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JAZZIMPROV.COM DECEMBER 2006

The Ultimate Directory of NY Area Jazz Club, Concert & Event Listings
Interviews with:
Reggie Workman
Steve Tyrell
Chris Botti
Andrew Cyrille
Performance
Reviews:
Gerald Wilson & REGGIE WORKMAN
Juilliard Jazz Orchestra, ANDREW CYRILLE
St. Peter’s Church
Steve Davis, Alice December 10
Coltrane, Andrew Hill,
Norman Hedman,
Willie Martinez…

STEVE TYRELL
Cafe Carlyle, Carlyle Hotel
December 1–31

CHRIS BOTTI
Blue Note
December 19–31

Ira Gitler’s Apple Chorus

Jazz Club Profile:
RARE’s Lexington Lounge and
Marjorie Eliot’s Parlor Jazz
Plenty of Reviews of Cool CDs
Including: John Coltrane, Louis Armstrong,
Sonny Stitt, Steve Turre, Myra Melford,
Bob DeVos, Mary Foster Conklin and more…
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 CONTENTS
Jazz Improv’s New York Jazz Guide & Directory
ISSN: 1556-0600
December 2006 - Volume 2, Number 6
Cover Design by Karry Thomas
Cover Photo of Wynton Marsalis by Clay Patrick McBride HOLIDAY GIFT GUIDE
Publisher: Eric Nemeyer
Editor: Winthrop Bedford 12 pages (beginning on page 35)
Advertising Sales & Marketing: Jamie Cosnowsky
Advertising & Marketing Associate: Lashawn Malloy
Circulation: Ellen Kahn, Robin Friedman, Susan Brodsky
CLUBS, CONCERTS, EVENTS
Photo Editor: Joe Patitucci 16 Directory of Clubs, Venues, Music and Record
Interns: Kaila Prins, Dimitry Ekshtut
Contributing Artist: Mary Jo Schwalbach Gitler
Stores, Schools & Universities
Contributing Photographers: Eric Nemeyer, Joe Patitucci, E.S. 57 Calendar of Events
Proteus, Herb Snitzer, Ken Weiss. 50 Announcements - Upcoming Events; Regular
Contributing Writers: Dan Adler; Dan Bilawsky; Al Bunshaft; John Engagements; Add’l Club and Venue Schedule
Cizik; Curtis Davenport; Bill Donaldson; Dimitry Ekshtut; Joe Ferrari;
Ken Franckling; Eric Frazier; Robert Gish; Ira Gitler; C.J. Glass; Dr. 56 Noteworthy Performances
Wayne Goins; Clive Griffin; Rick Helzer; Scott Hockenberry; Steve 15 Jazz Brunch
Jankowski; Joe Knipes, Jan Klincewicz; Ron Lyles; Alex Makarov; ON THE COVER: Wynton Marsalis
Harry Maisonette; Margot Elizabeth Meyers; Dave Miele; Mercy Feature begins on page 19 COLUMNS
Monet; Joe Patitucci; Marco Pignataro; Paul Sakion; Jim Santella;
Mark Sherman; Rob Silverman; Annie Simmons; Peter Steinberger; 4 Apple Chorus, by Ira Gitler
Ken Weiss; Will Wyatt; Marshall Zucker. Editorial Policies 49 Latin Beat, by Harry Maisonette
Jazz Improv ® does not accept unsolicited manuscripts. Persons
Advertising Sales wishing to submit a manuscript or transcription are asked to request
Contact Jamie Cosnowsky at 212-889-0853 specific permission from Jazz Improv® prior to submission. All LIVE PERFORMANCE REVIEWS
Jazz Improv® Magazine Main Office
materials sent become the property of E.S. Proteus, Inc. unless 6 Steve Davis at The Kitano; Alice Coltrane at
otherwise agreed to in writing. Opinions expressed in Jazz Improv®
107-A Glenside Avenue, Glenside, PA 19038 USA by contributing writers are their own & do not necessarily express
New Jersey Performing Arts Center; Andrew
Telephone: 215-887-8808; Fax: 215-887-8803 the opinions of Jazz Improv®, E.S. Proteus, Inc. or its affiliates. Hill at Merkin Hall; Norman Hedman; Willie
Email: jazz@jazzimprov.com
Website: www.jazzimprov.com
Martinez; John Pizzarelli at Highlights in Jazz,
Submitting Products for Review Tribeca Performing Arts Center, Ray Barretto
Companies or individuals seeking reviews of their recordings, music
SUBSCRIPTION INFORMATION books, videos, software and other products are requested to send Tribute; Gerald Wilson & The Juilliard Jazz
(1) Jazz Improv® New York Jazz Guide & Directory (monthly) TWO COPIES of each CD or product to the attention of the Edito- Orchestra
To order a subscription, call 1-888-472-0670 or visit Jazz Improv on rial Dept. All materials sent become the property of Jazz Improv®,
the Internet at www.jazzimprov.com. Subscription rate is $45.00 per and may or may not be reviewed, at any time.
year, USA. Please allow up to 8 weeks for processing subscrip-
CLUB & VENUE PROFILES
tions & changes of address. Registered Trademark
47 Parlor Jazz, Hosted by Marjorie Eliot
(2) Jazz Improv® Magazine (Quarterly, with CD). Subscription rates Jazz Improv® is a registered trademark (United States Patent and 48 RARE’s Lexington Lounge
are $39.95 per year, USA; $69.95, Canada; $89.95 Foreign #1 Trademark Registration Number 1,971,047) on the Principal Register,
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Copyright Notice
19 Wynton Marsalis
Advertising in Jazz Improv® Magazine & Copyright © 2006 by E.S. Proteus, Inc. All rights reserved. No part of this 24 Steve Tyrell
Jazz Improv® New York Jazz Guide & Directory publication may be copied, photocopied or duplicated in any form, by any 29 Reggie Workman
Jazz Improv® Magazine provides its advertisers with a unique means without prior written consent from E.S. Proteus, Inc. Copying of
opportunity to reach a highly specialized and committed jazz reader- this publication is in violation of the United States Federal Copyright Law 30 Andrew Cyrille
ship. Please call Jamie Cosnowsky in our Advertising Department at (17 USC 101 et seq.). Violators may be subject to criminal penalties as 31 Chris Botti
212-889-0853 or toll free at 1-866-493-7185 to request a Media Kit. well as liability for substantial monetary damages, including statutory
damages up to $50,000 per infringement, costs and attorneys fees.
CD & DVD REVIEWS
63 Louis Armstrong; Cheryl Bentyne; Alan Broad-
Two publications from Jazz Improv ® bent; Linda Bianchi; John Coltrane; Mary Fos-
ter Conklin; Bob DeVos; Alex Garcia’s Afro
Jazz Improv’s ® New York Jazz Guide Mantra; Mark Helias; John Hicks; Hot Club of
MONTHLY - FREE (available FREE in print at 250 locations around NY and via download of PDF file from Detroit; Sean Jones; Barbara Lea & Loren
website. Also available in print by paid subscription, delivered to your home or office). Features interviews, Schoenberg Big Band; Elisabeth Lohninger;
articles, reviews of recordings and books, listings of events, jazz clubs, festivals and other venues. Myra Melford; Barbara Montgomery; Andrew
Scott Potter; Michele Rosewwoman; Sonny
Jazz Improv ® Magazine Stitt; Jacob Varmus; Steve Turre; Vic Juris/
QUARTERLY - 250+ pages, CD (available by paid subscription & at retailers throughout the USA, Internationally) Cory Christiansen (DVD)
is a 240-300 page quarterly magazine that includes a companion CD featuring full-length tracks by leading 79 The Jazz Billboard
and emerging artists. It is available by subscription and at book, record and music stores and chains and
newsstands nationally and internationally. Each edition of Jazz Improv® Magazine features detailed inter- Photo credits, front cover:
views, colossal bio-discographical features, reviews of recordings, books and musical products, motivational, Wynton Marsalis by Clay Patrick McBride (cover), and by
Eric Nemeyer (page 2, above); Reggie Workman by Ken
philosophical, articles, over 20 pages devoted to guitar: “The Guitar Pages,” and for those readers who make
Weiss; Chris Botti by Eric Nemeyer; Steve Tyrell
music, a bonus 150-page e-book on the enhanced CD with lead sheets, transcriptions, analyses and more. (courtesy, Steve Tyrell).

2 December 2006  Jazz Improv ® Magazine’s New York Jazz Guide  www.jazzimprov.com To Advertise CALL: 212-889-0853
 APPLE CHORUS
Ira Sullivan, Dave Frishberg & Others
Ira Gitler
I first heard Ira Sullivan in 1949 (when
he was 18) at one of the jazz sessions that Joe
Segal was first presenting at Roosevelt Col-
lege in Chicago. He was playing trumpet,
influenced by the Miles Davis of the recently
released Capitol 78s, that would later be
dubbed “The Birth of the Cool.,” He was also
playing alto sax with a Sonny Stitt flavor. He
amazed me and has continued to do so over
the years. He became known mostly for his
tenor saxophone and trumpet, and not only
plays all the reeds, but just about any
other instrument. At a late hour jam at
a jazz convention, he picked up the
bass and later sat behind the drums to
keep things going until the wee hours.
He made his reputation in Chicago,
but moved to Florida in the ‘70s. Red
Rodney coaxed him into touring in the
‘80s but for the most part he can only
be heard in southern Florida. I don’t
remember the last time he was in New
York, but any time he is it’s an
event—as it was at Dizzy’s Club Coca
Cola in early November. As a front-
line guest in tenor man Eric Alexan-
der’s Quartet, and backed by a smok-
ing rhythm section of Harold Mabern,
John Webber and Joe Farnsworth,
Sullivan soloed on trumpet, flugel,
tenor, soprano and flute. At 75 Ira is
still a tower of swing and a fountain of
soul.
Another welcome visitor, this
time from the Pacific northwest, Dave
Frishberg arrived in town from Port-
land to team with vocalist Jessica Mo-
laskey (John Pizzarelli’s wife and mu-
sical collaborator) for a run at Feinstein’s.
Frishberg, supported everything with his no-
nonsense pianism—percussively rhythmic
when it had to be, and expressive at all tem-
pos. He did many of the songs his public
wants to hear and revel in, no matter how
“When a true genius
appears in the world,
you may know him by this sign,
that the dunces are all
in confederacy against him.”
- Jonathan Swift
4 December 2006  Jazz Improv ® Magazine’s New York Jazz Guide  www.jazzimprov.com
familiar they are to them. This is particularly
true of a live performance. So we heard “My
Attorney Bernie” and “Quality Time,” the
show’s title song. The chemistry also worked.
Jessica and Dave combined on the “Can’t
Take You Nowhere” and after Dave did his
(and Bob Dorough’s “I’m Hip” and Jessica
answered with Dave’s parody of “I Won’t
Dance” entitled “I Won’t Scat.” And she sang
Frishberg’s touching “Heart’s Desire.”
More visitors from the West, this time
western Canada, Vancouver, British Columbia
to be exact. Cory Weeds, proprietor of the
Jazz Cellar club in Vancouver, has a label
called Cellar Jazz. Ugetsu, one of the local
groups he recorded live, made the trip to New
York and, on Saturday night, November 11,
appeared at the Fat Cat in Greenwich Village,
opening for the Uptown Quintet, a New York
group that has played at the Cellar and has a
CD out on the Cellar Jazz label.
Ugetsu is made up of tenor saxophonist
Jon Bentley, tenor sax; Bernie Arai, drums;
Brad Turner, trumpet; Rod Murray, trombone;
Ross Taggart, piano; and Andre Lachance,
bass. The Uptown Quintet is peopled by Ian
Hendrickson-Smith, alto sax; Ryan Kisor,
trumpet; Spike Wilner, piano; Dave Wong,
bass; and Montez Coleman, drums.
Both groups exhibited unbridled passion
and the individuals transmitted genuine, per-
sonal voices in an idiom that radiates blues
and beauty. Each group displayed original
material from within its ranks, and also nod-
ded to Joe Henderson—Ugetsu’s interpreta-
tion of “Caribbean Fire Dance” and Sonny
Clark, Uptown’s rendition of “Blue Minor.”
See “dese” CDs (and hear ‘em, too):
Jimmy Heath’s Turn Up the Heath (Planet
Arts), the Jimmy Heath Big Band playing his
originals and arrangements with an all
star array of players. Jimmy is also
featured on a DVD (DanSun) entitled
Brotherly Jazz, along with brothers
Percy and Albert “Tootie.” Talking
heads include Herbie Hancock; Jack
DeJohnette; and Sonny Rollins, who
says, “The Heath Brothers have made
the world a better place. They’re what
jazz is all about.”
Meanwhile Rollins’ new label,
Doxy. has it’s first release in Sonny,
Please, with a piano-less version of his
regular group, adding Bobby Broom
on guitar.
How many of you remember
Charles Mingus’ Music Written For
Monterey 1965 Not Heard...Played in
Its Entirety At UCLA? Issued in a lim-
ited edition LP some years ago by
Mingus’ wife, Sue Mingus, in an effort
to thwart bootleggers, it is now avail-
able as a CD on Sue Mingus Music.
Simultaneously, the label has issued
The Mingus Big Band in Tokyo from
2005.
Books: A quick, but enter-
taining and enlightening book by Lorraine
Gordon, as told to Larry Singer, Alive at the
Village Vanguard: My Life In and Out of Jazz
Time, has been published by Hal Leonard. I
don’t think Lorraine told Singer all, but she
did make one boo-boo: Sir Charles Thompson
wrote “Robbins’ Nest,” not Count Basie.
(Count did record it but Illinois Jacquet had
the first and definitive version.)
Also new--so new that I haven’t finished
reading it--is Dark Magus: The Jekyll and
Hyde Life of Miles Davis by Gregory Davis,
(Miles’ son) with Lees Sussman and a fore-
word by Clark Terry (Backbeat Books).
  
To Advertise CALL: 212-889-0853
 live performance reviews
© Eric Nemeyer
Steve Davis
Live at The Kitano
November 10, 2006
By Al Bunshaft
PERSONNEL: Steve Davis, trombone, Mike
DiRubbo, alto saxophone; Anthony Wonsey,
piano; Ivan Taylor, bass; Tony Reedus, drums.
Roy Hargrove joined on trumpet for the final
piece.
Hard Bop is a genre which emerged in the
late 50’s and then the 60’s and was shaped by
artists like Art Blakey, Cannonball Adderley,
Lee Morgan, Jackie McLean and many others.
While some of its earliest artists still play ac-
tively, sadly most of the originators are now
gone. I am not old enough to have been in those
clubs in the 50’s and 60’s. I can only imagine the
energy and the feeling as each night something
new was being created. Well it’s still possible to
feel that energy because there is a new crop of
experienced professionals carrying on the tradi-
tion. Many of these artists, like Steve Davis
whose quintet played on this Friday night at The
Kitano, apprenticed under the hard bop masters
as Davis did with Blakey and McLean.
Importantly though, this was an evening
that not only looked back, it also looked forward.
These mostly thirty-something year old pros,
made the music their own yet also preserved the
deeply swinging, R&B influenced roots of hard
bop and kept them fully intact. The Kitano Ho-
tel’s bar is a perfect setting to see jazz and the
room lent a warm, intimate feeling to the set.
The Davis Quintet played mostly pieces from his
most recent album called Update. Tonight’s
second set had Davis on trombone, with Mike
DiRubbo on alto saxophone, Anthony Wonsey
6 December 2006  Jazz Improv ® Magazine’s New York Jazz Guide  www.jazzimprov.com
© Ken Weiss
on piano, Ivan Taylor on bass, Tony Reedus on
drums and Roy Hargrove playing trumpet on one
number. The album was made with similar in-
strumentation to this evening, but with a guitar,
not a saxophone. This writer prefers the trom-
bone, trumpet and sax over the trombone, trum-
pet and guitar, but it’s a personal preference.
Both lineups do justice to this music. The guitar
on the album makes the feeling warmer and
cozier as opposed to the punch of the three brass
instruments in the live set.
The set opened with a Wayne Shorter num-
ber, “Marie Antoinette.” Davis and DiRubbo led
the piece out playing the melody in unison and
setting the tone for the tight, swinging set to
follow. Davis then took the first solo with Won-
sey laying in crisp chords as counterpoint to
Davis’ lead. The solo moved to DiRubbo and
then to Wonsey who both delivered solid solos
before passing the lead back to Davis. The quin-
tet then brought the piece down to a subtle close.
Dexter Gordon’s “Fenja” followed with a re-
laxed, swinging opening. Davis played a strong
solo. His playing is very accessible, but not triv-
ial. The band clearly enjoyed playing together
and produced a very warm, balanced sound.
The next piece was a Davis original called
“Spirit Waltz.” Reedus opened solo on his drum
set and then the group stated the melody. Davis
played the first solo followed by DiRubbo as the
piece shifted into an earthy, sensuous groove.
Just as they wound it down the song built back
up to a higher intensity and became a platform
for Wonsey to take the spotlight. His solo was
witty and inventive and slowly built into a tor-
rent of excitement. Part R&B, part gospel church
party, Wonsey walked the keyboard with both
hands playing rhythmically as well as melodi-
cally. The excitement was palpable and the
crowd was shouting encouragement as his sheet
music tumbled to the floor. Wonsey was clearly
having a blast himself as he worked to keep the
piano from rolling too far away from the pound-
ing it was taking. The tiny Kitano bar rocked and
I couldn’t help but think that this is how this
music was meant to be played! While the band’s
playing was the star of the evening, Wonsey’s
solo was one of the individual highlights of the
night. I’m sure that if you were down below in
the hotel lobby, you would swear there was a
party going on upstairs. As Wonsey’s solo
wound down an excited audience member kept
repeating “hold on baby…. don’t let it go” and I
think all in attendance could identify with that
comment. The energy, the swing, the groove,
was something that I can’t describe, you have to
feel it. You know it when it happens, and it does-
n’t happen at most shows!
The set closed with Herbie Hancock’s “The
Maze,” the highlight of which was the addition
of Roy Hargrove on trumpet. Hargrove’s solo
was in your face, potent, angular, and exciting
and had the crowd whooping encouragement.
DiRubbo then followed with his most fiery solo
of the set. Hargrove moved over to the side and
was now shouting encouragement back to
DiRubbo and then Davis as the band brought the
song and the set to a close.
Alice Coltrane
Live at NJ Performing Arts Center
October 22, 2006
By Ken Weiss
Alice Coltrane has rarely performed on a
public stage over the past 30 years, choosing to
follow the teachings of Swami Satchdiananda
and head an ashram in Agoura, CA, where she is
known as Swamini Turiyasangitanada. At the
urging of her son, saxophonist Ravi Coltrane,
she agreed to appear with a quartet in three cit-
ies, her home town of Detroit along with New
Jersey and San Francisco.
The New Jersey event took place at the
NJPAC, an impressive jewel built into the heart
of downtown Newark. Appearing in a saffron-
colored sari, the soft-spoken and unassuming
Coltrane led a quartet with son Ravi, drummer
Jack DeJohnette and bassist Drew Gress, stand-
ing in for an ailing Charlie Haden. Commencing
with the traditional Indian song, “Sita Ram,”
Alice chose the Wurlitzer organ to make her
initial statement while DeJohnette impressively
hammered out insistent beats on electronic tab-
las. Ravi entered after 5 minutes to add piercing
soprano, bending his knees to summon more
force.
Alice Coltrane’s composition, “Translinear
Light,” followed, featuring the leader on piano,
showcasing her impressive facility on the instru-
ment. A quick left hand delivered a forceful
attack that was invigorating but never sacrificed
the luscious melodies built into her spiritually-
infused playing. As DeJohnette worked his cym-
bals, showing off a light touch, Ravi blew com-
To Advertise CALL: 212-889-0853
forting phrases on tenor which were altered and evolving ideas which seem to thrive on growth sticks, and dowel rods, knew exactly how to
presented back to him by his mother. and change. This composition was no different provide the proper musical accompaniment and
After the soothing “Jagadishwar,” bassist and his band mates followed him in mood, style support the different strains of style and sound.
Reggie Workman joined the quartet for John and sound from beginning to end. The earliest While the length of this piece and the degree of
Coltrane’s “Africa,” a nice touch considering he portions of this piece were fast and furious, with abstraction in much of the music might not have
was the bassist on the original recording. He some aggressive sounds coming from John appealed to all, the majority of the audience
opened with a compelling solo bass line and Hebert’s bass and Charles McPherson’s drums. found it to be a stunning performance.
soon Ravi confidently announced the head on his None of the band members was relegated to a Following a brief intermission, Cuscuna
tenor prior to leaving the stage, allowing Alice’s simple timekeeping role and McPherson’s cha- and Hill took the stage to discuss the history of
hypnotic piano offerings more space to flourish. meleon-like abilities to constantly change and Passing Ships. A crude mix of this recording
The two basses worked well together although adapt were remarkable. The drummer provided a was the true culprit that kept it hidden away for
their sound was significantly muffled in the large fractured Latin groove which lead into a bass so long and it was interesting to hear Cuscuna
hall. The quintet crested along on top of De- dominated section of music. The time, which talk about the interest that came from the albums
Johnette’s polyrhythmic beats to create a tran- was slightly obscured at first, took on a more participants, like Lenny White and Howard
scendental state. Workman bowed a wobbly defined role as Hebert’s arco bass playing filled Johnson, as a contributing factor for its eventual
edge into the middle of the song before switch- the room with a certain “Sturm und Drang.” release. Hill, who has strained vocal chords and
ing to slapping and plucking the strings. After a McPherson, shifting between brushes, mallets, difficulty speaking, was happy to add an occa-
drum solo, Ravi returned to embellish the end-
ing.
After intermission, the quintet was joined
by a large choir from the ashram and a full or-
chestra. Buoyed by the presence of so many of
her loved ones around her, Alice appeared jubi-
lant on stage. Images of planets, death and heal-
ing were shown on a large overhead screen dur-
ing “Mata.” After “Universe,” the night’s high-
light came with “A Love Supreme Part 1: Ac-
knowledgement.” Up to this point, Ravi had
played the role of the good son, understanding
that his mother’s mission was to spread the love
rather than the fire and brimstone but on this
tune he and the entire band stepped out with an
increased intensity, capping the historic event
with an exclamation point.
Afterwards, mother and son sat down for a
public question and answer session. Alice dis-
cussed her life at the ashram where in addition to
spiritual teaching, community service and feed-
ing the poor are daily occurrences. She said, “I
feel that when people serve without reward, it is
more rewarding.” Ravi spoke of how happy he
was to perform with his mother and stated, “I
just want to congratulate my mother for the
beautiful orchestrations.” The night ended with
the ashram choir coming on stage to sing.

Andrew Hill
Trio and Nonet
Live at Merkin Concert Hall
November 14, 2006

By Dan Bilawsky

The story behind Andrew Hill’s Passing

Ships, like the music on the recording, is intrigu-
ing and absorbing. This stellar album, recorded
in the late 1960’s and not released until 2003,
came to light through a strange series of circum-
stances. Michael Cuscuna, who is largely re-
sponsible for this release seeing the light of day,
was on hand at the Kaufman Center’s Merkin
Concert Hall for the first, and thus far only, per-
formance of this music. This album, while only
having a three year life span in the public eye,
has already attained the highest praise from crit-
ics and the debut performance attracted an en-
thusiastic audience of appreciative fans. Hill’s
trio opened the concert with a lengthy piece that
clocked in at about 30 minutes. Much of Hill’s
work is built on abstract harmonies and ever-
To Advertise CALL: 212-889-0853 Jazz Improv ® Magazine’s New York Jazz Guide  www.jazzimprov.com  December 2006 7

Photo of Andrew Hill by Jimmy Katz (Courtesy Blue Note Records)
sional comment or response and these two
friends clearly enjoyed presenting these tales in
front of an audience. The brief conversational
element of the evening’s concert served as the
introduction for the music that everybody was
waiting to hear. The nonet, with Howard John-
son and Hill being the only alumnus from the
recording, took the stage and started things off
with “Noon Tide.” While the first few minutes
were marked by a bit of hesitation, due in small
part to their lack of acclimation to Hill’s con-
ducting style, the band began to really gel when
the trumpets took over. Ron Horton, who relayed
many of Hill’s ideas to rest of the band, and
Kenyon Harold did a superb job as they tore
through the catchy militaristic trumpet riff that
lights up the latter half of this song. J.D. Parran’s
alto flute work helped to create the warm texture
that permeates the recorded version of this par-
ticular piece. The performance of “Sideways”
was driven by McPherson’s strong swing pulse
and Parran’s tenor saxophone soloing.
“Plantation Bag” mixes the exotic sounds that
are typical of Hill’s work with a certain Donald
Byrd-esque funkiness. These qualities make the
song one of the best pieces on the album and it
translated equally well to the stage. Curtis
Fowlkes used his plunger mute to great effect at
the outset of the song and Mark Taylor contrib-
uted some highly aggressive and appealing solo-
ing on french horn. The musicians were all nod-
ding their heads to the beat and the enthusiasm
was contagious. The instrumentation of the en-
semble, featuring a brass quintet, one woodwind
and rhythm section, allowed for a large variety
of settings and Hill, who shifted roles from con-
ductor to piano player throughout the evening,
did a fine job with balancing the sound from
moment to moment and piece to piece. A slower
rendition of the title track, marked by a far
greater degree of rhythmic freedom, brought
things to a close. Hill graciously returned to the
8 December 2006  Jazz Improv ® Magazine’s New York Jazz Guide  www.jazzimprov.com
piano for one encore and this coda to the concert,
somber in mood compared to the jubilance that
ran through much of the Passing Ships material,
gave the audience a glimpse into another side of
Hill’s musical persona. The Kaufman Center
should be commended for their role in bringing
this performance, as part of the “Reissue: Classic
Recordings Live” series, to life. It was an eve-
ning that few in attendance are likely to forget!
A Tribute to “Mr. Hard Hands”
Ray Barretto
Live at the Lehman Center for
the Performing Arts, Lehman College
June 2-3, 2006
By Harry Maisonette
Ray Barretto picked up his first conga drum
at a young age and never looked back. Back
then, listening to jazz programs at night and his
mother’s Machito records during the day, he
would beat anything he could get his hands on.
Barretto’s percussive journey began while sta-
tioned with the Army in Germany, jamming with
other servicemen and emulating the Godfather of
the conga, Chano Pozo. Upon his return to New
York he purchased an old Mexican drum, and
thus was a conguero born. Jam sessions being
scarce, he made his way down to Harlem on
125th Street, to Minton’s and the Apollo Bar,
meeting and jamming with such luminaries as
Roy Haynes, Max Roach, Sonny Stitt, and Char-
lie “Bird” Parker. The latter asked Barretto to
remain on stage. As Ray would tell the story,
“Parker put his hand on my shoulder and said,
‘You stay.’” He remained for two weeks of ini-
tiation by fire. It was in this hotbed of creativity
that Barretto culled his understanding of jazz
music. As he later said, “I got involved with
them even before I got into Latin.” Barretto went
on to become one of the most sought-after
congueros in jazz, recording with Red Garland,
Lou Donaldson, Gene Ammons, Sonny Stitt,
Cannonball Adderley, and many others.
Fittingly, the opening of this homage to Ray
Barretto was entrusted to none other than the
great Machito Afro-Cuban Big Band, which for
the last 30 years has been under the direction of
Mario Grillo, Machito’s son. Mario, an accom-
plished band leader and timbalero-percussionist
in his own right, has carried on the rich legacy
that his father left. Composer and arranger Mario
Bauza has left in Grillo’s capable hands the Ma-
chito/Bauza book, thought to be one of the most
extensive and complete examples of Afro-Cuban
and Latin music available. With compositions
stretching from the late 1930’s up to present day,
this was practically one of Ray Barretto’s text-
books. True to form, the Machito Orchestra lived
up to its legacy. I wanted to get up and dance
from their first tune, the always enjoyable and
infectious “Ba Ba Ra Ba Tiri.” This was fol-
lowed by the Latin jazz classic “Sambia,” with
an arrangement by Mario Bauza that continues
to stand the test of time. A steady Eddie
Montalvo holding time on congas could do no
wrong. Just listening to this classic orchestra
took one back to the home of Latin music, The
Palladium. While horns blared through velvety
sax lines, the rhythm section swayed with preci-
sion as tight as the drums they were playing,
building to a crescendo with “Que Bonito es
Puerto Rico” and another gem, “Cuban Fantasy,”
as the Machito Orchestra set the stage for the
musical banquet that was to come.
This project, originally conceived by Ray
Barretto and producer/photographer Harry Se-
pulveda, had as its objective a reunion of the
many musicians who have passed through the
ranks, configurations, and metamorphoses of
Barretto’s various bands. Beginning in 1961
with his work for Riverside Records, Ray was
considered to have impeccable taste in selecting
the right musicians, arrangements, and more
importantly, the right material. He was indeed an
innovator and visionary constantly ahead of his
time.
The stage was set for the first performance,
a ripping interpretation of “Guarare” featuring
singer Ray de la Paz with Ralph Irizzary on tim-
bales, long-time alumni Gil Lopez on piano, and
Carlito Soto on bongos, bell and coro. The Ray
Barretto fans at Lehman Center went wild. This
number had all the elements – a great introduc-
tion followed by flowing vocals, horns that pull
you in and a percussion break that sets you free,
with a piano vamp for a hook that’s so infectious
you just let yourself be swept up in the groove.
De la Paz then settled things down dramatically
with the tune “Propio Dolar” and picked it back
up with a guaguancó by T. Curet Alonso, “Vale
mas que un Guaguancó,” beautifully arranged to
end the segment. The musical director on stage
was Oscar Hernandez, Barretto’s pianist/
arranger from 1976 into the 80’s, and occupying
Barretto’s chair was none other than “The Great-
est Conguero on the Planet,” Giovani Hidalgo.
Hidalgo played with “less is more” sensibility
but kicked it up a notch when needed. He was
spurred on by a horn section which included
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trombonist Jimmy Bosch, with his “in-your-
face” urban grit style, and Roberto Rodriquez Jr.,
son of the late Cuban trumpeter and long-time
first trumpet for Barretto, Roberto Rodriquez, Sr.
The next segment featured a new configura-
tion. With his smooth delivery, vocalist Tito
Allan seems, like a fine wine, to only get better
with age. While Allan only recorded one album
with Ray and went on to make his impact in the
Latin genre, he will always be remembered for
“Indestructible,” which he here performed with
Hernandez on piano and Jimmy Delgado on
timbales, another young alumnus of the Ray
Barretto school. The arrangement spoke of lost
dreams and broken bands only to come out on
top again, as Ray Barretto always did, shot out
of the gate at breakneck speed and gained mo-
mentum without ever letting go. A very spiritual
number, “Hijo de Obatala,” featured a very tasty
piano solo from Hernandez followed by Giovano
Hidalgo’s rapid-fire conga solo. Playing on four
congas, Hidalgo’s hands were a blur of activity –
a tribute to Ray Barretto from the School of
Changuito of Havana, Cuba.
At this point, the Lehman Center was just
one big Barrettofest coming to a boil. The joint
was jumpin’ and it was time for one last change
in the Ray Barretto configuration. Featuring the
quintessential Ray Barretto band from the late
60’s to the early 70’s – Louie Cruz, a pianist/
arranger now residing in Florida, the great Andy
Gonzalez on bass, John “Dandy” Rodriquez on
bongos and bell, and the legendary timbalero
Orestes Vilato – these cats recorded many of
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Ray’s classic hits and some went on to make
history themselves.
They began with a number about a conniv-
ing woman, “Quitate La Mascara,” that em-
ployed a great arrangement and swung so hard
everybody was singing along. The always enter-
taining featured vocalist Adalberto Santiago was
a joy to watch, listen, and learn from – a true
singer. Second up was the classic “Cocinando,”
a beautifully written arrangement easily up there
with some of the best Latin jazz charts ever writ-
ten. Horn solos open up this tune as Ray Bar-
retto’s son Chris joined in on tenor sax, showing
great promise and undoubtedly making a very
proud man out of his father.
Now it was the drums’ time to talk – and con-
verse they did! The percussionists traded fours in
classic Barretto style. You almost expected to
see Barretto lift his red congas and bang them on
stage passionately like so many times before.
“Alma Con Alma,” a heart-tugging bolero and
one of singer Adalberto Santiago’s signature
songs with Barretto, showed that this cat still has
chops after all these years. Chris Barretto added
just the right touch on saxophone. “La Hi-
pocresia y la Falsedad,” a slow moving cha-cha,
served as a valid testament to the hypocrisy and
falseness in life and the business of music that
Ray Barretto knew all to well. Now it was time
to pull out all the stops and bring this evening to
a boiling point. Beginning with “Pelota,” another
Barretto standard, Andy Gonzalez laid down the
bass line in a 2/3 Rhumba fashion with the per-
cussion section and piano following suit. A vocal
Jazz Improv ® Magazine’s New York Jazz Guide  www.jazzimprov.com  December 2006 9
 chorus and riffing trumpet appeared in the back-
ground, leading to a percussion and horn break
that set the pace for lead vocals and a timbale
solo. The master, Orestes Vilato, who’s poly-
rhythmic, eclectic yet tipico style at such a blaz-
ing tempo could well serve as the encyclopedia
for timbales, incited the crowd to its feet.
The closing selection for the evening was
“Que viva la musica” (Long Live the Music),
Latin music’s national anthem. Composed by
Barretto and Roberto Rodriquez, this masterful
piece began with an Afro-Cuban call on trumpet,
as if to say, “Come one, come all and join my
jam.” A thunderous roll heralded the call and its
ensuing response. Here Giovani took a conga
solo that made hair stand on end, deploying all
that he had in his vast arsenal. The piece ended
as it began, with the call of the trumpet and vo-
cals chanting, “Que viva la musica,” wherever it
may be.
From the musicians to the selections per-
formed and the words being expressed about this
musical giant, A Tribute to “Mr. Hard Hands”
proved to be an excellent production, executed
with great thought and care to the Ray Barretto
legacy. A huge five stars to Harry Sepulveda,
Leah Grammatica, and the entire production
team, as well as Brandy and Chris Barretto for
their beautiful and inspiring words. Que viva la
musica, que viva Ray Barretto.
Norman Hedman & Tropique
Live at the American Museum
of Natural History
October 6, 2006
By Harry Maisonette
Walking in the brisk fall New York air and
entering “Starry Nights” at the Natural History
Museum, all the stars were aligned in the Nor-
man Hedman universe. The Rose Center Conser-
vatory, cavernous in scope, seemed to transport
one back to the Palladium or the St. George,
where Latin and Latin jazz music first held
court. The stars of this universe were Tito
Puente, Eddie Palmieri, Ray Barretto and Joe
Cuba to name but a few. As soon as you walked
into this huge ballroom, you could feel the puls-
ing of the bass and the pounding ring of the per-
cussion. Ah, I was home again courtesy of Nor-
man Hedman and Tropique. And they were tak-
ing flight on a tune called “Flight of the Spirit,”
a piece in 6/8 reminiscent of the Tito/Mongo/
Bobo groove. It proved to be a perfect vehicle
for this setting. Smooth, flowing, clean and tight,
the transformation was complete. I was in Latin
jazz and Latin soul heaven. The band’s funky
solos showed off this wonderful unit’s cohesive-
ness and polish, signaling what was yet to come.
Hedman is a Renaissance Man if ever there
was one: musician, composer, producer, and
scholar; a hands-on-player who makes his own
percussion instruments. With a polished attitude
yet humble demeanor, Hedman allows you read-
ily into his universe and says, “Welcome and
enjoy the ride.” The next selection up was
“Rundadar Dance,” written by vibraphonist
Alexei Tsiganov. The percussion at first traded
licks with pianist Misha Tsiganov, the other half
10 December 2006  Jazz Improv ® Magazine’s New York Jazz Guide  www.jazzimprov.com
of this brother team, and urged the band along.
As they broke into a funky mambo jazz, flutist
Craig Rivers took a tasty solo, followed by
Alexei on vibes showcasing his tune. This is a
cat that definitely has his clave together. A
Latin-piano vamp followed, introducing us to
Hedman on congas. His riffs, slaps and rolls
grooved in the pocket and made for a smoking
tune. “Walk in the Moonlight,” a piece written
by Hedman in a bolera jazz groove with flute
and sax blowing the harmonious rhythm, took
the tempo down. A segue into a slow guaracha
and back to bolero provided ample space for the
vibes and piano to lay down flowing textured
solos, meeting again for the melody to cap off
this relaxing and beautiful arrangement. Hedman
and the members of Tropique set the pace per-
fectly, constantly mindful of their audience
while moving from one chart to the other. In
return, an eclectic crowd of all ages and back-
grounds applauded in all the right places. On
“Cutting Loose,” bassist Ron Monroe and Hed-
man on congas laid down funky rhythms before
the rest of the group joined in to create a mé-
lange of Latin soul, jazz, and Caribbean funk
highlighting the piano and vibes. This, I learned
later, is what separates and defines Norman Hed-
man’s Tropique – his ability and willingness to
incorporate different rhythms, genres and cul-
tures into his music.
The last selection of the evening was the
self-titled “Hed-Theme,” inspired by Hedman’s
travels, observations and daily rituals of living.
The chart began with shades of the “I Love
Lucy” theme, something Hedman remembers as
one of his first personal experiences that has
remained with him. The band heated up on this
one as Norman laid down that Latin tumbao,
followed by Willie Martinez – one of the hottest
drummers on the scene today – on timbales. This
lead into a ripping piano solo by Misha Tsiganov
that flowed like a rhumba, transitioning into a
fiery sax solo courtesy of Roger Byam while
Monroe laid down the foundation and kept it
going. As for the percussion, Martinez led the
way. Demonstrating his funkiness and dexterity
on timbales, rolls, flams, rimshots, and various
combinations thereof erupted out of the drums,
all placed perfectly on the 2-3 clave. The band
was bounding along to a heavy descarga finish.
As Hedman’s turn came to put his tag on the
chart, he exemplified a command of the rhumba
with a round of slaps and beats before riffing in a
cohesive and exhilarating flurry reminiscent of
his early mentor, Mongo Santamaria. The mark
of a true drummer, Hedman made the drum talk
“If the American people
ever allow private banks to control
the issue of their currency, first by
inflation and then by deflation, the banks
and corporations that will grow up around
them will deprive the people of all property
until their children wake up homeless
on the continent their
fathers conquered.”
- Thomas Jefferson
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in his own unique musical language.
Norman Hedman & Tropique are a unit
whose time has come. His ability to fuse differ-
ent genres – Latin jazz, R&B, Latin soul –makes
for an exciting yet unique style. If you run across
this exciting group, don’t pass it up. Stay and
enjoy the ride; you won’t regret it.

Willie Martinez
La Familia Sextet
Live at Lenox Lounge, Harlem

By Ron Scott

Pulsating Latin music boiling in jazz isn’t

usually on the menu at the Lenox Lounge but
recently drummer/percussionist/vocalist Willie
Martinez ignited a sparkling blaze to the Harlem
club (in New York City) with his La Familia
Sextet.
Although La Familia is only two years old,
they have earned international status performing
a brand of music that Martinez likes to describe
as “New York style Latin jazz.” The sextet in-
cluded his regulars Misha Tsiganov, piano; Jen-
nifer Vincent, bass; Renato Thoms, percussion;
J. Walter Hawkes, trombone; Max Schweiger,
baritone saxophone & flute. It’s difficult to be-
lieve that such a tight knit band has been work-
ing together for only two years. Their timing is
perfect and their improvisational solos had eve-
ryone’s feet moving to the hypnotic beats of
boiling Latin rhythms dancing in jazz melodies.
This is the same working band that also recorded
their latest CD “Family.” For his blazing week-
end engagement Martinez called on the services
of Venezuelan conga player Roberto Quintero.
“I have always liked the Lenox Lounge, it’s
small and intimate, and has a great piano,” says
Martinez. “I was really psyched about perform-
ances and the audience was definitely open to
the jazz with a twist of Latin music.” He origi-
nally played the club as a sideman with saxo-
phonist TK Blue’s band. Although this was his
first appearance with his own group it surely
won’t be his last at the club if the audience’s
loud response was any indication of how much
they enjoyed his set.
La Familia opened the first set with “And
Make it Snappy,” a Martinez original recorded
on the “Family” CD. The entire band was mean
on this up-tempo swinger that reminded me of
those days when “Salsa” music ruled the dance
clubs of the Bronx and Manhattan. The tune
kicked off with the horn section setting a swing-
ing pace as Schweiger took the lead on his bari-
tone sax opening the door for a piano explosion
by Tsiganov, followed by hot trombone rhythms,
interceded by a conga serge with Quintero jam-
ming away. And that was just the first tune of
the evening!
“When I think of melodies I get a sense of
what the lyrics would sound like if there were
lyrics “And Make it Snappy” was the perfect
title,” stated Martinez.
Pianist Hilton Ruiz wrote the next song
“Home Cookin’” and the name cookin’ describes
it all. Once again the band took off to destina-
tions only traveled by adventurous musicians
and an audience looking for musical thrills. Mar-
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tinez’s music propels audiences to instant move-
ment in the jazz tradition with fierce Latin over-
tones. Martinez slowed down the pace with
“Plazo Traicioneros” a ballad composed by Luis
Marquetti with arrangements by La Familia Sex-
tet. The drummer steps out as a smooth balladeer
on this one. The song is sweet but although its
not sung in English one can tell something is not
right in this love affair. As Martinez later ex-
plained to me it’s about a man expressing his
love for his lady but she doesn’t return his senti-
ments leading him to believe her heart belongs to
another. The sadness comes in because unfortu-
nately, he is right.
This song demonstrated that Martinez is a
multi-talented musician, who plays a mean drum
and has vocal talent to match. It was Louis Arm-
strong who stated, “you have to do more than
just play and instrument.” “Say Hey Ray” was
another up-tempo tune that was heavy on brass
with undertones of congas and Martinez out
front showing off on the drums hot and blazing
are the words that come to mind. “I wrote this
tune for trumpeter Ray Vega,” said Martinez.
“During the few years that I was with him we
toured Europe and recorded together. I have
great respect for Ray.”
Having recorded with Hilton Ruiz, he
played a few of the pianist’s original composi-
tions. “This engagement was dedicated to both
Hilton and Ray Barretto, two great musicians
who recently passed,” said Martinez.
A native of Brooklyn, New York Martinez
was a part of the East Harlem and Bronx Salsa
scene following the trail of Eddie and Charlie
®
Jazz Improv Magazine’s New York Jazz Guide  www.jazzimprov.com  December 2006 11
Palmieri, Tito Puente and Tito Rodriguez. He
started in Johnny Colon’s popular Latin band in
the 70’s and played all the local spots including
the Garden of Roses in the Bronx, Club Broad-
way, a now defunct Latin dance hall on the up-
per West Side of Manhattan that always had
lines down the block in its hay day. Another spot
where Martinez kept dancers on their feet until
the wee hours was the Corso, located on the
eastside of Manhattan. As Salsa began a down-
ward swing in the mid 1990s Martinez made the
transition to Latin jazz. In that short span of time
he has played with such notables as Charlie
Palmieri, George Cables, Chico and Arturo
O’Farrill, Bebo Valdes, Arthur Blythe, Carlos
“Patato” Valdez, and Norman Hedman’s
Tropique, where he serves as musical director.
Regardless of what Martinez plays you can
be sure there will always be fiery horns, and
burning drums the heart of Latin music. “As a
child I dreamed of the day I’d lead my own
group. The great orchestras of Tito Rodriguez,
Tito Puente and Machito were what I aspired
to,” noted Martinez. “The Fania All-Stars were
my heroes and Tipica ‘73 was the epitome of
what a great Latin band should be.” Visit his
website at www.williemartinez.com
Gerald Wilson
With the Juilliard Jazz Orchestra Live
at Dizzy’s Club Coca Cola
November 3, 2006
By Steve Jankowski

