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Wednesday, August 27, 2008

We'll be back soon

Don't despair - serious posting will resume soon - so much to talk about, from the passing of Johnny Dizzy Moore to jazz in the Gardens latest instalment to Live Music nation.

Stay with me.

Monday, August 11, 2008

A Baaaaad M-F bit of news : Isaac Hayes is dead

pardon the implied profanity, but I almost fell off my chair on reading an email containing news of the death of Isaac Hayes at 66. A true original.

Legendary soul music performer Isaac Hayes died this afternoon after he was
found unconscious in his Shelby County home.
A family member found the entertainer next to a running treadmill at about 1
p.m. Sunday, said Steve Shular, spokesman for the Shelby County Sheriff's
Hayes was rushed to Baptist Memorial Hospital, where he was pronounced dead
at 2:10 p.m.
Hayes' wife, their 2-year-old son and another family member had gone to the
grocery store around noon, Shular said. When they returned, they found Hayes
Rescue workers responded to a 911 call, and they performed CPR at Hayes'
home at 9280 Riveredge in the eastern part of Shelby County, near Forest Hill
and Walnut Grove.
The Sheriff's Office is conducting a routine investigation, said Shular, but
“nothing leads us to believe this is foul play.”

Riffin' Again - NYC, Sweden, Belize etc.




MONDAY: Two brilliant young trumpeters, and the music they make. JeremyPelt’s , “November”, and Roy Hargrove’s, “Earfood”.

TUESDAY: Singer/songwriter, Rebecca Martin, takes us into new song territory, with a voice thats vulnerable, yet assured. Duets by flute and guitar.

WEDNESDAY: “Hip-Bop” by the Blue Beat 5, putting the beat to the feet on some classic tunes. Meanwhile, The Roots album “Rising Down” is hip-hop”s real deal.

THURSDAY:A baritone saxophone and trombone connection from Sweden, reaveals excellent writing and inspired musicianship.

FRIDAY: “Punta Rock” by Andy Palaciao, The Garifuna star, whose music electrified the dancehalls of Barranco and Dangriga, Belize.

Monday, August 04, 2008

Look out for Riifn' and.... Wayne's A Dad

Time just did not permit the uploading of this week's Riffin' schedule, but look ofr it tomorrow, nad keep tuned in to www.newstalk93fm.com for live streams of the programme every weeknight.

Meanwhile saxist Wayne Escoffrey and wife Carolyn Leonhart are still in the post- baby afterglow, having recently welcomed first child Vaughn inot the world. But parenthood isn't slowing the jazz couple down just yet- Wayne and his Veneration band (Joe lOcke - vibes; Joe Martin - bass; Johnathan Blake - drums) will be performing - featuring the vocal stylings of Leonhart - in support of his latest release, Hopes & Dreams, out now.

More on that later. Congrats, Wayne & Carolyn

Saturday, August 02, 2008

Jazz Improv Aug for jazz fests

Whew!!!! Its long but following is txt version of Jazz Improv magazine withte Summer Jazz fest guide

go to www.jazzimprov.com & click on the cover image to download

Jackie Ryan 􀄚Kitano
AUGUST 15 - 16
Earl Klugh
Vocalists Shine at Kitano
Amanda Carr
Antoinette Montague
Jackie Ryan
Ira Gitler’s Apple Chorus
Plenty of Reviews of Cool CDs
JVC NY Jazz Festival
Hank Jones & Charles Lloyd
The Ultimate Directory of NY Area Jazz Club, Concert & Event Listings
EarlBlue Note
August 5 - 10

