemplifies the

Rasul Siddik-Katy Roberts

@ Broom turns what could have easily been a pedestrian

September 17, 2009 • 9:00pm

Credit: Eric Nemeyer

boundless joy and swagger of Louis’ “High Society”,

“Jazz is the diamond created by the awful experiences of

music I try to spend as much time as I can in nature:

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Do you want to taste

Oscar Perez Nuevo Comienzo JAZZ SINGERS

“This is a musician that has his own voice. Both his

JI: Despite having achieved a level of success as a mu-

14 August 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com To Advertise CALL: 215.887.8880

Available for: • Play Original from Instinct

Credit: Eric Nemeyer

JI: You’ve played with a gigantic list of influential and

“Teaching has never represented “just a gig” to me that is

past, and only the strong - and entrepreneurial - will

are your day to day activities at Purchase? What are the

simply came as a result of Jamey Aebersold asking me

16 August 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com To Advertise CALL: 215.887.8880

Credit: Eric Nemeyer

“..it’s a pretty amazing feeling to be on stage, close my

RG: Wow! Good question. Musical improvisation

To Advertise CALL: 215.887.8880 August 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com 17

Larry is the innovator of the slap bass. He illustrated

18 August 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com To Advertise CALL: 215.887.8880

Credit: Eric Nemeyer

JI: What is it about musical improvisation that you

BM: It’s a feel thing for me. When I am having a

JI: What was it that initially inspired you to become a

BM: My friend down the street wanted to start a

To Advertise CALL: 215.887.8880 August 2009 • Jazz Inside™ NY • www.jazzinsidemagazine.com 19

Credit: Eric Nemeyer