I have a new role model. His name is Ge-
rald Wilson. He is 86 years old and he appears as
pleased and excited to be the front man for a big
band as he was back in the 1960’s when I first
heard him on an album entitled “Orchestra Por-
traits.” He recalls the smallest details in his anec-
dotes, still teaches at UCLA where he won the
“Best Teacher award last year. Before working
with the Bruins, he taught for 35 years at Cal
State. And these recognized efforts to educate
and inspire have proven to be as important as his
musical legacy. He continues to be a precise
conductor, an engaging raconteur, and one of our
last connections to the band leaders and musi-
cians who brought the big band idea to life in the
1930’s and 40’s. When I’m 86, I hope I can still
remember my name.
Considering his considerable teaching back-
ground, it is, therefore, extremely appropriate he
would take a weekend and lead the Juilliard Jazz
Orchestra. I’m sure the teachers of these young
musicians gave their students and in-depth brief-
ing about contributions of the man out front with
a ball of white hair. They certainly played as if
they understood.
Gerald got things started with a blues ar-
rangement he wrote while also playing trumpet
for Count Basie circa 1948. The Count wanted
an arrangement that started very soft, gave a lot
of the guys in the band room to stretch out and
concluded with a big, Jimmie Lunceford-like
shout chorus. The Count figured he chose the
right person to write this arrangement since the
first band Gerald worked with was Lunceford’s
Band—in 1938. Gerald was 18 at the time! I
imagine the Count was very happy with the fin-
ished product.
Unfortunately, I didn’t hear the title of this
first piece, but in its early choruses, the staccato
lead line played by reeds and horns in unison
conveyed a harmonic construction that just
might have been little ahead of its time in 1948.
One can hear the beginnings of the surprising,
slightly off center Gerald Wilson style, a style
that draws you in and suggests you should listen
a little more closely despite the fact the tune has
a basic 12-bar blues structure you’ve heard
many, many times before. In keeping with the
Count’s request for solo space, a number of stu-
dents got a chance to show what they can do.
Pete Mazo on guitar, reed players Pat Secarus
and Cheryl Cassidy and Chris Crenshaw on
trombone, who, by the way, used a plunger to
such a excellent effect I thought we had momen-
tarily stepped into a time machine, all demon-
strated strong instrumental and improvisational
skills. To compliment their youthful exuberance,
they gave us some definitely worth-the-trip
ideas, and an early understanding of the steps
one must take to build a listenable solo. Miyako
on piano did an admirable Basie interpretation.
and delivered some genuinely funny and coy
remarks in the Count’s sparse style. “Dorian”
was the next selection, and if you happen to
listen to “Pure Jazz” on Sirius you will recognize
this tune as one played at least twice every day.
Gerald gently reminds us we’re talking about
“Dorian” as it applies to a mode in music. And
while Mr. Pitch and I have had our disagree-
ments, this one, for what it’s worth, sure sounds
12 December 2006  Jazz Improv ® Magazine’s New York Jazz Guide  www.jazzimprov.com
in the C minor territory. From the stylistic point
of view, you could put “Dorian” in modern big
band jazz category as it moves aggressively
between two tonal centers at a fast-paced tempo.
The highlight in this arrangement was soloist
Sean Jones who, as I understood it, is also a
Juilliard alum and teacher. Sean stood on the far
end of the student trumpet section I couldn’t help
but notice the four student members of the trum-
pet section staring in wide-eyed appreciation as
their teacher moved through octaves and ideas
that can be only described as daunting by critics
and intimidating by students. Sean displayed
astonishing confidence when playing in the up-
per register, as he went from one screeching note
to another without pressing a lot of valves. Call
it slurring in the stratosphere. He also inherited
Dizzy’s lungs because time and time again he
gave us extended phrases in all ranges of the
instrument. Tommy Gardner on tenor also con-
tributed a gradually building series of lines until
he reached the screeching, reed snapping area
where harmonics live. We ultimately got the big
finish that never fails to yield enthusiastic ap-
plause.
Next came “Romance,” which was commis-
sioned to celebrate the 40th Anniversary of the
Monterey Jazz Festival. It reveals the romantic
side of Gerald Wilson and also serves as a solo
vehicle for soprano saxophonist Victor Goines
who is also a professor at Juilliard and the leader
of this band. “Romance” begins with a series of
whole note voicings accented by octaves on the
piano. With the lights of the West Side sparkling
behind the bandstand at Dizzy’s, the bittersweet
sound and style of “Romance” created a sleek
vision of New York after midnight complete
with wet pave pavements and sad shadows. Vic-
tor’s sensitive sound on soprano sax enhanced
and enriched the haunting, moody nature of the
piece. One can almost see the characters of this
“Romance” slow dancing as he moved effort-
lessly from one melodic idea to another.
“Blues for Yunya” was written by Gerald
for his daughter her cat. It’s a jazz waltz and
being the respected educator he is Gerald at-
tempted to give us the general basics on the jazz
interpretation of ¾ time. In delivering his ra-
tional for this digression, he offered a quote from
Fats Waller who once said, “It’s good to know
what you’re playing.” I suppose that holds true
for listening as well. Pianist Eric Reed joined the
band for this one, and again we got to hear an-
other jazz virtuoso/Juilliard mentor. A strong,
supple technique along with bop and post-bop
influences create the stylistic foundation for Eric
who energetically combined inventive lines with
chord voicing that touch on the blue heritage.
Sean Jones returns and he doesn’t merely play a
solo, he attacks this opportunity with passion and
power, particularly during a pseudo “Flight of
the Bumble Bee” sequence played an octave
higher than written. Sean doesn’t wait for you to
sit back and take notice, he reaches out and grabs
you with his dominating sound making sure you
understand waltz time can have a more fiery
nature than one typically expects. Student tenor
saxophonist Tommy Gardner hangs right there
with the pros. He has a deceptively smooth
sound which can gradually turn more traditional,
melodically straight ahead ideas into cascading
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phrases of dissonant tonalities that put us smack
dab in the present. First in Eric is last out with
octaves on piano that create a song of their own
before everything comes to a close.
Gerald told us it was Duke Ellington who
requested a new arrangement of “Perdido” and it
is easily the best version of the song I’ve ever
heard. With reeds doing the melody and trom-
bones doing the hits on the upbeat, “Perdido”
starts swinging hard right from the upper left
hand corner of page one. Eric Reed leads the
way in with several smart and inventive choruses
until Joe Temperly, another first rate musician
and Juilliard teacher takes charge on baritone
sax. With a tone as deep and rich as a cup of
Colombian coffee, Joe delivers his choruses with
a glossy kind of sophistication, a technical and
creative approach that always seems to fit well
with anything written for or by Ellington. Gerald
really also shows his stuff as conductor as he
accurately accents the horn hits with a raised
right hand and a short wave of the wrist much
like the way he’s done it for the past 60 years.
It’s obvious Gerald Wilson never forgets a story
or misses a beat.
By now, we all know that any of Miles
Davis’ tunes written pre-Bitches Brew and espe-
cially those played and recorded by one of his
quintets or sextets in the 50’s and 60’s can be
excellent sources of material for larger groups.
These tunes are often so simple yet so deep and
rich there’s always enough harmonic material to
build a big band arrangement. As Gerald points
out to us “Milestones” is tricky because instead
of the typical 36 bar structure this tune is 40
bars. So you’d better be able to count. You
should also be a pro when attempting to play at
the tempo Gerald sets down. If you are familiar
with the melody, imagine it being punched out
by airtight, hard-edged section work. We are
also treated to another astonishing solo by Sean
Jones on Trumpet in which he demonstrates an
acute sense of dynamics as he enters cautiously,
letting us hear his softer more personal alter ego,
until finally inviting the nasty cat back in and
pushing the envelope in terms of volume and
range.
“Milestones” concluded the evening. And
while several of the student musicians and solo-
ists were mentioned during the performance
although one who wasn’t deserves to be. His
name is James Jennings and he’s the drummer.
Let us just say, for the record, there is some
To Advertise CALL: 212-889-0853
Sonny Payne in his blood and Basie fans will
know exactly what I’m talking about and why.
This young man assumes the pilot’s role with a
great deal of self assurance. The good news he
also knows he’s not a drum soloist accompanied
by 16 other people. At some point during the 4th
or 5 the number you suddenly realize why this
group of young musicians sounds as rock solid
as a professional band. The reason is in the back
behind the piano. He’s the guy holding the sticks
in his hands.
This was a satisfying and educational eve-
ning for many reasons. First, it’s great to see
musicians under the age of 25 digging into and
appreciating the jazz heritage Gerald Wilson
represents. For me, it was my first time seeing
Gerald Wilson, a bandleader I’ve admired for
over 40 years. And then there’s Wilson himself
who has passed the requirements for “living
legend” and now lives in a realm where people
use the word “treasure” to describe his work and
his life.
John Pizzarelli & Bucky Pizzarelli
Highlights in Jazz
at Tribeca Performing Arts Center
October 19, 2006
By Dimitry Ekshtut
The Tribeca Performing Arts Center hosted
John Pizzarelli’s swinging quartet on October
19th as part of its Highlights in Jazz subscription
series. Pizzarelli is to jazz guitar what Harry
Connick, Jr. has become to jazz piano – a tal-
ented, marketable musician with a pretty face
and voice unafraid of popular appeal. And like
Connick, Pizzarelli exudes a kind of charisma
that the jazz world has all but forgotten about.
His two sets – one with his quartet and another
with his father, renowned rhythm guitarist
Bucky Pizzarelli – served as a fitting reminder of
why America fell in love with jazz in the first
place.
A consummate entertainer, John Pizzarelli
zipped through standard fare like “Pick Yourself
Up” and “Jamboree Jones” with boundless en-
ergy. A smattering of George Shearing tunes
exposed the playful side of Pizzarelli’s boyish
tenor, while “If Dreams Come True” and “Ain’t
I Good To You” showcased the band’s quick
attack, crisp time, and ability to produce concise
Jazz Improv ® Magazine’s New York Jazz Guide  www.jazzimprov.com  December 2006 13

yet meaningful improvisatory statements.
The most striking thing about John Pizza-
relli is not his guitar playing or singing, both of
which are competent though by no means revo-
lutionary, but something else altogether. It’s his
attitude – his swagger – permeating through his
music, elevating it from the mundane to the truly
exceptional. He understands and remembers
what has been lost on the majority of his con-
temporaries – whatever else happens, music has
to entertain and delight an audience, and this
cannot occur if a musician takes himself too
seriously. With Pizzarelli, the performance is
one long stand-up routine, each song serving as
the punch-line to a joke or some other good-
natured ribbing. Pizzarelli is not afraid to put
himself on the receiving end of this musical
14 December 2006  Jazz Improv ® Magazine’s New York Jazz Guide  www.jazzimprov.com
comedy for the benefit of an audience, though
more often than not the humor comes at the ex-
pense of father Bucky.
The laughs continued into the second set,
which featured the ingenious duet of bassist Jay
Leonhart and trombonist Wycliffe Gordon.
These jesters delivered great music with wit and
panache, even outdoing Pizzarelli. An inventive
though mild-mannered run through “Alone To-
gether” displayed the surprisingly vast array of
timbres the duo could produce. Leonhart, doing
his best George Benson imitation, sang along
with his walking bass lines while Gordon intro-
duced the melody with an immaculate tone that
had the pristine, milky consistency of white ala-
baster. For Leonhart’s “Rhythm on My Mind,”
Gordon sang the melody with a well-groomed
John Pizzarelli
Live at Tribeca Performing Arts Center
October 19, 2006
voice capable of surprising highs. Leonhart’s
next composition, envisioning “coming through
Customs having everything you shouldn’t have,”
was as uproariously funny as it was musically
ambitious. The duo’s playing served only to
accent Leonhart’s tongue-in-cheek songwriting.
Leonhart played while singing the melody,
Gordon took a turn at the piano and even scatted
in a high falsetto – all complimenting lyrics
about the wild, exotic animals found on a pas-
senger as he is trying to board an airplane. Their
take on “Lester Leaps In” provided the hilarious
yet strikingly musical high point of the evening,
as Gordon and Leonhart sang each others’ parts
while mimicking the act of playing each others’
instruments. Leonhart’s lyricized version of
Eddie Harris’ “Freedom Jazz Dance,” with
Gordon circular breathing on the didgeridoo,
closed out this remarkable set.
Pizzarelli returned with his father for a final
series of guitar duets. They know each others’
playing intimately, probably better than anyone
else, and have a terrific chemistry on stage. Their
performance of “Body and Soul” exhibited the
kind of light-hearted humor that had peppered
the whole evening. On a great arrangement of
“In a Mellow Tone,” John and Bucky engaged in
a riveting chord soloing duet. Displaying an
effortless swing through the most intricate of
chordal passages, Bucky adroitly carries the
mantle for his generation of great rhythm guitar
players. In between songs, John told anecdotes
about growing up on the stage with his legendary
father, using his great dry humor and impersona-
tions of Bucky to drive the stories home. The
Pizzarellis came to play, but perhaps most im-
portantly, they came to have fun.
For a long time jazz music was like this. It
was serious stuff, of course, but there was plenty
of room for shenanigans. Dizzy Gillespie, for
instance, was a notorious prankster known to his
fellow bandmates as much for his sense of hu-
mor on the bandstand as for his electrifying play-
ing. In the big band era, Basie and Ellington
made people laugh and smile nearly as much as
they made them dance or tap their feet. Comedy
has in fact always been an integral part of the
music and the musicians that played it, having
gone a long way in preserving the dignity, indi-
viduality, and independence of musicians who
used it as a coping mechanism for the pervasive
racism that they encountered throughout much of
jazz’s history. It is when artists begin to take
themselves too seriously, putting their music
above such playful derision, that they lose their
ability to connect with an audience. Such an
artist lacks a sense of humility and will endear
himself to nobody. Fortunately, none of the mu-
sicians at this concert need fear succumbing to
these vanities.
  
To Advertise CALL: 212-889-0853
 Jazz Brunch
SUNDAY JAZZ
BRUNCH
WITH THE
131 West 3rd Street , NYC • 212-475-8592 • www.bluenotejazz.com
BOB KINDRED
SUNDAY JAZZ BRUNCH • 12:30 & 2:30 PM TRIO
KENNY WERNER & THE DEC 3 He expresses a kind of beauty and depth rarely
heard...his tone is simply awesome” - NY Daily News
NYU FACULTY QUARTET
BOB KINDRED, Tenor Saxophone
BENNY POWELL QUINTET DEC 10 JOHN HART, Guitar • STEVE LaSPINA, Bass
feat. SAYURI GOTO & TK BLUE Brunch menu from $8.50-$16.50 Bar minimum $5
Sunday 12:30—3:30 pm
FRANK WESS QUARTET DEC 17 CAFÉ LOUP T
105 West 13th Street GA
ZA TED
GRADY TATE QUINTET DEC 31 Reservations: 212-255-4746 RA

B.B. KINGS—Gospel Brunch THE IRIDIUM—Jazz Brunch

SUNDAYS ONLY 12:30am—2:30 pm SUNDAYS ONLY 12:00 pm—3:30 pm
Featuring the World Famous Harlem Gospel Choir
237 West 42 Street (Midtown)
99 7th Avenue South (Times Sq. area)
Reservations: 212-582-2121
A Jazz Brunch Buffet
Reservations: 212-997-4144
www.bbkingblues.com
www.iridiumjazzclub.com in the Heart of Manhattan
EVERY SUNDAY
THE GARAGE—Jazz Brunch
CAFÉ LOUP—French SAT. & SUN. 12:00 pm—4:00 pm
SUNDAYS ONLY 12:30 pm—3:30 pm
105 West 13th Street (Chelsea)
99 7th Avenue South (West Village)
Reservations: 212-645-0600
with
Reservations: 212-255-4746 www.garagerest.com
www.bobkindred.com Barry Levitt’s Jazz Workshop
CITY CRAB—Jazz Brunch JULES BISTRO—Jazz (French Restaurant) & Brunch!
SUNDAYS ONLY SAT. & SUN. 10:00 am—4:30 pm
235 Park Avenue South (at 19th Street) 65 Saint Marks Place (Bet. 1st/2nd—East Village) 12:00—3:30pm
Reservations: 212-529-3800 Reservations: 212-477-5560
www.citycrabnyc.com www.julesbistro.com ONLY
5
$21.
9
COPELANDS—Gospel Brunch RARE BAR & GRILL—Jazz Brunch
SUNDAYS ONLY 12:00pm to 4:00 pm SAT. & SUN. 1:00 pm—5:00 pm
549 W 145th St (Harlem) 228 Bleeker Street (Bet. 6th Ave & Carmine St.) 1650 Broadway at 51st Street
Reservations: 212-234-2356 Reservations: 212-691-7273 212-582-2121 • www.iridiumjazzclub.com
www.copelandsrestaurant.com www.rarebarandgrill.com
COTTON CLUB—Gospel Brunch
SUNDAYS ONLY
666 W 145th St (Harlem)
Reservations: 212-663-7980
www.cottonclub-nyc.com
CREOLE—Jazz & Gospel Brunch
SUNDAYS ONLY 11:30 pm—5:00 pm
2167 Third Avenue (Harlem)
Reservations: 212-876-8838
www.creolenyc.com
LENOX LOUNGE—Jazz & Gospel
SUNDAYS ONLY 11:00 am—3:00 pm
288 Lenox Ave (above 124th St. in Harlem)
Reservations: 212-427-0253
www.lenoxlounge.com

MoBAY UPTOWN—Gospel Brunch

SUNDAYS ONLY 11:00am—5:00 pm
17 W. 125th Street (Harlem)
Reservations: 212-876-9300
www.mobayrestaurant.com

NORTH SQUARE LOUNGE—Jazz Brunch

SUNDAYS ONLY 12:30pm to 3:00 pm
103 Waverly Place (Corner Waverly & MacDougal)
Reservations: 212-254-1200
www.northsquarejazz.com

Thank You!
We appreciate your support in making Jazz
Improv’s® New York Jazz Guide the most
widely read and largest circulation jazz
monthly publication, at the crossroads of the
jazz world. We wish you a healthy, happy,
prosperous and peaceful New Year.
Eric Nemeyer, Publisher
Jamie Cosnowsky
Director of Marketing, & Advertising

To Advertise CALL: 212-889-0853 Jazz Improv ® Magazine’s New York Jazz Guide  www.jazzimprov.com  December 2006 15
 clubsvenuesclubsvenuesclubsvenuescl
107 West, 107th & Broadway, NY, www.107west.com
1050 Lounge, 735 Tenth Ave., Tel: 212-445-0149, Fax: 212-
765-4478, 1050restaurant.com/media/flash.html.
191 Restaurant, 191 Orchard St. (near Houston), Tel: 212-
982-4770.
55 Bar, 55 Christopher St. (betw 6th & 7th Ave.), Tel: 212-
929-9883, www.55bar.com.
92nd Street Y, 1395 Lexington Ave, New York, NY 10128
212.415.5500; www.92ndsty.org
ABC - No Rio, 156 Rivington St. (betw Clinton & Suffolk),
Tel: 212-254-3697, www.abcnorio.org.
Aaron Davis Hall, City College of NY, Convent Ave., Tel:
212-650-6900, www.aarondavishall.org.
Alice Tully Hall, Lincoln Center, Broadway & 65th St., Tel:
212-875-5050, www.lincolncenter.org/default.asp
Allen Room, Lincoln Center, Time Warner Center, Broadway
and 60th, 5th floor, Tel: 212-258-9800,
www.lincolncenter.org/default.asp
American Museum of Natural History (Starry Nights), 81st
St. & Central Park W., Tel: 212-769-5100, www.amnh.org
Anyway Café, 34 E. 2nd St., Tel: 212-533-3412 or 212-473-
5021, www.anywaycafe.com
Armour Hall (Wave Hill Cultural Center), 675 W. 252nd St.,
Bronx, NY, Tel: 718-403-7450.
Arthur’s Tavern, 57 Grove St., Tel: 212-675-6879 or 917-
301-8759 www.arthurstavernnyc.com
Arts Maplewood, P.O. Box 383, Maplewood, NJ 07040;
Phone: 973-378-2133, www.artsmaplewood.org
Avery Fischer Hall, Lincoln Center, Columbus Ave. & 65th
St., Tel: 212-875-5030, www.lincolncenter.org
Bacchus Room at Bonafides Italian Ristorante, 60 2nd Ave,
New York, NY 10003; 646-557-0565. www.bonafidesnyc.com
Backroom at Freddie’s, 485 Dean St. (at 6th Ave.), Brooklyn,
NY, Tel: 718-622-7035, www.freddysbackroom.com.
BAM Café, 30 Lafayette Ave., Brooklyn, NY, Tel: 718-636-
4100, www.bam.org
Bar4, 7ave and 15th Brooklyn NY 11215, 718-832-9800,
www.Bar4.net
B.B. King’s Blues Bar, 237 W. 42nd St., Tel: 212-997-4144,
www.bbkingblues.com.
Beacon Theatre, 74th St. & Broadway, Tel: 212-496-7070.
Best Western Hotel—Krystal Room, 173 Sunrise Hwy,
Rockville Centre, LI. 516-678-1300.
Blue Note, 131 W. 3rd St., Tel: 212-475-8592,
www.bluenotejazz.com/newyork
Bluestone Bar & Grill, 117 Columbia St., Brooklyn, NY, Tel:
718-403-7450, www.bluestonebarngrill.com
Blue Water Grill, 31 Union Square West, Tel: 212-675-9500
Bodles Opera House, 39 Main St, Chester, NY 10918,
www.bodles.com
Bowery Poetry Club, 308 Bowery (at Bleecker), Tel: 212-
614-0505, www.bowerypoetry.com.
Brindisi, 111 Jericho Tpk, Jericho, NY, Tel: 516-876-8855
BRIC Studio, 647 Fulton St., Brooklyn, NY, Tel: 718-855-
7882 x53, Fax: 718-802-9095, www.bricstudio.org
Brooklyn Public Library, Grand Army Plaza, 2nd Fl, Brook-
lyn, NY, Tel: 718-230-2100, www.brooklynpubliclibrary.org.
Brooklyn Public Library, Bay Ridge Branch, 7223 Ridge
Blvd. at 73rd St., Brooklyn, NY, Tel: 718-748-5709.
C-Note, 157 Ave. C (at 10th St.), Tel: 212-677-8142,
www.thecnote.com.
Café 111, 111 Court St., Brooklyn, NY, Tel: 718-858-2806,
www.cafe111online.com.
Café Bar, 247 Eldridge (Houston, Stanton), 212-505-0955.
Café Carlyle, 35 E. 76th St., Tel: 212-570-7189,
www.thecarlyle.com.
Café Charbon, 170 Orchard St., Tel: 212-420-7520.
Café Loup, 105 W. 13th St. (West Village) , between Sixth
and Seventh Aves., 212-255-4746
Café St. Bart’s, 109 E. 50th St. (at Park Ave.), Tel: 212-888-
2664, www.cafestbarts.com
Café Steinhof, 422 Seventh Ave. (14th St., Park Slope S.),
Brooklyn, NY, Tel: 718-369-7776, www.cafesteinhof.com.
Caffé Buon Gusto, 151 Montague St., Brooklyn, NY, Tel:
718-624-3838, www.caffebuongustoonline.com
Cajun Restaurant, 129 Eighth Ave, Tel: 212-691-6174
Cami Hall, 165 W. 57th, 212-978-3726, www.camihall.com.
Carnegie Club, 156 W. 56th St., Tel: 212-957-9676,
www.hospitalityholdings.com.
Carnegie Hall, 7th Av & 57th, 212-247-7800,
www.carnegiehall.org
Cecil’s Jazz Club & Restaurant, 364 Valley Rd, West Or-
ange, NJ; Phone: 973-736-4800, www.cecilsjazzclub.com
Central Park Summerstage, Rumsey Playfield, 72nd St. &
5th Ave., Tel: 212-360-2777, www.summerstage.org.
Charley O’s, 713 Eighth Ave., Tel: 212-626-7300.
16 December 2006  Jazz Improv ® Magazine’s New York Jazz Guide  www.jazzimprov.com
City Café, 987 Stewart Avenue, Garden City, Long Island
(Exit M3W Off Meadowbrook Pkwy.) 516-222-1421.
The Church-in-the-Gardens, 50 Ascan Ave., Forest Hills,
NY, Tel: 718-268-6704, www.thechurchinthegardens.org.
Cleopatra’s Needle, 2485 Broadway (betw 92nd & 93rd), Tel:
212-769-6969, www.cleopatrasneedleny.com.
Cobi’s Place, 158 W. 48th (bet 5th & 6th Av.), 516-922-2010.
Community Church of NY, 40 E. 35th St. (betw Park &
Madison Ave.), 212-683-4988, www.ccny.org.
Copeland’s, 547 W. 145th St. (at Bdwy), 212-234-2356.
Cornelia Street Café, 29 Cornelia St., 212-989-9319,
www.corneliastreetcafe.com.
Cornerstone Café & Bistro, 25 New Street, Metuchen, NJ
08840; Tel: 732-549-5306; www.cornerstonenj.us
Creole Café, 2167 Third Ave (at 118th), 212-876-8838.
The Cupping Room, 359 W. Broadway (betw. Broome &
Grand St.), Tel: 212-925-2898.
Cutting Room, 19 W. 24th St, Tel: 212-691-1900,
www.thecuttingroomnyc.com.
Danny’s Grand Sea Palace, 346-348 W. 46th St., 212-265-
8130 or 212-265-8133, Fax: 212-664-7952,
www.dannysgrandseapalace.com.
Detour, 349 E. 13th St. (betw 1st & 2nd Ave.), Tel: 212-533-
6212, www.jazzatdetour.com.
Dizzy’s Club Coca Cola, Broadway at 60th St., 5th Floor, Tel:
212-258-9595, www.jalc.com.
Dorian’s, 226 W. 79th (betw Bdwy/Amst), 212-595-4350
Downtown Music Gallery, 342 Bowery Ave. (betw E. 2nd &
E. 3rd St.), Tel: 212-473-0043, www.dtmgallery.com
eighty-eights, 1467 Main Street, Rahway, NJ, 732-499-7100
Elixir, 95 W. Broadway (at Chambers St.), Tel: 212-233-6171.
El Museo Del Barrio, 1230 Fifth Ave (at 104th St.), Tel: 212-
831-7272, Fax: 212-831-7927, www.elmuseo.org.
The Encore, 266 W. 47th St., Tel: 212-221-3960,
www.theencorenyc.com.
Enzo’s Jazz at The Jolly Hotel Madison Towers: 22 E 38th St.
at Madison Ave. (in the Whaler Bar located in the lobby).
Europa Club, 98-104 Meserole Ave. (at Manhattan Ave.),
Brooklyn, NY, Tel: 718-383-5723, www.europaclub.com.
EZ’s Woodshed, 2236 AC Powell Blvd, (bet 131st/132nd Sts)
212 283-JAZZ (5299).
Fat Cat, 75 Christopher St. (at &th Ave.), Tel: 212-675-7369,
www.fatcatjazz.com.
Fetch, 1649 3rd Ave, New York, NY 10128, 212-289-2700
Five Spot, 459 Myrtle Ave, Brooklyn, NY, Tel: 718-852-0202,
Fax: 718-858-8256, www.fivespotsoulfood.com.
Flushing Town Hall, 137-35 Northern Blvd., Flushing, NY,
Tel: 718-463-7700 x222, www.flushingtownhall.org.
Frank’s Cocktail Lounge, 660 Fulton St. (at Lafayette),
Brooklyn, NY, 718-625-9339, www.frankscocktaillounge.com.
Freddy’s Backroom, 485 Dean St., Brooklyn, NY 11217,
718-622-7035
Galapagos, 70 N. 6th St., Brooklyn, NY, Tel: 718-782-5188,
www.galapagosartspace.com.
Garage Restaurant and Café, 99 Seventh Ave. (betw 4th and
Bleecker), Tel: 212-645-0600, www.garagerest.com
Gishhen Café, 2150 Fifth Ave., Tel: 212-283-7699.
Greenwich Village Bistro, 13 Carmine St., Tel: 212-206-
9777, www.greenwichvillagebistro.com.
Harlem Tea Room, 1793A Madison Ave., Tel: 212-348-3471,
www.harlemtearoom.com.
Helen’s, 169 Eighth Ave. (betw 18th & 19th St.), Tel: 212-
206-0609, www.helensnyc.com
Hopewell Valley Bistro, 15 East Broad St, Hopewell, NJ
08525, 609-466-9889; www.hopewellvalleybistro.com
Houston’s, 153 E 53rd St, New York, 10022; 212-888-3828
Il Campanello Ristorante, 136 W. 31st St. (betw 6th and 7th
Ave.), Tel: 212-695-6111, www.ilcampanelloristorante.com.
Iridium, 1650 Broadway (below 51st St.), Tel: 212-582-2121,
www.iridiumjazzclub.com.
Jazz 966, 966 Fulton St., Brooklyn, NY, Tel: 718-638-6910
Jazz at Lincoln Center, 33 W. 60th St., Tel: 212-258-9800,
www.jalc.org.
Frederick P. Rose Hall Broadway at 60th St., 5th Floor
Dizzy’s Club Coca-Cola, Reservations: 212-258-9595
Rose Theater, Tickets: 212-721-6500
THE ALLEN ROOM, Tickets: 212-721-6500
Jazz Gallery, 290 Hudson St., Tel: 212-242-1063, Fax: 212-
242-0491, www.jazzgallery.org.
Jazz Museum in Harlem, 104 E. 126th St., Tel: 212-348-
8300, www.jazzmuseuminharlem.org.
The Jazz Spot, 375 Kosciuszko St. (enter at 179 Marcus
Garvey Blvd.), Brooklyn, NY, Tel: 718-453-7825,
www.thejazz.8m.com
Jazz Standard, 116 E. 27th St., Tel: 212-576-2232,
www.jazzstandard.net.
Joe’s Pub at the Public Theater, 425 Lafayette St & Astor
Pl., Tel: 212-539-8778, www.joespub.com
John Birks Gillespie Auditorium (see Baha’i Center)
Jules Bistro, 65 St. Marks Place, Tel: 212-477-5560, Fax:
212-420-0998, www.julesbistro.com.
Kavehaz, 37 W. 26th St., Tel: 212-343-0612, Fax: 212-343-
0612, www.kavehaz.com
Kitano Hotel, 66 Park Ave., Tel: 212-885-7000 or 800-548-
2666, www.kitano.com.
The Kitchen, 512 W. 19th St., Tel: 212-255-5793.
Knickerbocker Bar & Grill, 33 University Pl., Tel: 212-228-
8490, www.knickerbockerbarandgrill.com
The Knitting Factory, 74 Leonard St., Tel: 212-219-3132,
www.knittingfactory.com
Kush, 191 Chrystie Street, New York , NY, 212-677-7328
L&M Loft, 170 Tillary St. #205, Brooklyn, 718-855-5952.
La Belle Epoque, 827 Broadway (at 12th St.), 212-254-6436.
La Lanterna (Next Door at La Lanterna), 129 MacDougal
Street, New York, 212-529-5945; www.lalanternarcaffe.com
Laila Lounge, 113 N. 7th St. (betw Wythe & Berry), Brook-
lyn, NY, Tel: 718-486-6791, www.lailalounge.com
Le Madeleine, 403 W. 43rd St. (betw 9th & 10th Ave.), New
York, New York, Tel: 212-246-2993, www.lemadeleine.com
Le Figaro Café, 184 Bleecker (at MacDougal): 212-677-1100
Le Jazz au Bar, 41 E. 58th St., (betw Madison & Park Ave.),
Tel: 212-308-9455, Fax: 212-838-7032, www.lejazzaubar.com
Lenox Lounge, 288 Lenox Ave. (above 124th St.), Tel: 212-
427-0253, www.lenoxlounge.com
Les Gallery Clemente Soto Velez, 107 Suffolk St. (at Riving-
ton St.), Tel: 212-260-4080
L.I.C. Bar, 45-58 Vernon Blvd., Long Island City, NY, Tel:
718-938-7711, www.licbar.com
Lighthouse, 111 E. 59th St., betw Park & Lex, 516-627-4468.
Lima’s Taste, 122 Christopher St., 212-242-0010
Living Room, 154 Ludlow St. (betw Rivington & Stanton),
Tel: 212-533-7235, www.livingroomny.com
Location One, 26 Greene St. (Betw Canal & Grand), Tel: 212-
334-3289, Fax: 212-334-3289, www.location1.org
Louis, 649 E. 9th St. (at Ave. C), 212-673-1190
The Lucky Cat, 245 Grand St. (betw Driggs & Roebling St.),
Brooklyn, NY, Tel: 718-782-0437, www.theluckycat.com
Makor, 35 W. 67th St. (at Columbus Ave.), Tel: 212-601-
1000, www.makor.org
Mannahatta, 316 Bowery, New York, 10022, 212-253-8644;
www.mannahatta.us
Marie’s Jazz Bar, 51 W. 46th, bet 5th-6th Av, 212-944-7005
Marriott New York at the Brooklyn Bridge, 333 Adams St.,
Brooklyn, NY, Tel: 718-246-7000, Fax: 718-246-0563,
marriott.com/property/propertypage/NYCBK
McCabe’s Bar, 6534 Broadway (betw 259th & 260th St.),
Riverdale, NY, Tel: 718-549-9789.
Megu, 62 Thomas St. (betw W. Broadway & Church St.), Tel:
212-964-7777, Fax: 212-964-7776, www.megunyc.com.
Merkin Concert Hall, Kaufman Center, 129 W. 67th St.
(betw Broadway & Amsterdam), Tel: 212-501-3330,
www.ekcc.org/merkin.htm.
MetroTech Commons, Flatbush & Myrtle Ave., Brooklyn,
NY, Tel: 718-488-8200 or 718-636-4100 (BAM).
Metropolitan Café, 959 First Ave, New York, NY 10022,
212-759-5600
Mirelle’s, 170 Post Ave., Westbury, NY, Tel: 516-338-4933.
Mixed Notes Café, 333 Elmont Rd., Elmont, NY, Tel: 516-
328-2233, www.mixednotescafe.com.
Mo-Bay Uptown, 17 W. 125th St., Tel: 212-876-9300,
www.mobayrestaurant.com
Mo Pitkins, 34 Avenue A, New York, NY, 212-777-5660
Montauk Club, 25 Eighth Ave., Brooklyn, NY, Tel: 718-638-
0800, www.montaukclub.com.
Museum of the City of New York, 1220 Fifth Ave. (betw
103rd & 104th St.), Tel: 212-534-1672, www.mcny.org.
Musicians’ Local 802, 332 W. 48th St., Tel: 718-468-7376 or
860-231-0663.
NAMA, 107 W. 130th. (bet Lenox & 7th Av.), 212-234-2973.
Newark Museum, 49 Washington Street, Newark, New Jersey
07102-3176; Phone: 973-596-6550, www.newarkmuseum.org
New Jersey Performing Arts Center, 1 Center St., Newark,
NJ, 07102; 973-642-8989; www.njpac.org
New School Performance Space, 55 W. 13th St., 5th Floor
(betw 5th & 6th Ave.), 212-229-5896, www.newschool.edu.
New School University-Tishman Auditorium, 66 W. 12th
St., 1st Floor, Room 106, 212-229-5488, www.newschool.edu.
New York City Baha’i Center, 53 E. 11th St. (betw Broad-
way & University), 212-222-5159, www.bahainyc.org
Niagara, 112 Ave. A (at 7th St.), Tel: 212-420-9517.
(Continued on page 18)
To Advertise CALL: 212-889-0853
 Wynton Marsalis and Friends Heat Up The Holidays
With Red Hot Holiday Stomp Concerts & Santa Art Exhibit
The annual Jazz at Lincoln Center holiday Jazz at Lincoln Center box office on Broadway than 40 pieces that feature the Coca-Cola Santa,
family concert series Red Hot Holiday Stomp at 60th Street, by calling CenterCharge at (212) which has become one of the most beloved cul-
brings New Orleans soul to holiday classics per- 721-6500 or via www.jalc.org. tural icons and an anticipated part of holiday
formed by Wynton Marsalis, Wess As part of the holiday festivities, Jazz at tradition. To mark the 75th anniversary, from
“Warmdaddy” Anderson, Victor Goines, Joe Lincoln Center will celebrate the 75th Anniver- December 1, 2006 through January 2, 2007 at
Temperley, Wycliffe Gordon, Dan Nimmer, sary of the modern-day image of Santa. The Jazz at Lincoln Center’s Frederick P. Rose Hall,
Reginald Veal, Herlin Riley, Don Vappie, modern-day image of Santa Claus - based on a Coca-Cola is presenting a free public exhibit
Roberta Gumbel and special guests. The Red Hot painting commissioned by Coca-Cola - turns 75 featuring a wide selection of Sundblom’s origi-
Holiday Stomp concerts come to town on De- this holiday season. Legendary illustrator Had- nal paintings from the Coca-Cola Santa collec-
cember 14, 15, 16 at 8pm and a matinee per- don Sundblom created the rosy-cheeked figure - tion. View them at the Peter Jay Sharp Arcade at
formance on December 16, 2006 at 2pm in Rose today’s traditionally accepted appearance of the Frederick P. Rose Hall or online by touring a
Theater, Frederick P. Rose Hall. Tickets are $30, jolly old elf - in 1931 for a Coke holiday adver- virtual gallery at www.mycokerewards.com.
$50, $75, $100, $120 and are available at the tising campaign. In total, Sundblom created more   

To Advertise CALL: 212-889-0853 Jazz Improv ® Magazine’s New York Jazz Guide  www.jazzimprov.com  December 2006 17
 clubsvenuesclubsvenuesclubsvenuescl
(Clubs & Venues - continued from page 16)
Night & Day, 230 Fifth Ave., Brooklyn, NY (at President St.),
718-399-2161, www.nightanddayrestaurant.com
Night of the Cookers, 767 Fulton St., Brooklyn, NY, Tel:
718-797-1197, Fax: 718-797-0975.
North Square Lounge, 103 Waverly Pl. (at MacDougal St.),
Tel: 212-254-1200, www.northsquarejazz.com
Nublu, 62 Ave. C (betw 4th & 5th St.), 212-979-9925,
www.nublu.net
Nuyorican Poet’s Café, 236 E. 3rd St. (betw Ave. B & C),
Tel: 212-505-8183, www.nuyorican.org
Oak Room at The Algonquin Hotel, 59 W. 44th St. (betw 5th
and 6th Ave.), Tel: 212-840-6800, www.thealgonquin.net
Opia, 130 E. 57th St., 212-688-3939, www.opiarestaurant.com
Orbit, 2257 First Ave. (at 116th St.), Tel: 212-348-7818,
www.orbiteastharlem.com
Orchid, 765 Sixth Ave. (betw 25th & 26th St.), 212-206-9928
Oro Blue, 333 Hudson St. (at Charlton St.), 212-645-8004
Pace Downtown Theatre, 3 Spruce St. (betw Park Row &
Gold St.), Tel: 212-346-1715.
Parlor Entertainment, 555 Edgecomb Ave., 3rd Floor (betw
159 & 160 St.), 212-781-6595, www.parlorentertainment.com.
Parlor Jazz, 119 Vanderbilt Ave. ()betw Myrtle & Park),
Brooklyn, NY, Tel: 718-855-1981, www.parlorjazz.com.
Patio, 31 Second Ave. (betw 1st & 2nd St.), 212-460-0992
Peddie School-Jazz Fridays Series, South Main St. Box A,
Hightstown, NJ 08520; 609-490-7500;
www.peddie.org/community/Capps/concerts.asp
Perch Cafe, Brooklyn
Perk’s, 535 Manhattan Ave, New York NY 10027, Phone:
212-666-8500
Performance Space 122, 150 First Av., 212-477-5829,
www.ps122.org.
Philip Marie, 569 Hudson St. (at W. 11th St.), Tel: 212-242-
6200, www.philipmarie.com.
Pianos, 158 Ludlow St., Tel: 212-505-3733.
Porter’s, 216 Seventh Ave. (bet 22nd & 23rd), 212-229-2878
Pourhouse, 790 Metropolitan Ave. (at Humboldt St.), Brook-
lyn, NY, Tel: 718-599-0697
Priory Restaurant & Jazz Club: 223 W Market St., Newark,
NJ 07103. Phone: 973-639-7885
Proper Café, 217-01 Linden Blvd., Queens, NY 11411, 718-
341-2233, jazz Wednesdays
Prospect Park Bandshell, 9th St. & Prospect Park W., Brook-
lyn, NY, Tel: 718-768-0855
Pumpkins, 1448 Nostrand Ave, Brooklyn, 718-284-9086.
Punch Lounge, 913 Broadway (betw 20th & 21st St.), Tel:
212-673-6333, www.punchrestaurant.com.
Puppets Jazz Bar, 294 5th Ave. at 1st Street, Park Slope,
Brooklyn, NY, 718-499-2627, www.PuppetsJazz.com
Pure Lounge, 101 Seventh Ave. (4th & Grove), 212-620-4000
Push Café, 294 Third Ave. (at 23rd St.), Tel: 212-477-8100.
Rare, 416 W. 14 St. (betw 9th Av & Washgtn), 212-675-2220.
Rare, 303 Lexington Ave (at 38th St.), 212-481-8439
Red Eye Grill, 890 Seventh Ave. (at 56th St.), Tel: 212-541-
9000, www.redeyegrill.com.
Robin’s Nest Restaurant & Bar, 2075 1st Av, 212-316-6170.
Rose Center (Amer. Museum of Nat. History), 81st St.
(Central Pk W. & Col.), 212-769-5100, www.amnh.org/rose.
Rose Hall, 33 W. 60th St., Tel: 212-258-9800, www.jalc.org.
The Rosendale Café; 434 Main St., PO Box 436, Rosendale,
NY 12472; 845-658-9048; www.rosendalecafe.com
Roth’s Westside Steakhouse, 680 Columbus Ave., 212-280-
4103, Fax: 212-280-7384, www.rothswestsidesteakhouse.com.
Ruby Lounge, 186 E. 2nd St. Tel: 212-387-9400.
St. John’s Lutheran Church, 115 Milton St. (betw Manhattan
Ave. & Franklin St.), Brooklyn, NY, Tel: 718-389-4012.
St. Mark’s Church, 131 10th St. (at 2nd Ave.), 212-674-6377.
St. Nick’s Pub, 773 St. Nicholas Av (at 149th), 212-283-9728.
St. Peter’s Church, 619 Lexington (at 54th), 212-935-2200;
www.saintpeters.org.
Sanctuary, 25 First Ave. (above 1st St), Tel: 212-780-9786
Satalla, 37 W. 26th St. (bet 6th Ave. & Bdwy), 212-576-1155.
Savoy Grill, 60 Park Place, Newark, NJ 07102, 973-286-1700
Schomburg Center, 515 Malcolm X Blvd., 212-491-2200,
www.nypl.org/research/sc/sc.html.
Shanghai Jazz, 24 Main St., Madison, NJ, Tel: 973-822-2899,
www.shanghaijazz.com.
Shelly’s, 104 W. 57th St. (betw 6th & 7th Ave.), 212-245-
2422, www.shellysnewyork.com.
Showman’s, 375 W. 125th St., Tel: 212-864-8941.
Shrimp Box on City Island, 64 City Island Ave, Bronx, NY,
718-885-3200
Sidewalk Café, 94 Ave. A, Tel: 212-473-7373.
Silvermine Tavern, 194 Perry Ave. Norwalk, CT 06850; 203-
847-4558; www.silverminetavern.com
18 December 2006  Jazz Improv ® Magazine’s New York Jazz Guide  www.jazzimprov.com
Sista’s Place, 456 Nostrand Ave. (at Jefferson Ave.), Brook-
lyn, NY, Tel: 718-398-1766, www.sistasplace.org.
Slipper Room, 167 Orchard St. (at Stanton St.), Tel: 212-253-
7246, www.slipperroom.com.
Small’s, 183 W. 10th St. (at 7th Ave.), Tel: 212-929-7565,
www.fatcatjazz.com.
Smith’s Bar, 701 8th Ave, New York, 212-246-3268
Smoke, 2751 Broadway, 212-864-6662, www.smokejazz.com.
Snug Harbor Cultural Center, 1000 Richmond Terr., Staten
Island, NY, Tel: 718-448-2500; www.snug-harbor.org.
Sofia’s Restaurant, 221 W. 46th St. (at Bdwy), 212-719-5799.
Solomon’s Porch, 307 Stuyvesant Ave., Brooklyn, NY, Tel:
718-919-8001.
South Street Seaport, 207 Front St., Tel: 212-748-8600,
www.southstseaport.org.
Spoken Words Café, 266 4th Av, Brooklyn, 718-596-3923.
Stanley H. Kaplan Penthouse, 165 W. 65th St., 10th Floor,
Tel: 212-721-6500, www.lincolncenter.org.
Stella Adler Studio, 31 W. 27th St., 3rd Floor, Tel: 212-689-
0087, www.stellaadler.com.
The Stone, Ave. C & 2nd St., www.thestonenyc.com.
Stonewall Bistro, 113 Seventh Ave., 917-661-1335.
Sugar Bar, 254 W. 72nd St., 212-579-0222
The Supper Club, 240 W. 47th St., Tel: 212-921-1940,
www.thesupperclub.com.
Sweet Rhythm, 88 Seventh Ave. S. (betw Grove & Bleecker),
Tel: 212-255-3626, www.sweetrhythmny.com.
Swing 46, 349 W. 46th St.(betw 8th & 9th Ave.), Tel: 212-
262-9554, www.swing46.com.
Symphony Space, 2537 Broadway, Tel: 212-864-1414, Fax:
212-932-3228, www.symphonyspace.org.
Table XII, 109 E. 56th St., NY, NY, 212-750-5656
The Tank, 208 W. 37th St. (betw 7th & 8th Ave.), Tel: 212-
563-6269, Fax: 212-563-0556, www.thetanknyc.org.
Tea Lounge, 837 Union St. (betw 6th & 7th Ave), Park Slope,
Broooklyn, 718-789-2762; www.tealoungeNY.com
Terra Blues, 149 Bleecker St. (betw Thompson & LaGuardia),
Tel: 212-777-7776, www.terrablues.com.
Theatre Row, 410 W. 42nd, 212-714-2442,
www.theatrerow.org.
Times Square Brewery & Restaurant, 210 W. 42nd St., bet
7th & 8th Ave., 212-398-1234, www.timessquarebrewery.com.
Tonic, 107 Norfolk St. (betw Delancey & Rivington), Tel:
212-358-7501, Fax: 212-358-1237, tonicnyc.com.
Town Hall, 123 W. 43rd St., Tel: 212-997-1003.
Triad Theater, 158 W. 72nd St. (betw Broadway & Columbus
Ave.), Tel: 212-362-2590, www.triadnyc.com.
Tribeca Performing Arts Center, 199 Chambers Street;
10007 info@tribecapac.org; www.tribecapac.org
Trumpets, 6 Depot Square, Montclair, NJ, 973-744-2600;
www.trumpetsjazz.com
Up Over Café, 351 Flatbush Ave. (at 7th Ave.); Telephone:
718-398-5413; www.upoverjazz.com
Varjak, 923 8th Ave (betw 54th & 55th Sts), 212-245-3212
Village Vanguard, 178 7th Avenue South, 212-255-4037
www.villagevanguard.net
Vision Festival, 212-696-6681, info@visionfestival.org;
www.visionfestival.org
Watchung Arts Center, 18 Stirling Rd, Watchung, NJ 07069
Phone: 908-753-0190; www.watchungarts.org
Watercolor Café, 2094 Boston Post Road; Larchmont, NY
10538; 914-834-2213; www.watercolorcafe.net
Weill Receital Hall at Carnegie Hall, 57th & 7th Ave, 212-
247-7800,
Zankel Hall, 881 7th Ave, New York, 212-247-7800
Zebulon, 258 Wythe St., Brooklyn, NY, 11211; 718-218-
6934, www.zebuloncafeconcert.com
Zinc Bar, 90 W Houston St., NY, NY 10012; 212-477-8337,
www.zincbar.com
Zipper Theater Lounge, 336 W 37th St. (Between 8th and 9th
Aves.), Tel: 212-563-0485, www.zippertheater.com
Zuni, 598 9th Ave # 1, New York, NY 10036, 212-765-7626
RECORD STORES
Academy Records & CDs, 12 W. 18th St., 212-242-3000;
www.academy-records.com
Academy Record Store, 77 E. 10th St., 212-780-9166
Barnes & Noble, 675 5th Ave, at 21st, 212-727-1227
Barnes & Noble Citicorp Building, 3rd Ave & 54th St.
Barnes & Noble, 4 Astor Plz, 212-420-1322
Barnes & Noble, 1280 Lexington at 86th, 212-423-9900
Barnes & Noble, 600 5th Ave, at 48th St, 212-765-059
Barnes & Noble, 1960 Broadway, at 67th St, 212-595-6859
Colony Music Center, 1619 Broadway; 212-265-2050;
www.colonymusic.com
Downtown Music Gallery, 342 Bowery (between 2nd & 3rd
St), 212-473-0043
EZ’s Woodshed, 2236 AC Powell Blvd, (bet 131st/132nd Sts)
212 283-JAZZ (5299).
J&R Music World, 23 Park Row (across from City Hall
Park); Phone: 212-238-9000; www,jr.com
Jazz Record Center, 236 W. 26th St., Room 804,
212-675-4480; www.jazzrecordcenter.com
Norman’s Sound & Vision, 67 Cooper Sq., 212-473-6599
Princeton Record Exchange, 20 South Tulane St., Princeton,
NJ 08542; 609-921-0881; www.prex.com
Rainbow Music 2002 Ltd., 130 1st Ave (between 7th & St.
Marks Pl.); Phone 212-505-1774
Scotti’s Records, 351 Springfield Ave, Summit, NJ, 07901;
Phone, 908-277-3893; www.scotticd.com
Tower Records, 692 Broadway (4th & Lafayette), Telephone:
212-505-1500
Tower Records Upper West Side, 1965 Broadway (across
from Lincoln Ctr), 212-799-2500
Virgin Megastore, 1540 Broadway, 212-921-1020
Virgin Megastore, 52 East 14th Street, 212-598-4666
MUSIC STORES
Charles Colin Publications, 315 W. 53rd St., 212-581-1480
Manny’s Music, 156 W. 48th St. (betw. 6th and 7th Ave),
212-819-0576; Fax: 212-391-9250; www.mannysmusic.com
Drummers World, Inc., 151 W. 46th St., NY, NY 10036,
212-840-3057, 212-391-1185, www.drummersworld.com
Roberto’s Woodwind & Brass, 149 West 46th St. NY, NY
10036, Phone: 646-366-0240; Fax: 646-366-0242; Repair
Shop: Phone: 212-391-1315; Fax: 212-840-7224;
www.robertoswoodwind.com
Sam Ash, 160 West 48th St, 212-719-2299; www.samash.com
SCHOOLS, COLLEGES, CONSERVATORIES
92nd Street Y, 1395 Lexington Ave, New York, NY 10128
212.415.5500; www.92ndsty.org
Brooklyn-Queens Conservatory of Music, 42-76 Main St.,
Flushing, NY, Tel: 718-461-8910, Fax: 718-886-2450.
Brooklyn Conservatory of Music, 58 Seventh Ave., Brook-
lyn, NY, 718-622-3300. www.brooklynconservatory.com
Charles Colin Studios, 315 W. 53rd St., 212-581-1480
City College of NY-Jazz Program, 212-650-5411,
Columbia University, 2960 Broadway, 10027, 212-
Five Towns College, 305 N. Service Rd., 516-424-7000,
ext.163, Dix Hills, NY
Greenwich House Music School, 46 Barrow St., Tel: 212-
242-4770, Fax: 212-366-9621, www.greenwichhouse.org
Juilliard School of Music, 60 Lincoln Ctr; 212-799-5000
LaGuardia Community College/CUNI, 31-10 Thomson Ave.
Long Island City, 718-482-5151,
Lincoln Center - Jazz At Lincoln Center, 140 W. 65th St.,
10023, 212-258-9816, 212-258-9900,
Long Island University - Brooklyn Campus, Dept. of Music,
University Plaza, Brooklyn, 718-488-1051, 718-488-1372,
Manhattan School of Music, 120 Claremont Ave., 10027,
212-749-2805, 2802, 212-749-3025
New Jersey City University, 2039 Kennedy Blvd., Jersey
City, NJ 07305; Phone: 888-441-6528
New School, 55 W. 13th St., 212-229-5896, 212-229-8936
New York University-Jazz/Contemporary Music Studies,
35 West 4th St. Room # 777, 212-998-5446, 212-995-4043
Princeton University-Dept. of Music, Woolworth Center
Musical Studies, Princeton, NJ, 609-258-4241, 609-258-6793
Queens College - Copland School of Music, City University
of NY, Flushing, 718-997-3800,
Rutgers Univ. at New Brunswick, Jazz Studies, Douglass
Campus, PO Box 270, New Brunswick, NJ, 908-932-9302,
SUNY Purchase, 735 Anderson Hill Rd., Purchase, NY 914-
251-6300, 914-251-6314
Turtle Bay Music School, 244 E. 52nd St., 212-753-8811,
William Paterson University Jazz Studies Program, 300
Pompton Rd, Wayne, NJ, 973-720-2320
RADIO
WBGO 88.3 FM, 54 Park Pl, Newark, NJ 07102, Phone: 973-
624-8880; Fax: 973-824-8888; www.wbgo.org
ADDITIONAL JAZZ RESOURCES
Louis Armstrong House, 34-56 107th St, Corona, NY 11368,
718-997-3670, www.satchmo.net
Big Apple Jazz, 2236 7th Ave, New York, NY 10027; 718-
606-8442. www.bigapplejazz.com
Institute of Jazz Studies, John Cotton Dana Library, Rutgers-
Univ, 185 University Av, Newark, NJ, 07102, 973-353-5595
Jazzmobile, Inc., 154 W. 126th St., 10027; 212-866-4900;
www.jazzmobile.org
Jazz Foundation of America, 322 W. 48th St. 10036; 212-
245-3999; www.jazzfoundation.org
New Jersey Jazz Society, 1-800-303-NJJS; www.njjs.org
New York Blues & Jazz Society, www.NYBluesandJazz.org
  
To Advertise CALL: 212-889-0853
 INTERVIEW JI: Could you talk about the
first recording you and John

Wynton Marsalis
Hicks did?