2 August 2008 􀁕 Jazz Improv® NY 􀁕 www.jazzimprov.com To Advertise CALL: 212.889.0853
Jazz Improv® NY
ISSN: 1940-8129
August 2008 — Volume 4, Number 2
Cover Design by Deena Warner
Cover photo by Sandee O.
Publisher: Eric Nemeyer
Editor: Winthrop Bedford
Advertising Sales & Marketing: Jamie Cosnowsky
Circulation: Robin Friedman, Susan Brodsky
Photo Editor: Joe Patitucci
Layout and Design: Karry Thomas
Interns: Dimitry Ekshtut, Mike Maino, Chris Mandato, Kay Prins
Contributing Artist: Mary Jo Schwalbach Gitler
Contributing Photographers: Eric Nemeyer, Joe Patitucci, E.S. Proteus,
Ken Weiss.
Contributing Writers: Dan Adler; Brandon Bernstein; Dan Bilawsky; Al
Bunshaft; John Cizik; Curtis Davenport; Bill Donaldson; Dimitry Ekshtut;
Ken Franckling; Robert Gish; Ira Gitler; Clive Griffin; Gary Heimbauer; Rick
Helzer; Scott Hockenberry; Jan Klincewicz; Joe Lang; Marc Lomanno; Phyllis
S. Lubarsky; Chris Mandato; Dave Miele; Mercy Monet; Joe Patitucci; Paul
Sakion; Annie Simmons; Peter Steinberger; Ariel Teitel; Ken Weiss.
Advertising Sales
Contact Jamie Cosnowsky at 212-889-0853
Jazz Improv® Magazine Main Office
107-A Glenside Avenue, Glenside, PA 19038 USA
Telephone: 215-887-8808; Fax: 215-887-8803
Email: jazz@jazzimprov.com
Website: www.jazzimprov.com
(1) Jazz Improv® NY (monthly). To order a subscription, call 1-888-472-0670
or visit Jazz Improv on the Internet at www.jazzimprov.com. Subscription
rate is $49.95 per year, USA. Please allow up to 8 weeks for processing
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Jazz Improv® Magazine provides its advertisers with a unique opportunity to
reach a highly specialized and committed jazz readership. Please call Jamie
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Editorial Policies
Jazz Improv ® does not accept unsolicited manuscripts. Persons wishing
to submit a manuscript or transcription are asked to request specific permission
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Companies or individuals seeking reviews of their recordings, music books,
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Jazz Improv® is a registered trademark (United States Patent and Trademark
Registration Number 1,971,047) on the Principal Register, U.S. Patent & Trademark
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Copyright Notice
Copyright © 2005-2008 by E.S. Proteus, Inc. All rights reserved. No part of this
publication may be copied, photocopied or duplicated in any form, by any means
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9 Around Town
17 Calendar of Events
27 Announcements — Upcoming Events;
Regular Engagements; Additional Club
and Venue Schedules
31 Directory of Clubs, Venues, Music and
Record Stores, Schools & Universities,
and more
33 Noteworthy Performances
4 Apple Chorus by Ira Gitler
6 Hank Jones Trio; JVC Festival - Charles
Lloyd Quartet; Caught In The Act, JVC
Jazz Festival New York, Tribute to Jack
Kleinsinger, Dick Hyman & Friends,
The Tierney Sutton Band
9 2008 Festival Guide – Local, Regional,
National and International
14 Indie Spotlight
16 􀀯􀁌􀁗􀁆􀁋􀂿􀁈􀁏􀁇􀀃􀀭􀁄􀁝􀁝􀀃􀀩􀁈􀁖􀁗􀁌􀁙􀁄􀁏
34 Earl Klugh
36 Jackie Ryan
37 Antoinette Montague
38 Amanda Carr
39 For the Love of the Music
40 David Berger, Andrea Brachfeld,
Steve Elmer, Mike Garson, Herb Harris,
Harumi Igarashi, Dave Kain,
Felipe Salles, Elio Villafranca Quartet,
Rick Wald / 16/NYC, Dwight West,
Miguel Zenón
47 The Jazz Billboard
On The Cover: Earl Klugh
Feature begins on page 34
Two publications from Jazz Improv®
Jazz Improv® NY
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website. Also available in print by paid subscription, delivered to your home or office). Features interviews,
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Credit: © Tanner Photography
Corrections: The correct name of Tobias
Gebb’s new CD is An Upper West Side Story
and not West Side Story as the CD review read
in our July issue.
Photo of Jon Hendricks on page 34 of the July
issue was credited incorrectly. The correct
photographer is Richard Conde.