EW: Luminous was the title

of the first co-collaborative
Interview By Eric Nemeyer recording that John and I did.
Transcribed by: Dave Miele
This is an excerpt from the comprehensive interview with
Pat Metheny that appears in Jazz Improv® Magazine,
Jazz Improv: Could weVolume talk4,aNo.little bit asWayne
4, available Shorter
a back issue. went toto
To subscribe New York Univer-
JazzatImprov®
about the educational scene Magazine: and
the moment? sity.
to buy back issues, call 1-
How does the development 888-472-0670,
of jazz in or online
theseat www.jazzimprov.com.
academic settings versus learning on the JI: And it’s a life-long pursuit. We’re al-
bandstand, as has been historically the ways educating ourselves, as we go along,
case—the way you came up, the way I came in order to develop. It’s not just a short-term
up—impact an improviser’s development in pursuit.
discovering their own voice, which is one of Ad
the unique elements that we know distin- Rez WM: Right, but the kind of anti-education
Abbasi
guishes us from one another? attitude has created a kind of willful igno-
rance that hurts our music in a way. It’s not
Wynton Marsalis: I feel that you need to so much that the school education keeps
have both because if you think of guys like people from learning to play; it’s about the
Don Redman, a lot of jazz musicians were quality of the school education. I think we
conservatory-trained; in it’s the earliest need to question our educational philoso- WM: I think that it’s hard in jazz, too, be-
years of jazz. Don Redman is a great exam- phy, not whether or not the institution of a cause once you start to question the mean-
ple of someone who had conservatory train- school keeps you from playing. The thought ing of a thing, it’s very hard to teach it. If I
ing. Then you go to people like Booker Lit- that groups of people coming together over tell you, “This is a basketball, but you don’t
tle, Lee Morgan; they attended Julliard. a subject could somehow keep you from have to dribble,” it’s going to be very diffi-
Miles went to Julliard. They might not have learning how to play is one of the dumbest cult for me to teach you how to play it. A
stayed for a long time, but they had already thoughts ever. When we see a lot of young philosophical guy could write a great article
gone up in the educational system. They musicians going to school and not being about it. You know what I mean? For me to
tell you that the blues is not significant; for
me to tell you that swing is not the major
rhythm of jazz; for me to tell you that im-
“ I was a product of my generation and ignorant.
provisation of a harmonic form is not im-
There was a big anti-tradition vibe when I was coming up. portant; for me to tell you all of the central
We weren’t a part of jazz, we thought. things of this music are no longer signifi-
To be ignorant was considered to be a plus… cant…now I’m going to teach you some-
philosophically, I didn’t understand the importance thing about playing it, my authority as a
teacher is seriously undermined.
of knowledge. ”
JI: Absolutely. The foundation and the his-
tory is the essential part of being able to
move forward.
had gone through high school band pro- able to play, it’s not because of school-
grams. They had taken lessons. Even Dizzy, learning. It’s because of the way the institu- WM: Right. These are all things that we’ll
as a professional, took lessons from Joe tions are teaching them. Many times they straighten out as we become more intelli-
Custad who was playing first trumpet in the teach a student stuff like what scales to play gent about how we educate. We’ll begin to
St. Louis Symphony. All the great programs on chords. That stuff has absolutely nothing identify that the reason we’re not success-
that all the great musicians came through. I to do with learning how to play. They ful, many times, with producing students of
actually am interested in, with our education should be teaching a melodic basis and the a high quality is because we’re teaching the
department, developing a brochure on the meaning of the swing rhythm. Things that material incorrectly, not because of the fact
education of the great jazz musicians. Be- have much more significance to our way of of education. I think for jazz musicians, the
cause one of the great misconceptions about playing. bandstand, the jam session are also impor-
the music is the kind of Louis Armstrong tant. A lot of time hustling is important—go
model or the Duke Ellington model—even JI: I agree. I think another part of it too is out and hustle your gig. There are a lot of
though Duke did have theoretical education everyone taking responsibility, no matter kids who come up who create their own
with piano lessons and things like that. I how young one is, to be able to learn and opportunities. I’m thinking of people like
think a lot of times people think that that is determine some sort of responsible direction Eric Lewis and Ali Jackson, Brandon Lee.
the typical jazz musician’s story and it’s and path, even if somebody’s not handing it A lot of the younger musicians on the scene,
not. Coltrane went to the Ornstein School of to you on a silver platter. they grew up playing in clubs in their re-
Music. We could go on and on. I think (Continued on page 20)

To Advertise CALL: 212-889-0853 Jazz Improv ® Magazine’s New York Jazz Guide  www.jazzimprov.com  December 2006 19
spective cities and they continue to make
things happen. I know I go to clubs some-
times in cities and I’ll see a kid sixteen or
seventeen sitting in, playing.
JI: Sure. Can you talk a little bit about how
your association with Art Blakey developed
the kind of experience and feeling you had
as you took over the trumpet chair that was,
of course, held by such stylists as Clifford
Brown and Lee Morgan and Freddie Hub-
bard and so-forth?
WM: Well, I had the opportunity to play
with him. He gave me the opportunity to
work and to learn how to play. I have to
say, I was ignorant of that tradition when I
played with him. I grew up in the seventies.
I knew some jazz records and I loved jazz. I
“ I like
pandemonium
and noise.
My mind is
always quiet,
when it comes
to music. ”
had been around my father. I knew more of
the New Orleans tradition of playing.
Freddie Hubbard was the one everybody
listened to in the seventies. Some Miles,
some Clifford Brown, but I didn’t really
know the history of Art Blakey’s trumpet
chair. I didn’t know the records with Lee
Morgan or Woody Shaw. I had heard the
record with Clifford once or twice; I didn’t
really know those recordings. I didn’t actu-
ally know the tradition of the chair. I
learned the tradition of the chair until after I
left the band, actually. When I was in the
band, James Williams used to always tell
me: “You need to learn the tradition of the
chair and you need to learn the tradition of
this band.” I was a product of my generation
and ignorant. There was a big anti-tradition
vibe when I was coming up. We weren’t a
part of jazz, we thought. To be ignorant was
considered to be a plus. So, even this man
was telling me to learn, I was so much a
part of that kind of generational ignorance, I
didn’t feel it was important. If you listen to
my playing, it’s obvious I didn’t know that
tradition. It wasn’t until after I left the band
that I understood I had a golden opportunity
to learn that tradition. I wasn’t aware of the
importance of knowing the tradition. It was-
n’t that I felt I knew everything. I’ve held
20 December 2006  Jazz Improv ® Magazine’s New York Jazz Guide  www.jazzimprov.com
jobs since I was eight years old, so I wasn’t
looking to be hollering and screaming like a
child. I didn’t mind working, but philoso-
phically, I didn’t understand the importance
of knowledge.
JI: It’s interesting that you espouse that. I
agree with you. To me, one of the essentials
about making this music is the long-term
commitment and that in order to develop
through your lifetime you really have to
commit yourself. Somebody can have im-
mense talent but ultimately it’s the work
that we all do to develop that over a period
of time. Sometimes something that happens
quickly fades just as quickly. How is the
process of making music different or deeper
now than it was when you were creating in
situations such as Art’s and Herbie Han-
cock’s quartet and your own small groups
versus the array of program settings and
corresponding instantaneous adjustments
you need to make with which you’re in-
volved today?
WM: Not that much. My knowledge of the
music has expanded. When I was nineteen
or twenty, I was basically trying to figure
out what was happening. I was lucky to be
on recordings on that time. I had a kind of
feeling for the music and I liked it. It’s very
different now. I’ve had years—an opportu-
nity to read and study and meet so many
people and be a part of the American cul-
tural scene for so many years. To see stu-
dents come up, and always be out on the
road, and hear people and play with them
and play at jam sessions all over the world.
So my understanding of what’s going on is
very different, of course, from what it was
when I was a kid who just left New Orleans
for New York.
JI: You’ve composed and arranged quite a
bit. Composing and arranging are often
creative endeavors which for me, and others
I’m sure would agree, involve a certain
modicum of quiet and introspection. How
do you quiet your mind and remove outside
distractions and stress and so forth, which
sometimes are useful in the creative proc-
ess, to be in a mindset to create. How do
you structure your time to compose and
arrange? Do you do some jotting down of
ideas that you use later? Do you experience
writer’s block?
WM: No, I never have that. I like pandemo-
nium and noise. My mind is always quiet,
when it comes to music. I don’t mind
noise—my phone going off, people all
around me—it doesn’t affect me really at
all, when I’m working on something. My
mind is focused on that. I grew up with a lot
of brothers in my house; a lot of noise. I
was around a lot of people. I like people. I
like noise. I don’t need to be in any special
setting. I’ve never had writer’s block. All I
need is a deadline. I’m always late
[laughter] but it’s not because of a block. I
just start late. I like the pressure. I like pres-
sure in general. Pressure just makes some-
thing come out of you. Even as a kid, when
I was playing ball, I’d like there to be pres-
sure.
JI: Certainly that tension gives you the im-
petus to be able to resolve the tension into
something else, until the next tension comes
along.
WM: It makes it more fun. It’s just fun.
We’re out here for a certain amount of time
and we hope we have a good time. Do your
thing. I’ve always been lucky to have great
musicians to play with.
JI: There are many people writing these
days. Many times people write tunes based
on a series of chord changes and the melody
isn’t very compelling. I know for myself, I
agonize over melodies from time to time
because I want to write something that has
some kind of meaning and is memorable—
something a lot more than just a bunch of
chord changes with something I slopped
together. Could you talk about the impor-
tance of melody and how that process works
for you?
WM: The melodic and the rhythmic imprint
of music—I’ve tried to deal with melodies
that come from my New Orleans heritage
and from the American tradition in general.
I have a melody; “All Rise” [sings the mel-
ody]. That was a tune my great uncle would
sing to me. I’ll write songs that are real sim-
ple, like nursery rhyme songs, like a song I
wrote called “Free to Be”. Sometimes I use
just thing in the American songwriting tra-
dition, like a song I wrote called “D in the
Key of F”. Things come from different
places. I was lucky growing up in New Or-
leans—there’s a lot of melody down there.
From church music to music we played in
parades, hymns, street songs, the blues—I
try to call on all of that tradition. One of my
challenges was to develop a base of learning
in the American folk tradition and in an
American melodic tradition, so that my mu-
sic would have those elements in it. To
learn how to write on triads—growing up in
jazz, you’d be writing what I call “New
York Tunes” [sings a post-bopish melody].
So I started off with that kind of tradition,
but I noticed that music doesn’t have that
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much melodic meaning. So I started to learn, in my
twenties, how to write songs that more reflected
how I grew up and the music I knew. I was lucky “ Creativity...makes me feel like
coming from New Orleans because I was always I’m a child all the time. It makes
around a lot of different kinds of music. I remem-
ber the first song I wrote like that was called “In
me have fun with my own kids
the Afterglow” [sing the melody]. I tried to write a and it doesn’t make a differ-
melody I could just sing and have it stand on its ence whether I’m playing ball,
own.
or teaching a class or if I’m
JI: Absolutely, yeah. Could you talk a little bit dealing with a very serious
about the immense responsibility with Jazz at Lin-
coln Center, to represent them in the areas of mar-
subject...I approach all
keting and management and fundraising and spon- of those things the
sorships? All these things going on—the many same way. I’m just
non-musical activities—how does all this impact
your focus on the music and your creativity? having a good
time…”
WM: Your creativity is something that you’re
given. It’s a gift. It’s like clownin’, crackin’ jokes,
reading stories, dancing; it’s something that’s in
you or it’s not. You can’t work on your creativity.
You can work on things, but your creative impulse
and your desire to be creative and make up things
and have a good time with things, that’s in you.
For me, nothing affects that. That’s what I like
doing. It makes me feel like I’m a child all the
time. It makes me have fun with my own kids and
it doesn’t make a difference whether I’m playing
ball, or teaching a class or if I’m dealing with a
very serious subject, or something that’s just a
joke. I approach all of those things the same way.
I’m just having a good time, and that’s it. I’m go-
ing to be creative. I’m going to clown, act crazy.
It’s just how I am. Nothing will change that or
make me not be like that. I’m just that way.

JI: That’s a healthy thing, too. One of my favorite

quotes is: “You should grow old in your child-like
qualities, not your adult-like qualities, Heaven
forbid.”

WM: Right. Just have a good time. I try to pass

that down to my own kids. You were given your
creativity, that’s a gift. Everybody has creativity;
we are all given that gift. Respect your creativity
and develop it and enjoy it and enjoy the creativity
of other people. Just like you have it, other people
have it too. All of my jobs are one job and ulti-
mately it’s about the human spirit—it’s not even
about jazz. I believe in it, so it’s never too much
work for me. I don’t work on the clock and I don’t
work for money. I never did that. My entire life,
it’s always been the same. It does not make a dif-
ference to me what’s said about me, whether it’s
true or it’s false. My mind is made up about what
I’m about. Now I’m a man, I’m forty-five. I’m not
a boy. I was nineteen for twenty years.

JI: And suddenly you’re forty-five.

WM: And I love it. I’ve been out here the whole
time just enjoying myself and trying to be a posi-
© 2006 Clay McBride

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tive influence on people. going to do what you will want them to do, speaking—because we’ve never spoken
but they have a path that they’re on. You before—I really get a sense of how commit-
JI: And you are. And age is just in your don’t know what that is. You’re a part of ted you are to the music. The original burn-
head. their path. You’re a part of their story. A lot ing fire we each experience when we were
of times you look at somebody as if they’re first magnetized by this music. For me it
WM: Tell that to my jump-shot., in my a part of your story. But for that student, was like Thad Jones, Buddy Rich, Joe Hen-
basketball game. you’re a part of their story. So, you try to derson. You don’t lose that. You’ve main-
empower them with tools that will help tained it and also gotten to a very high level
JI: [laughs] Could you talk a little bit about them to do what they want to do. with it and in this conversation, I detect this
commitment and staying on the path of incredible level of commitment without
mastery versus how society really creates a JI: That’s a profound understanding. Many compromising or selling out or whatever
prodigious conspiracy against the commit- people look at it the opposite way; you you want to call it, to really dedicate your-
ment that’s essential to play and develop as really have to take yourself out and be in the self to other people. I just had to give you
an artist and create this music? mode of giving instead of taking, which is that compliment because I think it’s well
really a healthy thing, I think. You’ve really deserved.
WM: You know, I don’t think it has any- been a model for that, Wynton.
thing to do with society or anything else, to WM: I appreciate that. It’s the life I like to
be honest with you. It’s all about you and WM: I don’t know. You know, man, we’re live. I saw my daddy doing it with teaching.
how you feel about something. You wake all out here doing our thing. I teach kids, I stay up, I go to jam sessions,
up every day and you choose the things you and I play. The lord has blessed me to do
want to do. It’s up to you to do it; you don’t JI: Could you share some of the sources of what I want to do with great musicians. I
have to do it. If you have that feeling about encouragement and positive thinking that don’t have a complaint. The musicians
you experi- looked out for me so much. So many people
enced that have looked out for me in so many ways.
“ A lot of times, people ask me were instru- With Jazz at Lincoln Center, start with my
if I think rap music is valid. It’s not up to me mental in unbelievable staff. Mary, she’s been work-
your abun- ing seventeen years. Herlin Riley. Me and
to determine the validity of rap music. dant success Herlin worked sixteen, seventeen years to-
If it’s out here, it’s obviously valid. ” early on, but gether. I could go on and on. It doesn’t
also, more make a difference where I fall. Marcus Rob-
importantly, erts, Wycliffe Gordon. Students we brought
something do it. If you don’t, don’t do it. some of things that are inspiring you today? up, I was Walter Blanding’s band instructor.
It’s about you and yourself. It’s like with Philosophies or authors and so forth? Everywhere I turn the level of dedication
your old lady, you know? If you want to be that they’ve had to me and to this music and
committed, be committed. If you don’t, WM: For me, all the older musicians sup- the love that they’ve given me, to be there
don’t. It’s a very simple equation, you ported me in an unbelievable way. Not so for me. It’s been an unbelievable blessing.
know? And if you are committed, you get much in the press, but Elvin Jones, I was
the benefits that come from being commit- always welcome in his house all hours of JI: You know, the music is one thing, but in
ted. And if you’re not committed, you get the night. Ed Bradley, he’s gone now. Just this business, it’s really important to build
the benefits that come with that. There are the amount of time that he would spend just relationships, which is where some people
benefits to both. To not be committed teaching alone. Just what he would tell me. either shoot themselves in the foot or fall
means you have more time to bullshit Dizzy. Art Blakey. Gerry Mulligan. A long short. Maybe you could talk about the im-
around. If you like doing that, do it. It’s not line of musicians that I would talk to all the portance of and how to build relationships?
a crime. If you’re serious, you get the bene- time that would say: “Do this that and the
fits of being serious. other. Check this out.” Joe Williams, WM: A relationship is very simple. You
Freddie Green. The type of love and support need to treat the people they way you want
JI: With all the teaching and interaction that John Lewis showed me—I was like his son. to be treated. If you smile at somebody,
you’ve had with so many types of people, The amount of information they were will- they’re going to smile at you. Sometimes
so many different age groups and back- ing to give me. The way they took me in. I’ve fallen short. I’ve learned a lot in this
grounds and levels of interest in the mu- The way that they loved me. Frank Foster, job. Even now, I could do a better job of
sic—or non-interest; what kinds of under- Jimmy Heath. I could go on and on, I could keeping in touch with people. The basic
standings about human nature have you name so many musicians. Whenever I feeling you give someone, they will in most
learned or developed as a result of your called them, whatever I needed. “Here’s instances, ascribe to give that same feeling
journey from your times as an emerging what you need to learn. Study these things. back to you. I see you on the elevator and
artist on to your current leadership role? Learn this, work on this. This is a problem you smile, I’m going to smile at you, man.
with your playing.” Dizzy told me stuff. He You frown at me; I’m going to frown at
WM: I think I’ve learned that the most im- was very intellectual, very intelligent. On you. You might frown and I might still
portant thing you can do is to empower an- and on. My great mentors I had: Albert smile at you. It’s just basic manners 101 of
other person to be themselves—even if Murray, Stanley Crouch. how to treat people and deal with them and
what they’re going to do is going to be the when you feel short of that to recognize and
opposite of what you do. If you’re teaching JI: One of the things I really admire about try to do better the next time.
someone, you don’t want to teach them a you is how I’ve attained this extremely high
dogma. Many times your students are not visibility and in the short time we’ve been JI: I think Dan Borsen, in the Library of

22 December 2006  Jazz Improv ® Magazine’s New York Jazz Guide  www.jazzimprov.com To Advertise CALL: 212-889-0853
Congress said: “One of the greatest obsta-
cles to discovery is not ignorance but the
illusion of knowledge.” How have you ex-
perienced or dealt with this, or do you have
any comments on that?

WM: I think that our music helps to remove

a lot of that. Jazz music is something, man.

JI: It’ll make you honest in a hurry.

WM: You’re always thinking about what

you need to do to improve. Of course you
still have a lot of illusions, that’s just a part
of life.

JI: Regarding the Ellington High School

Jazz Band competition, I understand thea festival. Americans love competition. We obviously valid. Or people ask if its music.
love to compete. The older jazz musicians
value of band competitions and contests and It’s obviously music. I have a basketball
were always talking about battles. I heard
how they create interest and involvement game. It may not be a good game, but don’t
among students—the prospect of winning Sweets Edison talk about when Basie bat- come to me and tell me I’m not playing
tled Benny Goodman. When they battled
things—but in times gone by some stylists basketball. It’s just what it is. It’s not up to
Duke. Cutting sessions. It’s a part of the
might not have been perceived as anything me or you to determine what is.
lure and the tradition of our music. Compe-
special or won anything because of their
tition is a part of it and it’s a fun part of it. I
unique approach involving subtlety or econ- JI: Yeah, the moment you let go of being
happen to love competition. It’s not for eve-
omy of notes. How does the aspect of com- the general manager of the universe, it
rybody. Music can accommodate all kinds
petition impact building the identity and the seems like the whole universe opens up for
of personalities. Some people don’t like to
value of the music as an artistic endeavor as you.
opposed to an athletic sport? be competitive, but they can play great mu-
sic. Many can be very competitive and play WM: I have a thing that is what I believe to
WM: You know we have a competition and great music. It just depends on the person. be jazz. That is what I believe it to be. You
But there’s so much competition in our cul- might believe it to be something else. There
ture and our way of life, and its fun. It does- are many different people on earth. It’s like
Ed Bradley n’t have to be mean-spirited. It depends on what I was saying about our students.
1941 - 2006 the spirit you bring to the competition. If it There’s a reason our students are not learn-
means more to you than what it actually is; ing how to play as good as we want them to
if you have it out of proportion to the reality play. It’s not because they’re going to
of life, then it could be a bad thing. The school, it’s because of what they’re being
only time it’s that serious a thing is when taught when they’re in school.
it’s a war. That competition is very serious.
But a battle of music on a horn is not that JI: Talk about the Essential Ellington Jazz
serious a thing. A basketball, a football Band competition?
game, is not serious. It’s a game. It’s a
sport. You want to win. I want to play for a WM: It’s just a fantastic festival/
score. I want to shake your hand after you competition. There’s a great history and
beat me and say, “Good game.” A chess tradition. Kids love it as well as parents. We
game, you want to win. But part of winning have so many letters that speak on our be-
is losing. It’s like life. You’re going to die. half. So many band directors love it. They
That makes life fun. love to come back. Our entire staff volun-
teers. We’ve been doing it for many years,
JI: And it gives you that pressure that we we love doing it. We produce a lot of stu-
were talking about before, to get things dents who can play. We’ve seen so many
“Ed Bradley was a great American, one of
our definitive cultural figures, a man of un-
done. great things from our students. As of now it
surpassed curiosity, intelligence, dignity is exclusively limited to Duke’s music. We
and heart. We of course are shocked and WM: You should have a good time in your may expand it, but we love his music.
experiencing that unspeakable grief that time out here. Your choices are your own.
always attends the finality of the death of a The problem comes when someone thinks JI: Is there anything else you’d like to share
loved one. We have lost a trusted friend that there’s one way—they think something with our readers?
and mentor. Our nation has lost a voice of is the way it should be. There are many
integrity and wisdom. We love him and ways that a thing is. That is the reality. A lot WM: Just tell them to come down and visit
miss him and it will always be that way.”
of times, people ask me if I think rap music us at Lincoln Center. Come be a part of it.
-Wynton Marsalis,
is valid. It’s not up to me to determine the They’ll have a good time. ♪
Artistic Director of Jazz at Lincoln Center validity of rap music. If it’s out here, it’s

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 INTERVIEW
Steve Tyrell
Interview By Eric Nemeyer
Jazz Improv: Could you talk about the evolu- important to her.
tion of your recent recording of Disney stan-
dards. JI: I saw all the movies when I was a kid.
Steve Tyrell: That started about two years ago,
maybe longer. First of all, I kind of started my
career as a performer singing the standards with
Disney, because I sang “The Way You Look
Tonight” in Father of the Bride, which was a
Buena Vista film. And it was really kind of an
unusual situation where I was the music pro-
ducer of the movie. I did this little tune for the
reception and everybody loved it and they put
me in the movie. Then the movie tested really
well and that particular scene tested really well
with all the audiences that they showed the
movie to. So, mine got singled out as who’s
singing that song and so they decided to put it
over the end title. Anyway, to make a long story
short, it’s a very unusual thing. Usually, the mu-
sic producer doesn’t end up singing in a 100-
million dollar movie [laughter], you know what I
mean? And so I started with Buena Vista is what
I’m trying to say. So I have fans over there,
Chris Montan, especially, at the time was the
head of Disney music and then he went on to be
the head of Disney animated features and was
responsible for The Lion King and Beauty and
the Beast and all their hits.
A few years back, I got an idea when I was
working for the Steven Spielberg film, An
American Tail, to take the little song that the
mice sang in the movie, the character-driven
song, and make a version of it that would go
over the end title. Before that, people don’t really
realize this, but before that that hadn’t been done
in animated features. You look back on it now
you don’t realize it, but “Somewhere Out There”
from an American Tail was the first one and that
was my idea.
So I had a little bit of a history, I had a his-
tory of taking character-driven songs and making
different kinds of versions of them. And so Chris
Montan [?}two years ago came to see me and we
became friends over the years, and he said,
“Man, you know what you should do? You
should take the Disney songs and you should do
your kind of versions of them. It’s an extension
of what you’ve been doing with the Great
American Songbook, but it’s kind of the same
thing but it’s different.” So that idea kind of
intrigued me and we talked about it for a while
and finally we did it.
And when I got into doing it I realized how
important…unlike The Great American Song-
book, The Great American Songbook was our
parent’s music, you know, but the Disney stan-
dards are our children’s music. Like my daugh-
ter’s 22-years old, and she knew every song that
we did on that album and they were all very
®
24 December 2006  Jazz Improv Magazine’s New York Jazz Guide  www.jazzimprov.com
ST: Yeah, well, that’s the biggest difference. I
think this Disney album has a much bigger
demographical appeal. People don’t have to
discover the music. They know the music.
JI: It’s charisma pre-sold, as they call it.
ST: Yeah, that’s a good way of putting it. So
that’s what happened. I went in and did it and
then they decided to release it, to make a video
of “Bella Notte” caused they really like that and
to release it with The Lady and the Tramp DVD,
which came out February 28th.
And the after I turned that in I got asked by
the Sinatra family to go with Quincy Jones to the
Hollywood Bowl last season on opening night
and sing “Fly Me to the Moon” in honor of their
father Frank who was inducted into the Holly-
wood Bowl Hall of Fame. And so that led to me
making my Sinatra album. I really have two
albums out at the same time. I have The Songs of
Sinatra, which I love, you know, getting into that
album and the Disney album.
JI: What kinds of preparation did you do in
terms of discussing and preparing the arrange-
ments on The Disney album.
ST: We have kind of a crew of people that I’ve
been working with for years and Bob Mann is a
partner of mine; he’s co-producer of the albums.
He and I have been working together since he
was in that group Dreams.
JI: The one with the Brecker Brothers and Billy
Cobham?
ST: Yeah, that’s why I met those guys back in
the ‘70s, and Bob and I have been working to-
gether ever since. Allen Broadbent is somebody
that we’ve started working with in the last few
years. He’s a wonderful arranger and he’s been
working on all the stuff that we’ve done. We
have a team of people that we use and we
worked with Sammy Nestico who we had never
worked with before. Sammy worked with us on a
couple of things on the Sinatra album, which
came out great. And, of course, Quincy and I
worked together on one of the tunes. So, it’s just
a great group of people who know what they’re
doing.
JI: What was the spark that aroused your interest
in mainstream jazz?
ST: I loved the music of Duke Ellington, Louis
Armstrong and Ray Charles even though he’s
not very know that much for his jazz, but some
of the stuff that Quincy did with him, you know.
“Move to the Outskirts of Town” and… you
remember those arrangements? I mean, those
things always killed me, man. I’m really kind of
a blues-influenced cat, you know. I grew up in
Texas in an all-black neighborhood. My family
they were Italian immigrants that had a grocery
store with a house in the back. Joe Sample and
The Crusaders lived across the street from me.
JI: I’m friendly with Stix.
ST: Oh, well, Stix is my man. He’ll tell you
about me. I was the only white boy in the
neighborhood for miles, man. So that music is
just something that…anything with like a little
bit of blues in it. Billie Holliday always killed
me...it’s always something that I leaned strongly
toward. And when I got into making mainstream
jazz albums, I mean, I produced Blood, Sweat
and Tears in the old days. Basically, what I
wanted to do is take these songs and do some-
thing original with them. I didn’t really want to
copy anybody and I don’t think we have.
Whether people like our arrangements or not, I
don’t think they sound like anybody else’s. We
tried to just take these songs and just be true to
them and do arrangements that—I’m talking
about my other albums more than my Disney
albums—try to bring them into the 21st century,
but pay tribute to the kind of great harmonies
that Nelson Riddle wrote and Billy May—you
know what I mean? Pay tribute to them, but not
copy them.
JI: Put your own spin on it—it’s about develop-
ing your own voice and your own perspective, a
function of how you live your life.
ST: Exactly. And that’s exactly what we’ve tried
to do. And what I’ve tried to do all the way from
my first album on is I’ve also tried to honor
some of the great soloists from that period. Like
if you look back on all my albums, I’ve used
Harry “Sweets” Edison, rest his soul, Toots,
Clark Terry’s played on almost everyone of my
albums, Plas Johnson, of course. Joe, but Joe’s
not old, but Joe Sample played on a lot of my
stuff. Or, at least, he’s not old to me, not com-
pared to these cats, you know. I tried to do like
Hear Steve Tyrell at Café Carlyle, Carlyle Hotel
December 1 thru December 31
35 E. 76th St. New York 212-570-7189
www.thecarlyle.com
Visit Steve on the Internet
www.DominicDerasse.com
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modern kind of 21st century versions of classic
stuff and then have some of the classic soloists
play on them. Michael Brecker’s played on my
stuff, well, on this last album Chris Botti played
on “When You Wish Upon a Star.”
JI: Could you talk about how you got involved
in the record business—especially in terms of
working with groups like Dreams, and Blood,
Sweat and Tears. Give us a thumbnail sketch
about how the doors opened for you leading to
these associations.
ST: Like I’ve said, I’ve always been attracted to
R&B and blues. That was my roots and when I
was a kid, I was in an R&B band in Texas. I was
always fascinated in the process of making the
records. So I got a job very early on in my career
luckily to move to New York and work at Scep-
ter Records, which was an independent kind of
R&B label, really. We had Chuck Jackson and
The Shirelles, Dionne Warwick, Maxine
Brown0—you know, people like that, and
Tommy Hunt and people in the ‘60s that were
real kind of R&B icons. I started producing re-
cords for them and then I left there to go on my
own. I got a deal to produce records for Colum-
bia and part of the deal was to do my own stuff
for Columbia but they also gave me the gig of
producing Blood, Sweat, and Tears and then
Dreams was on the label at the same time. And
so I did the last group of sessions with Dreams.
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Steve Gadd came in and took Billy Cobham’s
place. Will Lee took Chuck Rainey’s place and
that’s where I met Bob Mann, Don Grolnick and
Randy and Mike. We’ve all been friends ever
since. Then I just continued on down the road
and I left New York after a while, came out to
California and got into doing music for movies
and soundtracks and stuff like that. Then, that led
me back to being an artist myself. I’ve produced
along the way some stuff with Ray Charles,
some stuff with Linda Ronstadt, a couple of her
big hits, you know, “Somewhere out There,” and
”Don’t Know Much,” with her and Aaron
Neville.
JI: What kind of direction or instruction or dis-
cussion did you have when you were going
through the production of recordings with Blood,
Sweat, and Tears or Dreams?
ST: Well, Dreams kind of had all their stuff
together; I just went in and recorded it for them.
And like I said it was at the very end of their
career. They were almost a band that was too
famous to be a band.
JI: They did the two albums and that was it.
ST: It was the last album and they were like
being asked to do everything. They were playing
on everybody’s albums and records and stuff.
And I think they just didn’t continue. With
Jazz Improv ® Magazine’s New York Jazz Guide  www.jazzimprov.com  December 2006 25
“ Usually, the music
producer doesn’t end up
singing in a $100-million
movie, you know what
I mean? ”
Blood, Sweat, and Tears, I came in at the end of
the album that had “Hi-De-Ho” on it. And they
were going through a transitional period too,
where David Clayton Thomas was leaving the
band. Bobby Colomby had been the producer,
but they had decided that they didn’t want a
member of the band producing them, so I kind of
came in and took over for Bobby. We would just
have meetings and I would suggest songs and
people would do arrangements. In those days,
they had a place in Dobbs Ferry, New York that
we used to go rehearse. It was kind of cool in a
way. We would decide on something and then
we would go to the rehearsal hall. Somebody
would write an arrangement and then we’d mess
with it in the rehearsal hall before we ever had to
go to the studio to record it. Then I brought some
different people to that gig. I brought Paul Buck-
master and we did a couple of really nice string
charts on one of the albums in London. He was
very hot in those days with his work that he was
doing with Elton John. Man, he wrote all those
great orchestral arrangements for “Madman
Across the Water” and all those Elton John
tunes. Do you remember, “Tiny Dancer” and all
that stuff? He came on the scene in a big way in
the ‘70s. And so he contributed some stuff to one
of the BS&T albums. And we went over to Lon-
don to record with him.
JI: It sounds like the doors kind of opened for
you, you’ve worked hard for years for this
“overnight success.” The public thinks of over-
night successes—and when you’re young you
want everything to happen yesterday. As we get
a few years of experience, a kind of inverse pro-
portion sets is—you want to slow it down, I
think, and overemphasize every little thing that
you do. You become more attuned to subtlety I
think.
ST: Yeah, I agree, you do. Yeah, I see what you
mean. I mean I just have always been a working
music producer, basically. I’ve done music for
records.
JI: You play piano, too?
ST: I play a little guitar. I’m not really a very
good musician. I’m a singer and I understand
music and chords, you know what I mean. I kind
of view myself as like a director of a movie. You
can put the cast out there, but you gotta get the
performances from the cast and make sure that
when you get in the car you didn’t leave some-
body’s best performance in the studio that you
got it that you helped them get it out. That’s
basically been my approach to making music.
I’ve done music for film, television and I’ve
been nominated a couple of times for an Emmy.
JI: What are the biggest challenges for you in
terms of working on music for film or TV?
ST: Well, one of the things that I’m disappointed
in about film and TV is this last ten years I’ve
kind of lost my interest in working on film and
TV, ‘cause I’m not a composer. I’m a music
“ I grew up in Texas in an all-black neighborhood.
My family they were Italian immigrants that had a grocery
store with a house in the back. Joe Sample and
The Crusaders lived across the street from me...I was the
only white boy in the neighborhood for miles, man. ”
producer, supervisor. If I was a composer it
would be different. But the art of writing a song
for a movie, collaborating with the filmmaker to
create a scene in a movie that has something
special is becoming a lost art. And it’s a shame,
because some of the best music that’s ever been
written in America has been written in collabora-
tion with film.
JI: Don’t you think it has to do with economic
factors? People are afraid to step out and say,
“Well, gee, let’s create something new,” when
they have the convenience of falling back on
something that’s already been a proven success.
And they say, “Well, maybe this’ll generate x
more pennies on the ledger and then I’ll have my
job for the next film.”
ST: That’s exactly it. That’s exactly it. Well,
first of all, everybody has less and less creative
control of anything any more. You’ve got the
film studio that has their music department...and
26 December 2006  Jazz Improv ® Magazine’s New York Jazz Guide  www.jazzimprov.com
you have the soundtrack division. Then you have
the record company’s soundtrack division...You
have the music supervisor. I mean, there’s a lot
of people that are working on something instead
of the writer of the scene, and the director of the
movie and the person writing the song hardly
ever exists anymore and it’s a shame. And when
I say it’s a lost art it’s a shame, because when
you write a song…if you’re a songwriter, you sit
in a room and write a song, you have no idea
who’s going to sing it most of the time unless
you’re producing somebody that you’re writing
for or you’re working with someone who’s mak-
ing an album and they’re going to sing it. But for
the most part, you’re just writing a song. Well, in
film, you have a script, you have a story, you
have a character, you have a director who’s go-
ing to shoot that scene. It’s a beautiful thing
when the writer of a piece of music gets together
with the person who’s going to direct and create
the scene visually and the person who wrote the
scene in the first place. It’s such a fertile place
that you could come up with something really
good. But nowadays everybody is afraid to do
that. It’s like, “Wait a minute! We’re not used to
doing that. You mean we have to pay this person
to write a song. What if we don’t like it?” Every-
thing comes from the negative instead of saying
this is a great opportunity to create a wonderful
new song that’ll live forever in our movie. It’s
like, what if we don’t like it?
JI: I think you framed it accurately—for all of us
that are involved in making music, recordings
and playing and so on and so forth. The creative
process, and creating something new, is about
starting with nothing, or with a germ of an idea,
and having the courage, ingenuity and drive to
develop it into something. You’re taking some-
thing from nothing. We’ll worry about whether it
works or not later, but we can’t figure out if it’s
going to work or not unless we have it in the first
place.
ST: Right, you’re not getting the opportunity to
do it, because on top of coming from the nega-
tive it’s being replaced by somebody an exterior
person like you say who has a soundtrack deal
they made with the movie. And they’re trying to
take a song that was written that has nothing to
do with the scene that if it works it’s an accident
and put it in this scene so that it will be able to
be marketed with the movie, and it had no gene-
sis with the movie; it had no genesis with the
scene. And that’s why you don’t have any great
academy-award-winning songs anymore. And
you haven’t for a while and you’re not going to
unless people get back to letting people create
music for movies. And it’s a shame. Pop culture
is in trouble, man, in case you haven’t noticed.
JI: It’s the dumbing-down of America. And
people are preoccupied with the superficial, the
illusion. It’s unfortunate; that’s the way it is. It’s
clear from the observations and evidence, that
people do gravitate toward quality. The big issue
is “If only…” If only the music could be heard
by more people it would be loved and appreci-
ated. When I talked to Pat Metheny he was tell-
ing me how a lot of people come up to him
around the world and it’s been happening for
years, “What is that that you’re playing?” “Oh,
that’s jazz.” It’s one style of jazz. There are cer-
tainly many, bebop, hard bop, swing, early,
avant-garde, whatever. And they say, “Wow, I
didn’t know that that’s what jazz is.” When you
expose people to the highest quality musicians,
it’s hard not to believe that intuitively they won’t
resonate with that because the foundation is real,
it’ pure, it’s truth. It comes from people’s souls
as opposed coming from some contrived, super-
ficial, or synthesized, phony place.
ST: Yeah, absolutely. It’s just terrible. I don’t
know what to say about it.
JI: Talk about the music you’re performing live.
ST: I’ll be doing songs from all my albums, a lot
from the new Sinatra album. The Sinatra is the
best album I’ve ever made, I think. I made my
first album in 1999 on Atlantic. It really kind of
started this whole Great American Songbook
latest renaissance or whatever you want to call it,
because Rod Stewart heard that album and Rich-
ard Perry and they decided to do their version,
which ultimately, I don’t know if you know I
ended up doing the last two of his albums. But it
started when I sang “The Way You Look To-
night” in Father of the Bride and that album
came out, I mean, the Atlantic album, Ahmet
Ertegun put it out. It was an album of standards.
And it influenced a lot of people. David Foster
tells me that it influenced him and then he started
producing Michael Buble. That started me sing-
ing back live. Rosemary Clooney called me and
asked me to perform with her because she liked
the album, so I’ve been playing live concerts
now quite regularly for the last six or seven
years. And it’s my favorite thing in the world.
Last year I did quite a bit of record production,
but I love playing live. It’s a privilege to be able
to play your music live.
JI: Can you share some of the understanding of
human nature that you have gathered through
your experience in the business and as an artist?
ST: Being an artist is quite an undertaking. Part
of it is you’re putting yourself out there to be
heard, but you can’t take it too seriously because
it’s a gift. And if you’re operating on the true
level of artistry then you’re operating on some
other kind of spiritual…you’re tapping into
something else. And that’s what it’s about. And
every artist knows that. When you get out there
and you get on this high, this kind of wave where
you’re just kind of a vessel [laughs] where stuff
is coming out and it’s just really great. And you
To Advertise CALL: 212-889-0853
feel it communicating, so you can’t take it too
seriously in the sense that you can’t say it’s
yours. If you know what it is you know it’s not
yours. And you know if your voice is moving
somebody then it’s a gift you have. I mean, cer-
tainly you have to study what you’re doing and
you have to learn and you have to improve on
your craft and you have to constantly work on it,
but the reality is it’s a gift. And that is what I
think is something that I’ve noticed over the
years about the human condition. When you take
yourself too seriously and you forget that it’s not
you, man. Does that make any sense to you?
JI: Of course. We all then face the temptation
and tyranny of the ego.
ST: Right, and that’s always the problem. That’s
when people act rudely or they have problems,
because they start thinking it’s them, you know
[chuckle].
JI: As opposed to it coming through them.
ST: Yeah, exactly, and so I’ve kind of learned
that. And I remember Ray Charles telling me
something one time. You’re always out there.
And you’re always being criticized by some-
body, one way or another. You’re too inside;
you’re too outside; you’re too this; you’re too
that. I remember Ray Charles telling me one
time, he said [mimics Ray Charles], “Man, I
never let it worry me if somebody don’t like me
‘cause there’s a whole lot of people that do
[laughter].
JI: That’s good. I’m sure you’ve been through
this, where you might get 99 successive compli-
ments reviews, and then somebody will say
something negative and that ruins everything.
You’re suddenly, “I should quit.” But compli-
ments and criticism, like perfume, are probably
better off inhaled than swallowed—since down
deep we all really know when our music is hap-
pening or not.
ST: Exactly. I mean that’s that vulnerability that
I’m talking about. You go out there. You put
your ass on the line. And you don’t really know.
You know if you’re good, if you move some-
body. I mean you don’t know that you’re good,
but you know that you’re doing something when
you move somebody and they tell you, “Hey,
man, that really touched me or my father was in
the hospital and we played your album and it got
him through.” When you hear that which every
artist I’m sure does and I’ve certainly heard it a
lot with these Great American Songbook albums
that the music got people through tough times.
You go, man, that’s all worth it then. If you real-
ize it’s…if you like the sound of my voice and
somebody else may hate the sound of my voice,
but if you like the sound of it then it’s a gift. I
had nothing to so with the sound of my voice.
When Ray Charles sings two words, I feel better.
It’s all just flowing out and you have little to do
with it. You’re just doing the footwork.
JI: Talk a little bit about what you do that helps
you maintain balance in your life?
ST: I don’t know. I mean I’m very much a fam-
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ily man. I’ve been through…I lost my wife a few
years ago to cancer. That was something my kids
and I experienced that opened our eyes to a lot of
things. You see someone suffer and you see
someone who had no idea that this was going to
happen to them fight gallantly and it just changes
your perspective a little bit...a lot! Especially
when they’re your mother or your wife or your
partner. And so it does change things. I mean
Frank Sinatra once said, “You better live every
day like it’s your last and one of these days
you’ll be right [chuckles].” So you have to kind
of keep that in mind, man, that it can happen to
you, that you can spend your whole life being
negative or being depressed or finding out
what’s wrong. And we all do it, man. Don’t get
me wrong. We all do it. We all get into that
space of the one bad review and forget the 99
good ones or we’ll think about what’s wrong and
we’ll never think about what’s right. If you can
stay grateful to what’s going on in your life then
you can be happy. If you’re not grateful then
you’re screwed. There’s only two ways to be.
It’s a shame, man. You can never get enough,
man. If that’s what you’re looking for you’re
never gonna get enough. I don’t care who the
hell you are, Donald Trump. If money is your
deal…
JI: It’s just a bottomless…it’s kind of like eating
food with MSG in it. It’s not filling; it’s not
healthy but you’re just going to keep wanting
more of it.
ST: Yeah, exactly. Exactly, man.
Jazz Improv ® Magazine’s New York Jazz Guide  www.jazzimprov.com  December 2006 27
“ if you’re operating
on the true level of
artistry then you’re
operating on some
other kind of
spiritual…you’re
tapping into
something else.
And that’s what
it’s about. ”
JI: That kind of mindset lends a totally different
perspective, one that’s possibly quite limiting to
the creative process—which requires a modicum
of clarity, and commitment beyond the physical,
to be able to be clear, and enable the music or
whatever it is you’re creating to flow through
you. It’s an entirely different perspective.
ST: Yeah, well, the world makes you do that. It
does. There’s a certain thing that you have to
deal with. Your albums have to be marketed or
they don’t sell. Then if you see that they’re not
being marketed then you get bummed. And if
they don’t sell, you can’t make another one. It’s
like there is stuff that puts you down the wrong
path that you can’t help. There’s a lot of stuff
that you have to wade through and sometimes
you don’t know if it’s just too deep, you know,
in the music business. The music business is
getting worse, because it’s a dying business un-
fortunately—the record business, I mean, or the
CD, whatever you want to call it. Everything is
merging together. The reason all the companies
merge is so you have one head of sales where
you used to have five. All these companies come
together and the guy who used to be the head of
this company is supposed to do the job of five
people. He really can’t do that. So it’s impossi-
ble. So he goes to work every day trying to not
lose his job. You have a whole industry that’s on
defense.
JI: And, those whose positions are based on
having gotten because of who they know, rather
than on a foundation of competence bolstered by
what they know, are likely to be looking over
their shoulder even more.
ST: And nobody’s going to fight for anything
‘cause it’s not worth it to them to lose their job.
And so it’s very hard. I mean I’m just trying to
tell you that I don’t have it down. I definitely
don’t know how to navigate through this and
I’ve been doing it forever, man, a long time.
JI: Your clarity and attitude present a valuable
role model. When we think we have it all to-
gether, we’ve stopped learning and wouldn’t be
able to expand on our music and art.
ST: I mean I have my opinions of what’s wrong,
but I don’t know if I can do anything about it. I
think that the record industry doesn’t build artists
anymore like they used to. So they have no cata-
logue. They have nothing to fall back on. Every-
thing’s like starting over. An act can be around, a
hip-hop act, whatever. It could sell three-million
albums, but it costs so much to have those. They
gotta have incredible videos, an entourage of a
jillion people and this and that and then two
years later you never heard of that group any-
more.
JI: I was interviewing drummer Ben Riley, who
played with Monk for years. He commented on
keeping one’s ego in check. He said, “Man,
when I was coming up when we were playing in
Harlem we got six dollars for the gig for the
night. There wasn’t an ego ‘cause there wasn’t
any money.” Then he said now, of course,
you’ve got people getting a million, five million,
a zillion dollars and it creates the illusion of,
well, gee, I’m making all this money then I must
be important.
JI: That’s what happens. You start thinking it’s
you. Then you find out it’s not you and you’re
kind of screwed.
JI: When you’re working with an accompanist, a
guitar player, a piano, it doesn’t matter, what is it
that enables you to be at your best?
ST: Just an environment for me to sing in
whether it’s one instrument or a hundred. Time
is everything. It’s very important that you can
feel the time, even if it’s no time. You know
Cutting Room
28 December 2006  Jazz Improv ® Magazine’s New York Jazz Guide  www.jazzimprov.com
what I’m saying? Especially in standards in jazz
standards, you got feel where the groove is, man.
JI: You don’t learn that in a classroom.
ST: No. It’s just that it comes from your heart.
So whoever’s accompanying you has to have the
same heart. And you know it, man. It’s like two
hearts beating, or 20 hearts beating at the same
time. And you all know. And you know when
somebody messes up too. You know what I
mean?
JI: Instantly.
ST: Instantly, and you just keep going, That’s
what makes it live. But when it’s all together,
that pulse that underlying kind of spiritual beat
that everybody’s feeling at the same time is hap-
pening, it’s a wonderful thing, man.
JI: Does your involvement and the appeal of the
Great American Songbook offer a ray of hope
for the future of creating quality?
ST: I’m just very happy that there’s a renais-
sance going on for the Great American Song-
book, because I’ve fallen in love with these
songs. I truly believe that the songs of the Great
American Songbook are America’s greatest con-
tribution to the arts. I really believe that. And the
reason I say that is I don’t know any other music
that allows itself to be interpreted by so many
different kinds of personalities in a way that they
can own it. Like you can take a song of George
Gershwin’s and you can love 25 versions of the
same song. You can love it by Frank Sinatra or
Miles Davis. You can love it by John Coltrane
of Norah Jones. Everybody can do that tune,
“Somebody to Watch Over Me,” or something
like that, and bring their own personality to it.
And it can span 80 years or 70 years or however
long it’s been since it’s been written. And so I’m
very happy that that’s happening a little bit now
and that I had something to do with it. ‘Cause I
go and I play concerts and I see young people
come in and listen to the great standards of
American composers and realize how great the
music is and discover it. I think that’s a great
thing. And it’s given American youth a totally
new perspective on what’s great. ♪
(Reggie Workman continued from page 29)
The second week is the group Great
Friends is another project that happened when I
toured Europe and Japan. The CD is available
here on Evidence Records. Since Rashied Ali
will be here for Great Friends, he’s got his
Quintet that will follow. And then there’s a
spoken word artist named Kayo and man, he is
powerful! He’ll do some of his words to music
and some of it, he doesn’t need any music. The
author Ashley Kahn will be doing a lecture out
in the Living Room. Ashley wrote “The House
That Trane Built,” he did Miles Davis and
Wayne Shorter. He’s such a part of the pillars of
the building that we are building. Ashley is
going to talk about his books and there will also
be a Q&A session.
The Third Week, Feb. 18, we’ll have
Odean Pope. Odean is also a grant recipient and
will also be involved with us the final week
which is The African-American Legacy Project.
Charles Gayle is a musician that lives around
New York, but he never gets a chance to per-
form here. Around the world, people love him,
but nobody has ever seen or heard him here.
Now is the opportunity for us to present Charles
and his trio. Another one of my projects,
Ashanti’s Message, is a group that involves
some of the people I’ve been working with.
Kevin (Bujo) Jones teaches at M.A.D. which is
the Montcair Academy of Dance Drummers, so
he’s going to bring some students. There will be
about twelve drummers that deal with African
rhythms and rap and so forth. So they will do
their thing in the Living Room before Kevin
joins us on stage and performs with us.
Odean will come back for the final week
which is actually a free concert — no cost to
attend — in tribute to all the people that came
and supported the rest of it. There’s going to be
a 20-piece Big Band called the African-
American Legacy Project; a twenty piece choir;
some new music and some of the older music
which Charles Tolliver has transcribed and he’s
going to conduct it. Richard Harper is gong to
conduct the choir. The young people will be
presenting what they’ve got going on and since
it’s The Legacy Project, Jimmy’s Garrison’s
son, Matt Garrison, will bring his trio that week
and my daughter, Nioka Workman, will bring
her string quartet, Sojourner. The Legacy Pro-
ject is all about the next generation and passing
the torch. I’m deeply moved by this project.
I just have to mention that Francina Connor
is my partner in crime on this entire project and
without her, this never would have come to
fruition.
What we’re doing is necessary, because
without somebody rolling up their sleeves, it
would be the same old stuff that’s always hap-
pening and running the audience away. They
tell you, ‘this is who you should be listening
to...this is who’s playing… and there’s no alter-
native for the people to really look at.”
For information about tickets for both the
preview concert and the Sculptured Sounds
Festival, call 212-959-2200 and 212-959-8566.
The preview concert starts at 7:00pm and
there’s a suggested donation of $20. ♪
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 INTERVIEW
Reggie Workman
On His Latest Project, the “Sculptured Sounds Festival”
B
ass player, composer and educator,
Reggie Workman, is a man on a mission.
He’s played jazz for the past fifty years
and has no plans on slowing down. He does have
plans, however, to pass his experience and the
experience of his contemporaries — other educa-
tors and musicians at The New School — to
upcoming generations so that they may keep the
legacy of jazz alive. How does one keep the
flame alive in the face of contemporary music
and culture? Workman, is taking a page from
script of Field of Dreams: “Build it and they will
come.” But first you got to get the word out!
Reggie shared with Jazz Improv about his plans
for a festival of new music and art to take place
in February called, “Sculptured Sounds.” A pre-
view concert on December 10th is scheduled at
St. Peter’s Church.
“The December production is like a preview
concert to show what kinds of things we want to
do at the festival. I’ve been playing music and
doing this sort of thing for a lifetime. I’ve taken
notice of what’s been going on over the years – I
see the production of various artists and various
kinds of music. A lot of musicians, including
“ What we’re doing is necessary.
Because without somebody
rolling up their sleeves,
it would be the same old stuff... ”
myself, are left out of that picture. My friend,
Francina Conner, is involved with St. Peters
Church which is known as being the jazz minis-
try. She related that they need to attract new
people to the church—young people. At the
same time, there is music that needs to be pre-
sented to a new audience, so it seemed like a
natural fit. The situation kind of presented itself.
There are places like The Stone and the Vision
Festival that are also presenting this type of mu-
sic. My experience is vast – it crosses the border-
lines. Musically speaking, I don’t consider my-
self ‘inside’ or ‘outside.’ To me, ‘outside’ means
beyond one’s comprehension, and ‘inside’ means
incarcerated. I’d like not to be related with either
of those two areas. I looked around to see who I
was affiliated that would be willing to come on
board with me and deal with an artist-driven
project. Of course, we don’t have the money like
the bigger producers out there, so I needed to
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find people that would compromise their fee for
the greater good. That’s why I reached out to
people I’m already affiliated with; people I’ve
traveled with and have been out on the road with.
Most of the people came on board right away
like Oliver Lake and Andy Cyrille of my group
Trio 3. Billy Harper who is not only a great
saxophonist, but also a great vocalist, is taking
part as well. He’s involved with chorus at the
New School, so that’s one of the projects that
we’re nurturing. We’re creating a festival that
will run for the month of February (which is
Black History Month) at St. Peter’s Church on
Lexington Avenue. We’ve chosen to name the
festival, “Sculptured Sounds. It’s going to take
place every Sunday in February—four concerts:
February 4th, 11th, 18th and 25th.
The New School is sponsoring us to a de-
gree as Andy, Billy and myself are a part of the
faculty. Also, good portion of the choir that Billy
is using is from The New School and it’s a nice
picture of what we do up there as an institution.
The Preview on December 10th will feature
three musical groups: Trio 3, Billy Harper and
the New School Vocal Ensemble, and Finnish
Saxophone maverick Juhani Aaltonen in his US
debut.
There’s also going to be an art exhibit that’s
going to happen on that day, which is really in-
teresting as well. Oliver Lake and Dick Griffen
are both painting now and they’re going to bring
their work to exhibit. That will be in the living
room section of St. Peter’s, while the main con-
certs will take place in the sanctuary.
With all that happening, we’d like to have a
theme that there are lectures and demonstration
in the Living Room and that will be one “flavor”
Hear Reggie Workman at the
“Sculptured Sounds Festival”
December 10,2006, 8:00 PM
at St. Peter’s Church
619 Lexington Avenue @ 54th Street
Info: 212-959-8566
Jazz Improv ® Magazine’s New York Jazz Guide  www.jazzimprov.com  December 2006 29
© Ken Weiss
of the festival. When you buy a ticket and you go
into the sanctuary, you’ll be getting into the mu-
sic aspect of the festival.
The Festival is dedicated to the memory of
the late Jimmy Vass. Jimmy was a person who I
grew up with in Philadelphia and we’ve been
together for years. It really shocked us all that he
passed. He was directing music at the University
of the Streets, so a lot of young musicians know
him from that. He was also teaching at Boy’s
Harbor. I think that all of us are in the same
frame of mind to try to pass on our knowledge
and experience of our lives, to the younger peo-
ple so they may carry the music forward. That is
the concept of the festival, the presentation and
everything that we’re doing. If you look around,
most of the musicians are educators because
we’re looking to give something back as well as
spread our knowledge.
The Sculptured Sounds Music Festival
will occur on four consecutive Sundays in Febru-
ary. We already know that we’re competing with
the Winter weather and Sunday sports, but we’re
hoping to inspire people to check out something
new and different.
The Festival kicks off with BREW, which is
Jerry Hemingway and myself. Next is the Reggie
Workman Ensemble which has in it Pheroan
AkLaff amongst others. BASSDRUMBONE is
being supported by the Composers of America.
Bassdrumbone is Jerry Hemmingway, Mark
Helias and Ray Anderson. They got a grant and
they agreed to perform as part of their grant for
us. We had also met a Sound Improvisationalist
named Umberto Grati. He actually paints pic-
tures to the music and projects them on to a
screen. I’m not sure if he has the ability to cap-
ture it, but it will be available to the people that
are there to experience. He does it through com-
puter software, so it’s a computer paint brush —
it’s not on an actual canvas.
(Continued on page 28)
 INTERVIEW
Andrew Cyrille
Interview By Eric Nemeyer
Transcribed by: Dave Miele
Jazz Improv: In the fifties, you studied
with Philly Joe Jones, who at that time of
course was a part of Miles Davis’ group and
that was the group at the time. Maybe you
could talk a little bit about the influence that
Philly Joe Jones had on you?
Andrew Cyrille: Joe was a very charis-
matic individual, as many musicians will
tell you. He was a unique personality, in a
way. At the same time he was an extraordi-
nary drummer. He had great musical ability.
He had great ears. His technique was su-
perb. And he was very intelligent in terms
of how he played the drums in relationship
to the music that was around him. I liked to
be around Joe, simply because I was able to
watch him. I was at a number of perform-
“ Drummers...have a
force that can shape
the sound of a band,
especially when you
know the music. ”
ances that he did with a lot of the musicians
that I wanted to play with. As a teenager, I
dreamed about these things. One stands out;
the recording of The Amazing Bud Powell.
That recording, with Sam Jones, at which I
was. Just being around Bud Powell, and
Sam Jones and I remember Oscar Goodstein
was the producer, who was part of that
group of men who ran Birdland. It was just
a thrill for me, being eighteen, nineteen
years old and being around those guys.
That, plus also the fact that I used to be
around Miles Davis and Coltrane, Cannon-
ball and Paul Chambers, Red Garland, when
Joe would be playing with Miles at that
time. I remember a couple of sessions that I AC: I have to give Mel credit. I heard Mel
had gone to. I remember another session on a number of occasions, in particular,
30 December 2006  Jazz Improv ® Magazine’s New York Jazz Guide  www.jazzimprov.com
that I went to with Joe and Stan Getz. Then
there was another one with a piano player
named Evans Bradshaw, I remember going
to that session with Joe. So many other
things. Sometimes he was supposed to be
© Ken Weiss
giving me a lesson and he’d have to go into
New York for some business, so I’d be with
him on the subway and he’d pull out some
brushes and start showing me some kind of
technique on the seat. [laughter] Little
things like that, just being able to be around with Thad Jones. Mel was the driver.
him. To watch him, hear him talk about
drums and drumming and other musicians, JI: I loved going to hear them on Monday
other drummers. nights at the Vanguard. Any tempo worked
and it would stay at that tempo. He had all
JI: Is there something about his style or his the technique to execute whatever he
approach that made a significant impact on needed to. It didn’t matter that the rolls
your own stylistic approach to playing the weren’t out of the Stick Control book.
drumset?
AC: The thing is, of course, all of us use
AC: That’s an interesting question. My rudiments to some degree. Mel played that
style evolved, conceptually, because of my music. Drummers, in a sense, have a force
association with other people. The thing that that can shape the sound of a band, espe-
I had in common with what Joe presented cially when you know the music. You can
was the fact that he used a lot of rudiments make that music sound almost anyway you
in his playing—rudiments are sticking pat- want it to sound, especially with dynamics.
terns—Joe used a lot of rudiments. I started The character of the person comes out in the
out in drum and bugle corps and that’s all music. That’s why when you hear all of
rudimental. A lot of drummers of note, to- those different Miles Davis bands, every
day and in the past started out playing in drummer that he had that had a strong musi-
marching bands, drum and bugle corps, the cal drum personality, made that music
Army band or the Navy band or whatever sound the way they wanted it to sound and
branch of the service they were in. Joe was it came out that way because of the drum-
definitely a fantastic rudimental drummer. mer. They could play “Ah-Leu-Cha” with
A lot of the stuff that he played, you could different drummers and each would make
also hear coming from the Charley Wil- that music sound different, even though you
coxon drum book. He used to do a lot with had the same front line. So, just getting
“Three Camps”. The other part of it, too, back to Mel, Mel was one of those kinds of
was he had such a command of the music people. If Elvin Jones played with the Thad
and he was so authoritative with it. The Jones orchestra, the music was going to
thing about it was that he played it with sound different. He was that kind of a drum-
such conviction and in the final analysis he mer; formidable in terms of his rhythmic
really swung that stuff. He could really projections. All that music that goes on top
swing. of that is shaped by the sound of the drum-
mer. ♪
JI: That’s the operative word, really, be-
cause it doesn’t matter how much technique
you have. I mean, Mel Lewis was an exam- Hear Andrew Cyrille at the
“Sculptured Sounds Festival”
ple of that, going the other way, I think.
December 10,2006, 8:00 PM
at St. Peter’s Church
619 Lexington Avenue @ 54th Street
Info: 212-959-8566
To Advertise CALL: 212-889-0853
 INTERVIEW