4 August 2008 􀁕 Jazz Improv® NY 􀁕 www.jazzimprov.com To Advertise CALL: 212.889.0853
Apple Chorus
Following the ASCAP “Wall of Fame” ceremony
at the Allen Room of Jazz at Lincoln Center on June
17 (inductees were Ron Carter, Bill Holman, Sonny
Rollins, Bunny Berigan, Art Blakey and Tadd Dameron);
it was a short walk, without changing fl oors,
to catch the Lee Konitz Quintet at the Allen Room.
Th e leader led the way with his harmonically sophisticated
takes on old standards such as “Th ingin’”
(“All the Th ings Your Are’) “Kary’s Trance” (“Play
Fiddle Play”) and “Subconscious-Lee” (“What Is Th is
Th ing Called Love”) in which his phrases swing hard,
without sweating, in a very songlike joy in the act of
playing. With redoubtable Ray Drummond on bass
and a musical percussionist such as Matt Wilson on
drums the group was airborne from the jump. Bernstein
is playing as much guitar as anyone these days
and young pianist Dan Tepfer, a relative newcomer
(especially to me) displayed a thoughtfully agile right
hand. Th e master, Konitz (and he has been named as
one for their 2009 list by the NEA) always brings a
genuine passion for playing to the bandstand and I’ve
been listening to him since his days with the Claude
Th ornhill orchestra in 1947. He’s an original vintage
that’s still eminently drinkable aft er all these years.
Forced to the computer keyboard by anxious
clients, I caught only two of the JVC-NY Jazz Festival
concerts. Th e fi rst was on June 18 at the Ethical
Culture Society’s auditorium, a tribute to Jack
Kleinsinger who has produced his Highlights in Jazz
series for 35 years. Pianist Bill Taylor, backed by Jay
Leonhart (bass) and Danny Gottlieb (drums) is another
musician who has always played with involved
élan, and continues to do so. Th e acoustics at Ethical
Culture didn’t help, but Billy was in fi ne form.
A band of star soloists took individual turns
and wailed on some ensemble numbers. Included
were Wycliff e Gordon, trombone; Ken Peplowski,
clarinet; Byron Stripling, trumpet; and Ted Rosenthal,
piano. Th e highlight for me was Peplowski’s
unaccompanied “Single Petal of a Rose.”
Speaking of highlights, you had to be there for
the second half that featured a guitar duo of Bucky
Pizzarelli and Gene Bertoncini that in essence was
a big band in its own way. Th ey began with “In A
Mellotone,” shift ed gears for a lovely “Emily” and
cut a few rugs on “Jitterbug Waltz.” Th en came some
magic moments. Aft er Bucky off ered a short preface
with John Lewis’ “Django,” he evanesced into Django’s
“Nuages,” joined by Gene in the second chorus.
He then backed Gene’s solo turn. It literally was
music for cloud-fl oating and mesmerized the entire
audience. Keeping an eye on Django they played one
of Reinhardt’s favorite vehicles, ripping up the “pea
patch,” as Red Barber used to say, with an express
train of a “Limehouse Blues.”
Th e other JVC event I took in was Dick Hyman
and Friends at Zankel Hall on June 23. Gordon and
Peplowski were again part of the ensemble but it was
pianist Hyman, up from Florida, who opened, solo,
with “Moritat” (more familiarly known as “Mack
Straight Ahead
By Ira Gitler
the Knife”) and a Tatumesque “Yesterdays.” Hyman
and Peplowski combined for “My Funny Valentine”
that had a bit too much noodling conversation. But
with Howard Alden on guitar and Leonhart on bass,
they reveled in the old Louis Armstrong number “Jubilee,”
adding some Benny Goodman small-group
touches in the later stages.
Trumpeter Randy Sandke came on to duet with
Dick on a nostalgic “Th inking About Bix” before the
rest of the ensemble returned, fortifi ed by Gordon’s tbone
(he made expressive use of his plunger) and subtle
drum maestro Eddie Locke for “Rockin’ in Rhythm.”
Hyman and Alden then got together for “How High
the Moon.” Monk’s “Evidence” ended the fi rst half
with Peplowski this time manning his tenor.
Hyman and Locke began part 2 with James P.
Johnson’s jangling (but not on the nerves) “Jingles”
and, staying in the piano “ticklers’” area, Dick delivered
Willie “Th e Lion” Smith’s charming “Echo of
Spring.” Th e mood stayed romantic with Wycliff e’s
rendition of “Stars Fell On Alabama.” Th en everyone
jumped in on “Th e Joint Is Jumpin’.”
What had been an enjoyable aff air reached
another level when guest Bob Wilber and his mellifluous
curved soprano sax joined in on James P.’s “A
Porter’s Song To a Chambermaid”; and what a beautiful
blend was achieved by Wilber’s soprano and
Peplowski’s clarinet on Billy Strayhorn’s “A Flower Is
a Lovesome Th ing.”
Th e concert went out on a street-parading note
with “High Society,” Alphonse Picou’s solo de rigeur,
of course, and Eddie putting the Locke on the proceedings
with some choice licks and promises fulfi lled.
As always, I like to hunch you to some recordings
you may not have heard about or have heard
about but curious to know a bit more. In no particular
order: Illinois Jacquet’s big band in its fi nal performance,
outdoors at Lincoln Center in July 2004,
is now available. Go to the website illinoisjacquet.
com. All proceeds go to Th e Illinois Jacquet Scholarship
in Jazz Studies at the Juilliard School.
Two fi ne Chicago musicians, bass trumpeter Cy
Touff and tenor saxophonist Sandy Mosse have a CD
called Tickle Toe out on the Delmark label. It was recorded
in 1981 but is fi rst seeing the light in 2008,
and no less swinging because of that. It will put you
in a good groove. Both musicians are gone but the
music is alive.
Many of you are aware of Nelson Riddle because
of his excellent arrangements for Frank Sinatra. Most
jazz fans recognize the name of the great clarinetist
Buddy DeFranco. Well, way back when DeFranco
was playing clarinet in Tommy Dorsey’s band, Riddle
was in the trombone section. Th ey became close
friends. In the 1950s they collaborated on an album
titled Cross Country Suite. Riddle wrote 11 movements,
each depicting a section of the United States.
It was played by 36 musicians, a big swing band and
symphony players, with Buddy as the featured soloist,
and creates moods that get into your head the way a
good movie score can resonate. Universal has reissued
it in CD. Check it out. It may be a welcome alternative
to everything else on today’s radio for you.
Coming full circle on Konitz. He has a new CD
out on the Pazz label with Russell Malone, Rufus
Reid, Matt Wilson and a 16-year-old alto saxophonist
named Grace Kelly, who coincidentally on the
night I heard Lee at Dizzy’s Club, received a Young
Jazz Composer’s Award from ASCAP in the Allen
Room. If you’re wondering where our talented
youngsters are, discover Grace Kelly.
P.S. Just as I told you to get the Parker/Gillespie
at Town Hall CD (Uptown Records), and that my
recommendation had nothing to do with my writing
the notes, I now can report that the 2-CD set of Showtime
at the Spotlite, Dizzy’s big band recorded live at
that 52nd Street club in June of 1946, is fi nally being
released. Yes, I did the notes. But like the Bird & Diz
that preceded it on Uptown, its stature as a piece of
jazz history is what makes it required listening.
Lee Konitz by Mary Jo Schwalbach