Chris Botti
Interview By Eric Nemeyer
Transcribed by Denise King

Jazz Improv: Could you talk about how JI: When you first moved to New York you
your association with Sting developed? were hoping to be a jazz player. You said, “The
music moves a little too quickly for me.” Could
Chris Botti: He’s an interesting artist in that he you talk about this understanding?
doesn’t really talk much. When you know you’re
getting along with him great, he never talks CB: For me Bebop is very constrictive. In the
about the music at all. It’s funny because around sixties, Miles’ groups started deconstructing the
over artist that are always running up to him and songs. In other words, when you listen to “Stella
saying “do you want us to do it more like this or By Starlight, it’s not even the same chord these tunes. It’s interesting how the approach to
more like this,” it doesn’t really go well. His changes at all remotely that you would hear the songs took on a different character with
whole thing is sort of on a more emotional level. Kenny Dorham play or Tommy Flanagan. It’s a George Coleman and then Wayne Shorter.
If he connects with someone, he and I connected completely different thing all together. It’s the
from literally the beginning when I met him. We deconstruction. It’s not necessarily modal music, CB: Right in between there was the band with
have a love of the same kind of music and jazz. but it’s got elements of that. It’s when they start Sam Rivers. I was listening to that right before
That lead to him asking me to be in the band. He making it more open ended harmonically. The you called. Live In Tokyo.
said, “Listen, I had a lot of success with doing a tempos can be fierce. [emphatically] Whether
similar kind of platform with Branford Marsalis they were playing “Walkin’” or (sings here) “If I JI: Incredible renditions of “All Of You” and “If
in the eighties and early nineties and would love Were a Bell” and all that stuff. They were play- I Were A Bell.” Sam Rivers gives it a completely
to do more of that same kind of role using the ing tempos. “Footprints” and all that stuff. They different flavor than either Wayne Shorter or
trumpet in my band.” I said, “Great.” And then were exaggerating the tempos to a certain place, George Coleman did. By 1965, when Miles’
he said “ Come to Italy, let’s rehearse and see but the harmony itself wouldn’t move in the group recorded at The Plugged Nickel, they were
what happens.” So it kind of went from there. He same way that you would hear people play “Joy taking all sorts of liberties.
really is one of the rare artist who loves to ex- Spring” or “Hot House.” So for me I loved that
plore giving up the spotlight which is a tough aspect of Miles’ playing. The searching quality CB: I loved that because what it did, it made
thing for most big pop stars. He was into and of that music. The ballads that he would play, “I Miles Davis not try to be Dizzy Gillespie. Of
would push me to the forefront a lot. Musically Thought About You,” or “Funny Valentine,” and course with limited chops you can’t be Dizzy
and improvisation wise he would just let me be all of that kind of deconstruction thing I loved. Gillespie anyhow. He didn’t do, “Boo ba-do-ba-
myself in the contest of his music. It’s not al- But I realized, when I first moved to New York, do-ba-de-ba-doo-be. He just went off into “bah...
ways about playing a particular thing, it’s about that I wasn’t going to be a hard Bebop trumpet Beee” [emulates long tones on trumpet] all that
really being a personality. And I love that in my player like Roy Hargrove. It was at the time whatever. That’s when I think Miles Davis really
own band. Sting definitely likes personality. when Wynton really burst on the scene, a few started to shine. As great as he is and certainly is
There’s Vinnie Colaiuta Kenny Kirkland or years before I moved to New York. I knew I was my favorite, it’s his limitations that really made
Branford Marsalis. He digs that sort of thing and not going to try to go into that world and com- him great. He couldn’t get around the horn like
they’re all radically different. The way that they pete with that particular kind of thing. Wynton Dizzy or Clifford or certainly not Wynton today.
approach music. Whereas some people want can do whatever he wants—he’s a great trumpet The trumpet is a very unforgiving instrument.
their band to just play the parts. Even if someone player. He can play all those things. I moved to Even by the time you get to a certain age you’re
is different they’re interchangeable but the parts New York at the time when there was this kind locked into a certain approach on the trumpet.
are all the same. Sting is not like that and cer- of affection for the superstar sidemen. You know What people ultimately don’t give Miles enough
tainly Miles was not like that at all either. Sanborn, Michael Brecker, Randy Brecker. Out credit for. I mean they certainly love him, but he
It ultimately comes down to great casting. You in L.A., it was Jerry Hay and that sort of stuff. I made great records. I think that’s one of the thing
wouldn’t have Robert De Niro do a certain wanted to combine my love of 1960s Miles that separates him from certainly a lot of his
movie that you might have someone else do. Davis with kind of a head for Pop music—and peers. This is one of the things that I get into
Casting in music is so important and it’s over- not just be a Bebop trumpet player. Bebop, what with jazz musicians. A lot of jazz musicians are
looked. Or it’s underrated. Miles was ultimately you’re really referring to is the chords. A lot of not interested in record making. Record making
a great casting director. In Pop music Sting has the popular music instrumentalists that play isn’t just “Oh, I’ve got a pro tools kit” or what-
been a great casting director. That sort of thing is saxophone—the harmony is coming out of R&B ever the latest gizmo is. If you look at Miles
very, very important. Just because you can play music. There’s really very little to do with har- Davis or Frank Sinatra, they surrounded them-
one particular thing great doesn’t mean you’re mony in my music that’s R&B related. The way selves with the best engineers and the best ar-
great for all things. That’s certainly been a lesson that Luther Vandross or those kinds of artists rangers, they went in the best studios. They
I’ve learned over the years. view harmony is much more prevalent in some really cared about what space they played in,
pop music from saxophone players than there is where they stood, what kind of microphone they
Hear Chris Botti my stuff. My last two records have a lot more to used. Certainly Gil Evans was paramount with
at the Blue Note Jazz Club do with a certain kind of jazz. Harmonically, it’s Miles sound on a few records. It shaped the
131 W. 3rd St, New York, NY 10012 much more into that then a bunch of R&B sound of his stuff. A lot of his contemporaries
212-475-8592 chords. were trying to get from fix to fix to fix. They’d
Visit Chris on the internet at give away their trumpet or they’d be recording
www.ChrisBotti.com JI: You mentioned earlier about deconstructing on six different labels. You can feel the uneven-

To Advertise CALL: 212-889-0853 Jazz Improv ® Magazine’s New York Jazz Guide  www.jazzimprov.com  December 2006 31
ness of the work. Miles was trying for something
for three or four records and then he’d shift to
another kind of thing. I still marvel at that kind
of attention to detail. Also, his allowing people
to be personalities in and amongst the music.
When he’d put the horn down and would walk to
the side of the stage, the audience would be
viewing literally the history of jazz in front of
them—you know Miles, Coltrane, Cannonball,
Chic Corea, Keith Jarrett the list goes on and on.
All the way up to Marcus Miller, Darryl Jones,
Kenny Kirkland. That sort of thing was just so
running through Miles’ music so heavily. A lot
of jazz musicians now, especially young trumpet
players I hear, just go into a room set up some
microphones and blast at the microphones. They
Mandel. The stuff.
JI: Night and day.
CB: It’s night and day difference. It’s the same
guy, same heartbeat, same voice. Why is it so
great and so different and so much more accessi-
ble? It’s because they made great records and
they understood. One of my favorites of that
stuff is The Jobim/Sinatra record. You know the
whole basis for that is they would come in and
they would just whisper a record. Everything
was soft and in restraint. I don’t know if some-
body said that to Miles when he made Kind Of
Blue. The kind of restraint on Kind of Blue is
very similar to me to the kind of restraint I guess
that help them understand stuff. Unfortunately, a
lot of times if you come out with an all original
record and they go “huh.” It’s no secret to me
why Miles played a lot of familiar stuff at differ-
ent parts of his career. It enabled them to decon-
struct the stuff, but at some point in the thing it
gave the audience something to grasp on to.
JI: It insured for him as an artist that he would
immediately have people relating to what he did
at some level. How is your perspective and the
interaction or process of making music different
or deeper now than it was when you were focus-
ing on being a strict jazz player when you came
to New York, given that you now have had the
opportunity to perform in high profile situations?

CB: The hard core jazz phase...because I had all

“ It’s a very precarious thing for jazz
musicians because they want to get off,
and get all of their feelings onto
a thing. But sometimes you need
to have some restraint. ”
wonder why didn’t it read like a really beautiful
record when I go home and listen to it. It’s one
thing to go in a club and write it out. I’m all for
that. But making records is a different thing. It’s
a very precarious thing for jazz musicians be-
cause they want to get off and get all of their
feelings onto a thing. But sometimes you need to
have some restraint.
JI: Anybody who has made a record knows the
kind of detail that goes into it. The question is
whether you go to the next level and agonize
over all the things that are worth agonizing over,
or just go into a studio and set up a mic and just
blow.
CB: Agonize over what happens before you
blow. Over the arrangers, producers. I’m not a
real big fan of agonizing after. A lot of people go
in and move every single lick around, punch in
every note. It takes the essence of risk out of it
for me. Different parts of my career maybe I did
it too.
JI: The amazing thing about Sinatra’s albums, in
addition to the great arrangements, big bands,
soloists was how meticulously organized the
finished albums were.
CB: Sinatra was certainly probably one of the
greatest record makers. When you listen
to his Columbia records, they suck, you
know...his earlier stuff. I mean, I’m like who is
that guy. When he surrounded himself with that
great team; the stuff with Jobim, Count Basie,
then all of a sudden, “Whoa!” These arrange-
ments came out of Nelson Riddle and Johnny
of those other guys that I looked up to too, it was
sort of a two pronged effort. You really want to
be a great improviser or an original improviser
for yourself and set yourself apart in some way.
But also I loved Sanborn and Michael Brecker,
Randy and they were cool to me, man. They
would play solo’s on pop albums that I thought
was interesting. So I moved to new York and got
involved in that world and realized that
maybe my one way that I could say, I’m not
Wynton Marsalis.” I still valued as an impro-
viser being the jazz musician that the pop musi-
cians would go to. I have so much respect for
Wynton and really revolutionizing the instru-
Kind of Blue was before. The restraint on the ment when he came out. So many people when
Jobim/Sinatra record has that same sort of feel- he came out (laughs)...it’s hilarious to me. It’s
ing that Kind of Blue has. Kind of Blue would be like in sports, you just can’t get away from the
like a pop record now in a lot of ways. fact that Michael Jordan is an incredible basket-
ball player. Everyone can say that he leaps from
JI: Those are some of my favorites, the ones he the free throw line and smashes the basketball
did in the sixties. The Jobim record was around over someone’s head and that’s great, but in
’66 or ‘68. So when you do an album you’re music it’s more subjective thing and peo-
implementing all of those things that you talked ple’s ego’s come into play. They hear Wynton
about. You’re going through these processes in do some things on the trumpet that physically no
advance. How is the composing process for you? one can do. Then I hear trumpet players say, “He
For me and other people that I know, some times doesn’t do it for me.” I go, “Yeah right. Give me
I’ll agonize over a melody that’ll take forever a break...the guy can play his ass off.” So when
and other times I’ll come up with fifteen differ- Wynton came on the scene, it was so powerful I
ent ideas and I don’t know which of them to use. just kinda go there’s no way I can compete with
Whether I’m at the piano or jumping out of bed that. So what do I do to still be a valid person? A
while I’m sleeping. How does that process work valid trumpet player, valid improviser or valid
for you? record maker? That became my
path. Literally I’m going, “Okay, I get you.” I’m
CB: It’s changed. Over the years when I first waving the white flag when it comes to that. So,
started out, I’d have more realized sketches be- now I’m going to move over here and do this
fore we go into the studio. Now, my last two kind of thing in hopes that I can separate and get
records I’ve done are the biggest sellers for me my trumpet sound to be recognizable. So, via a
in the cross over market, and are all famous bunch of breaks with Paul Simon, Joni Mitchell
songs with a couple of exceptions. I’ve been and then the big break obviously with Sting, I
kind of co-writing. I enjoy that process quite a developed myself as the jazz guy that pop musi-
bit. I co-wrote something with Burt Bacharach cians would call. Quite frankly, a lot of jazz
and a few things with Billy Childs. That’s been musicians find themselves in a pop venue like I
fun for me to go into these situations. I can defi- would be with Sting and they over play to death.
nitely see myself changing my attitude. Whereas They don’t know how to work with a singer. I
ten years ago, I wanted to try to do it all. Now, have that kind of sculpted out through my love
really I just want to play trumpet and try to get of a certain kind of elevated pop music. An ap-
an audience with the sound of my trumpet more preciation for that. A lot of jazz musicians fail at
even than composing. It’s so difficult with in- that sort of thing. I kind of realized that I wasn’t
strumental music. If you give people a familiar going to be Wynton Marsalis and how do I do
song, you’re at least giving them something fa- this? And that became my goal. ♪
miliar and you can wrap it around with trappings

32 December 2006  Jazz Improv ® Magazine’s New York Jazz Guide  www.jazzimprov.com To Advertise CALL: 212-889-0853
 Jazz Nativity” Turns 21 and Goes to Birdland
By John Armato
“Bending Towards The Light: A Jazz Nativity”
turns 21 this December and celebrates the milestone
with it’s first-ever shows in a jazz club, Birdland,
Christmas Eve and Christmas Day. It’s another plot
twist in the amazing story about a show that was born
in a church, raised on the stage, and, now, comes of
age in a major club.
The story began in 1985 at St. Peter’s Church,
where the late Rev. John Garcia Gensel first sug-
gested singer/songwriter Anne Phillips as the writer of
the Nativity through jazz. Anne turned the Gospel
stories into a score, and Dave and Iola Brubeck – and
Anne’s husband, saxophonist Bob Kindred – contrib-
uted additional music. Directors Beth and Tad Jones
turned it all into a simple but beautiful show.
As in all good stories, our-hero-the-show found
success, fell on hard times, and achieved triumphs,
among them: attracting amazing talent. Over the
years the Jazz Nativity has brought to the stage Lionel
Hampton, Al Grey, Tito Puente, Slide Hampton,
Savion Glover, Jon Faddis, Dave Brubeck, Dr. Billy
Taylor, Phil Woods, Clark Terry, Jimmy Slyde, Can-
dido, Stanley Turrentine, Paquito D’Rivera and others.
In recent years, a published version of the show has
been performed by amateur, college, and professional
theater groups from New York to Chicago, and from
North Carolina to Ketchikan, Alaska. The show has
even been featured on CBS Sunday Morning and in a
BBC documentary.
But like Mary and Joseph, Anne and Bob have
had to look hard for a home for their baby from the
To Advertise CALL: 212-889-0853
very beginning. They’ve roamed from St. Bart’s to
Lincoln Center. Once, when a venue couldn’t be
found, the Stephen Wise Free Synagogue took the
Nativity in. The headlines read “Rabbi saves Christ-
mas.”
Three years ago cast and fans alike plowed
through a blizzard to get to the Patriot Theater in
Trenton. Last year the show came to Symphony
Space, playing the very two days of the city’s transit
strike. Subways and busses had ground to a halt,
slowing the city even more than the blizzard had, so
there was extra room at the inn that night. Too bad.
Those who were there describe the performance as a
magical celebration of the show’s 20th anniversary.
This year, it looked like the Jazz Nativity would have
to take Christmas off. That is, until a couple of weeks
ago. At the same time as Anne and Bob were resign-
ing themselves to a hiatus, two unlikely Santas were
mulling over some thoughts of their own.
Irvin Arthur, a veteran agent who has seen many
Christmases come and go while booking the Carlyle
and other venerable NYC clubs and cabarets, is a fan
of the Jazz Nativity and always felt there was
“something else” to do with it, but just couldn’t figure
out what.
Then three things happened about as fast as
phones could ring: Irvin figured out what the
“something else” was. He called Anne, breathless,
blunt, and blurting out: “What about a club? Can you
do it in a club?” Anne shouted “yes!” and Irvin called
Birdland and they said yes. Everyone’s plans changed
and it was time to mount one of New York’s favorite
Christmas shows in a first-ever jazz club production.
Jazz Improv ® Magazine’s New York Jazz Guide  www.jazzimprov.com  December 2006
Within days, and in classic “come-on-kids-let’s-put-on-
a-show!” style, Anne had booked musicians, printed
posters, written press releases, and summoned Beth
and Tad Jones to restage the production.
So now, like a re-mastered release of a cher-
ished recording, the Jazz Nativity is back, refreshed
and scheduled for shows Christmas Eve and Christ-
mas Day to keep the holiday fire alive after that inevi-
table post-meal-and-gifts let-down.
Fans will find the same music, the same book,
the same wonderful family experience, but tailored to
the club. The 16-person company will take on multiple
roles, and the set and costuming will suit the more
intimate setting.
The Jazz Nativity is all grown up. It literally has
been to church and to school, seen its name in lights
and seen the world, and now it’s returned, tall and
handsome and ready to make Birdland its home for
the holidays.
  
BENDING TOWARDS THE LIGHT: A JAZZ NATIVITY.
December 24, 6 p.m. and December 25, 5 and 8 p.m. at
Birdland, 315 West 44th Street, between 8th and 9th
Avenues. Written and conducted by Anne Phillips. Musi-
cal direction by Bob Kindred. Directed by Beth and Tad
Jones. Original music by Phillips, Kindred and Dave and
Iola Brubeck. With Slide Hampton (trombone), Max Pollak
(tap dancer) and Dave Valentin (flute) as the Three Jazz
Kings. Featuring Hilary Kole as Mary and Brenda Fe-
liciano as the Archangel, plus an all-star jazz band. Pro-
duced by Kindred Spirits. Tickets: Birdland Box Office
(212-581-3080) or www.birdlandjazz.com. $35. For more
information: www.jazznativity.com.
33

CAPE TOWN INTERNATIONAL
JAZZZ FESTIVAL
Major Expansion of Essentially Ellington
High School Jazz Band Program
For the first time, during the 2006-07 aca-
demic year, Jazz at Lincoln Center will offer a
new expansion of the Essentially Ellington High
School Jazz Band Program (EE): three tiers of
membership. Premium Membership (the original
program with some added benefits), a Basic
Membership and a Student Membership. The
new membership levels are aimed at providing
more high school jazz bands with the opportu-
nity to receive the educational resources of this
program, including an easy-to-medium level
chart that will teach the skills for playing Duke
Ellington’s music.
Also new in 2007, both Premium and Basic
EE members are eligible to take part in regional
festivals. The non-competitive festivals are de-
signed to offer bands of all levels the opportunity
to perform Ellington’s music and receive profes-
sional feedback from Jazz at Lincoln Center
clinicians and other jazz professionals. Spring
2007 regionals will be held at the University of
North Carolina in Chapel Hill on March 1, 2007
and at Temple University, Philadelphia, Pennsyl-
vania on March 8, 2007. One additional location
will be announced in the coming months.
The submission recordings for this year’s
12th Annual EE, which will take place on May
4-6, 2007, are due on January 31, 2007. For
more information on the history of EE, please
visit: http://www.jalc.org/jazzED/ee/
b_description.html

Audition Applications Available Now For Jazz &

Hip-Hop/Urban Music Quartets 2007-2008 Tours
The U.S. Department of State’s Bureau of
Educational and Cultural Affairs and Jazz at
Lincoln Center are accepting applications for the
2007-2008 Rhythm Road: American Music
Abroad Program. Jazz and hip-hop/urban music
quartets from around the country are invited to
apply for the opportunity to travel to countries
not often visited by American musicians to in-
crease cross-cultural understanding.
Applications for the 2007-2008 tours are
available at www.jalc.org/TheRoad_noFl/
formusicians.html and are due on January 30,
2007. A panel of musicians and scholars will
review all applications and invite the top quartets
to attend live auditions at Frederick P Rose Hall,
home of Jazz at Lincoln Center in New York,
and additional U.S. cities to be determined. Hip-
hop/urban auditions are scheduled for March 23
& 24, 2007 and jazz auditions are scheduled for
April 1 & 2, 2007.
A panel of musicians, experts and U.S.
State Department representatives will select six
jazz quartets and three urban music groups will
be selected for the 2007-2008 touring season.
Musicians inquiring about auditions may visit
www.jalc.org/TheRoad, call 212.258.9899 or
email amap@jalc.org.
The tours are co-produced by Jazz at Lin-
coln Center, the Bureau of Educational and Cul-
tural Affairs of the U.S. Department of State and
U.S. Embassies abroad. Selected ensembles are
provided overseas traveling expenses, an hono-
rarium, and a tremendous opportunity for per-
formance and cultural exchange. In addition to
public concerts, musicians will conduct master
classes, lecture-recitals, workshops, jam ses-
sions, and make radio and TV appearances. The
selected groups also will perform free concerts at
Dizzy’s Club Coca-Cola in Frederick P. Rose
Hall as well as in Washington, D.C.
“Music is the only true universal language
with the power and spirit to bring people to-
gether. The Rhythm Road tour is a natural exten-
sion of our mission that brings jazz to as many
people as possible in the name of universal
friendship,” said Artistic Director of Jazz at Lin-
coln Center, Wynton Marsalis.
For more information on Jazz at Lincoln
Center, visit: www.jalc.orgor more information
visit: www.jalc.org

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 venue review
Parlor Entertainment
By Eric Frazier ing in your living room.” Lyle Atkinson, Bob Cunningham, Richard Wy-
In 2001 Ms. Eliot was inducted into the ands, Benny Powell, Bill Easley, Charles Davis,
Peoples Hall of Fame housed in the Museum of David Lee Jones, Dave Hubbard, Brian Smith,
n Sunday after- The City of New York by City Lore, a non-profit Charles McGee, and Jimmy Vass.
noons, you can organization dedicated to recognizing the City’s The people that come to Parlor Entertain-
hear the sounds of living cultural treasures for keeping alive a ment are absolutely remarkable. The way they
jazz music filling unique expression of Harlem jazz. embrace it has been the most surprising thing to
the air from the apartment of Marjorie stated, “Once a year I do an out- me. My story could be very sad, but the people
pianist, playwright, actress door show at Morris Jumel Mansion and people who have come into my life have made it a joy-
and teacher Marjorie Eliot. She is the founder have been so loyal. They come every year. My ous story. People can donate if they wish but
and Artistic Director of Parlor Entertainment, oldest son, Michael, passed away in January admission is absolutely free. We began getting
which presents free jazz, shows at 2:00 and 2006 and it has been tough. I have the most won- people to attend shows by sending out about 200
4:00pm every Sunday. derful people who come here and they are very mailings. Since then word of mouth and great
By the age of twelve, Marjorie was already supportive. A couple came here from New Zea- people have helped Parlor Entertainment to take
playing for the junior choir at her Methodist land and they had lost a son as well. We con- on a life of its own. It’s a miracle how people
church in Philadelphia, Pennsylvania. She later nected right away and they have kept in touch. have embraced us. This past Wednesday we had
performed in the Pulitzer Prize win-
ing play “No Place to be Somebody”
by Charles Gordone. Marjorie loves
people and immensely loves and
appreciates the music played at her
home each Sunday. There is no
cover charge, no two-drink mini-
“ My story
could be very
mum, no rush to clear out the room
before the second set. In fact, Ms.
Eliot will even serve salad and apple
sad, but the
juice to her loyal listeners during
intermission. Marjorie decided she
people who have
would not wait to achieve her dream
of having a theater of her own. It
come into my life
was time for jazz to come back up- have made it
town, free of commercial pressures

”
and sky-high tabs of downtown a joyous story.

Photo by Eric Frazier

clubs. She created the ultimate inti-
mate setting where musicians who
played at the Blue Note or Lincoln
Center the night before could kick
back and let loose.
Marjorie had five distinctly — Marjorie Eliot
talented sons: Rudel, Shawn, Alfred,
Michael and Phillip. The Sunday
shows originated as a tribute to Phil-
lip who passed away on a Sunday in
1992 and and began in August of
1993 outdoors on the lawn of the
historic Morris Jumel Mansion. Past
shows were hosted by Reverend John Garcia My boys grew up with theater and music in the people from France. The previous Sunday we
Gensel, formerly of St. Peters Church on 54 home. I was raised by teachers, my parents and had people from Montreal, Canada and people
Lexington Avenue. Reverend John was the foun- my aunts. Teachers are great actors and great from Germany. It’s a motivation to do things
der of the Jazz Vespers Ministry at St. Peters motivational speakers. We do concerts that start better. All of your experiences matter. People
Church. Marjorie hasn’t missed a Sunday since. at 4PM and 6:30PM every Sunday. Sometimes can expect that all shows start on time. The mu-
When visitors walk into 555 Edgecombe we have play readings after the concerts. We sicians are very professional and that’s how the
Avenue in Harlem, they are filled with a sense of have poetry on some Sundays as well. Teachers audience treats it. Its a paid gig for musicians
grandeur from a past era. The building has mar- call to bring their students here for field trips. I even though everything is free. The universal
ble walls and leaded-glass ceilings and was love doing things for children. On Saturday, message of music brings people together. I met a
home to such greats as Count Basie, Paul Robe- December 2, 2006, at 4PM Parlor Entertainment German group and they were very stiff. By the
son, Charles Buchanan, Johnny Hodges and will do a free concert for the Children’s Hospital time intermission came about they were just
Andy Kirk. A young saxophonist named Sonny at Columbia Presbyterian Hospital on 165th and loose and talking away. That’s what music does.
Rollins used to visit Andy Kirk here to take les- Broadway. It will feature Gerald Hayes and Se- Visit Marjorie Eliot and Parlor Jazz, every
sons. Ms. Eliot recalled how music at home was dric Choukroun (sax), Rudel Drears (piano/ Sunday. December Schedule: Dec. 3: Gerald
just a part of what you did as a cultured person. vocals and the Musical Director for Parlor Enter- Hayes, sax; 12/10: Nabate Isles, trumpet;
“I grew up before grants and all those things tainment.), Nabate Isles (trumpet) and Don Mare 12/17:David Lee Jones, sax; 12/24: Bob Cun-
were happening. Every month my piano teacher (bass). ningham, bass. For more information, visit
had a recital and we played for family and Other artists who have also graced our www.parlorentertainment.com or call 212-781-
friends. I came up with the concept of perform- venue include Jimmy Owens, Cecil Bridgewater, 6595. ♪

To Advertise CALL: 212-889-0853 Jazz Improv ® Magazine’s New York Jazz Guide  www.jazzimprov.com  December 2006 47
 venue review
RARE’s Lexington Lounge
By Winthrop Bedford
A conversation with Ross Lombardo (Partner),
and Aoife Freeman, Manager
JI: Could you talk about the development
of RARE’s Lexington Lounge from concept to
reality?
RL: I wanted to create an atmosphere that al-
lowed guests from the hotel as well as New
Yorkers to enjoy. Our restaurant gets very
crowded and can be quite loud. I felt The Lex-
ington Lounge and the live jazz would be a nice
alternative. I have known for a long time that
good music attracts people. I have always loved
jazz and felt it would be perfect for the space.
JI: Ross, you’ve had a long standing interest in
jazz. Could you tell us about what sparked his
interest?
RL: I grew up listening to Glen Miller, Ella
Fitzgerald, Stan Getz, Louis Armstrong, and
John Coltrane to name a few. I used to go and
listen to my father play the saxophone. He was a
bandleader for Duchin Entertainment. The bands
were so good. It was all ad
lib. They were playing
from the heart. It was fasci-
nating to watch my father
lead the job. He would
point to one of the musi-
cians to stand and take a
solo while they were all
playing. This might have
been the first time they
have even played together.
The musician would sim-
ply stand up and belt out
the solo: Effortless. I was
amazed at how the band
created this wonderful
atmosphere. People don’t
realize how important mu-
sic is to a party.
RL: What was your con-
cept in planning the layout Above top: Aoife Freeman, Manager; Ross Lombardo (one of the co-partners);
and design of the club’s
interior?
RL: There were limited possibilities for the
room because there are no windows and the
space is small. We thought that ive jazz would
be a smart choice because it would be a nice
amenity to the hotel guests. I have witnessed
how my father’s bands created this wonderful
vibe for a party. People love listening to good
music. I did my research. I went to several other
jazz clubs around town. Some of them were
great, but some of them were just okay. I noticed
what worked and what did not. I felt I had the
right ingredients and knowledge to, at least, take
a chance. The room was so stark at first. The
48 December 2006  Jazz Improv ® Magazine’s New York Jazz Guide  www.jazzimprov.com
only jobs the Lexington Lounge did were early carpet soften up the room for the eye, as well as
morning and mid afternoon meetings. The space improving the sound. The musicians have told
was always empty in the evening. As a business me that the room is exactly the kind of room in
man, this was unacceptable. I needed to sell this which they like to play in.
room at night. The problem was, it looked like a
classroom. It was the complete opposite of what JI: What are the covers and minimums?
a swanky Jazz club should look like. The con-
cept for the layout started with the baby grand RL: No cover charge. Two drink minimum—
piano. It is by far the most important item pur- with fair prices. We have a full bar.
chased to create the room’s vibe. It was my fa-
ther’s advice. He said, “Do not spend a dime on JI: Tell us about how you chose the piano for
anything until you buy a baby grand.” Thanks the room?
Dad! The rest of the design
flowed easily as I purchased RL: I purchased a
navy velvet fabric and had Young Chang from a
them made into ceiling to couple that barely
floor curtains, added some used it on the Upper
gold ribbons to tie them off. West Side. I did my
We added benches with cush- research. I was on
ions and crushed red velvet such a tight budget. I
pillows that surround the was looking at a
room. The VIP room, or as I white Young Chang
call it the “red room” is deco- Baby Grand in a
rated with a black couch, ac- store for $6000. The
cented with red and gold pil- salesman was very
lows, and a bit of foliage. helpful with the in-
Very simple, this makes it formation. I knew the
price was too high
for us and a white
piano was not invit-
ing enough for a Jazz
club. Perhaps for
Little Richard or
Jerry Lee Lewis. I
then went hunting
online, and found a
beautiful black
Young Chang in great
condition, for half the price than the
one I saw in the store. I got the best
piano I could for a very reasonable
price. It was one of the most exciting
days for me when it was delivered. I
kept saying “the baby is coming to-
day!”
JI: Who are the artists that you have
featured so far?
Above: RARE’s Lexington Lounge (partial view) RL: We change the bands up to keep
things fresh. Bob Cranshaw, Al Gafa,
sexy! Aoife was a tremendous help to achieve Frank Gravis, and Jay Leonhart are absolute
the right look. professionals. I am lucky to have them. Bob was
the original bass player on Sesame Street and
JI: Could you discuss the acoustics in the club? Saturday Night Live. He currently tours with
Sonny Rollins and is one of the coolest men I
RL: The acoustics make a good band sound have ever met. Al Gafa played with Dizzy Gil-
great! The plush curtains, furniture, couches and lespie. He now plays for many Broadway Musi-
cals. Frank Gravis is currently touring in Europe
RARE’s Lexington Lounge for Duchin Entertainment. Jay Leonhart played
303 Lexington Ave. with such greats as Mel Torme and Stan Getz. I
at The Shelburne Hotel can’t say enough about these guys. They are just
212-481-1999 as good as anybody I have seen at the other jazz
clubs. Actually, they may even be better.
www.rarebarandgrill.com
To Advertise CALL: 212-889-0853
 ON THE LATIN BEAT
“Saludos” to all!
By Harry Maisonette
“Saludos” to all! In this column, I will be
as informative as possible on all subjects re-
lated to Latin music, Latin jazz, world beat,
and a touch of jazz. All comments and or sug-
gestions are welcomed, but please be gentle!
I had the pleasure of spending a beautiful
fall day across from Central Park in Spanish
Harlem, where you’ll find the Harbor Conser-
vatory for the Performing Arts, a division of
Boys and Girls Harbor. This pre-professional
institution, offering low-cost training in mu-
sic, dance, and theater to over 1,300 students,
was in full swing celebrating its 5th annual
“Salsa Sunday.”
Welcoming the Latin Grammy’s to New
York City was no small feat for director
Ramon Rodriguez and curator Louis Bauzo.
The conservatory was a flurry of excitement
and activity. The Raices Latin Music Collec-
tion (raices means “roots” in Spanish) is on
the 5th floor gallery; Afro-Puerto Rican bomba
class is at studio 623; “Mr. Bang-Bang,” Joe
Cuba, was being interviewed by Aurora Flo-
res on the 3rd floor; Manny Oquendo’s Libre
featuring Frankie Vazquez on the 5th floor;
and finally the “Palladium dance” featuring
Louie Bauzo and The Harbor Latin Big Band.
What a blast – all this for five bucks! A won-
der in our era of cut-backs, this institution is
an excellent resource for all those interested in
the arts. Mucho thanks to Ramon and Louis.
I also had a chance to stop by the Exit Art
gallery on 475 10th Avenue to check out “Viva
La Musica,” a celebration of 50 years of Latin
music album cover art. The exhibit traces the
visual history of Latino identity, culture, and
aesthetics using the mediums of album art and
music. The curator, Pablo Yglesias, utilized
hundreds of covers and graphic artists such as
Chico Alvarez, Izzy Sanabria, and Charlie
Rosario. The latter is a renaissance man unto
himself. Rosario paints, draws, photographs,
(RARE’s Lexington Lounge—Continued from page 48)
JI: What kinds of food and drink can patrons
enjoy? What kinds of plans do you have for the
future.
RL: We offer complimentary salsa and chips.
Food is minimal for now in the Lexington
Lounge, but our restaurant Rare Bar and Grill is
less than 15 feet away. You can have a bite to eat
at Rare and then come to the Lexington Lounge
and listen to great Jazz. Not a bad evening!
JI: How did you chose the name?
To Advertise CALL: 212-889-0853
and sculpts along with being a folkloric arti-
san, poet, composer and percussionist. More
information about this great show can be
found at ExitArt.org.
On the same night, I popped into the leg-
endary Copa Cabana in its newest incarnation
on West 34th Street and 11th Avenue. The club
looks very sleek, especially on Latin Tues-
day’s, with lots of neon and of course lots of
palm trees. An eclectic crowd all decked out
in their Halloween finery and plenty of Latin
ladies to dance with fill these two floors of
continuous dancing. I hadn’t been there in
years, and this nostalgic trip was well worth it.
Long live the Copa!
I got a call from Shelton Gary, drummer
for the Harlem Blues and Jazz Band, jazz
raconteur, and all around great guy. He invited
us to the “Friendly 50 club” (Jazz Society) for
the 46th Annual Harvey Davis Scholarship
Fund, which provides music scholarship funds
for young musicians who are interested in the
study of jazz. In attendance was jazz philan-
thropist Cobi Narita, and her husband Paul
Ash, of Sam Ash Music Stores. Narita, whose
age has not slowed her down one bit, men-
tioned to me that other than the advancing
glaucoma, arthritis, and other ailments, she
was doing just fine, thank you! And off she
went across the dance floor. Wow! One of the
many highlights of the evening were the per-
formances of the scholarship recipients. Alto
saxophonist, Melvin Brison, showed he can
hold his own and baritone saxophonist Kim
Amonte sounded very smooth and mellow.
But it was the piano virtuosity of young Miller
Lulow that blew me away. Reminiscent of a
young Harry Connick, Jr., this young man just
ate up the keyboard with jazz elegance. He
certainly has a bright future ahead of him.
More music was provided by tenor saxophon-
ist Fred Staton, the brother of singer Dakota
RL: The room was called the Lexington Room. I
still needed to sell the idea to the hotel. The Lex-
ington Room does not sound very inviting, so I
named it the Lexington Lounge. We still needed
to sell the idea to the hotel. Keeping the name
similar made the transition painless.
JI: Could you talk about the development of
RARE, along with some of the basic business
understandings that you embrace which have
enabled you to make it successful?
RL: Rare’s motto is: do something simple, but
Jazz Improv ® Magazine’s New York Jazz Guide  www.jazzimprov.com  December 2006
Staton, and his Original Jazz Gents. A won-
derful evening was had by all.
Producer and filmmaker Ivan Acosta
presented his Latin Jazz USA Concert 2006 at
Town Hall on October 19th. Pianist-composer
Maestro Edy Martinez conducted his 18-piece
Latin Jazz Band, featuring in different con-
figurations Dave Valentine, Oscar Castro Ne-
ves, and Candido Camaro. The show was a
Latin jazz extravaganza, an in-the-pocket suc-
cess. Look for further coverage in January.
Sergio Mendes blew into town courtesy
of Mark Morganelli of Jazz Forum Arts, at
SUNY Purchase Performing Arts Center. Ser-
gio, always on the cutting edge, comes full
circle with his newest album, Timeless. Pro-
duced by and featuring Will. I.Am of the
Black Eyes Peas, Timeless communicates
loudly that Sergio and the sounds of Brazil are
back. That’s the bottom line! It was a spec-
tacular show; more to come in January.
On the way to Athens, Greece, singer
Frankie Vásquez stopped by to present his
Salsfied Latin Vocals. “Buena Suerte,” her-
mano. Jimmy Delgado, master timbalero and
alumni of the Ray Barretto University,
stopped touring long enough to record his first
solo effort in Salsa con Dulzura. This album
swings from beginning to end, employing a
virtual who’s who of Latin Americana. As
Pacheco would say, “He’s cooking with gas.”
Congratulations all around to Jimmy. And last
but not least, somebody please speak to the
music gods that be to get their act together at
the so-called Latin Grammy’s, presented in
the Big “Mango” Apple. And not a mention, a
blurb, of the pioneers of Latin music in New
York or the rest of this country – shame,
shame, shame.
Have a wonderful holiday and blessings
to all. “¡Que vive la musica!”
  
do it great! Everyone enjoys a burger, why not
set out to make the best burger possible. My
partners and I are always looking for ways to
improve the business. We never want to get
complacent. We are also very “hands on own-
ers”. I have never asked an employee of mine to
do a job that I have not done myself. I believe I
have gained a lot of respect from them this way.
They have seen the owners sweeping floors,
bussing tables and plunging toilets. The good
thing about being the boss is you get to choose
the 70 hours a week to work.
  
49
 calendar of events
How To Get Your Gigs and Events Listed in Jazz Improv’s New York Jazz Guide & Directory
Submit your listings via e-mail to jazz@jazzimprov.com. Include date, times, location, phone num-
ber for additional information and or tickets/reservations. DEADLINE: 14th of the month preceding
publication (e.g. May 14 for June issue). Listings placed on a first come basis.
REGULAR ENGAGEMENTS
Mondays
Ari Hoenig Trio Small’s 10:00pm
Cecil’s Big Band w/ Joe Elefante Cecil’s 9:00pm
The Grove Street Stompers Arthur’s Tavern 8:00pm
Gene Bertoncini Le Madeleine Bistro
Howard Williams Orchestra Garage 8:00pm
Jason Linder Big Band Fat Cat 10:00pm
John Farnsworth Jazz Jam Smoke 8:00pm
Les Paul & his Trio Iridium 8:00 & 10:30pm
Miles Mondays Mo Pitkin’s 6:00—9:00pm
New School for Jazz Sweet Rhythm 8, 10:00pm
Patience Higgins Lenox Lounge 9:30pm
Ron Affif Trio Zinc Bar 9:00, 11:00pm, 12:30, 2AM
Scott Whitfield Jazz Orchestra Birdland 5:30pm
Vanguard Jazz Orchestra V. Vanguard 9:30 & 11:30pm
Tuesdays
Anat Cohen & Friends Jules Bistro 8:30pm
Bruce Williams Jam Session Cecil’s 9:00pm
David Ostwald, Birdland 5:30pm
Dekel Bor Trio Charley O’s 8:00pm
Duke Ellington Orchestra Birdland 9:00 & 11:00 pm
George Gee Big Band Swing 46 8:30pm-11:30pm
Gene Bertoncini Le Madeleine Bistro
Grant Stewart, Joe Cohn Quintet Small’s 10:00pm
Greg Tardy Group Fat Cat 10:00 & 11:30pm
Hammond B3 Organ Grooves Smoke 9, 11, 12:30am
December 2006  Jazz Improv ® Magazine’s New York Jazz Guide  www.jazzimprov.com
50 November
Jimmy Vaas Cleopatra’s Needle 8:00pm
Ken Hatfield Fetch 8:30 pm—12:00am
Mingus Big Band Iridium 8:00 & 10:30pm
Sedric Choukroun Seppi’s 8:30pm
Sweet Rhythm Vocal Series 8:00 & 10:00pm
TK Blue Dakar Restaurant 8:00pm
Wednesdays
Arturo O’Farrill Sextet Birdland 9:00 & 11:00 pm
Francina Connors’ “Uptown Jazz” Penang 8:00pm
Myron Walden, Danny Barrett Fat Cat 10, 11:30pm
Nathan & Max Lucas Organ Trio Lenox Lounge 6:00pm
Thursdays
Eddie Martinez Big Band Fat Cat 10:00 & 11:30 pm
Manhattan Ragtime Orchestra The Cajun 8:00pm
Pam Purvis Savoy Grill 5:30—7:30pm
Sedric Choukroun Brasserie Julien 7:00pm
Tammy Shoji Open Jam Cleopatra’s Needle 7:30 &
9:30pm
Wayne Krantz 55 Bar 9:30pm
Fridays
Canal Street Dixieland Jazz/Blues Band Cajun 8:00pm
Sedric Choukroun Brasserie Julien 7:00pm
Tommy Igoe’s FNBB Birdland 5:50—7:30pm
Saturdays
Alan Jay Palmer & New Soil Band Creole 9:00pm
Alex Donner Big Band Café Carlyle 5:30pm
Brazilian Bossa Jazz Zinc 10:00 & 11:30pm, 1:00am
John Colianni and Tira Table XII 7:30—11:30pm
Sedric Choukroun Brasserie Julien 7:00pm
Whitney Moulton Trio Perks 7:00—11:00pm
Sundays
Brazilian Samba Jazz Zinc 10:00 & 11:30pm, 1:00am
Bob Kindred, J. Hart, S. LaSpina Café Loup 12:30—3.
Chico O’Farrill Afro-Cuban Jazz Big Band Birdland
9:00 & 11:00 pm
Choro Ensemble Jules Bistro 8:30pm—11:00pm
Chris Washburne Band Smoke 9, 11, 12:30am
David Coss & Trio Garage 7:00pm
Gospel Brunch Buffett Iridium 11:30am—3:00pm
Jazz Standard Youth Orchestra Jazz Standard 2:00pm
Pam Purvis/Bob Ackerman Cecil’s Jazz Club 5:9:00pm Bistro. 403 W. 43rd St. www.genebertoncini.com
Planet Jazz feat. P. Bernstein, J. Magnarelli, S. Wilner, • Fri 12/1: Jazz Jam Opening Ceremony at The Little
N. Miner Small’s 10:00pm Theater. Reception at 7:00 pm. Performance at 8:00 pm.
Rudell Drears, Sedric Choukroun & Marjorie Elliot LPAC Box office: 718 482-5151. Visit us at
Parlor Entertainment 4:00pm www.lagcc.cuny.edu/lpac.
Shawn Aileen Clark Barmarche 7:00pm—11:00pm • Fri 12/1: Deanna Kirk Quartet at Enzo's Jazz at The
Singer’s Open Mic Cleopatra’s Needle 4:00—8:00pm Jolly Hotel Madison Towers. 22 East 38th St. at Madison
Toru Dodo Jam Cleopatra’s Needle 4:00pm Ave. (212) 802 0600. In the Whaler Bar located in the
Zaid Nasser Jam Session Fat Cat 10:00 & 11:30pm Lobby. Complimentary antipasti served by Ristorante
Cinque Terre. $15. cover, 1 drink min. Sets are at 8pm
PERFORMANCE ANNOUNCEMENTS and 9.30pm.
• Fri 12/1: Enrico Granafei at Greenwich Village Bistro.
New York City events@greenwichvillagebistro.com. 212-206-9777.
• Fri 12/1: Tommy Igoe’s Friday Night Big Band at Bird- • Fri 12/1-Sat 12/2: Russ Nolan at the River Room of
land. Every Friday 5:30-7:30PM. 315 W. 44th St. The Harlem 145th and Riverside Dr. 212-491-1500.
FNBB roars into action every Friday, playing the finest • Sat 12/2: Klezmer Madness! Celebrates David Krakaur’s
Jazz, Latin and Brazilian music from the worlds best 50th birthday at Carnegie Hall. 57th St. & 7th Ave. Zankel
arrangers. After work or before a show, drinks or a great Hall, 7:30 pm.
dinner, come hear one of the worlds best drummers • Sat 12/2: Dekel Bor Trio & Paul Speciale Combo at
driving the hardest swinging band in New York. Experi- Greenwich Village Bistro. -206-9777.
ence why the FNBB is fast becoming the must-see weekly • Sat 12/2: Steven Maglio & The Stan Rubin Orchestra
jazz event in New York and kick off your weekend with perform “Sinatra Songs” at the Carnegie Club. 8:30 &
what critics are calling “The best live music bargain in all 10:30PM. 156 W. 56th Street. $30 Cover + 2 drink min.
of NYC!” Visit TommyIgoe.com for surprise special guest Res: 212-957-9676.
line-up. • Sat 12/2: Vocal Artist/Composer/Poet Nora McCarthy in
• Sun & Mon 12/3 12/4: Gene Bertoncini at Le Madeleine RED VOX at the Cornelia Street Café with Dominic
To Advertise CALL: 212-889-0853
 Duvall, Brian Wilson. New & Original Music. 6PM - 8PM.
20 Cornelia Street, (bet W. 4th/Bleecker Sts). cover: $15.
212-989-9319.
• Sun 12/3: The Barry Harris Trio with Singers at St.
Philip's Church Undercroft. 3 pm - 6 pm. 204 West 134
St. 212-862-4940.Donation: $20
www.stphilipsharlem.dioceseny.org.
• Sun 12/3: Bob Kindred Trio at Café Loup. A Jazz
Brunch from heaven. 12:30--3:30pm. No Cover. Bob
Kindred, Steve LaSpina, John Hart. 105 W. 13th St.,
(bet 6th/7th Aves). 212-255-4746. www.bobkindred.com.
• Sun 12/3: Dee Pop presents: Freestyle Jazz at Jimmy's
Restaurant. 43 East 7th St. 212-982-3006. Daniel Levin,
Matt Moran, Peter Bitenc, Nate Wooley @ 7 pm and
Joe Fiedler Trio @ 9 pm. $10 at door. 1 drink min.
• Sun 12/3: Jazz Mass with The Brenda Earle Quartet at
St. Peter’s Church. 5 pm. Lexington Ave @ 54th St.
www.saintpeters.org/jazz. 212-935-2200. Free.
• Sun 12/3: Gerald Hayes, sax at Parlor Entertainment
Jazz, with Marjorie Eliot, piano; Rudell Drears, piano;
Sedric Choukroun, sax; Bob Cunningham, bass. 555
Edgecombe Ave, #3F, (bet 159th &160th St). 212 781
6595. Free Admission. www.parlorentertainment.com.
• Mon 12/4: Mannahatta Jazz on the Bowery. Kelley Sut-
tenfield @ 7, Seth Fruiterman @ 8, Aimee Allen @ 9, &
Steve Slagel w/ Craig Hartley Trio @ 10. 316 Bow-
ery (at Bleecker St.) 212-253-8644. www.mannahatta.us.
No cover.
• Mon 12/4: Vocalist Amy Cervini at Jazz Standard. $15.
7:30 & 9:30 pm. 116 E. 27th Street bet. Lexington and
Park Aves. 212 576 2232.
• Mon 12/4: Yamaha Day of Trumpets. Open Instrument
Testing : 11:00 am - 2:00 pm. Marvin Stamm clinic: 2:00
pm - 3:00 pm. Tiger Okoshi clinic: 3:15 pm - 4:15 pm.
Evening Concert: 7:00 pm - 8:30 pm, Brian Lynch and
his quartet with special guest Tiger Okoshi. All events are
free and open to the public, but seating is limited to the
first 150 people. R.S.V.P. today by sending an e-mail to:
bandandorchestra@yamaha.com Clinics/Concert will be
held on the 3rd floor. Open instrument testing will be held
on both the 3rd and 11th floors.
To Advertise CALL: 212-889-0853
• Tue 12/5: Acoustic Jazz Tuesdays with Ken Hatfield at
Fetch w/Hans Glawischnig, guitar and bass duo. 8:30 –
11:30 pm. 1649 Third Avenue between 92nd and 93rd
Streets, New York City 212-289-2700 / No cover.
www.kenhatfield.com.
• Tue 12/5: Shaynee Rainbolt at the Metropolitan Room
with Neal Kirkwood, Piano; Tom Hubbard, Bass; Jeff
Brillinger, Drums; Chris Rogers, Trumpet; Dave Riek-
enberg, Saxophone...and Special Guest: Jazz Vocalist,
Judy Barnett. Cover: $20/$15 for MAC and Cabaret Hot-
line Online Members (2 drink Min). 4 West 22nd St., NYC.
Res: 212-206-0440. www.metropolitanroom.com.
• Tue 12/5: Mannahatta Jazz on the Bowery. Mary
Gatchell @ 7, Mychele Colleary @ 8, Grady Tate @ 9,
& The Michael Karrtet w/ Ron Afif & Victor Jones @
10:30. 316 Bowery (at Bleecker St.) (212) 253-8644.
www.mannahatta.us. No cover.
• Tue 12/5: Rob McCrone at Greenwich Village Bistro.
events@greenwichvillagebistro.com. 212-206-9777.
• Tue 12/5: Martha Lorin Jazz Quartet at The Metropoli-
tan Room. 34 West 22nd St. (Bet. 5th & 6th Aves). Res-
ervations: (212) 206-0400. 9:00 pm. $20 music charge. in the Lobby. Complimentary antipasti served by Risto-
• Tue 12/5: Jupiter String Quartet at Merkin Concert Hall rante Cinque Terre. $15. cover, 1 drink min. Sets are at
at Kaufman Center. 129 West 67th Street (bet. Bway & 8pm and 9.30pm.
Amsterdam Ave). Tkts: 212 501 3330 or • Wed 12/6: Ted Rosenthal Trio at the Kitano Hotel. 66
www.merkinconcerthall.org. 2pm. Park Ave. @ 38th St. 7:30 & 9:15 pm.
• Tue 12/5: Martha Lorin Jazz Quartet at Metropolitan • Wed 12/6: Jazz vocalist Tierney Sutton is singing I'm
Room at Gotham. 34 West 22nd St. (bet. 5th & 6th Aves.) With The Band at Birdland. 315 W. 44th St. bet. 8th & 9th
Reservations Suggested: (212) 206-0400. 9 pm. $20. Aves. 212 581 3080. 9 pm & 11 pm. $10 min.
• Tue 12/5: First Tuesdays: Free Seminar for All Musi- • Wed 12/6: Brian Van Arsdale Quartet at Greenwich
cians: "Promote Yourself: Web-based Marketing" w/ Jim Village Bistro. 212-206-9777.
Eigo, jazz industry expert at St. Peter’s Church. Lexing- • Wed 12/6: Midtown Jazz at Midday with Tomas Janzon
ton Ave @ 54th St. 212-395-2200. Free. 3 pm. and Ken Filiano at St. Peter’s Church. 1 pm. Lexington
• Wed 12/6: Avi Rothbard at the Ethiopian Restaurant. Ave @ 54th St. 212-395-2200. Free.
The program will include repertoire of the American Song- • Thu 12/7: Sachal Vasandani Group at Sweet Rhythm.
book and Jazz classic for solo guitar. 7:30 to 10:00 pm. 88 Seventh Avenue South between Grove and Bleecker
1582 York Ave bet. 83rd and 84th St. Reservations: (212) Streets.
717-7311. • Thu 12/7: New Sounds Live hosted by John Schaefer:
• Wed 12/6: Deanne Gorman Jazz Quartet at Enzo's Jazz Anonymous 4 at Merkin Concert Hall at Kaufman Cen-
at The Jolly Hotel Madison Towers. 22 East 38th St. at ter. 129 West 67th Street (bet. Bway & Amsterdam Ave).
Madison Ave. (212) 802 0600. In the Whaler Bar located Tkts: 212 501 3330 or www.merkinconcerthall.org. 8 pm.
Jazz Improv ® Magazine’s New York Jazz Guide  www.jazzimprov.com  November 51
December 2006 51
• Thu 12/7: Jack Kleinsinger presents Highlights in
Jazz, Buddy DeFranco. Howard Alden. Derek Smith
Randy Sandke. Rufus Reid. Ed Metz Jr. New York's
Longest Running Jazz Concert Series at Tribeca Perform-
ing Arts Center. 8 pm. The tickets are $30.00 and $27.50,
for students. (212) 220-1460.
• Thu 12/7: Steve Hudson's Outer Bridge Ensemble at
the Knitting Factory. Tap Bar, 12 am. 74 Leonard St.
(212) 219-3006.
• Thu 12/7: Steve Husted Quartet at Greenwich Village
Bistro. 212-206-9777.
• Fri 12/8: Tommy Igoe’s Friday Night Big Band at Bird-
land. Every Friday 5:30-7:30PM. 315 W. 44th St. “The
best live music bargain in all of NYC!” Visit Tommy-
Igoe.com for surprise special guest line-up.
• Fri 12/8: Michelle Walker Quartet at Enzo's Jazz at The
Jolly Hotel Madison Towers. 22 East 38th St. at Madison
Ave. (212) 802 0600. In the Whaler Bar located in the
Lobby. Complimentary antipasti served by Ristorante
Cinque Terre. $15. Cov. 1 drink min. Sets: 8pm & 9.30pm.
• Fri 12/8: Paul Speciale Combo at Greenwich Village
Bistro. 212-206-9777.
• Fri 12/8: Eric Frazier at National Black Theater. 8 pm.
2031 5th Avenue. Info: 212-722-3800.
• Fri 12/8-Sat 12/9: Sanni Orasmaa at the River Room of
Harlem 145th and Riverside Dr. 212-491-1500.
• Fri 12/8-Sat 12/9: Paul Carlon Octet at Fat Cat. 75
Christopher St. 10:00 p.m. - 1:30 a.m. $15; $10 for stu-
dents. www.fatcatjazz.com .
• Sat 12/9: Reissue: Classic Recordings Live feat. Ani-
mation: Miles Davis's Bitches Brew at Merkin Concert
Hall at Kaufman Center. 129 West 67th Street (bet.
Bway & Amsterdam Ave). Tkts: 212 501 3330 or
www.merkinconcerthall.org. 8pm.
• Sat 12/9: Bill Toms and Friends at Greenwich Village
Bistro. 212-206-9777.
• Sat 12/9: Shaynee Rainbolt at the Metropolitan Room
Give Me A Voice: A Benefit for Oprah's Angel Network to
aid the still suffering victims of Hurricane Katrina with
Annie Ross, Branden Cutrell, Thos Shipley, Rick
December 2006  Jazz Improv ® Magazine’s New York Jazz Guide  www.jazzimprov.com
52 November
Jensen, John D'marco, Jeanne Mcdonald, Mary Fos-
ter Conklin, Karen Mack, Terese Genecco, Cynthia
Crane & Kristine Zbornik. 5:00pm. 34 West 22nd St.,
NYC. Res: 212-206-0440. www.metropolitanroom.com.
• Sat 12/9: Joe Locke and Geoffrey Keezer at AC Pi-
anocraft Showroom. 333 West 52nd St. bet 8th & 9th
Ave. 9:00pm - 10:15pm, & 10:45pm - 12:00am. @ web-
site $20.00 cover: www.instantseats.com; @ Door $25.00
cover. Phone: 212-397-5298 Ex.22 or jka-
suga@pinnaclearts.com
• Sat 12/9: Steven Maglio & The Stan Rubin Orchestra
perform “Sinatra Songs” at the Carnegie Club. 8:30 &
10:30PM. 156 W. 56th Street. $30 Cover + 2 drink min.
Res: 212-957-9676.
• Sun 12/10: Nabate Isles, trumpet at Parlor Entertain-
ment Jazz, with Marjorie Eliot, piano; Rudell Drears,
piano; Sedric Choukroun, sax; Bob Cunningham, bass.
555 Edgecombe Ave, #3F, (bet 159th &160th St). 2pm—
6pm. 212 781 6595. Free Admission.
www.parlorentertainment.com
• Sun 12/10: Jazz Vespers with Okaru Lovelace &
Friends at 5 pm and Jazz Concert with Reggie Work-
man's Sculptured Sounds at 7:30 pm at St. Peter’s
Church. Lexington Ave @ 54th St. 212-395-2200.
(Suggested donation: $20).
• Sun 12/10: Bob Kindred Trio at Café Loup. A Jazz
Brunch from heaven. 12:30--3:30pm. No Cover. Bob
Kindred, Steve LaSpina, John Hart. 105 W. 13th St.,
(bet 6th/7th Aves). 212-255-4746. www.bobkindred.com.
• Sun 12/10: Rocco at Greenwich Village Bistro.
events@greenwichvillagebistro.com. 212-206-9777.
• Sun 12/10: Reggie Workman's Sculptured Sounds
Preview Concert feat. Trio 3; Billy Harper feat. The New
School Vocal Ensemble; The Juhani Aaltonen Trio.
Pre-concert Art Exhibit Discussion by Musician/Artists
Oliver Lake and Dick Griffin. St. Peter's Church (619
Lexington Ave.,@ E.54th St.), 7pm. Sugg. Donation $20.
For info: (212 642-5277).
• Sun & Mon 12/10 12/11: Gene Bertoncini at Le Made-
leine Bistro. 403 W. 43rd St. www.genebertoncini.com
• Mon 12/11: Sachal Vasandani Group at Zinc Bar. 7:30-
9 pm. 90 West Houston Street.
• Mon 12/11: International Women in Jazz at St. Peter’s
Church. Lexington Ave @ 54th St. 212-395-2200. 7 pm.
• Mon 12/11: Steve Nelson at Merkin Concert Hall at
Kaufman Center. 129 West 67th Street (bet. B’way &
Amsterdam Ave). Tkts: 212 501 3330 or
www.merkinconcerthall.org. 8 pm.
• Mon 12/11: Andrew McCain at Greenwich Village
Bistro. 212-206-9777.
• Mon 12/11: VandoJam with our American distributor
DANSR. "The best Jazz value" in New York….FREE!
Iguana Restaurant 240 W. 54th Street. 8pm to midnight.
For more information, call 212-399-9457.
• Tue 12/12: Baano at Sweet Rhythm with Frank Owens,
Earl May & Jackie Williams. 88 Seventh Avenue So. @
Bleeker. 8:00 & 9:30pm. $15 cover; $10 drink/food min.
Info: 212-255-3626.
• Tue 12/12: Rob McCrone at Greenwich Village Bistro.
events@greenwichvillagebistro.com. 212-206-9777.
• Tue 12/12: Acoustic Jazz Tuesdays with Ken Hatfield at
Fetch w/Hans Glawischnig, guitar and bass duo. 8:30 –
11:30 pm. 1649 Third Avenue between 92nd and 93rd
Streets, New York City 212-289-2700 / No cover.
www.kenhatfield.com.
• Wed 12/13: Avi Rothbard at the Ethiopian Restaurant.
The program will include repertoire of the American Song-
book and Jazz classic for solo guitar. 7:30 to 10:00 pm.
1582 York Ave bet. 83rd and 84th St. Reservations: (212)
717-7311.
• Wed 12/13: Mary Foster Conklin and John DiMartino at
Midtown Jazz at Midday at St. Peter’s Church. 1 pm. 619
Lexington Avenue at 54th Street. www.saintpeters.org.
• Wed 12/13: Nerissa Campbell at Enzo's Jazz at The
Jolly Hotel Madison Towers. 22 East 38th St. at Madison
Ave. (212) 802 0600. In the Whaler Bar located in the
Lobby. Complimentary antipasti served by Ristorante
Cinque Terre. $15. cover, 1 drink min. Sets are at 8pm
and 9.30pm.
• Wed 12/13: Mannahatta Jazz on the Bowery. The Mi-
To Advertise CALL: 212-889-0853
 chael Karrtet w/ Ron Afif & Victor Jones @ 10:30. 316
Bowery (at Bleecker St.) 212-253-8644.
www.mannahatta.us. No cover.
• Wed 12/13: Paul Speciale Combo & Minetta Creek Blue-
grass at Greenwich Village Bistro.
events@greenwichvillagebistro.com. 212-206-9777.
• Thu 12/14: Ted Hefko at Greenwich Village Bistro.
events@greenwichvillagebistro.com. 212-206-9777.
• Fri 12/15: Tommy Igoe’s Friday Night Big Band at
Birdland. Every Friday 5:30-7:30PM. 315 W. 44th St.
“The best live music bargain in all of NYC!” Visit Tommy-
Igoe.com for surprise special guest line-up.
• Fri 12/15: Mark Pender Band at The Cutting Room. 19
W 24th St. 212-691-1900.
• Fri 12/15: Paul Speciale Combo & Tarana Collective at
Greenwich Village Bistro. 212-206-9777.
• Fri 12/15: Pianist Laszlo Gardony celebrates Sunnyside
CD Natural Instinct with acoustic performance at the
Rubin Museum of Art. Tickets $15 in advance or $20 at
door. (212) 620-5000 ext. 344. www.rmanyc.org.
• Fri 12/15-Sat 12/16: Sylvia Cuenca, Ed Cherry, and
Jared Gold at the River Room of Harlem 145th and
Riverside Dr. 212-491-1500.
• Sat 12/16: Rocco at Greenwich Village Bistro.
events@greenwichvillagebistro.com. 212-206-9777.
• Sat 12/16: Steven Maglio & The Stan Rubin Orchestra
perform “Sinatra Songs” at the Carnegie Club. 8:30 &
10:30PM. 156 W. 56th Street. $30 Cover + 2 drink min.
Res: 212-957-9676.
• Sun 12/17: David Lee Jones, sax at Parlor Entertain-
ment Jazz, with Marjorie Eliot, piano; Rudell Drears,
piano; Sedric Choukroun, sax; Bob Cunningham, bass.
555 Edgecombe Ave, #3F, (bet 159th &160th St). 212
781 6595. Free Admission.
www.parlorentertainment.com
GOTTA GIG?
Advertise it here for only $45
and reach over 30,000 jazz fans &
tourists who don’t know you…yet!
Call Jamie: 212-889-0853
• Sun 12/17: Family Matinees feat. the Poppy Seed Play-
ers and the Kaufman Kids, Latkes and Applesauce: A
Hanukkah Revue at Merkin Concert Hall at Kaufman
Center. 129 West 67th Street (bet. Bway & Amsterdam
Ave). Tkts: 212 501 3330 or www.merkinconcerthall.org.
• Sun 12/17: Jazz Vespers with Anna Dagmar Trio at 5 pm
and Jazz Concert with Havana Carbo Quartet:
"Remembering Tom and Chet" at 7 pm at St. Peter’s
Church. Lexington Ave @ 54th St. 212-395-2200.
• Sun 12/17: Paul Speciale Combo & Hiroko Kanna Trio
at Greenwich Village Bistro. 212-206-9777.
• Sun 12/17: Dee Pop presents: Freestyle Jazz at Jimmy's
Restaurant. 43 East 7th St. 212-982-3006. Paloma
Recio: Ben Monder, Tony Malaby, Eivind Opsvik,
Nasheet Waits. $10 at door. 1 drink min.
• Sun & Mon 12/17 12/18: Gene Bertoncini at Le Made-
leine Bistro. 403 W. 43rd St. www.genebertoncini.com
• Sun 12/17: Bob Kindred Trio at Café Loup. A Jazz
Brunch from heaven. 12:30--3:30pm. No Cover. Bob
Kindred, Steve LaSpina, John Hart. 105 W. 13th St.,
(bet 6th/7th Aves). 212-255-4746. www.bobkindred.com.
• Mon 12/18: Andrew McCain at Greenwich Village
Bistro. 212-206-9777.
• Tue 12/19: Rob McCrone at Greenwich Village Bistro.
events@greenwichvillagebistro.com. 212-206-9777.
• Tue 12/19: Acoustic Jazz Tuesdays with Ken Hatfield at
Fetch w/Hans Glawischnig, guitar and bass duo. 8:30 –
11:30 pm. 1649 Third Avenue between 92nd and 93rd
Streets, New York City 212-289-2700 / No cover.
www.kenhatfield.com.
• Wed 12/20: Midtown Jazz at Midday’s Annual Christ-
mas Program at 1 pm and The Duke Ellington Soci-
ety’s Holiday Party with Live Music feat. Joe Temperley,
Junior Mance and others at 7 pm sat St. Peter’s Church.
Lexington Ave @ 54th St. 212-395-2200.
• Wed 12/20: Paul Speciale Combo & Michael Louis
To Advertise CALL: 212-889-0853
Smith at Greenwich Village Bistro.
events@greenwichvillagebistro.com. 212-206-9777.
• Wed 12/20: Mannahatta Jazz on the Bowery. The Mi-
chael Karrtet w/ Ron Afif & Victor Jones @ 10:30. 316
Bowery (at Bleecker St.) 212-253-8644.
www.mannahatta.us. No cover.
• Wed 12/20: Avi Rothbard at the Ethiopian Restaurant.
The program will include repertoire of the American Song-
book and Jazz classic for solo guitar. 7:30 to 10:00 pm.
1582 York Ave bet. 83rd and 84th St. Reservations: (212)
717-7311.
• Thu 12/21: Mari Rosa at Greenwich Village Bistro.
events@greenwichvillagebistro.com. 212-206-9777.
• Fri 12/22: Tommy Igoe’s Friday Night Big Band at
Birdland. Every Friday 5:30-7:30PM. 315 W. 44th St.
“The best live music bargain in all of NYC!” Visit Tommy-
Igoe.com for surprise special guest line-up.Fri 12/22:
Karen Stachel Jazztet at Big Apple Jazz / EZ's Wood-
shed. 2236 Adam Clayton Powell, Jr. Blvd. (7th Ave.)
(bet. 131st and 132nd st.). (212) 283-JAZZ (5299). http://
www.bigapplejazz.com. 5:30pm.
• Fri 12/22: Paul Speciale Combo at Greenwich Village
Bistro. 212-206-9777.
• Fri 12/22-Sat 12/23: Charenee Wade at the River Room
of Harlem 145th and Riverside Dr. 212-491-1500.
• Sat 12/23: Bob Dorough presents School House Rock,
Blue Xmas and All That Jazz at Joe’s Pub. 7 pm. $20.
http://www.bobdorough.com.
• Sat 12/23: Steven Maglio & The Stan Rubin Orchestra
perform “Sinatra Songs” at the Carnegie Club. 8:30 &
10:30PM. 156 W. 56th Street. $30 Cover + 2 drink min.
Res: 212-957-9676.
• Sun 12/24: Bob Cunningham, bass at Parlor Entertain-
ment Jazz, with Marjorie Eliot, piano; Rudell Drears,
piano; Sedric Choukroun, sax. 555 Edgecombe Ave,
#3F, (bet 159th &160th St). 212 781 6595. Free Admis-
sion. www.parlorentertainment.com.
• Sun 12/24: Bob Kindred Trio at Café Loup. A Jazz
Brunch from heaven. 12:30--3:30pm. No Cover. Bob
Kindred, Steve LaSpina, John Hart. 105 W. 13th St.,
(bet 6th/7th Aves). 212-255-4746. www.bobkindred.com.
• Sun 12/24: Jazz Vespers with Lessons and Carols with
Ike Sturm & Friends and Saint Peter's Choir at St.
Peter’s Church. 5 pm. Lexington Ave @ 54th St. 212-
395-2200.
• Sun 12/24: Gene Bertoncini at Le Madeleine Bistro.
403 W. 43rd St. www.genebertoncini.com
• Tue 12/26: Dave Stryker Organ Trio at The Jazz Stan-
dard. $30. 7:30 & 9:30 pm & 11:30 pm Fri & Sat. 116 E.
27th Street bet. Lexington and Park Aves. 212 576 2232.
• Wed 12/27: Avi Rothbard at the Ethiopian Restaurant.
The program will include repertoire of the American Song-
book and Jazz classic for solo guitar. 7:30 to 10:00 pm.
1582 York Ave bet. 83rd and 84th St. Reservations: (212)
717-7311.
• Wed 12/27: Mannahatta Jazz on the Bowery. The Craig
Hartley Trio w/ Special Guest @ 7 & The Michael
Karrtet w/ Ron Afif & Victor Jones @ 10. 316 Bow-
ery (at Bleecker St.) 212-253-8644. www.mannahatta.us.
• Wed 12/27: Midtown Jazz at Midday with Bill Mays at St.
Peter’s Church. Lexington Ave @ 54th St. 212-395-
2200. 1 pm.
• Wed 12/27: Eric Holland Trio at Greenwich Village
Bistro. 212-206-9777.
• Thu 12/28: Claudio Marc Antonio at Greenwich Village
Bistro. 212-206-9777.
• Fri 12/29: Tommy Igoe’s Friday Night Big Band at
Birdland. Every Friday 5:30-7:30PM. 315 W. 44th St.
“The best live music bargain in all of NYC!” Visit Tommy-
Igoe.com for surprise special guest line-up.
• Fri 12/29: The Ron Vincent Trio feat. Jay Azzolina &
Dean Johnson at the River Room of Harlem 145th and
Riverside Dr. 212-491-1500.
• Sat 12/30: Steven Maglio & The Stan Rubin Orchestra
perform “Sinatra Songs” at the Carnegie Club. 8:30 &
10:30PM. 156 W. 56th Street. $30 Cover + 2 drink min.
Res: 212-957-9676.
• Sun 12/31: Bob Kindred Trio at Café Loup. A Jazz
Brunch from heaven. 12:30--3:30pm. No Cover. Bob
Kindred, Steve LaSpina, John Hart. 105 W. 13th St.,
(bet 6th/7th Aves). 212-255-4746. www.bobkindred.com.
Jazz Improv ® Magazine’s New York Jazz Guide  www.jazzimprov.com  November 53
December 2006 53
 • Sun 12/31: Guitarist Ken Hatfield and violinist Rob Tho-
mas join drummer/percussionist extraordinaire Vanderlei
Pereira for Jazz Brunch at the Red Eye Grill. 890 Sev-
enth Avenue at 56th Street December 31, 12:00 noon –
3:00 pm. 212-541-9000. www.kenhatfield.com.
• Sun 12/31: Jazz Vespers: New Year's Eve Extrava-
ganza w/ the Pete Zimmer Quartet at St. Peter’s
Church. Lexington Ave @ 54th St. 5 pm. 212-395-2200.
Brooklyn
• Sat 12/2: Steve Lyman Quartet at Jazz at The Perch
Café. 365 5th Ave. (bet. 5th and 6th St.) (718) 788-2830.
8:30 pm, 2 sets. Cover: Suggested Donation $5.
www.theperchcafe.com.
• Sun 12/3: Oran Etkin / Rodney Siau Quartet at Food 4
Thought. 3:00pm. 445 Marcus Garvey (corner of Mac-
donough, near Fulton) in > Bed-Stuy. Take A train to
Utica. www.myspace.com/food4thoughtcafe.
www.oranetkin.com.
• Mon 12/4: Zach Brock Trio at Jazz at The Perch Café.
365 5th Ave. (bet. 5th and 6th St.) (718) 788-2830. 8:30
pm, 2 sets. Cover: Suggested Donation $5.
• Tue 12/5: Angela Bingham Trio at Jazz at The Perch
Café. 365 5th Ave. (bet. 5th and 6th St.) (718) 788-2830.
8:30 pm, 2 sets. Cover: Suggested .Don: $5
• Wed 12/6: Trumpeter Ron Horton at Barbes with Ben
Allison, Tom Beckham, Michael Blake, Gerald
Cleaver. 8pm. Cover: $8. 376 9th St. (corner of 6th Ave.)
Park Slope. 718.965.9177
• Wed 12/6: Ben Allison Quartet at Barbes with Ron
Horton, Steve Cardenas and Gerald Cleaver. 8pm.
Cover: $8. 376 9th St. (corner of 6th Ave.) Park Slope.
718.965.9177
• Thu 12/7, 14, 21, 28: Eric Frazier at Savy's Restaurant,
330 Myrtle Ave. Bklyn. Info: 728-403-0155. 8PM.
• Thu 12/7: O’Leary/Lightcap/Cleaver at Jazz at The
Perch Café. 365 5th Ave. (bet. 5th and 6th St.) (718) 788-
2830. 8:30 pm, 2 sets. Cover: Suggested Donation $5.
• Fri 12/8: Rhythm 'n' Strings at Freddy's Backroom. 10
pm. 485 Dean Street. 718.622.7035.
• Sat 12/9: Melissa Stylainou Quartet at Night and Day
Restaurant. 9:30pm $8 cover. 230 5th Ave. melissastyli-
anou.com.
• Sun 12/10: Oran Etkin / Rodney Siau Quartet at Food 4
Thought. 3:00pm. 445 Marcus Garvey (corner of Mac-
donough, near Fulton) in > Bed-Stuy. Take A train to
Utica. www.myspace.com/food4thoughtcafe.
• Mon 12/11: Melissa Stylianou Trio feat. Steve
Cardenas on guitar at Bar Next Door. 8:00pm - 11:30pm
$8. 129 MacDouglas Street. http://lalanternacaffe.com.
• Mon 12/11: Zach Brock Trio at Jazz at The Perch Café.
365 5th Ave. (bet. 5th and 6th St.) (718) 788-2830. 8:30
pm, 2 sets. Cover: Suggested Donation $5.
• Tue 12/12: Brenda Earle Trio at Jazz at The Perch
Café. 365 5th Ave. (bet. 5th and 6th St.) (718) 788-2830.
8:30 pm, 2 sets. Cover: Suggested Donation $5.
• Wed 12/13: Steve Hudson's Outer Bridge Ensemble at
Puppets Jazz Bar, Park Slope. 9:15, 10:40, & 12.
www.stevehudsonmusic.net. www.puppetsjazz.com.
• Thu 12/14: Yoon Sun Choi & the E-String Band at Jazz
at The Perch Café. 365 5th Ave. (bet. 5th and 6th St.)
(718) 788-2830. 8:30 pm, 2 sets. Cover: $5.
• Sat 12/16: Jazzy Brass for Christmas with Eddie Allen,
Cecil Bridgewater, Linda Blacken, Clark Gayton,
Joseph Daley, Dwayne "Cook" Broadnax at Brooklyn
Music School. 6:00pm. 126 St. Felix St. Blkyn. Info: 718-
638-5660. All concerts are open to the public.
• Sat 12/16: Deandra Hart at Jazz at The Perch Café. 365
5th Ave. (bet. 5th and 6th St.) (718) 788-2830. 8:30 pm, 2
sets. Cover: Suggested Donation $5.
• Sun 12/17: Oran Etkin / Rodney Siau Quartet at Food 4
Thought. 3:00pm. 445 Marcus Garvey (corner of Mac-
donough, near Fulton) in > Bed-Stuy. Take A train to
Utica. www.myspace.com/food4thoughtcafe.
• Mon 12/18: Zach Brock Trio at Jazz at The Perch Café.
365 5th Ave. (bet. 5th and 6th St.) (718) 788-2830. 8:30
pm, 2 sets. Cover: Suggested Donation $5.
• Tue 12/19: Amy Cervini Quartet at Jazz at The Perch
Café. 365 5th Ave. (bet. 5th and 6th St.) (718) 788-2830.
8:30 pm, 2 sets. Cover: Suggested Donation $5.
www.theperchcafe.com.
December 2006  Jazz Improv ® Magazine’s New York Jazz Guide  www.jazzimprov.com
54 November
• Thu 12/21: Eric Frazier at Erasmus Hall H.S. 911 Flat-
bush Ave. Info: 718-282-7804. 11:30 pm.
• Thu 12/21: Kelsey Jillette Group at Jazz at The Perch
Café. 365 5th Ave. (bet. 5th and 6th St.) (718) 788-2830.
8:30 pm, 2 sets. Cover: Suggested Donation $5.
• Sat 12/23: Cosmo D at Jazz at The Perch Café. 365 5th
Ave. (bet. 5th and 6th St.) (718) 788-2830. 8:30 pm, 2
sets. Cover: Suggested Donation $5.
• Thu 12/28: Seeung-Hee Quartet at Jazz at The Perch
Café. 365 5th Ave. (bet. 5th and 6th St.) (718) 788-2830.
8:30 pm, 2 sets. Cover: Suggested Donation $5.
• Sat 12/27: Jazzy Brass for Christmas with Eddie Allen,
Cecil Bridgewater, Linda Blacken, Clark Gayton,
Joseph Daley, Dwayne "Cook" Broadnax at Brooklyn
Children’s Museum. 1:30pm & 3:00pm. 145 Brooklyn Ave.
(at St. Marks Ave.) Info: 718-735-4420. All concerts are
open to the public.
• Fri 12/29: Eric Frazier at The Williamsburg Jazz Cen-
ter. 529 Bedford Ave. 8 pm. Info: 646-957-4487.
Queens
• Queens Jazz Trail Tour. First Sat. of ea. month, 1:00—
4:00pm. $30/$25 members. Hop aboard the Flushing
Town Hall Trolley—a fascinating journey through
neighborhoods where Louis Armstrong, Dizzy Gillespie,
Count Basie, Billie Holiday, Ella Fitzgerald, John Coltrane
lived. Includes guided visit to newly restored Louis Arm-
strong House and Museum. SPECIAL OFFER: Jazz by
Night and Day! $40/$35 for members! Experience Friday
Night Intimate Jazz Concert in Flushing Town Hall Gal-
lery, take the Queens Jazz Trail Tour following afternoon,
one low price. www.flushingtownhall.org/jazztrail.html.
• Louis Armstrong House and Museum. Guided tours daily
through Louis and Lucille Armstrong's home. Now a
museum, the home is in pristine condition and it’s a big
time warp, to say the least! Most notable is the kitchen
BOB ACKERMAN & PAM PURVIS
EVERY SUNDAY
Dec. 3, 10, 17, & 24th & 31st 5:00—8:30pm
Cecil’s Jazz Club & Restaurant
Cool Vibe, Comfortable Seating and Great Food & Drinks!
364 Valley Road, West Orange, NJ • 973-736-4800
www.pampurvis.com • www.bobackermansaxophones.com
and the mirrored bathroom Louis taped himself in every
room and he’ll give you a tour of the man behind the
entertainer. Info: 718-478-8274 or www.satchmo.org.
Check schedule. A must see.
• Wed 12/13: Eric Frazier at Queensboro Community
College. 223rd St & 56 Ave. Info: 718-631-6262. 1 pm.
• Sat 12/16: Jazzy Brass for Christmas with Eddie Allen,
Cecil Bridgewater, Linda Blacken, Clark Gayton,
Joseph Daley, Dwayne "Cook" Broadnax at Langston
Hughes Library. 2:00pm. 126 100-01 Northern Blvd.,
Corona. Info: 718-651-1100. All concerts open to public.
Westchester
• Sat 12/2: Ted Rosenthal - Warren Vache Duo at Mt.
Kisco Public Library. 100 E. Main St. Mt. Kisco. 2:00
pm.
New Jersey
• Fri 12/1: Joey DeFrancesco Trio at the Peddie School.
8 p.m. in the Mount-Burke Theatre at the Peddie School.
There will be a free, pre-concert chat with the artist from
7:00-7:30 p.m. in the theater. Tickets for the concert are
$15. Season subscriptions are $50 and include four
performances. Other performances on this series include
Taylor Eigsti and Julian Lage on March 2, and vocalist
Rachael Price and her quartet on April 13. For more
information or tickets, please call (609) 490-7550, email
capps@peddie.org or log onto www.peddie.org/capps.
• Fri 12/1: Pianist Fred Fischer at Watchung Arts Cen-
ter: Located on the Watchung Circle. Info: (908) 753-
0190. Reservations suggested. Tickets are held at the
door. $13.
• Fri 12/1: Ted Rosenthal in Solo Concert, "Jazzing up
the Classics" with The Discovery Orchestra, "Intimate
Evenings". Far Hills. 8:30 pm.
To Advertise CALL: 212-889-0853
 Connecticut
• Thu 12/7 Nicole Pasternak w/ guitarist Carmine Mari-
noat at Clemens Restaurant. 7:30-9:30 pm
4 Long Ridge Road, West Redding, CT 06896. 203-938-
8300 www.clemensrestaurant.com.
• Tue 12/12: Nicole Pasternak w/ guitarist Carmine Mari-
noat at Bistro Du Soleil. 7:30-9:30 pm
120 Washington St., So. Norwalk, CT. 203-855-9469.
www.nicolepasternak.com.
• Thu 12/14: Nicole Pasternak w/ guitarist Carmine Mari-
noat at Clemens Restaurant. 7:30-9:30 pm
4 Long Ridge Road, West Redding, CT 06896. 203-938-
8300 www.clemensrestaurant.com.
• Fri 12/22: Nicole Pasternak w/ the Harold Zinno Quintet:
Harold Zinno (t, fl); Bill Cofrances (as, ts); Doug Schlink
(p); John Mobilio (b); Jack Varanelli (d) at the Silvermine
Tavern. $5 cover. 9:00-11:30pm
194 Perry Ave., Norwalk, CT 06850. 203-847-4558.
www.silverminetavern.com

www.discoveryorchestra.org. Upcoming Performances

• Sat. 12/2: Tony Mennella and Dick Braytenbah Trio at • Thu 1/4: Salute to Lou Donaldson with the Cyrus Chest-
Hopewell Valley Bistro. No cover. $15 min. 7-10pm. nut Trio. 8 pm. At the Tribeca Performing Arts Center.
Hopewell Valley Bistro. 15 East Broad St, Hopewell. 609- • Sat. 1/6: Tony Mennella and Dick Braytenbah Trio at
466-9889. Hopewell Valley Bistro. No cover. $15 min. 7-10pm.
• Mon 12/4: Elite Syncopation at The Bickford Theatre/ Hopewell Valley Bistro. 15 East Broad St, Hopewell. 609-
Morris Museum: On Columbia Turnpike/Road (County 466-9889.
Road 510) at the corner of Normandy Heights Road, east • Mon 1/8: Bria Skönberg at The Bickford Theatre/Morris
of downtown Morristown. Near Interstate 287 and the Museum. On Columbia Turnpike/Road (County Road
Route 24 expressway. 8 to 9:30 pm. $13 in advance, $15 510) at the corner of Normandy Heights Road, east of
@ door. (973) 971-3706. downtown Morristown, NJ. Near Interstate 287 and the
• Mon 12/7: Oscar Perez Quartet at the Goat Café. 21 Route 24 expressway. 8 to 9:30 pm. $13 in advance, $15
South Orange Ave, South Orange. 8 pm and 9:15 sets. @ door. (973) 971-3706.
$10 for adults; $5 for students. • Wed 1/10: CD Release Concert: Jam at The Triad. "Oh
• Wed 12/9: Darla Rich Quartet at Fedora Café. 6, 7-9 Lady Be Good” w/ Michele Ramo, Bucky Pizzarell, &
pm. 2633 Lawrenceville Rd., Lawrenceville. (609) 895- Jerry Bruno. 157 W. 72nd. St. Concert followed by jam
0844. No Cover, Smoke Free, BYOB. session. All musicians are welcome! Birthday party for
• Sat 12/9: Darla Rich Quartet at Hopewell Valley Bistro. Pizzarelli and Bruno! Look for time and details in January
7-10p. 15 East Broad Street, Hopewell. (609) 466-9889. 2007 issue of Jazz Improv & www.RamoJazzViolin.com.
$15 min per person.
• Sat 12/9: The Statesmen of Jazz at Bridgewater. Som-
erset County Vocational-Technical Schools, on Vogt Drive
near North Bridge Street in Bridgewater, just two blocks
from the huge Bridgewater Commons mall. 8 pm. $15 in
advance, but $20 at the door. (908) 725-6640.
• Sun 12/10: Carrie Jackson & Jazzin’ All-Star Trio at
Passions Jazz Café. 6:30 pm, 7:45 pm, 9:00 pm. No
THE ONE JAZZ MAGAZINE THAT’S
REALLY A 400-PAGE BOOK & CD!
Cover. Two Drink Min. Passions Jazz Café @ Cameo
Banquet Center. 800 Rahway Avenue, Woodbridge. Info:
Salange @ 908-251-8461.
• Mon 12/11: Ken Peplowski and Howard Alden at The
Bickford Theatre/Morris Museum. On Columbia Turn- If you enjoy Jazz Improv’s ® NY Jazz Guide that you have
pike/Road (County Road 510) corner of Normandy in your hands, you’ll LOVE Jazz Improv ® Magazine
Heights Road, east of downtown Morristown. Near Inter-
state 287 / Route 24 expressway. 8 to 9:30 pm. $13 in
advance, $15 @ door. (973) 971-3706.
• Wed 12/13: Ken Peplowski and Howard Alden at 300-400 Pages each issue  FREE COMPANION CD
Ocean County College. Midweek Jazz concerts at Fine each issue  75-100 CD & DVD REVIEWS  FULL COLOR
Arts Center. 8 pm. Tkts: $13 in advance, $15 @ door.
(732) 255-0500. www.ocean.edu. Campus Drive, just off
PHOTO GALLERIES  DIRECTORIES - Artists, Festivals,
Route 549, a short distance from Parkway exit 88 Education  In depth INTERVIEWS  THE GUITAR
(southbound) or exit 82 (northbound). PAGES  PLUS: For those who make music 150-page
• Sat. 12/16: Tony Mennella and Dick Braytenbah Trio at
Hopewell Valley Bistro. No cover. $15 min. 7-10pm. E-BOOK (solos, songs, exercises, how-to articles & more)
Hopewell Valley Bistro. 15 East Broad St, Hopewell. 609-
466-9889.
• Sun 12/17: The New Jersey Jazz Society’s Bill Steinberg
Scholarship Fund presents Rio Clemente at The
Bickford Theatre/Morris Museum. See above for direc-
tions. 8 pm. (973) 971-3706. Tkts: $20 advance/$25 door.
www.njjs.org.
• Sat 12/30: The venerable Chickenfat Ball is back, at a
new location and a different date. Details on the always-
outstanding band next month, or consult Jersey
Jazz. Meanwhile, save this date at all cost. Full after-
noon event. www.njjs.org. Now & Save 33% Off The Newsstand Price
• Sun 12/31: Darla Rich Quartet at Hopewell Valley
Bistro. 7-9 p.m. and 10 pm-12 am. 15 East Broad Street,

1-888-472-0670  www.jazzimprov.com
Hopewell. (609) 466-9889. Fixed Price Dinner.

To Advertise CALL: 212-889-0853 Jazz Improv ® Magazine’s New York Jazz Guide  www.jazzimprov.com  November 55
December 2006 55
 noteworthy performances
Pam Purvis
eighty-eight's Fri 12/1 & Thu 12/14
Cecil's (Every Sunday) • Trumpets: Tue 12/26
Pam Purvis began singing jazz in 1974 in Paterson,
NJ. It was there that she met her husband and long-
time collaborator, saxophonist Bob Ackerman, with
whom she has released eight albums. Fittingly, she
credits her style to "living with a horn player.” During
the last several years they have performed in
Europe, Mexico, and throughout the US.
Chris Washburne
Smoke: Wed 12/3 CD Release
Trombonist Chris Washburne is one of those rare
musicians whose musical activities cross many
styles & cultural borders. From early in his career he
refused to be pigeon-holed as just a jazz or classical
player and instead has continually pursued a diverse
path. He’s currently freelancing as a studio musi-
cians, performing trombone, bass trombone, tuba,
didjeridu, & percussion with various groups in NYC.
Buddy DeFranco
Jack Kleinsinger’s Highlights in Jazz: Thu 12/7
Generally credited with leading the way for jazz
clarinetists from the swing era to the age of bop,
DeFranco has set the bar high for others in sheer
technical brilliance, improvisational virtuosity, and
creative warmth. He played with Gene Krupa and
Tommy Dorsey throughout the 1940’s. In 1950 he
joined the famous Count Basie Septet, and was lead
the Glenn Miller Orchestra from 1966 to 1974.
Geoffrey Keezer
AC Pianocraft: Sat 12/9
Born into a musical family, Keezer has been im-
mersed in music his entire life. In 1989, at the age of
18, Keezer was faced with two job offers: one from
Miles Davis, the other with Art Blakey. He chose the
latter, and his career was off to a fast start. Keezer
has since worked with virtually all of the living leg-
ends of jazz. His newest release, Wildcrafted, cap-
tures the fire and raw energy of Keezer’s trio.
Mulgrew Miller
Merkin Hall: 12/11 • Smoke: 12/14 - 12/16
Born in the Mississippi delta, Miller’s music is tinged
with the blues and gospel flavor of his native environ-
ment. He arrived in New York with the Duke Ellington
Orchestra, conducted by Mercer Ellington, in 1977.
Miller recorded his first album as leader in 1985. His
most recent is 2004’s trio date “Live at Yoshi’s,” with
Derrick Hodge and Karriem Riggins. Miller also leads
his acclaimed quintet, Wingspan.
Bob Dorough
Joe's Pub: Sat 12/23
In 1949, Dorough made a bee-line for NYC, where he
immersed himself in the city’s rapidly evolving jazz
scene & took whatever musical jobs he could land.
Though his long & colorful career has included stints
with Miles Davis, ex-boxer Sugar Ray Robinson, and
Dave Frishberg, Dorough is forever remembered as
the man behind the music of “Schoolhouse Rock.”
His playing continues to delight audiences worldwide.
56 December 2006  Jazz Improv ® Magazine’s New York Jazz Guide  www.jazzimprov.com
Stefon Harris
American Museum of Natural History: Fri 12/1
A graduate of The Manhattan School of Music, Harris
is a recipient of the prestigious Martin E. Segal Award
from Lincoln Center and has earned back to back to
back Grammy nominations for Best Jazz Album. An
active educator, he conducts clinics & lectures annu-
ally at universities throughout the country. His passion-
ate artistry and energetic stage presence have pro-
pelled him to the forefront of the current jazz scene.
Grady Tate
Mannahatta: Tue 12/5
Grady Tate is world-renowned as a session drummer
and in recent years, has made his voice his instrument
of choice. A self-taught drummer by age 5, he played
with the Jerome Richardson Combo and the Quincy
Jones Big Band. He was the house drummer on The
Tonight Show. He has performed with Duke Ellington,
Count Basie, Wes Montgomery, Ella Fitzgerald, Sarah
Vaughn, & most of the jazz greats.
Lewis Nash
The Rubin Museum: Fri 12/8
In 1981, Nash moved to New York from Phoenix,
Arizona & joined the trio of jazz vocalist Betty Carter.
Later stints included Ron Carter’s groups in 1984,
saxophonist Branford Marsalis’ quartet in 1986, and
dates with J.J. Johnson and Sonny Rollins in 1988.
Nash also played in the Tommy Flanagan Trio
throughout the 1990s. As his debut recording as a
leader advertises, rhythm is Lewis Nash’s business.
Dave Holland
Merkin Concert Hall: Mon 12/11
In 1968, Miles Davis heard Holland at Ronnie Scott’s
in London and offered him a job on the spot. Holland
abruptly moved to New York and toured with Davis
for the next two years, recording In A Silent Way and
Bitches Brew. He went on to work with the influential
groups Circle and Gateway in the 1970s before
leading his own award-winning quintet and big band.
Chembo Corniel
Trumpets: Thu 12/21
Born in 1953 to Puerto Rican parents, Chembo was
raised in the humble streets of Red Hook, Brooklyn.
He honed his skills at The Harbor Conservatory for
the Performing Arts in New York and at La Escuela
Nacional de Arte in Havana, Cuba under the direction
© Gene Martin
of the great Chucho Valdés. Chembo teaches percus-
sion at SUNY Purchase and leads his own Latin jazz
sextet, Chembo & Grupo Chaworo.
Don Braden
Kitano: NEW YEAR’S EVE Sun 12/31
Don Braden is a musician of the highest caliber,
having spent years as the saxophonist with greats like
Betty Carter, Wynton Marsalis & Roy Haynes. In
addition of this own group, Braden spent four years as
co-music supervisor/composer for Bill Cosby’s most
recent sitcom, “Cosby.” Ring in the New Year with
one of the most swingingest jazz artists on the scene
today. Vocalist Roseanna Vitro joins him at Kitano.
To Advertise CALL: 212-889-0853
 calendar of events Barbés Blue Note
376 Ninth St. 131 W Third St.
(at 6th Ave.) (betw. 6th & MacDougal)
718-965-9177 212-475-8592
DECEMBER www.barbesbrooklyn.com www.bluenote.net
1 - Fri Timothy Dick; The Second Fiddles; Jack Grace Cachao; Vinx

Prince Diabate & Imaginary Homeland; Brooklyn

2 - Sat Cachao; Frank & Joe Show w/ Fareed Haque
Qawwali Party

3 - Sun Ila Cantor; Stephane Wrembel Cachao; Kenny Werner & his NYU Jazz

Freddie Hubbard & the New Jazz Composers

4 - Mon Smokey Hormel Western Combo
Octet

5 - Tue Jenny Scheinman; Slavic Soul Party Gal Costa

6 - Wed Gal Costa

7 - Thu Sam Bardfeld’s Stuff Smith Project; Rachelle Garniez Gal Costa
Greta Gertler & the Extroverts; J. Walter Hawkes;
8 - Fri Gal Costa; Jacob Fred Jazz Odyssey
Chicha Libre!

9 - Sat WFMU Broadcast Live; Kill Henry Sugar Gal Costa; Jacob Fred Jazz Odyssey

Gal Costa; Benny Powell Quintet feat. Sayuri

10 - Sun Erik Pakula’s Triple Paste; Stephane Wrembel
Goto & TK Blue
11 - Mon Smokey Hormel Western Combo Taj Mahal Trio

12 - Tue Gowanusburg; Slavic Soul Party Taj Mahal Trio

13 - Wed Taj Mahal Trio

Rudresh/Hemingway/Dresser Trio; Musette Explo-
14 - Thu Manhattan Transfer
sion
Manhattan Transfer; Chris Dave & Friends
15 - Fri Banning Eyre; Howard Fishman
feat. Stokley
16 - Sat Andy Statman; Polka Freak Out Manhattan Transfer; Chris Rob

17 - Sun Barbes Classical; Stephane Wrembel Manhattan Transfer; Frank Wess Quartet

18 - Mon Smokey Hormel Western Combo

19 - Tue Jenny Scheinman Chris Botti

20 - Wed Chris Botti

21 - Thu Chris Botti

Chris Botti; Mike Clark, Donald Harrison, &
22 - Fri
Jerry Z
Chris Botti; Mike Clark, Donald Harrison, &
23 - Sat
Jerry Z
24 - Sun Chris Botti

25 - Mon Satoshi Inoue Quartet

26 - Tue Jenny Scheinman; Slavic Soul Party Chris Botti

27 - Wed Chris Botti

28 - Thu Chris Botti

29 - Fri Chris Botti; Sam Kininger & Guests

30 - Sat Chris Botti; Sam Kininger & Guests

5th Annual New Year’s Balkan Bash w/ The Zagnut
31 - Sun Chris Botti; Kelli Sae
Cirkus Orkestar

To Advertise CALL: 212-889-0853 Jazz Improv ® Magazine’s New York Jazz Guide  www.jazzimprov.com  December 2006 57
 calendar of events
Cecil’s Jazz Club Cleopatra’s Needle Cornelia St. Café Dizzy’s Club Coca Cola Dizzy’s Club After Hours
364 Valley Rd. 2485 Broadway 29 Cornelia St. Broadway at 60th St. Broadway at 60th St.
West Orange, NJ 07052 (betw. 92nd & 93rd St.) (betw. W 4th & Bleecker St.) 5th Floor 5th Floor
973-736-4800 212-769-6969 212-989-9319 212-258-9595 212-258-9595
www.cecilsjazzclub.com www.cleopatrasneedleny.com www.corneliastreetcafe.com www.jazzatlincolncenter.com/dccc www.jazzatlincolncenter.com/
DECEMBER dccc
Cyrus Chestnut, George Mraz, &
1 - Fri Bob Devos CD Release Party Jon Maione Quartet Tony Malaby Tuba Trio + One Adam Birnbaum Trio
Lewis Nash
Bob Devos CD Release Party; Nora McCarthy; Ryan Scott & Cyrus Chestnut, George Mraz, &
2 - Sat Marek’s Jazz Vision Quartet Adam Birnbaum Trio
Grassella Oliphant Quartet Sean Wood Lewis Nash
Pam Purvis & Bob Ackerman; Matt Cyrus Chestnut, George Mraz, &
3 - Sun Singers’ Open Mic; Toru Dodo Jam Victor Prieto Trio
Chertkoff Organ Grooves Lewis Nash
Keep Searchin’ w/ Steve Turre &
4 - Mon Cecil’s Big Band Jam Session Tullis McCall; Amram & Co.
Stefon Harris
Jazz Jam Session w/ Bruce Wil- Igor Butman 4 w/ Eddie Gomez, Ben Markley Quartet w/ Special
5 - Tue Jam Julius Tolentino
liams Lenny White, & Andrey Kondakov Guests
Brazilian Helio Alves Trio w/ Santi Igor Butman 4 w/ Eddie Gomez, Ben Markley Quartet w/ Special
6 - Wed New Music Night Jon Weiss; Singers’ Open Mic
Debriano, Donald Edwards Lenny White, & Andrey Kondakov Guests
Artists’ Salon; Gnu Vox: Jo Lawry Igor Butman 4 w/ Eddie Gomez, Ben Markley Quartet w/ Special
7 - Thu Brazilian Night feat. Yashmin Dan Furman Trio
& David Devoe Lenny White, & Andrey Kondakov Guests
Jeremy Steig Quartet w/ Vic Juris, Igor Butman 4 w/ Eddie Gomez, Ben Markley Quartet w/ Special
8 - Fri Sonny Fortune Quartet Cathy Harley Quartet
Cameron Brown, Anthony Pinciotti Lenny White, & Andrey Kondakov Guests
Sonny Fortune Quartet; Igor Butman 4 w/ Eddie Gomez, Ben Markley Quartet w/ Special
9 - Sat Larry Newcomb Quartet Ben Waltzer Trio
Grassella Oliphant Quartet Lenny White, & Andrey Kondakov Guests
Pam Purvis & Bob Ackerman; Matt Sex Scenes; Myra Melford/Leroy Igor Butman 4 w/ Eddie Gomez,
10 - Sun Singers’ Open Mic; Toru Dodo Jam
Chertkoff Organ Grooves Jenkins/Thurman Baker Lenny White, & Andrey Kondakov
Upstarts! Julliard Jazz Ensemble w/
11 - Mon Cecil’s Big Band Jam Session
Vincent Herring
Sayuri Goto Trio feat. Essiet Essiet
12 - Tue Jazz Jam w/ Bruce Williams Jam Julius Tolentino Randy Weston African Rhythms
& Gene Jackson
Sayuri Goto Trio feat. Essiet Essiet
13 - Wed Lori Hartman Jon Weiss; Singers’ Open Mic Randy Weston African Rhythms
& Gene Jackson
Gnu Vox: Elisabeth Lohninger & Sayuri Goto Trio feat. Essiet Essiet
14 - Thu Brazilian Night feat. Yashmin John Nam Trio Randy Weston African Rhythms
Erin Byrne, Walter Fischbacher & Gene Jackson
Trio M w/Myra Melford; Mark Sayuri Goto Trio feat. Essiet Essiet
15 - Fri Spirit of Life Ensemble Randy Weston African Rhythms
Dresser; Matt Wilson & Gene Jackson
Gerald Cleaver: Violent Hour-two Sayuri Goto Trio feat. Essiet Essiet
16 - Sat Grassella Oliphant Quartet Spirit of Life Ensemble Randy Weston African Rhythms
Nights Live Recording & Gene Jackson
Pam Purvis & Bob Ackerman; Matt Gerald Cleaver: Violent Hour-two
17 - Sun Singers’ Open Mic; Toru Dodo Jam Randy Weston African Rhythms
Chertkoff Organ Grooves Nights Live Recording
Bernard Purdie & New School R&B
18 - Mon Cecil’s Big Band Jam Session World Mondays: Kaiku
Revue; Junior Mance
David “Fathead” Newman; Dr. Lonnie
19 - Tue Jazz Jam w/ Bruce Williams Jam Julius Tolentino Akiko Tsuruga Trio
Smith Trio w/ Peter Bernstein
David “Fathead” Newman; Dr. Lonnie
20 - Wed New Music Night Jon Weiss; Singers’ Open Mic Songwriters’ Beat 6th Anniversary Akiko Tsuruga Trio
Smith Trio w/ Peter Bernstein
Po’ Jazz; Mark Helias’ Bass-Drum- David “Fathead” Newman; Dr. Lonnie
21 - Thu Brazilian Night feat. Yasmin Jun Miyake Quartet Akiko Tsuruga Trio
Bone Smith Trio w/ Peter Bernstein
David “Fathead” Newman; Dr. Lonnie
22 - Fri TK Blue w/ Benny Powell Hiroshi Yamazaki Quartet Angelica Sanchez Quartet Akiko Tsuruga Trio
Smith Trio w/ Peter Bernstein
TK Blue w/ Benny Powell; Gras- David “Fathead” Newman; Dr. Lonnie
23 - Sat Joel Forrester Quartet Akiko Tsuruga Trio
sella Oliphant Quartet Smith Trio w/ Peter Bernstein
Pam Purvis & Bob Ackerman; Matt David “Fathead” Newman; Dr. Lonnie
24 - Sun Singers’ Open Mic; Toru Dodo Jam
Chertkoff Organ Grooves Smith Trio w/ Peter Bernstein
25 - Mon Cecil’s Big Band Jam Session
26 - Tue Jazz Jam w/ Bruce Williams Jam Julius Tolentino TBA
Soul of the Blues: Mark Tolstrup,
27 - Wed New Music Night Jon Weiss; Singers’ Open Mic TBA
Jon Short, Fitzgerald & Beach

28 - Thu Brazilian Night feat. Yashmin Matt Ray Trio TBA

29 - Fri Wallace Roney Group Cheryl Cassidy Quartet TBA

Grassella Oliphant 4;
30 - Sat Tammy Shoji Quartet TBA
Wallace Roney Group
Pam Purvis/Bob Ackerman;
31 - Sun New Year’s Eve w/ Steve Belvilus TBA
Wallace Roney

58 December 2006  Jazz Improv ® Magazine’s New York Jazz Guide  www.jazzimprov.com To Advertise CALL: 212-889-0853
 Deborah Davis:
Annual Jazz
Concert to Benefit
Lymphoma Society
at Blue Note
I first learned about the Leukemia & Lymphoma
Society from a flyer soliciting runners for their TEAM
in Training in 1996. It caught my eye because my
father had died of Leukemia in 1981. I signed up and
ran a full 26.2 mile marathon with the Society’s Team
in Training in Dublin Ireland, October 26, 1997 finish-
ing in 4:37. I had trained over a 6 month period and
raised a little over $3600 from sponsors and jazz
fans, by passing a basket at all my gigs. I had
planned on meeting new friends and training with the
team in Central Park, but I ended up being on the
road most of that year, so I trained alone jogging in
Ritido Park in Spain, The Black Forest in Germany,
Englisher Garden in Munich, South Africa, etc. I
remember getting $1000 from my fans one week in
Germany and another $600 in Spain. Being on the
road so much, I was really proud of myself for stick-
ing with my training alone, and finishing. It was an
easy run in Dublin, but I confess, the entire run I was
wishing I had roller blades. The next year I signed up
for the 38 mile inline skate team. I started training
and learned that I had an muscle injury that would
prevent me from participating. I’m not good at being
defeated, and I didn’t want to stop my own personal
campaign to raise funds for such a needy cause, so I
put my thinking cap on and realized , I had a much
better platform for raising funds than running mara-
thons or skating 38 miles. I knew there had to be a
better way! I figured I could raise much more money
in one night! I had learned that the Blue Note family
had a personal link to the illness as well, so I asked
Danny Bensusan about doing annual concerts for the
cause and donating the door charge from one night a
year! It was an idea that he has been happy to
continue and it has proved to be very successful
raising a great deal of funds over the years for the
cause. I also donate $1 from the sale of each of my
CD’s since 2002. CD’s are available online @
www.DeborahDavisSings.com.
Since my mother’s death 2004, I’m now consid-
ering a platform for raising funds for Alzheimer’s
disease! I believe it’s a great way to honor both my
parents lives. Besides, everything I am, and every-
thing I do has a direct link to who they raised me to
be. My annual jazz benefit concerts funds now go
towards the Society’s Annual
Light The Night “Walk” over the Brooklyn Bridge. I
continue the concerts and the walks in honor of my
father Douglas E. Davis, Sr and on behalf of all the
patients and their families who are battling blood
related cancers.
10th Annual Jazz Benefit Concert
Monday, January 1, 2007, 8:00 & 10:30 shows
Blue Note Jazz Club 131 W. 3rd St. @ 6th Av), NY
Reservations Suggested: 212-475-0049
$25 Cover goes to the Charity.
For more information or to sign up for an event contact:
www.Leukemia-Lymphoma.org/nyc
Www.LightTheNight.org/nyc www.TeamInTraining.org/nyc
www.DeborahDavisSings.com
www.CDbaby.com/deborahdavis

To Advertise CALL: 212-889-0853 Jazz Improv ® Magazine’s New York Jazz Guide  www.jazzimprov.com  December 2006 59
 calendar of events Garage Iridium The Jazz Gallery Jazz Standard Joe’s Pub
99 Seventh Ave. S 1650 Broadway 290 Hudson St. 116 E 27th St. at The Public Theatre
(at Grove St.) (below 51st St.) (below Spring St.) 425 Lafayette Street
212-645-0600 212-582-2121 212-242-1063 212-576-2232 (betw E. 4th St & Astor Pl)
www.garagerest.com www.iridiumjazzclub.com www.jazzgallery.org www.jazzstandard.net 212-539-8563
DEC www.publictheater.org
Tango Meets Jazz Festival w/
1 - Fri Nick Moran Pharoah Sanders Jason Lindner’s AB Aeterno Trio Marion Logudice; Lucie Idlout
Pable Ziegler Quartet
Larry Newcomb 3; Bruce Dave Liebman & Bobby Avey: Tango Meets Jazz Festival w/
2 - Sat Pharoah Sanders Marta Gomez; The Microscopic Septet
McKinnon; Virginia Mayhew 4 Vienna Diabloque Pable Ziegler Quartet
Champion Fulton Trio; David Coss Barry Levitt Jazz Wrkshp/Brunch; Tango Meets Jazz Festival w/ Allen Toussaint; Michelle Shocked; SXIP
3 - Sun
3; Jamaal Sawyer Pharoah Sanders; Tony Fusco Pable Ziegler Quartet Shirey
Howard Williams Jazz Orchestra; Voices and Songs Series: Sharp Things w/ Kristin Diable; Uncle
4 - Mon Les Paul & His Trio Steve Coleman Presents
Ben Markley 4 “Monday Off” Moon sings Velvet Underground
Tom Abbott Big Bang Big Band;
5 - Tue Mingus Legacy Dave Douglas Quintet Compania Flamenca Juan Polvillo
Mike Macallister
Compania Flamenca Juan Polvillo; Carla
6 - Wed Sharp Radway Trio;Dave Smith Freda Payne Dave Douglas Quintet
Bozulich’s Evangelista
Jonathan Batiste 3 w/ Jennifer Dana Leong’s Rhapsody in Over the Rhine; Tony Camin & Leo Allen
7 - Thu Freda Payne Dave Douglas Quintet
Sanon; BJ Jansen Quintet Groove in Bro’in Out
Tony Camin/Leo Allen; Vincius Cantu-
8 - Fri Hide Tanaka Trio; Joey Morant Freda Payne David Gilmore Group Dave Douglas Quintet
aria, Marc Ribot; Leslie Kritzer
Nick Moran Trio; Vinson Valega; Tony Camin & Leo Allen; Fraulein Maria;
9 - Sat Bilal Vocal Danny Grissett Trio Dave Douglas Quintet
French Cookin’ Blues Band Rene Risque & the Art Lovers
Lou Caputo 4; David Coss 3; Barry Levitt’s Workshop & Brunch; Leslie Kritzer; Broadwayworld.com On
10 - Sun Dave Douglas Quintet
Austin Walker Quartet Bilal Vocal; John Signorello Ice; Tony Trischka
Howard Williams Jazz Orchestra; Leslie Kritzer; Nativity: a Life Story in
11 - Mon Les Paul & His Trio Steve Coleman Presents Voices and Songs Series: TBA
Ben Markley Quartet Concert
Gary Morgan and Panamericana; Kelly Joe Phelps w/ Natalia Zukerman;
12 - Tue Mingus Legacy
Mike Macallister Mike Errico; Girlyman
Michael Wolff: Love and Destruc- The Tom Kitt Band; Finn O Lochlainn CD
13 - Wed Gypsy Jazz Caravan; Dave Smith Joey DeFrancesco All-Stars
tion Tour Release
Michael Wolff: Love and Destruc- Benefit: North Star Fund w/Emeline
14 - Thu John Chin Trio; Ryan Anselmi 4 Joey DeFrancesco All-Stars Matt Brewer Quartet
tion Tour Michel; Losers Lnge; Dick Valentine
The Shape of Jazz to Come:
15 - Fri Mark Capon; Jonathan Batiste Trio Joey DeFrancesco All-Stars Mose Allison The Losers Lounge
Direction in 21st Century Music
Joni Paladin; Art Lillard Quartet; The Shape of Jazz to Come: The Losers Lounge; Treble; Senegalese
16 - Sat Joey DeFrancesco All-Stars Mose Allison
Virginia Mayhew Quartet Direction in 21st Century Music Mbalax Waaw band
Eve Silber; David Coss Trio; Adam Barry Levitt’s Jazz Brunch; Joey
17 - Sun Mose Allison Ethel Lab Series w/ Jill Sobule
Birnbaum Trio DeFrancesco All-Stars
Howard Wiliams Jazz Orchestra; Voices And Songs Series: Jaqui
18 - Mon Les Paul & His Trio Steve Coleman Presents Hadassah Gross; Divahn/Shushmo
Kenny Shanker Naylor
New Yorkestra Big Band; Jesse
19 - Tue Mingus Legacy Robert Glasper Trio Downtown Holiday
Elder Trio
20 - Wed David White 5; Vitaly Golovnev Vince Giordano & The Nighthawks Robert Glasper Trio East Village Opera Company
Cyrus Chestnut/Kevin Mahogany Robert Glasper Trio w/ Mark Hadassah Gross; Betty; Don’t Quit Your
21 - Thu John Chin Trio; Chris Ward Will Vinson Quintet
Christmas feat. Eric Alexander Turner Night Job
Cyrus Chestnut/Kevin Mahogany Betty; Las Rubias Del Norte; Elysian
22 - Fri Vinson Valega; Andre Barnes Trio Renee Neufville Robert Glasper Experiment
Christmas feat. Eric Alexander Fields
Joni Paladin; Hide Tanaka Trio; Cyrus Chestnut/Kevin Mahogany
23 - Sat Jaleel Shaw Quartet Robert Glasper Experiment Betty; Bob Dorough
Sharp Radway Trio Christmas feat. Eric Alexander
Lou Caputo Quartet; Kenny Shan- Barry Levitt; Cyrus Chestnut/Kevin
24 - Sun
ker Trio; David Coss and his Trio Mahogancy w/ Eric Alexander
25 - Mon Closed for Christmas Les Paul & His Trio
New York Jazz Nonet presents
26 - Tue Mingus Legacy Dave Stryker Organ Trio
David Heckendorn; Ben Cliness 3
Kevin Dorn Dixieland Band;David
27 - Wed Caribbean Jazz Proj-Dave Samuels Preservation Hall Jazz Band
White Quintet
Tatum Greenblatt Quartet; Kenny
28 - Thu Caribbean Jazz Proj-Dave Samuels Preservation Hall Jazz Band Ellis Paul; Stephen Kellogg & The Sixers
Shanker Quartet
Diane Schuur w/ Dave Samuels &
29 - Fri David White 5; Mark Marino 3 Preservation Hall Jazz Band Sandra Bernhard’s New Year’s Weekend
The Caribbean Jazz Project
Larry Newcomb Trio; Mark Capon; Diane Schuur w/ Dave Samuels &
30 - Sat Preservation Hall Jazz Band Sandra Bernhard’s New Year’s Weekend
Justin Lees Trio The Caribbean Jazz Project
Barry Levitt; Diane Schuur w/ Dave
31 - Sun Joni Paladin Preservation Hall Jazz Band Sandra Bernhard’s New Year’s Weekend
Samuels

60 December 2006  Jazz Improv ® Magazine’s New York Jazz Guide  www.jazzimprov.com To Advertise CALL: 212-889-0853
THE ONE JAZZ MAGAZINE THAT’S
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 calendar of events
Kitano Lenox Lounge Night & Day Restaurant Smoke
66 Park Ave. 288 Lenox Avenue 230 Fifth Ave., Brooklyn, 2751 Broadway
(at 38th St.) (above 124th St.) NY (at 105th St.)
212-885-7119 212-427-0253 (at President St.) 212-864-6662
www.kitano.com www.lenoxlougne.com 718-399-2161 www.smokejazz.com
DEC www.nightanddayrestaurant.com

1 - Fri Brazilian Voyage Trio Tiffany Hall Trio Blues & Jazz Organist Jimmy
McGriff

2 - Sat Brazilian Voyage Trio Tiffany Hall Trio Blues & Jazz Organist Jimmy
McGriff

3 - Sun Jazz Vocalist JAM Marc Estrin & Bill Hoffman; Donna Leonhart; Chris
w/LaFayette Harris 3 Sunday Kind of Jazz Washburne & S.Y.O.T.O.S.

4 - Mon Patience Higgins The Artist’s Salon; Debra Jam Session w/ John Farns-
& the Sugar Hill Quartet Barsha, Mary Cleere Haran worth Quintet

5 - Tue Live Jazz Jam

6 - Wed Ted Rosenthal Trio Nathan Lucas Organ Trio Songwriter’s Showcase hosted
by Staci Rochwerg

7 - Thu Daniela Schaecter Trio Blues and R&B Tuey Connell & Friends Jean-Michel Pilc Quartet

8 - Fri Don Friedman Quartet feat. Kathy Griggs 3 Larry Willis Quintet
Peter Bernstein

9 - Sat Don Friedman Quartet feat. Kathy Griggs 3 Larry Willis Quintet
Peter Bernstein

10 - Sun Jazz Vocalist JAM Sunday Kind of Jazz Sunday Vocalist Series: Chris
w/LaFayette Harris 3 Washburne S.Y.O.T.O.S.

11 - Mon Patience Higgins Debra Barsha, Mary Cleere Jam Session w/ John Farns-
& the Sugar Hill 4 Haran worth Quintet

12 - Tue Live Jazz Jam

13 - Wed Sameer Ramchadran Trio Nathan Lucas Organ Trio Songwriter’s Showcase hosted
by Staci Rochwerg

14 - Thu Rich Perry Quartet Blues and R&B Jon Sobel’s Blues in the Slope Mulgrew Miller Quartet

15 - Fri Eric Reed Trio Bill Lee Group Mulgrew Miller Quartet

16 - Sat Eric Reed Trio Bill Lee Group Mulgrew Miller Quartet

17 - Sun Jazz Vocalist JAM Sunday Kind of Jazz Sunday Vocalist Series: TBA;
w/LaFayette Harris 3 Chris Washburne

18 - Mon Patience Higgins Debra Barsha, Mary Cleere Jam Session w/ John Farns-
& the Sugar Hill Quartet Haran worth Quintet

19 - Tue Live Jazz Jam

20 - Wed James Weidman Trio Nathan Lucas Organ Trio Songwriter’s Showcase hosted
by Staci Rochwerg

21 - Thu Kendra Shank Quartet Blues and R&B

22 - Fri Jim Rotondi Quintet feat. Danny Mixon Trio Christmas w/ Harold Mabern &
Joe Locke Friends

23 - Sat Jim Rotondi Quintet feat. Danny Mixon Trio Christmas w/ Harold Mabern &
Joe Locke Friends

24 - Sun Jazz Vocalist JAM Sunday Vocalist Series: TBA;

w/LaFayette Harris 3 Chris Washburne

25 - Mon Patience Higgins

& the Sugar Hill Quartet

26 - Tue Live Jazz Jam w/ Dan

McCarthy Trio

27 - Wed Nathan Lucas Organ Trio

28 - Thu Blues and R&B The Ukuladies

29 - Fri Hiromi Kasuga Duo Danny Mixon Trio Steve Turre Quintet Steve Turre Quintet

30 - Sat Dominic Duval Duo Danny Mixon Trio Steve Turre Quintet Steve Turre Quintet

31 - Sun Don Braden Quartet w/ New Year’s Eve w/ One For All David Hazeltine; Eric Alexan-
Roseanna Vitro der, Jim Rotondi, Steve Davis

62 December 2006  Jazz Improv ® Magazine’s New York Jazz Guide  www.jazzimprov.com To Advertise CALL: 212-889-0853
 calendar of events
The Stone Trumpets Village Vanguard
Ave. C and Second St. 6 Depot Square 178 Seventh Ave. S
Montclair, New Jersey 07042 (below W 11th St.)
Tel. 973-744-2600 Fax 973-744- 212-255-4037
www.thestonenyc.com 7735 www.villagevanguard.net
Website: www.trumpetsjazz.com
DECEMBER

1 - Fri Paul Dunmall, Paul Rogers, Tony Ragan Whiteside Quartet Tom Harrell Quintet
Levin
2 - Sat Paul Dunmall, Paul Rogers, Tony Anna Maria Mannarino Quintet with Tom Harrell Quintet
Levin, Ellery Eskelin, Ray Anderson Ted Curson
3 - Sun Paul Dunmall, Paul Rogers, Tony Betty Liste Xmas CD Release Party Tom Harrell Quintet
Levin; Kevin Norton, Tony Malaby
4 - Mon Vanguard Jazz Orchestra

5 - Tue Steve Beresford’s Signal for Tea Matt McDonald/Craig Yaremko Group Paul Motian Trio 2000 + Two
Quartet; Beresford & Lol Coxhill
6 - Wed Lol Coxhill Ellington Band Paul Motian Trio 2000 + Two

7 - Thu Lucian Ban, Barry Altschul, & Hilliard Dre Barnes Paul Motian Trio 2000 + Two
Greene; Hieroglyphics
8 - Fri Dennis Gonzalez Yells at Eels Bob Devos Trio with Paul Motian Trio 2000 + Two
Hendrik Meurkens
9 - Sat Dennis Gonzalez, Paul Dunmall, Paul Bob Baldwin Birthday Celebration Paul Motian Trio 2000 + Two
Rogers, Tony Levin
10 - Sun Dee Pop, Tom Verlaine, Perry Robin- Rick Crane & Bob Himmelberger CD Paul Motian Trio 2000 + Two
son, William Parker, Any Haas Rel; Roseanna Vitro
11 - Mon Vanguard Jazz Orchestra

12 - Tue Selwyn Lissack w/ Brice Winston, Berkana with Nat Janoff Cedar Walton Trio
Roy Campbell, & William Parker
13 - Wed Grachan Moncur III w/ Michael Black Dick Meldonian Big Band Cedar Walton Trio
& James Spaulding
14 - Thu Hugh Hopper, Nick Didkovsky, & Ted Curson’s Holiday Jam Session Cedar Walton Trio
Roulat
15 - Fri Chris Cutler, Fred Frith, Hugh Hopper Carrie Jackson Quartet Cedar Walton Trio

16 - Sat Chris Cutler, Fred Frith, & Tim Hodg- Enrico Granafei/Kristine Massari Cedar Walton Trio
kinson
17 - Sun Tim Hodgkinson & Fred Frith; Tim Jeree Wade & Adam Wade Cedar Walton Trio
Hodgkinson & Chris Cutler
18 - Mon Vanguard Jazz Orchestra

19 - Tue Michael Moore, Rob Brown, William Diane Moser Quartet-Christmas Cedar Walton Trio
Parker, & Gerald Cleaver Concert
20 - Wed Michael Moore, Jamie Saft, Trevor Ellington Band Cedar Walton Trio
Dunn, & Kenny Wollesen
21 - Thu Ivo Perelmen, Dominic Duval, New- Chembo Corniel & Andrea Brachfeld Cedar Walton Trio
man T.Baker & Rosie Hertlein
22 - Fri Joelle Leandre, Marilyn Crispell & Houston Person Holiday Concert Cedar Walton Trio
Guests
23 - Sat Mariyln Crispell & Tisziji Munoz Duo; Houston Person Holiday Concert Cedar Walton Trio
T.Munoz/Marilyn Crispell 4
24 - Sun Special HolidayDMG Benefit Cedar Walton Trio

25 - Mon Vanguard Jazz Orchestra

26 - Tue Raoul Bjorkenheim, William Parker, Pam Purvis and Bob Ackerman Dr. Michael White’s Original
Hamid Drake Liberty Jazz Band of New
Orleans
27 - Wed Kazutoki Umezu w/ Jon Madof & Bruce Jackson Trio Dr. Michael White’s Original
Guests Liberty Jazz Band
28 - Thu Nels Cline & Surprise Guests Betty Liste Vocal Jam Dr. Michael White’s Original
Liberty Jazz Band
29 - Fri Vinny Golia, Nels Cliner, Ken Filiano Carla Culkin Quartet Dr. Michael White’s Original
Liberty Jazz Band of New
Orleans
30 - Sat John Zorn “End of the Year” All-Star Melvin Davis Quartet Dr. Michael White’s Original
Improv Benefit Liberty Jazz Band
31 - Sun Kristine Massari Quartet;Enrico Dr. Michael White’s Original
Granafei/Ted Curson Quintet Liberty Jazz Band

To Advertise CALL: 212-889-0853 Jazz Improv ® Magazine’s New York Jazz Guide  www.jazzimprov.com  December 2006 63
 cd reviews
Louis Armstrong
LEGENDS OF AMERICAN MUSIC: THE
WONDERFUL WORLD OF LOUIS ARM-
STRONG—TIME LIFE #M19270.
www.timelife.com. Disk 1: What a Wonderful
World, Cabaret, A Kiss to Build a Dream On,
Hello Dolly, Makin’ Whoopee, Stormy Weather,
I Gotta Right to Sing the Blues, Nobody Knows
the Trouble I’ve Seen, Georgia on My Mind, If I
Could Be with You (One Hour Tonight),
Bucket’s Got a Hole in It, Your Cheatin’ Heart,
Blueberry Hill, I Wonder, (I’ll Be Glad When
You’re Dead) You Rascal You, Lazy ‘Sippi
Steamer, I’m Confessin’ (That I Love You), I
Can’t Give You Anything but Love, I’m in the
Mood for Love, When the Saints Go Marching
In. Disk 2: When It’s Sleepy Time Down South,
Mack the Knife, Summer Song, (What Did I Do
to Be So) Black and Blue, Ain’t Misbehavin’,
Yellow Dog Blues, Beale Street Blues, I Want a
Little Girl, Joseph ‘n’ His Brudders, Do You
Know What It Means to Miss New Orleans, The
Blues Are Brewin’, Rockin’ Chair, Someday
You’ll Be Sorry, Mississippi Basin, I’ve Got the
World on a String, All of Me, Stardust, I Surren-
der Dear, When Your Lover Has Gone, Lazy
River.
PERSONNEL: Louis Armstrong (trumpet,
vocals). Various other musicians.
By Bill Donaldson
Louis Armstrong proved that one person
can make a difference. Like so many other indi-
viduals who have changed the course of history
or scientific thought or the arts, Armstrong
through perseverance and through his own tal-
ent—well, his own genius—eventually attained
critical and popular recognition for the innova-
tions he conceived. Indeed, Armstrong was the
source of an entire art form, jazz. He established
the instrumentalist as the focal point of a group,
he influenced most jazz trumpeters in one way or
another, and he created a vocal music style, es-
pecially scat singing, that many other singers
adopted. Who could have foreseen that a person
born in poverty in New Orleans and incarcerated
as a teen in the Colored Waifs Home would
emerge as one of the most important musical
pioneers of the twentieth century? Like Theloni-
ous Monk or Eubie Blake, for example, Arm-
strong lived long enough to experience critical
swings of approval, as well as the vagaries of
popular trends, until a consensus formed.
Such was Armstrong’s popular appeal that
Time Life recordings, now marketed by Direct
Holdings Americas, has released a two-CD
package that covers over 35 years of his re-
cordings, from 1931 to 1967. With due acknowl-
edgement to Armstrong’s most frequently played
recordings, Legends of American Music: The
Wonderful World of Louis Armstrong includes,
of course, the recordings that the listening public
usually associates with him, especially “Hello,
64 December 2006  Jazz Improv ® Magazine’s New York Jazz Guide  www.jazzimprov.com
Dolly!” and “What a Wonderful World,” which
attracted little notice until it appeared in Good
Morning Vietnam. Now, “What a Wonderful
World” is perhaps the song that the public most
closely associates with Armstrong as it is per-
formed at weddings, as background music for
video productions and even during sporting
events. The CD’s also includes some of Arm-
strong’s late-career work that received lush, and
sometimes unnecessary, orchestration, like
“Nobody Knows the Trouble I’ve Seen,” on
which the strings underlay Armstrong’s singing
with cloying sweetness. Even when Armstrong’s
work is cushioned in such elaboration, his trum-
pet playing commands attention with his famous
vibrancy and clarity. Dave Brubeck was gratified
that Armstrong recorded his “Summer Song,”
and that recording is included as well, right after
“Mack the Knife,” Armstrong’s interpretation
that he makes his own, as he did every other
song he recorded through the irrepressibility of
his personality.
The reasons for Armstrong’s successes are
several, including his stunning innovations as a
trumpet soloist, his appearance in films, the en-
tertainment value of his filmed appearances, the
firm management of his career by Joe Glaser, his
appearance on several labels, his early crossover
appeal from the race-based OKeh label, his
adaptability to any musical form that struck his
interest, the unforgettable nature of his perform-
ances, his intriguing personal history, the irre-
sistible natural appeal of his original singing
style, the longevity of his recording career, his
unpretentious affability and the sheer force of his
talent. The allegiance to Armstrong is twofold:
(1) from jazz enthusiasts who recognize the utter
incomparability and excitement of his work, and
(2) from the listening public who found his en-
tire package of on-stage presence and recorded
accessibility engaging. The recordings in The
Wonderful World of Louis Armstrong concen-
trate on the latter side of Armstrong’s musical
personality. The CD set includes some of Arm-
strong’s early popular hits, like “Ain’t Misbe-
havin’” and “All of Me,” but his introductory
cadenza of “West End Blues,” which remains
embedded in the consciousness of jazz musi-
cians, does not appears on it. None of Arm-
strong’s Hot Fives or Hot Sevens tracks from the
1920’s, such as “Struttin’ with Some Barbecue,”
are included, but his Decca hit “When the Saints
Go Marching In” is. Armstrong’s ever-popular
“You Rascal, You” continues to evoke smiles,
indeed as proven again on The Wonderful World
of Louis Armstrong, but the immortality of
“Potato Head Blues” appears elsewhere.
Armstrong’s discography is vast from the
continuous accumulation of one startling re-
cording after another throughout his career. So,
choices must be made to produce any collection
of his recordings. The choices of Time Life dem-
onstrate Louis Armstrong’s acclaim throughout
more than four decades as he negotiated evolv-
ing popular musical trends—New Orleans jazz,
riverboat bands, blues, swing, big bands, bebop,
West Coast cool, rock and roll, hard rock and the
beginnings of fusion—to remain individualistic
and influential. By remaining true to himself.
Cheryl Bentyne
THE BOOK OF LOVE - TELARC CD-83652.
www.Telarc.com. You Don’t Know Me; Be My
Love; Blue Moon; Let’s Do It; Don’t Say A
Word; You Taught My Heart To Sing; You Go
To My Head; Cry Me A River; I’m A Fool To
Want You; Goodbye; The Book Of Love
(Reprise)
PERSONNEL: Cheryl Bentyne, vocals; John
Pizzzarelli, vocals; Mark Kibble, vocals, ar-
ranger; Alvin Chea, vocals; Zoe Allen, vocals;
Corey Allen, producer, arranger, conductor,
piano and keyboards; Bill Cantos, piano; Kevin
Axt, bass; Grant Geissman, acoustic and classi-
cal guitar; Wayne Johnson, classical guitar, ar-
ranger; Dave Tull, drums; Scott Breadman, per-
cussion; Don Alias, percussion; Charlie Bisharat,
violin; Armen Ksajikian, cello; Bob Sheppard,
tenor saxophone; Chris Tedesco, trumpet; Den-
nis Deal, arranger; The City of Prague Sym-
phony Orchestra Strings.
To Advertise CALL: 212-889-0853
By Alex Makarov.
It is not an easy task to review the Cheryl
Bentyne’s work in general and this CD in par-
ticular for a few main reasons. In “general”,
because the legendary jazz vocal group Manhat-
tan Transfer and Cheryl Bentyne as a member is
in the cohort of greats that occupies a very spe-
cial place in the heart and mind of yours truly, an
ordinary but devoted jazz lover from the former
Soviet Union. “In particular,” because first, the
album is due in stores on late November and it
makes me feel a little special as a reviewer and,
second, it seems to me that this CD must be a
milestone in the solo career of Cheryl Bentyne
and in the career of her husband Corey Allen
whose role in this project as a producer, arranger
of the most of the songs, conductor and pianist is
a vital one and proves him as a very talented
musician.
The first thing that caught my eye when I
open the CD cover was the line at the bottom of
the page: “The City of Prague Symphony Or-
chestra Strings”. At this point I realized that this
must be something exclusive and it would be
better not to proceed with reading, but rather
start listening to get an unfettered opinion. I was
glad to find my view in agreement with the CD
booklet contents. By the way there are no liner
notes as such. Instead, there are some thoughts
from Cheryl, thanks from Corey and lyrics of the
songs that are explanatory enough. There is also
something “theatrical” in a good sense in this
CD. May be the title The Book Of Love makes it
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look that way, or it could be the chapters of
songs in the table of contents in the booklet that
looks like a screenplay draft to me. I don’t know.
Whatever it is, Cheryl Bentyne in my opinion is
perfect for this type of project. I remember her
very well the first time I saw the Manhattan
Transfer’s Vocalese on VHS back in the USSR.
Since then I have always thought of her as a
singer who acts or an actress who sings. I have
had an opportunity to see the Manhattan Trans-
fer live twice after that and it has just made me
certain.
All songs for this album were carefully
selected and as Cheryl noted – “Some of them so
personal, I’d rather not comment.” Her singing is
very sincere indeed. Most of the songs are time-
tested classics. Those that are not will probably
be. Each one of these songs represents a certain
phase of love. Strings open the first chapter “The Lust” is the third chapter. It contains only
called “Longing” with Eddy Arnold’s and Cindy one but very beautiful and intimate ballad
Walker’s “You Don’t Know Me” and sound like “Don’t Say A Word” written by Bill Cantos, not
an introduction to the story that lies ahead. There so long ago, with him at the piano, strings and
is also a nice bluesy solo from Grant Geissman. nice tenor solo from Bob Sheppard. The title
The second tune in this chapter is “Be My song and “You Taught My Heart To Sing” have
Love,” the classic by Sammy Cahn and been included in the fourth chapter called simply
Brodszky. This song arranged by Wayne John- “Love.” In all albums title songs tend to stand
son as a duo with him on guitar, and Cheryl out. The Book Of Love is no exception to this
Bentyne. It includes a deep-sounded and velvety rule. It is truly outstanding. Handsomely ar-
solo on cello by Armen Ksajikian. The second ranged by Mark Kibble with the instantly recog-
chapter called “Flirtation” consists of the two nizable voices of Take 6, this a cappella-sung
classics “Blue Moon” and “Let’s Do It.” John tune sounds stunning. In contrast, the next one
Pizzarelli on vocals joins Cheryl on “Blue “You Taught My Heart To Sing” is a duet with
Moon.” Both tunes were playfully and colorfully Corey Allen on piano. Very heartfelt singing
arranged. “Blue Moon” is especially picturesque. from Cheryl and elegant accompaniment from
Jazz Improv ® Magazine’s New York Jazz Guide  www.jazzimprov.com  December 2006 65
 Corey make this number gorgeous. Chapter five,
“Joy,” comes next with only the one standard
“You Go To My Head,” lovingly arranged with
strings, guitar, open trumpet and gentle Cuban
touch. The sixth chapter contains two timeless
classics “Cry Me A River” and “I Am A Fool To
Want You,” and is called “Disillusion.” The
muted trumpet of Chris Tedesco and accompa-
nying strings creates an atmosphere of disen-
chantment in “Cry Me A River.” On “I Am A
Fool To Want You,” Cheryl Bentyne establishes
a strong mood of hopelessness supported by
violin and backed by the very capable rhythm
section of Corey Allen, Kevin Axt and Dave
Tull. “Goodbye” is the only song in the final
chapter entitled “Loss.” It sounds sad but there is
no desperation, rather a sense of confidence and
little hope. This track is dedicated to the memory
of Don Alias, who ironically appears in this song
posthumously. The abbreviated version of “The
Book Of Love” concludes the story. Cheryl Ben-
tyne and Corey Allen preserve a traditional style,
bolstered and refreshed by their own musical
ideas. Sincerity of singing, illustrative, elegant
and tasteful arrangements, the very delicate ap-
proach to each song, and distinct solos make this
CD a solid piece of work.
Alan Broadbent
EVERY TIME I THINK OF YOU – Artistry
Music 264 S. La Cienega Blvd., Suite 1264,
Beverly Hills, CA 90211;
www.artistrymusic.com. Autumn Variations;
Bess, Oh Where’s My Bess; Blue In Green; E.
32nd Elegy; Last Night When We Were Young;
Every Time I Think Of You; Lover Man; Nirvana
Blues; Spring Is Here; Woody ‘n’ Me.
PERSONNEL: Alan Broadbent, Piano; Brian
Bromberg, Wood Bass; Kendall Kay, Drums;
The AB (Tokyo) String Section.
By Scott Hockenberry
Alan Broadbent’s latest release “Every
Time I Think Of You” offers a fine selection of
Broadbent original compositions along with
various timeless standards. The session is pre-
sented in a traditional piano, bass, drums trio
with string arrangements included on all selec-
tions. There is a consistent laid-back feel to the
recording with plenty of emotion and the excel-
lent orchestral arranging that Broadbent is well
known for.
Broadbent has worked as a pianist and ar-
ranger/conductor for a virtual who’s who of
musical icons in both the jazz and pop idioms.
His list of credits include Charlie Haden, Natalie
Cole, Woody Herman and Rosemary Clooney
just to name a few. I personally first became
66 December 2006  Jazz Improv ® Magazine’s New York Jazz Guide  www.jazzimprov.com
acquainted with Broadbent’s work in 1976 when
I picked up a copy of the great Woody Herman
work “The Children of Lima”. I was a young
student of jazz at that time and his work made a
lasting impression on me, and since then I have
always known that when a Broadbent arrange-
ment is included on a recording it is going to be
something special, and this release does not dis-
appoint.
It has to be noted that although the strings
on these selections are largely in the background,
they form an integral part of the music and do
not have the overlaid fluff feel that some listen-
ers might associate with a “strings’ albums.
Broadbent beautifully crafts the arrangements
and orchestrations with interesting voicings and
many dramatic, expressive and passionate mo-
ments.
Of the ten pieces included on the disc five
are Broadbent originals. “Autumn Variations” is
a medium up-tempo swing number with pleasing
melodic and chordal movement. E. 32nd Elegy
written as a tribute to Lennie Tristano is mourn-
ful and very impassioned. The title piece “Every
Time I Think Of You”, opens with some gor-
geous solo violin work and orchestration that is
sans rhythm section. This is a very touching and
moving work with a melody line that would
stand up to that of an age-old standard. “Nirvana
Blues” is a hip thematic piece with another
memorable melodic statement. The last original
and closing piece of the recording, “Woody ‘n’
Me, is a ballad dedicated to Woody Herman,
with whom Broadbent had a long, fruitful work-
ing relationship. The piece retains the warmth
and feeling of the session.
Of the standards offered all include excel-
lent arrangements and orchestrations. In particu-
lar the rendition of the Miles Davis/Bill Evans
piece “Blue In Green” stands out for me. The
orchestration is very emotional and Broadbent
exhibits his mastery of how to effectively use
tension, climax and release.
Broadbent’s playing throughout the re-
cording is impassioned, soulful and technically
excellent. His sense of time is always right on,
his soloing is superb, and his choice of notes is
always very tasteful. Brian Bromberg’s bass
sound is deep and round and he proves to be a
very tasteful and melodic player as well. Brom-
berg also offers up some excellent solo work.
Kendall Kay’s drum work is impeccable and he
provides the perfect rhythmic feel on these
pieces.
This is a touching, tasteful and relaxing
recording that is steeped with romanticism and
can at times melt your heart. All in all this is a
very enjoyable offering that is another great
addition to Alan Broadbent’s considerable re-
sume.
Linda Bianchi
LINDA BIANCHI—Ribico #7. Ribico Records,
New York, NY 10014. www.lindabianchi.com.
The Joint is Really Jumpin’ Down at Carnegie
Hall; Anyone Who Had a Heart; They Can’t
Take That Away from Me / If I Love Again; On
the Sunny Side of the Street.
PERSONNEL: Linda Bianchi, vocals; Fran
Minarik, piano.
To Advertise CALL: 212-889-0853
By Jim Santella
In this brief performance, Linda Bianchi
sings cabaret with a personal zeal. As an estab-
lished actress and veteran performer, she knows
how to convince an audience. With Only Make
Believe, the New York theatrical charity devoted
to children in hospitals, she volunteers her time
to do that often. The young critics with Only
Make Believe may not be too tough on her, but
those kids still know what’s genuine and what’s
not. Details on the organization, by the way, are
available at onlymakebelieve.org.
Bianchi is genuine. Her interpretations are
the real deal. Light and carefree, she sings with a
polished charm. Clocking in at a mere 14:21, the
album’s four tracks serve as an introduction to
her lovely voice and technique. With only piano
alongside, she leaves us plenty of room to absorb
the nuances of her performance. Seamless phras-
ing, studied breath control, pitch accuracy and a
conversational eloquence make the difference.
Pianist and musical director Fran Minarik
provides an interesting texture for the session.
For their introduction to “They Can’t Take That
Away From Me,” for example, the pianist flows
through an array of James Bond themes while
supporting Bianchi’s rubato opening. Together,
they give this familiar tune a creative aspect that
lingers. Then, they flow into the chorus with a
delicate air and later transition to “If I Love
Again” effortlessly.
Both “The Joint is Really Jumpin’ Down at
Carnegie Hall” and “On the Sunny Side of the
Street” swing with a genuine big band counte-
nance that recalls the heyday of Count Basie,
Duke Ellington, Benny Goodman and their ex-
tended families. The album even closes with a
Basie ending. Step back about 70 years and Bi-
anchi would make a highly successful big band
vocalist.
John Coltrane
FEARLESS LEADER (6-CD Box Set) — Pres-
tige Records, Tenth and Parker, Berkeley, CA.
94710, Concord Music Group, 100 North Cres-
cent Drive, Suite 275, Beverly Hills, CA. 90210
www.concordmusicgroup.com.
www.johncoltrane.com. DISC 1: Straight
Street; While My Lady Sleeps; Chronic Blues;
Bakai; Violets For Your Furs; Time Was; I Hear
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A Rhapsody; Trane’s Slo Blues; Slowtrane; Like ‘Trane in this collection will be enough for you!
Someone In Love; I Love You; DISC 2: You Spanning a period of only a year and a half,
Leave Me Breathless; Bass Blues; Soft Lights this collection covers Coltrane’s stint as a band-
and Sweet Music; Traneing In; Slow Dance; leader for Prestige Records that began in the
Lush Life; The Believer; Nakatini Serenade; spring of 1957. Thirty years old, free from the
DISC 3: Come Rain or Come Shine; Lover; Rus- ravages of a heroin addiction that caused Miles
sian Lullabye; Theme For Ernie; You Say You Davis to jettison him, and exploring the Muslim
Care; Good Bait; I Want To Talk About You; religion of his new bride, Coltrane recorded 125
Rise ‘n’ Shine; I See Your Face Before Me; tracks over 27 recording sessions at Prestige.
DISC 4: If There Is Someone Lovelier Than You; This set features some of the best picks from that
Little Melonae; By The Numbers; Black Pearls; repertoire.
Lover Come Back To Me; Sweet Sapphire Blues; The sampler showcases at least one track
DISC 5: Spring Is Here; Invitation; I’m A from each disc. Fragas, Baker and Gasparre’s “I
Dreamer, Aren’t We All?; Love Thy Neighbor; Hear A Symphony” leads things off from Disc
Don’t Take Your Love From Me; Stardust; My One. As pure as a jazz quartet gets, Coltrane’s
Ideal; I’ll Get By; DISC 6: Do I Love You Be- tenor is warm and smooth whether soloing or
cause You’re Beautiful?; Then I’ll Be Tired Of playing the melody. Red Garland adds a pretty
You; Something I Dreamed Last Night; Bahia;
Goldsboro Express; Time After Time.
PERSONNEL: DISC 1: John Coltrane: tenor
saxophone; Johnny Splawn: trumpet (1-4); Sahib
ADVERTISE
Shihab: baritone saxophone (1, 3, 4); Mal Wal-
dron: piano (1-3); Red Garland: piano (4-7);
Jazz Improv’s ®
in
Paul Chambers: bass (1-7); Earl May: bass (8-
11); Albert “Tootie” Heath: drums (1-7); Arthur
Taylor: drums (8-11). DISC 2: John Coltrane:
New York Jazz Guide
tenor saxophone; Donald Byrd: trumpet (6-8);
Red Garland: piano; Paul Chambers: bass; Ar-
Maximize the return on your
thur Taylor: drums (1-5); Louis Hayes: drums advertising investment
(6-8). DISC 3: John Coltrane: tenor saxophone;
Donald Byrd: trumpet (1-2); Red Garland: piano;
Paul Chambers: bass; Louis Hayes: drums (1-2); REACH the
Arthur Taylor: drums (3-9). DISC 4: John Col-
trane: tenor saxophone; Donald Byrd: trumpet LARGEST NUMBER
(4-6); Red Garland: piano; Paul Chambers: bass;
Arthur Taylor: drums. DISC 5: John Coltrane:
of jazz fans and prospects in the
tenor saxophone; Wilbur Harden: flugelhorn; New York area and beyond.
Red Garland: piano; Paul Chambers: bass;
Jimmy Cobb: drums. DISC 6: John Coltrane:
tenor saxophone; Freddie Hubbard: trumpet (1- RUN your ads in
3); Red Garland: piano (1-4, 6); Paul Chambers:
bass; Arthur Taylor: drums. FULL COLOR
By John Cizik
to get attention & results!
There is no such thing as too much John INCREDIBLY AFFORDABLE!
Coltrane. This review is based on a nine-song
sampler of the six-disc “Fearless Leader” box set JANUARY 2007 ISSUE
recently released by Prestige Records. These
nine tunes leave you with an appetite for more –
HURRY! Ad Deadline: Dec. 15
and it’s doubtful that even the massive forty- CALL Jamie Cosnowsky at
eight track, four-hundred eleven plus minutes of 212-889-0853  jamie@jazzimprov.com
Jazz Improv ® Magazine’s New York Jazz Guide  www.jazzimprov.com  December 2006 67
piano solo, Paul Chamber’s bass and Tootie
Heath’s drums lay down a solid groove. Garland
and Chamber’s presence is not by chance - they
were members of Miles’ band with Coltrane.
“Trane’s Slo Blues” is the only original on
the sampler, and one of only nine in the set. It
starts with a walking blues bass line put down by
Earl May. Arthur Taylor handles the drumming,
and Coltrane wails on tenor. A couple of solo
breaks really showcase his wonderful playing.
May solos as well. Things slow WAY down
with “You Leave Me Breathless” from Disc
Two. Another trio piece with Garland and
Chambers, a highlight of this number is the bass
solo about halfway through. It is said that during
this period in his life, ‘Trane practiced almost
obsessively, and one can hear it in the near per-
fection of his solos. Whether noodling around
the melody, or exploring the depths of the chord
changes, never a displeasing note is heard on this
cut, or anywhere else on the sampler, for that
matter. His later career recordings would feature
some experimentation, and soloing “outside the
box.” Here, things stay more standard.
Speaking of standards, we move ahead to
Disc Three and the Arlen and Mercer gem
“Come Rain or Come Shine.” Coltrane’s tenor
takes the melody. Although he did learn to play
sax on the alto and played some soprano in his
career, John is best known for his tenor work,
and it’s the only horn heard on this collection.
Garland takes an extended solo on this chart, and
a nice addition to the band is Donald Byrd’s
trumpet. Clear and crisp with a nice touch of
reverb, his solo fits the piece perfectly, and he
picks the melody back up before trading off with
‘Trane to end the piece. The Dameron/Basie bop
epic “Good Bait” is next, at over twelve minutes
the longest track on the sampler. A virtual clinic
in tenor soloing, Coltrane improvs up and down
his tenor at lightning speed, often going from the
top to the bottom of the horn in the same lick.
Garland does the same on the piano, as does
Chambers on bass. ‘Trane comes back in at
about the nine minute mark to trade fours with
drummer Arthur Taylor – an interplay that car-
ries on ‘til the saxophone takes the melody over
again and out. The last selection here from Disc
Three is “Rise ‘n’ Shine,” another cut featuring
Coltrane’s smoking tenor work. The speed of
Chamber’s bass line throughout the piece is
phenomenal. The consistency of personnel in
this sampler makes the sound very steady from
beginning to end, and one would suspect that
cohesiveness carries through the entire box set,
since Garland is on keys for all but three tracks,
and Chambers’ bass graces all but four.
Romberg and Hammerstein’s “Lover Come
Back to Me” is from Disc Four, and Donald
Byrd returns on trumpet as Dizzy to Coltrane’s
Bird. The two play together, separately, and
together again without missing a beat. This track
flies by at a wicked tempo for seven minutes and
change, with both horns and the piano taking
long, whipping bebop solos. We’re back to stan-
dard time with a track from Disc Five, the classic
“I’ll Get By.” This up-tempo rendition features
warm, clear sax work from ‘Trane, likely using
his preferred ax of the period, a Selmer VI tenor.
Wilbur Harden’s flugelhorn follows with a solo
and matches the warmth of ‘Trane’s tenor. The
68 December 2006  Jazz Improv ® Magazine’s New York Jazz Guide  www.jazzimprov.com
melody is played in the lower registers of the
tenor, giving the tune a throaty sound.
The sampler wraps with Ary Barosso’s
“Bahia.” Named for one of Brazil’s 25 states, the
tune’s latin feel is evident in Garland’s chords
setting up the piece. They re-occur throughout in
the piano and bass to cement the sound. Col-
trane’s melody and solos are a beautiful exten-
sion of the theme. Chamber’s bowed bass solo
adds some interesting sonic flavor to the mix.
The first of three planned box sets from
Concord that will cover John Coltrane’s entire
Prestige period, “Fearless Leader” sees the leg-
end out of the shadows of the greats, stepping to
the front of the stage himself. This sampler is
just enough of an appetizer to leave the listener
longing for the entrée.
Mary Foster Conklin
BLUES FOR BREAKFAST—Rhombus Re-
cords #7064. Phone: 818-709-8480.
www.rhombus-records.com.
www.maryfosterconklin.com.
Before the Show; Spring Isn’t Spring Anymore;
Show Me the Way to Get Out of this World; An-
gel Eyes; That Tired Routine Called Love; En-
canto d’Amor; Blues for Breakfast; Will You
Still Be Mine; Where Am I to Go?; The Night We
Called it a Day; Let’s Get Away from It All;
Let’s Just Pretend; Learn to Love; Violets for
Your Furs.
PERSONNEL: Mary Foster Conklin, vocals;
John Di Martino, piano; Tony Romano, guitar;
Sean Smith, bass; Ron Vincent, drums; Joel
Frahm, tenor saxophone, soprano saxophone;
Wilson “Chembo” Corniel, percussion; Leo
Traversa, electric bass; David Oquendo, vocals.
By Jim Santella
Subtitled Remembering Matt Dennis, Mary
Foster Conklin’s album salutes the prolific com-
poser with 14 of his songs, interpreted sensi-
tively by the vocalist with a crew of piano, bass,
drums, guitar, and several guests. The instru-
mentation ensures an intimate portrayal. “Angel
Eyes” and “The Night We Called It a Day” ring
instantly familiar to most of us. But Conklin has
done her research. She’s found songs by Matt
Dennis that we’ve not heard before. Most are
with lyricist Thomas Adair and align themselves
closely with the composer’s unique, torch song
disposition. Bobby Troup wrote the lyrics for
two of the program’s selections which overflow
with passion and cabaret persuasion.
The ensemble provides a colorful accompa-
niment for Conklin, but leaves plenty of room
for her to create. Most selections combine dark
moods with flowing vocal melodies that express
sadness. Heavy hearts and teary eyes give the
program its distinct characteristic. “Let’s Get
Away from It All” appears as the lone exception,
with its cheery theme and upbeat personality.
With lyrics such as “We’re off again to Niagara/
This time I swear we’ll look at the falls” and
“Then off to Reno, but just to play Keno,” evoke
a positive glow.
“Blues for Breakfast” carries the program’s
true identity with its somber spirit and soulful
restraint. The imagery introduces a frail individ-
ual waking in the morning and viewing the day
with doubts. We’ve all been there. It’s always a
delight to “compare notes” with the composer
and lyricist who bring us such a message. Conk-
lin interprets what we’re feeling when the sun
comes up and we really don’t want to face the
day as usual. Of course, this song exaggerates
what we usually feel in our homes on those
mornings, through lyrics such as “I find the
world around me is caving in/He left me with the
dawn for parts unknown.” It’s heavy stuff, and
Conklin delivers right on target.
Bob DeVos
SHIFTING SANDS – HighNote / Savant Re-
cords 2006.
www.bobdevosjazzguitar.com. Lost and Found;
Three/Four Miss C; Mojave; Shifting Sands;
Track and Field; Step Into Spring; But Beautiful;
A Different Dozen; Willow Weep For Me.
PERSONNEL: Bob DeVos (Guitar), Eric Alex-
ander (Tenor Saxophone), Dan Kostelnik
(Hammond B-3 Organ), Steve Johns (Drums),
Gary Fritz (Percussion)
By Paul Sakion
Ever since Floyd Smith and Charlie Chris-
tian brought the electric guitar to the jazz world
in the 30’s, it has been one of the cornerstones of
the soundscape. Bob DeVos’s recent release,
Shifting Sands, features the modern version of
this sound center stage in nine tracks with six
original DeVos compositions. This is somewhat
of a departure from his previous recordings that
focused more on jazz standards and the results
make one wonder why DeVos waited to debut
his writing talents.
While the piece “Lost and Found” is a rea-
sonable beginning, do not judge this album by
the opener as each track has a uniqueness worth
exploring. “Three Four Miss C” moves more
into a straight ahead feel combining guitar and
sax melodically to create some interesting tim-
bral effects. “Mojave’s” latin groove, accentu-
ated by Kostelnik’s excellent organ solos, adds a
nice variety to the mix and the title piece,
“Shifting Sands,” showcases both DeVos’ com-
positional abilities as well as his ability to exe-
To Advertise CALL: 212-889-0853
cute a technically difficult ballad.
Rounding out the album, “A Different
Dozen,” another DeVos original, features an
enjoyable dialog between guitar, organ, and
drums. Kostelnik’s organ is present at times as a
counterpoint and at times as an accompaniment,
while Johns’ drums expertly provide a rhythmic
reinforcement of DeVos’ melodic themes. As a
finisher, “Willow Weep for Me” might bring a
tear to your eye, but not because it is the typical
slow torch singer ballad. This up-tempo piece
featuring Alexander’s buttery smooth saxophone
trading solos with DeVos, is an appropriate ener-
getic ending for Shifting Sands.
A wine connoisseur who enjoys a great
1975 Mouton Rothschild on a snowy evening,
would definitely ask what they are drinking
when served an unidentified, and surprisingly
superb table wine at a dinner party. Guitarist
Bob DeVos’ album Shifting Sands would defi-
nitely elicit the same kind of curiosity and de-
lighted response from jazz lovers who recognize
“a fine table wine” when they hear it.
Alex Garcia’s AfroMantra
UPLIFTING SPIRIT – AfroMantra Records
www.afromantra.com. The Uplifting Spirit of
Our Soul; Latin American Song; Luna and the
Sun; For Emiliano Salvador; Because of You;
New Dawn; Yemaya, Goddess of the Sea; Au-
tumn Dreams; Green Horizons; Lighting the
World; My Word
PERSONNEL: Alex Garcia, drums, timbales,
percussion; Ole Mathisen, soprano and tenor
saxophone; Desmar Guevara, piano; Waldo
Chavez, bass; Aryam Vazquez, congas, batas,
cajon, percussion; Pablo Vergara, piano, key-
boards, Fender Rhodes; Manuel Valera, piano,
Fender Rhodes; Jorge Fernando Rodriguez,
acoustic guitar; Jorge Castro, tenor saxophone;
Jorge Bringas, bass.
By Curtis Davenport
Uplifting Spirit (Espiritu Optimista) is the
third offering from AfroMantra, the formidable
New York based Latin Jazz ensemble, led by
drummer/percussionist Alejandro “Alex” Garcia.
Mr. Garcia and his band draw from a variety of
influences that are as wide and storied as Mr.
Garcia’s background, to create a truly contempo-
rary view of the marriage of jazz and various
Latin musical styles.
A bit of Alex Garcia’s personal history is
worth noting here. Born in Santiago, Chile, Mr.
Garcia and his family fled Chile, in 1973, when
Alex was seven, as a result of a military coup.
The family landed in Peru, where they remained
until 1979, at which point they moved to Ha-
To Advertise CALL: 212-889-0853
vana, Cuba. All the while, young Alex was soak-
ing up a rich musical education both directly,
from his choreographer mother and his composer
father and indirectly, from the music that he
heard at home and in his formal education. Mr.
Garcia counts among his influences Miles Davis,
Pink Floyd, Perez Prado, and Irakere. By the
time he arrived in New York in 1996, Garcia
was ready to put all of these influences into prac-
tice, in an environment that was as culturally and
musically diverse as was his background and so
he did in 1997, when he formed AfroMantra.
Uplifting Spirit is a disc that I grew to like
more each time I listened to it (and I listened
many times). This is a tribute to the outstanding
writing and to the all-star musicians who bring
the vision to life. Norwegian-born saxophonist
Ole Mathisen, who has recorded with Eddie
Gomez and Peter Erskine has a full robust tone
on the tenor, similar to that of another great
Latin Jazz tenorman, David Sanchez. Like San-
chez, he is also not afraid to head for the “free”
side of the street, when a piece warrants, such as
on “Yemaya, Goddess of the Sea.” Also, check
out his work on the disc’s best cut, “Nuevo
Amanecer (New Dawn),” a track that keeps you
on your toes, by switching from an easy going
first half, highlighted by Mathisen’s Grover
Washington-like soprano and guest tenor man
Jorge Castro’s tenor counterpoint, floating over
guest star Manuel Valera’s dreamy Fender Rho-
des; to an all out descarga, where Valera shows
off his Chucho Valdes influenced piano and
Mathiesen shows us the grittier side of the so-
prano sax. The group’s pianist Pablo Vergara, a
veteran of Dave Valentin’s group, has several
highlights as well, most notably on “Suenos de
Otono (Autumn Dreams),” in a trio with Mr.
Garcia and guest bassist Jorge Bringas. Percus-
sionist Aryam Vazquez is rock steady through-
out, turning in first class work on the congas,
batas and cajon, that is a perfect compliment to
leader Garcia’s work on the traps.
This CD is called Uplifting Spirit for good
reason. These eleven tracks, all penned by Mr.
Garcia, are upbeat and positive in tone, even
when the tempo slows down. Please note that
AfroMantra’s brand of Latin Jazz, or Afro-
Cuban Jazz, if you prefer, is not the mambo-
driven product favored by Mario Bauza, Machito
and other greats of the 50’s and 60’s. Although
those influences can be heard, this music owes
more to the sound of Irakere, Paquito D’Rivera
and the ‘70’s, when the influences of free jazz
and rock fusion began to make their way into
Latin music. If this is a new experience for you, I
advise you to open up your mind as well as your
ears and enjoy a joyous, life-affirming musical
ride.
Mark Helias
ATOMIC CLOCK—Radio Legs Music.
www.markhelias.com. Subway; Chavez; Cine-
matic; Momentum Interrupted; Modern Scag,
Atomic Clock; Plantini, What Up; Zephyr; Many
Nows.
PERSONNEL: Mark Helias, bass; Tony
Malaby, tenor saxophone; Tom Rainey, percus-
sion; Ellery Eskelin, tenor saxophone on Modern
Scag.
Jazz Improv ® Magazine’s New York Jazz Guide  www.jazzimprov.com  December 2006 69
By Ken Weiss
Mark Helias’ Open Loose includes 3 heavy-
weights from the NYC “downtown music” scene
and has been playing off and on together for 10
years. This is their fourth release and is aug-
mented by the talented Ellery Eskelin who also
has held down the horn role in the band’s past.
All but one of the ten compositions are by the
leader and feature crafty yet melodic writing,
incorporating a basic structure which serves as a
firm stepping point for sauntering improvisation
while avoiding broad dissonance. The music is
adventurous yet accessible, mainly living in the
low to mid tempo intensity range. Helias and
Rainey form one of the most pliable rhythm
sections around and Malaby is perhaps the most
highly touted tenor of his generation. What
sounds like a winning recipe is, as the band is
fully lubricated after taking a seventeen-day tour
of the US prior to recording in December 2005.
The opening tune, “Subway” erupts out of
the starting gate with an immediacy that is both
bold and bracing. Close your eyes and just feel
the wild subway ride, racing across New York
on hot metal tracks, just beware of pickpockets.
The beautiful “Chavez” is quite an experience;
each artist has plenty of space to be heard and
the years of playing together as a unit and in
other projects makes for attractive storytelling.
Drums and bass are resilient and clear in the mix
but be prepared to be taken by Malaby’s golden
horn. You might expect the addition of Eskelin
on “Modern Scag” would lead to a hell-raiser but
Helias is a proponent of the unexpected and
folds the second horn into what is really a ballad.
Eskelin’s tone is richly burnished in comparison
to Malaby’s acidic and plaintive horn on this
piece. The combined voice of the tandem is soul-
ful and stirs strong emotions. “Atomic Clock,”
the shortest cut at just over a minute, bubbles
along a near nuclear meltdown while “Zephyr”
is an impressive tune that has that aged feel of a
comfortable standard. Nimble bass along with
soft sax pleadings dance cheek to cheek as
Rainey delicately builds the universe around
them. “Many Nows” finishes the disc and its
compositional credit goes to the entire trio. Un-
wrapping slowly, it includes an enticing bass
solo and chesty sax blasts as the group plays
more daringly on this presumed spontaneous
ditty. All the songs on this recording are rela-
tively short and there’s no wasted effort. Helias’
Open Loose continues to play at a high level,
teasingly seductive at times, casting a silvery
mood, all done, for the most part, while traveling
the speed limit. There is much to savor here.
John Hicks
SWEET LOVE OF MINE—High Note Re-
cords HCD7142. www.jazzdepot.com. One
Peaceful Moment; I Guess I’ll Hang My Tears
Out To Dry; Sweet Love Of Mine; The Things
We Did Last Summer; Once I Loved; Hold It
Down; Mambo Influenciado; I Remember Clif-
ford; Peanut Butter Two; Sunset Blues
PERSONNEL: John Hicks, piano; Javon Jack-
son, tenor saxophone; Elise Wood, flutes; Curtis
Lundy, bass; Victor Jones, drums; Ray Mantilla,
percussion.
70 December 2006  Jazz Improv ® Magazine’s New York Jazz Guide  www.jazzimprov.com
By Dan Bilawsky
John Hicks had the type of musical career
that many musicians, jazz or otherwise, can only
dream about. His musical skills graced re-
cordings from Art Blakey, Woody Herman,
Betty Carter, Pharaoh Sanders, Charles Mingus,
Arthur Blythe and many other legends of jazz.
Whether playing in a strong blues vein, a Latin
jazz context or a quietly contemplative setting,
Hicks musical persona always shines through the
music. Sweet Love Of Mine, recently released on
High Note Records, was recorded a mere five
weeks before his unfortunate passing. This al-
bum displays his talent in several different musi-
cal contexts, ranging from solo to sextet and
many things in between. Jazz fans will marvel at
his wide-ranging skills on every track. “One
Peaceful Moment,” the album opener and one of
three Hicks tunes on the album, is one of the
most tender solo piano pieces I have ever heard.
Donald Elfman, in his liner notes, says that “it’s
as if he’s stopped in the midst of his jazz career
for a moment of needed quiet contemplation,”
and I couldn’t agree more. Javon Jackson joins
in for a duo performance of “I Guess I’ll Hang
My Tears Out To Dry.” Jackson’s tone is very
focused and, with just the slightest hint of vi-
brato, the listener can’t help but be drawn in by
his seductive saxophone soliloquy. Hicks pro-
vides the gentlest cloud-like chords beneath
Jackson and his solo is hypnotically relaxed and
relaxing. Woody Shaw’s “Sweet Love of Mine,”
one of several tunes on the album that feature the
flute work of Elise Wood, sounds like it could
have been a classic track from Mongo San-
tamaria. The drum and percussion solo, from
Victor Jones and Ray Mantilla, is the clear high-
light here.
Hicks returns to the solo setting for the
mellifluous “The Things We Did Last Summer.”
While the playing on “Once I Loved” is fairly
subdued, Curtis Lundy’s bass playing locks in
with the drums and percussion to give the music
a slight Brazilian lilt. The piano soloing, which
follows that of Jackson, matches the suave style
of the tenor saxophonist with clear assurance and
style. Lundy gets a chance, early on, to stretch
out on “Hold It Down” and the bassist does not
squander the opportunity. Hicks follows Lundy
with some fine soloing and the ensemble ratchets
up the intensity behind Jackson’s solo. Soloing
from Victor Jones is peppered throughout the
end of the track and his musical communication
with the rest of the musicians is strong. The per-
formance and atmosphere of “Mambo Influen-
ciado” is cut from the same cloth as the perform-
ance of the title track. An extended percussion
and drum solo spices up the middle of the song
and the music, which only exhibits the mildest
amount of intensity, sizzles throughout.
A tentative or hesitant quality seems to come
through as Wood explores the lower register of
the flute during the outset of “I Remember Clif-
ford.” A bit more confidence seems to come out
later and Jackson, who sounds distant and further
away on this track, matches the mood that was
already set. “Peanut Butter Two” is the third and
final Latin-leaning piece on this recording and
the formula, style, and relative tempo that was
established on the earlier tracks returns for one
last hurrah. “Sunset Blues” is the final track on
the album and, as opposed to the other solo pi-
ano tracks, Hicks gives us three minutes and
twenty seconds of uncensored blues piano play-
ing. The late John Hicks will be sorely missed
and this recording is a testament to his fine tal-
ents.
Hot Club of Detroit
HOT CLUB OF DETROIT—Mack Avenue
Records #MAC 1030. Mack Avenue Records,
Inc., 18530 Mack Avenue, #299, Grosse Point
Farms, MI 48236. www.mackavenue.com/
www.hotclubofdetroit.com. Belleville; Passion;
Honeysuckle Rose; Leila; Stompin’ at Decca;
Nuages; Swing One; Aurore; How Insensitive;
Tears; Godfather Theme; Troublant Bolero;
Anouman.
PERSONNEL: Evan Perri, lead guitar; Colton
Weatherston, rhythm guitar; Paul Brady, rhythm
guitar; Shannon Wade, string bass; Dave Ben-
nett, clarinet; Julien Labro, button accordion.
By C.J. Glass
I know what you’re thinking, and no, these
tracks are not Berry Gordy’s Motown interpreta-
tions of Django Reinhardt songs. The Hot Club
of Detroit was founded four years ago at Wayne
State University and since that time has gone on
to take first place in the 2004 Detroit Interna-
tional Jazz Festival competition and win the
2006 Detroit Music Award for “Outstanding
Traditional Jazz Group/Artist.” This eponymous
debut is further evidence of an ensemble that is
coming into its own and has great growth poten-
tial.
Much to its credit, The Hot Club of Detroit
has avoided the task of only recreating classic
Gypsy jazz repertoire. New tunes, arrangements,
instrumentation, and the overall vibe of this band
obviously kindle enthusiasm amongst players
and fans alike. Of course, sometimes musical
excitement can lead to “pushing the time,” driv-
ing the rhythm out of a swinging balance, but
that sensation is by now almost indigenous to the
genre.
The best examples of The Hot Club’s style
on record are “Honeysuckle Rose,” “The Godfa-
ther Theme,” and “Anouman.” “Rose’s” multi-
To Advertise CALL: 212-889-0853
modulated opening is sure to perk a few ears.
Add a finely crafted solo for clarinetist Dave
Bennett (note the “Scrapple From the Apple”
quote), a nifty shout chorus, and Shannon
Wade’s slap-bass interjection, and we have our-
selves one sweet rendition. Clocking in at 11:35,
“The Godfather Theme” is a very long journey,
but, well, geez, who else plays “The Godfather
Theme?” This one is perfect for Julien Labro’s
button accordion. Evan Perri throws all he’s got
into his guitar and Bennett quotes again, this
time from “Sing, Sing, Sing.” Talk about build
and drive (thank you Colton Weatherston and
Paul Brady). Tempo, tension, and dynamic shifts
are also brought in for the proper effect.
Finally, “Anouman” brings The Hot Club of
Detroit full circle, beginning out of nothingness
just as “Belleville” does when it opens the al-
bum. There is a mystery to this song, one that is
left unsolved. Something about the whole tone
intro. and outro. surrounding the key of d minor
begs the question, “What is next for The Hot
Club of Detroit?”
So, what in fact, will be next for the sextet?
It will be nice to find out. While not inexperi-
enced, the group is still young and in some ways
rough around the edges. More importantly, The
Hot Club of Detroit shows promise, and for that,
we can be thankful.
Sean Jones
ROOTS—Mack Avenue Records.
www.mackavenue.com. Children’s Hymn,
Roots, Divine Inspiration, God’s Gift, Come
Sunday, Lift Every Voice, Offering Time, Con-
versations, El Soul, Puddin’ Time, What We
Have, John 3:16, I Need Thee.
PERSONNEL: Sean Junes, trumpet, flugelhorn;
Obed Calvaire, drums; Luques Curtis, acoustic
bass; Orrin Evans, keyboards, piano, Fender
Rhodes; Tia Fuller, alto sax; Eddie Howard,
organ, piano; Jerome Jennings, drums.
By Ken Franckling
On his third CD as a leader, trumpeter Sean
Jones has built a very strong, and very personal,
bridge between the gospel music with which he
grew up and the jazz that hooked him hard start-
ing in the fifth grade. In a sense, Roots is all
about this busy young trumpeter’s past and his
present and points to a strong direction for the
future that awaits Jones, who is lead trumpeter in
the Lincoln Center Jazz Orchestra, leads his own
group and teaches jazz at the university level.
The opening track is a solo version of the
traditional “Children’s Hymn,” into which he
weaves a snippet of “Jesus Loves Me.” It dou-
bles as an introduction to his beautiful tone and
command of the horn. The title track, “Roots,” is
a showcase for his quintet that features great
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interplay between Jones and alto saxophonist Tia
Fuller as their harmonics and cross-melodies
converge, separate and join again. It also in-
cludes a rhythmic reference to the thundering
extended version of “Lift Every Voice” that
follows mid-CD. The soloing and the ensemble
playing are quite beautiful on the title track.
“Divine Inspiration” features Jones on flu-
gelhorn and Orrin Evans on Fender Rhodes,
supported only by bass and drums, which opens
the tune in a way that reveals more delicacy and
inner beauty. Duke Ellington’s “Come Sunday”
and the aforementioned “Lift Every Voice” also
feature the quartet (trumpet plus rhythm section).
Both are masterful showcases for his conversa-
tional trumpet.
Drummer Obied Calvaire’s “God’s Gift” is
another piece performed by the two-horn quintet,
with Jones showing off some of his blistering
high note skills without giving any sense that
he’s doing it merely because he can. In other
words, it fits the music, as does Fuller’s upper
register alto work that follows. Their intensity is
a joy to behold. Jones’s “Offering Time,” featur-
ing Eddie Howard on organ and Jerome Jennings
on drums, is a trio burner with a swinging inten-
sity that feels like it comes right out of New
Orleans. Evans’ “Conversations” brings back the
quintet in an intense fusion mode that blends a
shuffle rhythm and some tasty electronic key-
board work, including flute effects. Ali Jack-
son’s wistful ballad “El Soul” and Brad Leali’s
rollicking, blues-drenched “Puddin’ Time” are
straight-ahead modern jazz pieces, the latter
kicking up the intensity of the proceedings be-
fore Jones reverts to his gospel-music focus on
his original ballad “What We Have” and two
Jazz Improv ® Magazine’s New York Jazz Guide  www.jazzimprov.com  December 2006 71
traditional pieces, “John 3:16” and “I Need
Thee.” The latter, the closer at this musical ser-
vice, is a soulful and stirring duet featuring
Jones’s trumpet and Eddie Howard on piano.
Barbara Lea
& Loren Schoenberg Big Band
BLACK BUTTERFLY
www.barbaralea.com. THPOPS2: Black But-
terfly; Together; Bend A Little My Way; Rest-
less; My Foolish Heart; How Will I Remember
You; It’s So Peaceful In The Country; Blame It
On My Youth; When They Ask About You;
‘Round Midnight; All By Myself; Blackberry
Winter; If I Love Again; Mother May I Go Out
To Swim; Just Squeeze Me; I Let A Song Go Out
Of My Heart; Come Rain Or Come Shine.
PERSONNEL: Barbara Lea, vocals; Jack
Stuckey, Jon Gordon, alto sax, woodwinds;
Chris Madsen, Mark Lopeman, tenor sax, wood-
winds; Carl Maraghi, bari sax, bass clarinet;
Seneca Black, Irv Grossman, Brian Pareschi,
Randy Sandke, trumpets; Mike Christianson,
Eddie Bert, Bobby Pring, Brent Wallarab, trom-
bone; Steve Ash, piano; James Chirillo, Guitar;
Yasushi Nakamura, bass; Kenny Washington,
drums.
By Larry A. Detwiler
After a storied career that has seen perform-
ances in such noted venues as the Village Van-
guard, Carnegie Hall, Town Hall in New York,
the Newport Jazz Festival, the Kool Jazz Festi-
val, and the JVC Jazz Festival, and impressive
awards as the Best New Singer of 1956, Black
Butterfly is the most recent of the dozen CD’s of
Barbara Lea’s that are currently available on the
Audiophile label. Recorded in 2005 and 2006, at
the age of 76 and 77 (and let’s be honest here –
who among us as musicians wouldn’t love to be
simply performing at that age, let alone making
recordings!) feels like a celebration of a singers
life in music. Lea has always been recognized as
a singer of great diction, a true story teller in
song, and that continues to show on this re-
cording. Lea isn’t going to dazzle you with virtu-
osity, but you are going to understand the mean-
ing of the song.
Backed by the Loren Schoenberg Big Band,
with which Lea has been the vocalist for the past
20 years, Black Butterfly is a collection of famil-
iar songs, original compositions, and selections
that should be performed more often than they
are.
The familiar selections begin with the first
track and the title song of the album “Black But-
terfly” by Duke Ellington, Irving Mills, and
Benito Caine Carruthers, arranged by Benny
72 December 2006  Jazz Improv ® Magazine’s New York Jazz Guide  www.jazzimprov.com
Carter, which in addition to the laid back, sultry
voice of Lea features very interesting, tasteful
piano fills by Steve Ash on piano and a Bobby
Pring solo on trombone. The jazz standard “My
Foolish Heart”, and “Come Rain Or Come
Shine”, by Johnny Mercer and Harold Arlen are
very effective with Lea performing with just the
accompaniment of Schoenberg on piano.
“’Round Midnight”, by Thelonious Monk, Coo-
tie Williams, and Bernie Hanighen features the
quartet of Lea, Schoenberg, Ken Kimery on
drums, and John Eckert on trumpet who’s tone is
somewhat reminiscent of early Miles Davis. “All
By Myself” by Irving Berlin, and “Just Squeeze
Me” by Duke Ellington and Lee Gaines is once
again Lea with Schoenberg on piano and tenor
sax overdubbing (on All By Myself). On these
up-tempo swing tunes Lea demonstrates a great
rhythmic feel. I would enjoy hearing her do
more of these types of songs in place of a few of
the slower ballads. “I Let A Song Go Out Of
My Heart”, by Ellington, Mills, Henry Nemo,
and John Redmond features the entire big band
with Lea. James Chirillo plays a nice solo on
guitar, and Schoenberg plays what I feel is the
best solo of the CD on tenor sax.
There are two originals on the CD by Lea
and Chris Madsen, “Together”, and “Mother
May I Go Out To Swim”. “Together”, with solos
by Jon Gordon on alto sax and Steve Ash on
piano presents thematic lines very reminiscent of
“You Make Me Feel So Young”.
The swing tune “Restless” with Mark Lope-
man on clarinet and the double time passages in
the saxes call back memories of the big band era.
The flutes, muted trumpets, and brushes on the
drum set provide a great timbre and plenty of
space for Lea to interpret “How Will I Remem-
ber You”, which also features Schoenberg on
tenor sax, clearly the most accomplished of the
musicians in this band. “When They Ask About
You” features an excellent solo by Randy
Sandke on trumpet, who is a close second to
Schoenberg among the instrumentalists.
There are a couple minor complaints I have
with this CD. First, I feel that there are times
when Lea’s pitch is just a touch on the flat side.
Second is in the mixing of the sound for the
band. The lowest sounds need to act as the foun-
dation of everything else. I feel that these voices
are a bit in the background giving everything a
slightly trebly sound. I think more bass sound
would give the entire CD a better sound. My
third complaint involves the band. The Loren
Schoenberg Big Band is excellent throughout the
CD. The problem is I kept waiting for them to
turn the band loose and let them blow a little,
and it never came. It felt as if the band was held
back on this CD.
In light of those things, I would still suggest
this CD to any listener. Owning this recording is
like owning a piece of jazz history. Any vocalist
would be wise to emulate the way Lea eliminates
the frills and gimmicks and concentrates on the
most important aspect of singing – the meaning
and emotion of the song. In the process she pulls
you in and gives you a new appreciation and
understanding of the way songs should be per-
formed.
Elisabeth Lohninger
THE ONLY WAY OUT IS UP – Lofish Mu-
sic. Web: www.teramusic.com/lohninger Mi-
rage; The Weather In New York City; The Only
Way Out Is Up; Spring Can Really Hang You Up
The Most; As The Tides Turn; Delirious Joy;
Swimming Upstream; Be A Lion; Falling Grace;
Free To Fall
PERSONNEL: Elisabeth Lohninger, voice;
Walter Fischbacher, piano, keyboards; Chris
Tarry, bass; Hari Ganglberger, drums; Mino
Cinelu, percussion (tracks 1, 3, 4, 7, 8); Donny
McCaslin, saxophones (tracks 3, 7, 8).
By Curtis Davenport
Elisabeth Lohninger is one of the more
busy and familiar faces on the New York City
downtown music scene. The Austrian-born vo-
calist is a part of the Jazz Department faculty at
The New School, has produced and performed
music for television (Alias and the venerable
daytime drama, One Life To Live are just two of
her credits), she also performs as a pop soul
artist under the pseudonym “Tera” and now, she
has released The Only Way Out Is Up, her sec-
ond jazz release under her own name.
This CD caught my attention immediately,
with the opening track, “Mirage,” a haunting,
sensual piece, that I feel can be best described as
Scheherazade and King Shahryar spending a few
of their 1001 nights in a jazz club. Ms. Loh-
ninger’s subtly erotic lyric, and her voice, a rich,
passionate alto, come together to create a perfect
after-dark in the desert atmosphere. Canadian
electric bass master Chris Tarry, then takes the
track to an even higher level with a dexterous
solo that reminded me of Stanley Clarke at his
best. By the time Elisabeth returns to restate the
theme, you’ll know that Midnight at the Oasis
was never like this. The mood and the tempo
then shift quickly, with the next track, “The
Weather in New York City,” a bright, bustling
piece, which describes the scene outside during a
snowstorm in lower Manhattan. The track is
enlivened further by Walter Fischbacher’s ener-
getic and tasty piano solo. At three and one-half
minutes, it is a delightful track that, like a good
time in NYC, goes by much too quickly.
We are then taken in another direction, with
the title track, a piece of writing that, with its’
jazz funk rhythm and sardonically witty lyric,
would make Donald Fagen proud. It is my favor-
ite track on the album, if only for the fact that
you have got to love a song with a lyric that
admonishes someone to “get up and get your
butt out of the mud.” As an extra treat, this track
also features some marvelous tenor sax work
from Donny McCaslin, one of the great, under
recognized saxophone players working today.
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 Of the ten cuts here, seven have been
penned by Ms. Lohninger, which is just fine, for
as you may have guessed by now, she is a tal-
ented composer and lyricist. However some of
the most unusual and interesting work on the
CD, comes in the three tracks that Ms. Loh-
ninger did not write music for. One of them is a
very well known jazz standard, that has been
covered by the greats from Getz, to Ella, to Betty
Carter and more, another is a piece from a
Broadway musical classic, that is rarely heard
outside of the show and the third a piece that has
been played often, but has to my knowledge, not
had a lyric until Ms. Lohninger came along.
“Spring Can Really Hang You Up The Most,”
the aforementioned jazz standard, is usually
taken at a tempo that fits its’ wistful lyric. But
Lohninger and her cohorts turn the melancholic
ballad, into a swinging samba, highlighted again
by Mr. Fischbacher’s joyous, creative piano
work and Ms. Lohninger’s festive, scat-filled
vocals. I have heard many versions of
“Spring…” over the years, but until this version,
never one that made me feel upbeat after it was
over. ”Be A Lion” is from the score of “The
Wiz.” Once again here, a piece that is known
widely as a ballad, is given an up-tempo treat-
ment, with excellent solo work from the guest
stars; McCaslin, this time on soprano sax and
percussion superstar Mino Cinelu, who adds his
distinctive touch to four other tracks, as well.
Finally, Steve Swallow’s “Falling Grace” is
given a beautiful reading here, with the addition
of Ms. Lohningers poignant words. Fis-
chbacher’s piano solo here, is the best of his
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many memorable ones on this CD.
The Only Way Out Is Up is, on the whole,
an eclectic, risk-taking and pleasing disc that,
manages to successfully find a balance between
a hip, downtown New York City vibe and the
conventions of jazz traditions. I have seen many
artists try for this type of balance before and fail,
because their efforts leaned too far toward one
side or the other of the fence. Elisabeth Loh-
ninger, however, is a performer with enough of
the equal parts of intelligence, nerve, imagina-
tion and talent that are necessary to pull it off
and she does so, marvelously.
Myra Melford
THE IMAGE OF YOUR BODY—
Cryptogramophone. www. cryptogramo-
phone.com. Equal Grace; Luck Shifts; Fear
Slips Behind; To the Roof; Yellow are Crowds
of Flowers, ii; The Image of Your Body; Be
Bread; If You’ve Not Been Fed; Your Face
Arrives in the Redbud Trees; Made It Out.
PERSONNEL: Myra Melford, piano; Bran-
don Ross, elec. guitar, banjo, voice; Cuong Vu,
trumpet, electronics; Stomu Takeishi, elec. and
acoustic bass guitar, electronics; Elliot Hum-
berto Kavee, drums.
By Ken Weiss
Myra Melford made her name known in the
early ‘90s with some strong trio recordings with
Jazz Improv ® Magazine’s New York Jazz Guide  www.jazzimprov.com  December 2006 73
with Lindsey Horner and Reggie Nicholson,
demonstrating a carnivorous command of the
piano along with penning creative compositions.
Since that time she has continued to produce and
record outstanding material while becoming
deeply involved in Buddhism.
This disc presents her new band, Be Bread,
which draws significantly from the visionary
recordings of Henry Threadgill. Melford, like
Threadgill, has lived in India and studied the
harmonium. The Threadgill connection is further
strengthened by the fact that three of Melford’s
musicians, Kavee, Ross and Takeishi, have spent
time in various Threadgill bands. This is not to
imply that she is a Threadgill-want-to-be, only
the first tune, “Equal Grace,’ has you thinking
with closed eyes that it’s the mighty alto player
at work, rather she extends his thoughts, insert-
ing her own soul into the equation. Taken as a
whole, this recording doesn’t have the aggres-
sive attack of her earlier work but it does mix it
up in areas. The song titles bear a spiritual bent
yet this music is never preachy although at times
it unfolds with a calm that is prayerful.
“Luck Shifts” is saturated with a George
Winston-esque sweet melody, bright and simple
but develops into a significant statement sure to
enlighten your day. “Fear Slips Behind” has a
contrasting darkness centered on the raspy bits
of Vu’s trumpet and the ensemble’s climbing
steamy intensity. “To the Roof” opens with spa-
cious solo piano until the band eventually adds
an agitated undercurrent, building an ominous
element into the dreamy piece which ends on a
single clang off Kavee’s cymbal. Melford finally
gets around to unleashing her unmerciful tenta-
cles to the piano keys on “Yellow are Crowds of
Flowers, ii” for a too short solo before moving to
the title track which includes Ross’ breathy talk-
ing and scrappy banjo along with the leader’s
harmonium which drones on like a church organ.
“Your Face Arrives in the Redbud Trees” is
especially satisfying, evolving slowly with gen-
tle waves of non-stop trumpet peaking over
warm pulsing piano, drums and bass, quickly
coming to a full boil near the tune’s end and
filled with Vu’s haunting electronically-altered
trumpet.
Barbara Montgomery
NOEL: ONE FROM THE HEART—Two
Beans Music #23070. www.bjazz.com. I’ll Be
Home For Christmas; What Child Is This; Lo
How A Rose E’re Blooming/Coventry Carol; O
Little Town Of Bethlehem; Carol of the Chil-
dren; O Come O Come Emmanuel; A’Soalin’;
Children Go Where I Send Thee; O Holy Night;
Have Yourself A Merry Little Christmas
PERSONNEL: Barbara Montgomery, Vocals;
Barry Sames, piano (O Holy Night); Tom
Lawton, piano (all other selections)
74 December 2006  Jazz Improv ® Magazine’s New York Jazz Guide  www.jazzimprov.com
By Curtis Davenport
Noel: One From the Heart, is an unex-
pected delight in the midst of the usual glut of
Holiday themed discs that appear around the end
of any year. There are a number of reasons for
the delight. First, it comes from Barbara Mont-
gomery, the wonderful, smoky voiced, Philadel-
phia chanteuse, whom we simply don’t hear
enough from. Ms. Montgomery, whose singing
has always reminded me of two fifties cool
school greats, Chris Connor and June Christy,
had a career with many interesting stops before
arriving at jazz’s door around ten years ago,
including makeup artist and cameraperson for
the Mike Douglas show, background singer for
Harry Chapin and musical director for diet and
exercise guru Richard Simmons. Ms. Montgom-
ery has never been afraid to take chances on her
prior efforts, taking on not just the usual stan-
dards, but also the music of jazz greats that
aren’t generally associated with vocalists, such
as Chick Corea (on 2001’s marvelous Dakini
Land), Duke Pearson and Freddie Hubbard (both
on 2002’s Little Sunflower). Second, is the abso-
lute simplicity of the instrumentation. There are
no overblown string sections, no jingling sleigh
bells to hammer home the fact that this album
includes Christmas songs. There is simply Ms.
Montgomery’s soothing, voice and the piano of
Tom Lawton (replaced by Barry Sames on “O
Holy Night”).
Finally, the song selection is impeccable.
Ms. Montgomery has chosen a set of ten selec-
tions, split between time honored Holiday season
standards, and a few titles that may be familiar,
but have not been overdone. She renders them in
a straightforward, unaffected style that warmed
the heart of a Christmas traditionalist such as
me. There are no vocal pyrotechnics; no attempts
render a song unrecognizable for art’s sake. You
can drop this disc into your Holiday music mix
and not draw confused looks and groans from
your guests. In fact, if they are unfamiliar with
Ms. Montgomery, they are likely to ask how
they can get their own copy.
There are a number of standout tracks here.
“O Little Town of Bethlehem,” is a perfect
match between the song and the singer. It is
enlivened by Mr. Lawton’s subtly driving piano
accompaniment and Barbara’s vocals that follow
his rhythm. Two traditional songs that aren’t
heard often, “Lo How A Rose E’re Blooming”
and “Coventry Carol” are combined into a beau-
tiful, haunting, medley that you will remember
long after the track ends. “Children Go Where I
Send Thee,” gently sways and swings along for
an infectious eight-plus minutes, which seems to
go by in half that time. Ms. Montgomery seems
to be having a good time singing the song and
Mr. Lawton is at his most creative, even taking a
rare solo turn. As a listener, you will be drawn in
and enjoy yourself as well. The best track on the
disc is a complete surprise: “A’ Soalin,” co-
written by Paul Stookey of Peter, Paul and Mary,
associated mainly with the folk group and gener-
ally sung in a style closer to that of a madrigal,
becomes a finger snapping groove tune. Appar-
ently, Ms. Montgomery and Mr. Lawton were
out to out the “soul” in “A’ Soalin” and they
succeeded. She purrs her way through the song,
with little whispers and asides that are uncharac-
teristic, but definitely welcome. This track is a
pure delight and you’ll find yourself returning to
it again and again.
Barbara Montgomery’s Noel: One From
the Heart, is a disc I can recommend highly to
the singer’s fans and to anyone looking at this
time of the year for great Holiday music that is
not in everyone’s collection. If this disc serves as
your introduction to this singer, I hope it will
whet your appetite to discover more of her work.
You’ll be glad you did.
Andrew Scott Potter
COCO BOP SAMBA RAP—Bons Ritmos
Music #1414. Baralho Dois Ouro; On The Up-
side; Samba Duro; Coco Rumba; Very Easy; Eu
Avistei; Eu Avistei Bop; Preto Velho; Coco Bop
Rap Suite; Boa Viagem; Vamparatu
PERSONNEL: Paulo Russo, acoustic bass;
David Eric Tillman, piano; Assis Calixto, vocal,
triangle; Damion Calixto, vocal, pandeiro; Ari
Brown, tenor sax; Rafael Vernet, piano; Luizao
Maia, electric bass; Jose Luiz Maia, electric
bass; Walter Bishop, Jr., piano; Tony Cimorosi,
electric bass; Ranieri Ricardo, piano; Gustavo
Anacleto, alto sax; Fabio Costa, trumpet; Bruce
Whitcomb, guitar, electric bass, piano; Braulio
Araujo, electric bass; Edi, lead vocal; Alex Fos-
ter, tenor sax, soprano sax; Iuma Calixto, backup
vocals; Adreza Karla, panderiro, backup vocals;
Ira Calixto, backup vocals; Bruce Dunlap, guitar;
Itamar Assiere, piano; Nicky P, congas; Andrew
Scott Potter, drums, piano; “Chupetta”, perc.
By Curtis Davenport
We have all heard the old adage, “you can’t
judge a book by its cover”. Well, today I would
like to amend that saying to include compact
discs, which I will now admit, cannot always be
judged by their cover art, or for that matter, by
their titles. Coco Bop Samba Rap, is the disc that
made me come to this conclusion. I must admit
that when I first saw the cover artwork and then I
read the rather clumsy title, I feared that I was in
for an experience similar to those I’ve had with
discs from many remainder bins, which has been
often unpleasant. But, to my surprise (and relief),
I found Coco Bop Samba Rap to be, for the most
part, an appealing blend of jazz and indigenous
Brazilian musical styles.
The concept of Coco Bop Samba Rap, is the
brainchild of Andrew Scott Potter, an American
born drummer who worked in his early days
with artists such as the great bop era pianist,
Walter Bishop, Jr., organist, Dr. Lonnie Smith
and avant-garde guitar innovator, Sonny Shar-
rock. Potter then moved to Brazil in the early
To Advertise CALL: 212-889-0853
nineties to study Brazilian rhythms and percus-
sion methods. While there, he became greatly
influenced by the music of the “mangue bit”
movement that was coming out of the city of
Recife, in Northeastern Brazil; and much of his
drumming style now reflects those influences.
On this disc, Potter has recruited some first-
rate Brazilian jazz musicians, such as bassist
Paulo Russo, who is also one of Potter’s collabo-
rators in the Rio de Janeiro Jazz Trio and is here
helping Potter to form a rock solid rhythm sec-
tion on most tracks. There are many others musi-
cians, mostly Brazilian and some American, who
stop by and add their special touch to one or two
tracks. Some of the more familiar names are
journeyman saxophonist Alex Foster, a veteran
of the Mingus Big Band and Jaco Pastorius’
group; also Ari Brown a veteran avant-garde and
bop saxman from Chicago. For me however, the
most memorable appearances came from the
Brazilian musicians, most of whom were new to
me, but some of whom were so good, that they
have led me to start to hit my online resources,
in an attempt to track down more of their re-
cordings. Notable among these are pianist Rafael
Vernet, who grabs your attention with his inven-
tiveness on “Very Easy” a bop based trio burn-
out written by Paulo Russo, Itamar Assiere, who
along with bassist Jose Luiz Maia, give a samba
called “Preto Vehlo” a warm feeling reminiscent
of the late Manfredo Fest’s best contemporary
jazz work and an uncredited violinist, who ably
shares frontline duties with guitarist Bruce
Whitcomb, on Mr. Potter’s haunting “Coco
Rumba.”
One of the focal points of this disc, is an
attempted fusion of Brazilian musical styles with
jazz and rap. The large majority of the eleven
tracks are really either jazz with a Brazilian tinge
or vice-versa. For the most part, those cuts are
very successful. As for the Brazilian-jazz-rap
fusion that is attempted on three tracks, it should
be applauded as an innovative and intriguing
idea. In a jazz world that is often lacking bold-
ness and originality, artists who are willing to try
something different should always be encour-
aged. In its’ execution though, for me, it only
really worked once, on “Eu Avistei”, a track
with a very strong Afro-Brazilian rhythm, a Por-
tuguese chorus that is infectiously repeated,
exciting jazz-based solos from Brazilians, Fabio
Costa on trumpet and Ranieri Ricardo on piano
(also check out their smoking mainstream jazz
chops on the second half of this piece, which is
called “Eu Avistei Bop”) and some nice fills, in
English, from a rapper named Mr. E. This piece experiment and still a very interesting one. I more hits than misses, it is reasonably priced,
seems to work, because hip hop is another ele- hope to hear more from these and other artists especially when you consider the 2-disc CD/
ment in the beautiful amalgam and it is not being attempting to expand their horizons in this way DVD package and finally, it is a great way to
asked to carry the piece. When the rap/hip-hop in the future. gain exposure to some talent that definitely de-
influence is the main focus, as it is on two other The package also includes a bonus DVD, serves more of the spotlight.
cuts, “Coco Bop Rap Suite” and “Boa Viagem”, Sambao, Swing, Mangue Jazz, shot on location
the results are at best, mixed. The “Rap Suite”
has some interesting ideas, such as sampling a
around Brazil, which features some fine Brazil-
ian jazz from Andrew Scott Potter, The Rio de
Sonny Stitt
great Walter Bishop piano solo, but it tries to Janeiro Jazz Trio and many of the artists featured
cram in too many concepts and it runs out of on the CD. It also features some spectacular STITT’S BITS: THE BEBOP RE-
ideas before its’ twelve minutes are up. “Boa Brazilian scenery, of the environmental and the CORDINGS, 1949-1952—Prestige Records
Viagem features a beautiful Brazilian melody, human variety. PRCD3-30043-2. www.concordmusicgroup.com
written by Mr. Potter and some solid musician- Overall, if you are looking to expand your PERSONNEL: Sonny Stitt, saxophones; Gene
ship. However Mr. E’s gruff voice in the rap Brazilian jazz horizons beyond the Bossa Nova, Ammons, saxophones/vocals; J.J. Johnson, trom-
sections of this tune, are a bit out of place with Andrew Scott Potter’s Coco Bop Samba Rap, is bone; John Lewis, piano; Max Roach, drums;
the rest of the surroundings. Again, this is a first not a bad place to start. Musically, it includes far Art Blakey, drums; Bud Powell, piano, with
other musicians.
To Advertise CALL: 212-889-0853 Jazz Improv ® Magazine’s New York Jazz Guide  www.jazzimprov.com  December 2006 75

By Dan Bilawsky
Harvey Pekar, jazz aficionado and subject
of the film American Splendor, laments the fact
that there is a lack of recognition for Stitt’s con-
tributions to the world of jazz. Stitt, often looked
at as “a technically skilled copier of Charlie
Parker,” claimed to have developed his style
without ever hearing Parker’s playing. Miles
Davis, who heard Stitt in 1942, noted that Stitt’s
style had already been in place by that point.
Regardless of a who-did-what-when argument
and chronological treasure hunt, Stitt deserves to
be recognized as one of the most important jazz
saxophone players in the mid-twentieth century
and, to be honest, the history of jazz. This collec-
tion of music focuses on the period from 1949-
1952 and we get to hear Stitt’s stylistic range
and creative ideas on alto saxophone, tenor saxo-
phone (which features most prominently) and
baritone saxophone. Prestige Records has done a
fantastic job compiling all of these recordings,
placing them in chronological order, providing
details on the musicians involved with each ses-
sion and making corrections where errors might
have existed in prior releases. While personnel
changes occur and different leaders are associ-
ated with these sessions, the bulk of this set is
taken from sessions of Sonny Stitt and/or Gene
Ammons.
Jay Jay Johnson’s Beboppers open the first
disc with “Afternoon in Paris,” “Elora,”
“Teapot,” and “Blue Mode.” Two takes of each
song are present and, as Pekar mentions, you can
hear Stitt “synthesizing some Lester Young in-
fluence with the Bop vocabulary.” The session
on December 11, 1949, which is co-led by Stitt
and Bud Powell, produced the best consecutive
recordings on this collection. “All God’s Chillun
Got Rhythm” is a fine demonstration of taste in
soloing and “Sonny Side” is brimming with
energy. “Bud’s Blues” maintains a suave de-
meanor throughout and “Sunset” is simply
breathtaking. Stitt, serving as composer on three
out of those four tunes, demonstrates fine writing
skills. The next couple of sessions, featuring
various musicians under the moniker of the
“Sonny Stitt Quartet,” are heavy with standards.
“Later,” Stitt’s only writing contribution here,
features some lovely gliding down the saxo-
phone that resembles gently cascading water.
“Mean To Me” and “Stairway To The Stars” are
an opportunity to hear his big, open sound in the
lower register of the tenor saxophone. The ses-
sions with Gene Ammons, which are plentiful in
this collection, are unique in the fact that these
medium sized groups (of less than ten musi-
cians) manage to capture the spirit, sound and
nuances of big bands on many of these tracks.
Several takes of “Blues Up And Down” begin
the second disc and the music is so great that you
76 December 2006  Jazz Improv ® Magazine’s New York Jazz Guide  www.jazzimprov.com
wish the fade-out, which I am assuming repre-
sents an incomplete take, didn’t arrive. The lone
Teddy Williams session here features two songs
with some slightly over the top vocals from Wil-
liams. The delivery tends to be a bit much on
“Touch of The Blues” but Williams nails the
mood and humor of “Dumb Woman Blues.”
While several tracks in this collection feature
vocals from the whole ensemble, the most enjoy-
able of these is “Who Threw The Sleeping Pills
In Rip Van Winkle’s Coffee?” The enthusiasm
and positive spirit of the band is easily trans-
ferred to the listener during this performance.
Stitt’s baritone saxophone graces many of the
Ammons-associated dates and, while he is not
the dominant voice in these moments, many
great tracks, like “La Vie En Rose,” are created.
Larry Townsend’s vocals on “To Think
You’ve Chosen Me” and the highly energetic
“After You’ve Gone” are standouts from Stitt’s
recordings in late 1950. “Jug” and “Wow” are
two songs that meet the description of the afore-
mentioned Ammons group recordings. This sep-
tet sounds like a strong big band and the urgency
here is astounding. Matthew Gee’s trombone
solo is the highlight of “Wow” and the title aptly
describes my feelings toward the performance.
“Can’t We Be Friends” is the strongest display,
present in this collection, of Stitt’s alto saxo-
phone work. The final Ammons session in this
set is ballad heavy, with three out of four tracks
falling into this category, and shows a com-
pletely different side of his personality. The final
disc closes out with energetic zeal, apparent in
“Sonny Sounds” and “Stitt’s It,” and the Mambo
magic of “Cool Mambo” and “Blue Mambo.”
Pekar, being the honest and thorough writer that
he is, readily acknowledges that Stitt’s personal
life, issues with alcohol and drugs, lack of alle-
giance to a particular stylistic camp and several
other factors have contributed to his lack of rec-
ognition. However, this body of work and many
other fine recordings of Stitt clearly demonstrate
that as a soloist, ensemble leader, writer and
performer, he is truly in a class all his own.
Jacob Varmus
ALL THE THINGS WE STILL CAN BE—
Kin Records. www.jacobvarmus.com. Ecstatic
Little Porpoises; All The Things We Still Can
Be; Untimely Intrusion; Everything Happens To
Me; Country Dave Tex Mex; What Is This Thing
We Still Can Be?; Why Don’t You Dance?; Per-
petual Motion
PERSONNEL: Jacob Varmus, trumpet, cornet,
vocal; Nate Radley, Guitar; Toru Dodo, piano;
Yoshi Waki, bass; Brian Woodruff, drums; Chris
Komer, french horn (8).
By Scott Hockenberry
Prior to hearing his first major release, All
The Things We Still Can Be, I was unfamiliar
with trumpet player and composer Jacob Var-
mus. I have to admit that it will often take listen-
ing to a few tracks before I warm up to, or can
fully appreciate, the style of an artist that is un-
known to me, but with Varmus I was drawn in
from the first cut.
Varmus has a style that echoes some of the
smooth sounding trumpet masters of the past like
Chet Baker or early Miles Davis, while yielding
a fresh contemporary edge similar to Tom
Harrell or Dave Douglas. He plays with a pleas-
ing round and full sound, and his improvisations
are lyrical and musical, in what I would largely
characterize as a cool style.
Of the eight tunes presented on this release
six are Varmus originals, and he proves himself
to be an able composer with pieces written
largely in the traditional/post-bop style with
much attention to melody and form. His compo-
sitions have a sense of purpose and structure
with very listenable and memorable melody
lines.
The disc begins with the original “Ecstatic
Little Porpoises” (you have love that title),
which is an up-tempo boppish piece that features
fine solo work by Varmus, guitarist Nate Radley
and pianist Toru Dodo. The rhythm section,
which is completed by Yoshi Waki on bass and
Brian Woodruff on drums, is tight, blends well
and provides a solid improvisational spring-
board. Following is the title track “All The
Things We Still Can Be”, which is written on the
(you guessed it) “All The Things You Are”
form, and it is a light lyrical piece with an enjoy-
able, bright melody line. The next cut “Untimely
Intrusion” is a more foreboding piece that dis-
plays the diversity of Varmus’ compositional
skills. In this piece Nate Radley takes the first
solo, and he proves himself to be a fine impro-
viser playing tasteful lines and displaying ample
chops. Varmus also proves he can play with
technical competency and performs one of the
more harmonically interesting solos of the ses-
sion here. Throughout this piece the rhythm
section is driving, and they nicely build a sense
of urgency and tension.
The beautiful ballad “Everything Happens
To Me” shows the major influence of Chet
Baker on Varmus. He plays in the soft lyrical
Baker style and even takes the tune out singing
eight bars a la Baker. “Country Dave Tex Mex”
is a fun, rolling piece that has several style shifts
with a bouncy, sunny and memorable melodic
line. On “What Is This Thing We Still Can Be”
Varmus’ attention to tradition comes through
with the melody line fairly clearly quoting
“What Is This Thing Called Love”. He takes on
a bit of the Miles Davis persona here beginning
the tune playing muted trumpet that is very remi-
niscent of Miles’ sound.
The last Varmus composition, “Why Don’t
You Dance”, further exemplifies what seems to
be a penchant for the cool style. It is a floating
lyrical tune with a fine sense of melody and
movement. Here the melody is doubled on trum-
pet and guitar, with well-crafted solo efforts by
Dodo, Varmus and Radley. The disc closes with
To Advertise CALL: 212-889-0853
an original composition by bassist Yoshi Waki,
titled “Perpetual Motion”. The piece blends well
with the feel and mood of the session and is a
light, rolling, well-structured composition.
Overall this is a very respectable first offer-
ing by Jacob Varmus, and it includes fine per-
formances by all of the session members. The
writing style is interesting and diverse, and it is a
recording that holds interest from start to end
and never gets stale. Although you can readily
hear Varmus’ influences in his playing, you can
also hear his individual personality and style
come through. I am sure this release will garner
a good bit of much deserved attention for Jacob
Varmus, and I personally am eager to hear what
he offers up next. With the release of All The
Things We Still Can Be, Jacob Varmus is prov-
ing that he is moving toward being all the things
that he can be.
Steve Turre
KEEP SEARCHIN’—High Note #HCD7159.
www.jazzdepot.com. Sanyas, Faded Beauty,
Thandiwa, Reconciliation, Time Off, My Funny
Valentine, Easy Now, Steppin’ Out, Da Blues,
Keep Searchin’.
PERSONNEL: Steve Turre (trombone, shells);
Xavier Davis (piano); Stefon Harris
(vibraphone); Akua Dixon (baritone violin);
Gerald Cannon, Peter Washington (bass); Dion
Parson (drums).
By Bill Donaldson
Like many other musicians, Steve Turre
views the privilege of playing music as a revital-
izing, lifelong quest. The learning is never com-
pleted, the pleasures are never depleted, and the
depth of its spirituality is never reached. And so,
Turre captures the process of his life’s journey
with the title of Keep Searchin’, its informality
in character with speech patterns and more im-
portantly with the music’s accessibility.
Turre’s search takes on a more personalized
nature than it has on some of his past tribute
albums because the majority of Keep Searchin’s
tracks consists of his own compositions, allow-
ing him to explore various sonorities on the
trombone (and shells) and to perform with stylis-
tic diversity. In addition, Turre features his wife,
Akua Dixon of Quartette Indigo, on three of the
tracks, where she plays baritone violin, deepen-
ing his personal statement on the CD. Moreover,
Turre’s group interjects some memorable mo-
ments in the performance of his compositions as
they give evidence of their own personalities
even while they capture the intensity and the
humor of Turre’s works. And so, the execution
of Turre’s ideas is as intriguing as their concep-
tion.
To Advertise CALL: 212-889-0853
The first track, “Sanyas,” represents Turre’s
first recorded composition (on Woody Shaw’s
1974 Moontrane) as well as the track on which
he first soloed. Turre begins Keep Searchin’ by
Eric Nemeyer
playing his innovative contribution to jazz in-
strumentation, the shells, which Rahsaan Roland
Kirk encouraged him to play. While one would
expect the shells to suggest invocation of spirits,
instead, surprisingly enough, Turre’s 45-second
shells introduction to “Sanyas” invokes the Performances
blues. After that, the entire group deepens the
Recordings
groove of the piece that switches between three-
four and five-four. And five-four it is when
ORDER the CD Commissions
Turre ends the piece on shells again, just as, Blessing In Composing/
Arranging
symmetrically, he concludes the entire CD on Disguise
shells when he invokes the listener to “Keep Clinics
Searchin’” too. Eric Nemeyer, vibes
Beyond the stylistic variations included on Tony Monaco, B3;
the recording, its additional strengths encompass Valery Ponomarev, trumpet
Donny McCaslin, tenor/soprano sax
the apparent infinity of voices with which Mark Elf, Curtis Weaver, guitar
Turre’s trombone can speak, as well as the grati- Byron Landham, drums
fying contributions of the other members of the
group, as fulfilling on an individual basis as on a
collective one.
Voices? Turre’s range from the challenging
hard bop articulation of Curtis Fuller’s “Time
Off” to the plunger-muted gutbucket wailing of
“Da Blues” over its pronounced quarter-note
beat. From Turre’s affecting mid-range shaping
of “My Funny Valentine” to his own preferences
(down a fifth from its usual key) to his muted
wah-wah-ing of the melody of Stefon Harris’s Send $15: P.O. Box 26770, Elkins Park, PA 19027
“Faded Beauty” over Dixon’s gliding harmonic
lines.
212-889-0853  www.EricNemeyer.com
By attaining control of the material he in-
cludes on Keep Searchin’, Turre has provided
himself with a showcase for the prismatic colors And how well he does that—with graceful
the trombone offers in its creation of contrasting chorded improvisation. “Time Off,” on which
and complementary hues, always engaging and, Turre’s entire group shines as if energized by its
well, gorgeous too. challenge, allows Davis to take off with fervid
Other musicians’ contributions? First of all, intensity, demonstrating his technical ability on
one can’t miss the influence of Dixon on three of the fast tunes as well as his respectful leadership
the ten tracks, as she adds vibrancy and a rich- in shaping the development of ballads. For in-
ness of texture to the group. On “Sanyas,” Dixon stance…the entire feeling of “My Funny Valen-
makes her first appearance, enhancing the tine” changes during and after Davis’s solo when
piece’s excitement with her own irresistible he changes the dynamics of the piece after
heightening of tension before the shells’ fadeout Turre’s straightforward interpretation.
at the end. Her final performance on the CD is Keep Searchin’ is a fine ensemble album that
even more memorable as she develops a musical provides Turre with the freedom he searches to
narrative, rising from a relaxed phrase through create music that reflects his experiences, his
swing and to a final ostinato whose pitch Stefon interests and his spirit.
Harris seamlessly picks up as the beginning of
his solo. Turre has been a frequent collaborator
on Harris’ albums, even unto his latest one, Afri-
Vic Juris
can Tarantella. Once again, Turre chooses in- Corey Christiansen
strumentation that supports the sound he seeks.
And so, when Turre rips through Curtis Fuller’s LIVE AT THE SMITHSONIAN JAZZ CAFÉ
propulsive “Time Off,” a true showcase for the Mel Bay Records. www.melbayrecords.com.
trombonist as he shows unfettered articulation, Roads, Alone Together, Awakening, All the
there is Harris as well, playing in unison on the Things You Are, Floater, Black Nile, Stella by
fast first chorus and then taking his own super- Starlight, Kaiya’s Dance, Sweet 16, For Shirley,
charged solo. On “Reconciliation,” Harris blends Softly as in a Morning Sunrise.
in with Turre’s statement of the melody by har- PERSONNEL: Vic Juris, guitar; Corey
monizing, adding a glassy overtone before they Christiansen, guitar; Bill Moring, bass; Tim
break into simultaneous improvisations at the Horner, drums.
end. Moreover, “Reconciliation” resolves the
question about how well two chorded instru- By Dimitry Ekshtut
ments will fit within Turre’s arrangements. Pian-
ist Xavier Davis’s comping sets up the feel of Good jazz needs to be seen as well as heard.
the piece as he stays out of the way of the solo- This is why we go to concerts instead of listen-
ists until it’s his turn to step up front as well. ing to records at home. The act of making music
Jazz Improv ® Magazine’s New York Jazz Guide  www.jazzimprov.com  December 2006 77
is physical enough to more than warrant our
attention. Nuances of body language, facial ex-
pressions, and the sheer pleasure of seeing art
created before one’s own eyes keep us engaged
in the music on a multitude of sensory levels.
Mel Bay’s DVD release of an exceptional con-
cert at D.C.’s Smithsonian Jazz Café by guitar-
ists Vic Juris and Corey Christiansen does just
that. Joined by the understated eloquence of Bill
Moring on bass and Tim Horner on drums, Juris
and Christiansen provide nearly two hours of
inventive, engaging guitar discourse.
The two guitarists were wise to keep their
offerings varied, breaking up the monotony that
plague many similar two-guitar ensembles. They
play as a quartet for no more than half the per-
formance. The rest is dedicated to the trio, elimi-
nating one guitar, or duo format, eliminating the
bass and drums. Each setting offers its own in-
herent possibilities, allowing for both individual
and collaborative musical statements.
Christiansen and Juris also contribute their own
compositional voices – originals make up
roughly half of the material on this DVD. This
programmatic foresight works wonderfully to
make each subsequent song fundamentally dif-
ferent from the last.
Juris and Christiansen share the spotlight
equally, but there is a sense of deference on be-
half of Christiansen to the elder Juris.
Christiansen is happy to follow Juris’ lead, often
allowing him to play the melody and take solos
first. Juris seems content in his role as the more
seasoned of the two, ably guiding Christiansen in
their different configurations with his command-
ing tone and mature lines. Yet Christiansen’s
contribution is in no way small. He provides
three of the five originals on the DVD and seems
to be the impetus for the entire collaboration. His
tunes, “Roads,” “Awakening,” and “Kaiya’s
Dance” are marked by a compositional dexterity
and clarity often seen in older players. Juris en-
joys the challenge of these tunes, adding much-
needed color to Christiansen’s playing with stra-
tegically placed melodic and chordal volume
swells. This string-like effect, one of the staples
of Juris’ style, is enhanced by his MIDI-
equipped guitar. Such clever use of the instru-
ment is but one of the ways in which Juris and
Christiansen manage to play with each other
with little danger of getting in the way.
While Christiansen is at his best playing on
his own compositions, his combined efforts with
Juris are most effective on their duets. “Alone
Together” finds the guitarists melding their play-
ing together into one unified sound. Their com-
municative prowess is evident as they both hit
the first note of the melody. Christiansen backs
off and begins to accompany Juris, who returns
the favor in the bridge. The mutual respect these
musicians have for each other is obvious as both
are wholly concerned with providing the other
with balanced support. Their interaction takes on
a strong sympathetic bent as both solo together
before returning to the melody.
“Stella by Starlight” is another evocative
Juris-Christiansen duet. Once again Juris plays
the melody, afterwards taking an inspired solo
that demonstrates both his impressive technical
command of the guitar and keen musical taste.
As they engage in a mutual solo, shots of
78 December 2006  Jazz Improv ® Magazine’s New York Jazz Guide  www.jazzimprov.com
Christiansen and Juris from different angles
appear as a single, dynamic split-screen image. It
is such post-production editing that makes for a
truly enjoyable and unique experience with the
DVD format.
An added bonus is the inclusion of an inter-
view featuring Juris and Christiansen in which
they discuss their collaboration and the events
leading up to it. Both guitarists offer their per-
spectives on each other’s playing styles, explain
the behind-the-scenes work that went into setting
up the concert, and offer up some amusing anec-
dotes. Separately, Vic Juris and Corey
Christiansen are exciting musicians full of fresh
musical ideas. Yet as the concert and interview
both attest, the work that they have done to-
gether is of a greater quality than either might
have achieved on their own. Prompting, pushing,
and pulling, Juris and Christiansen bring out the
best in each other musically and that is what a
great collaboration is all about.
Michele Rosewoman
THE IN SIDE OUT – Advance Dance Disques.
www.michelerosewoman.com. Cuerpolarity;
Warm; Link; Guapo; Guapo Remix; Eshu
Laroye; With You In Mind (for Duke); The ER;
The Fineness Of; Advance Dance; Life is for
Learning
PERSONNEL: Michele Rosewoman, piano,
Fender Rhodes, midi keyboard, vocals; Mark
Shim, tenor saxophone, midi wind controller,
programming; Miguel Zenon, alto and soprano
saxophones; Brad Jones, acoustic and electric
bass; Derrek Phillips, drums. Special guests:
David Fiucynski, guitar; Josh Roseman, trom-
bone; Olu Femi Mitchell, vocals; Pedro Pablo
Martinez, congas, bata, vocals, percussion.
By Ronald Lyles
Pianist Michele Rosewoman has been
active on the jazz scene since the early eighties.
Despite a still growing legacy as a leader of
consistently original and rewarding recordings,
as well as performances and recordings in col-
laboration with, or support of many notable mu-
sicians, Rosewoman does not seem to have the
profile among jazz consumers that her signifi-
cant talent merits.
The In Side Out is Rosewoman’s fifth
recording with her ensemble, Quintessence and
first recording in six years. On her first self pro-
duced recording on her own label, Rosewoman
presents a program incorporating a variety of
musical styles which both influenced her and
illustrate her range as an artist. In addition to
Rosewoman, the core members of the group are
saxophonists Mark Shim and Miguel Zenon,
bassist Brad Jones and Derrek Phillips on drums.
The sonic palette is expanded on several tracks
where the quintet is augmented by either guitar-
ist David Fiuczynski, Josh Roseman on trom-
bone, vocalist Olu Femi Mitchell or percussion-
ist Pedro Pablo Martinez.
Except for the Marvin Gaye penned
“Life is for Learning” that closes the disc, all of
the compositions on The In Side Out were writ-
ten by Rosewoman. There is a dancing quality
that permeates many of Rosewoman’s composi-
tions that can conceal the sophisticated playing
by the musicians and underlying adventurous
spirit in her music. Rosewoman’s own piano
style is similar to her compositional approach in
its bouncing rhythmic feel, combined with an
edginess in her grouping and choice of notes.
Rosewoman also effectively optimizes the use of
horns. Instead of simply utilizing the collective
horns to state the heads, she often writes parts
which require horns to play off each other and
also interact with the soloists throughout a song.
In this regard Zenon and Shim are well suited
and complimentary foils. Both are young stars
on the rise and their contributions throughout
The In Side Out are consistently strong.
The above qualities are brought into
focus on tracks such as “Link” and “With You In
Mind (for Duke)”. Rosewoman, Zenon on so-
prano and Shim all make definitive statements
over Phillips skittering rhythm pattern on
“Link”. Josh Roseman’s trombone is added to
the ensemble on “With You In Mind (for
Duke)”. The arrangement on this track is a high-
light of the disc. Roseman’s trombone played in
subtle counterpoint with the other horns in the
head over the strolling rhythm is a delight. Rose-
man, Zenon, and then Rosewoman all make
engaging solo statements before the horns return
for a brief conversation to close the tune.
Another side of Rosewoman is re-
vealed on the convincing R&B/funk influenced
tracks, “Warm” and “The Fineness Of”. “Warm”
features Rosewoman on Fender Rhodes and
added electronic effects. The relatively brief
“The Fineness Of” is all about the head nodding
groove laid down by Jones and Phillips under-
neath a simple unison horn line. On both tracks
Fiuczynski adds gritty guitar licks. Rosewoman
brings out the electric keyboards again on “The
ER”, which in cahoots with Martinez’ percus-
sion and Fiuczynski’s guitar evokes a mysterious
mood. Shim’s confident solo here, as elsewhere,
is a highlight and begs the question why we do
not hear more from this talented musician?
Possibly the most emotionally power-
ful track on the disc is “Eshu Laroye”. Marti-
nez’ percussion establishes the infectious Afro-
Cuban groove; and combined with the chanting
vocals of Rosewoman, Mitchell and Martinez
give the track an overall spiritually hypnotic
effect. The track also intersperses sections of the
previously discussed dancing feel where the
instrumentalists get to stretch out a bit.
Only time will reveal whether Rose-
woman will receive more exposure within the
jazz community. For now, The In Side Out is a
fine representation of her creative spirit and a
welcome addition to her recorded output.
  
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