6 August 2008 􀁕 Jazz Improv® NY 􀁕 www.jazzimprov.com To Advertise CALL: 212.889.0853
Live Performance Reviews
By Mercy Monet
On May 14th, living legend Hank Jones and his
trio held court at the Harlem Stage Gatehouse along
with fellow pianist Gerald Clayton and special guest
Roy Hargrove. The event was billed as the venue’s 2nd
Annual Rent Party and a party it was! Stride piano
was invented by the likes of Luckey Roberts, James P.
Johnson and Fats Waller while playing at rent parties
throughout Harlem during World War I. Jones, one
of the last surviving piano greats of that era, played
and participated in those house gigs. Mr. Jones is the
eldest of a very prolific musical family that includes
the late master of drums, Elvin Jones and trumpeter/
composer, Thad Jones. The 24 year old new kid on
the block, Gerald Clayton, is from another impressive
gene pool that includes his Grammy-winning father,
bassist John Clayton; and his uncle, saxophonist
Jeff Clayton.
With John Lee on bass and Vincent Ector on
drums, Clayton kicked the party off with a rousing
rendition of Wayne Shorter’s “Footprints”. Before
giving the stage to Jones, he performed a very adventurous
and creative interpretation of Monk’s
Hank got right down to business with a blues in
6/4 time that featured creative and exciting solos from
the whole band. He continued with the Mary Lou
Williams composition “Lonely Moments”. This catchy
tune created much excitement with its many starts and
stops before it settled into a steady swing rhythm. The
Hank Jones Trio completed its musical journey with
a wistful and heartfelt rendition of J.J. Johnson’s “Lament”,
as it was now time to summon trumpeter Roy
Hargrove to the stage. Hargrove performed a solo rendition
of “What is this Thing Called Love”, followed
by “Intimidation”, a tune set in a syncopated medium
swing, ending with a “birdseye”. The standard “Speak
Low” was sprinkled with lots of rhythmic stops and
starts and included a thoughtful bass solo by Lee and
nice brushwork from drummer Ector.
The highlight of the evening, for yours truly,
was an awesome piano duet between legend Jones
and prodigy Clayton on “It Could Happen to You”.
This performance was full of playful instinctive reactions
and plenty of call and response, showcasing
a wonderful musical empathy between these two
fabulous pianists. “Thou Lovely, Thou Swell” was a
romp in the park with tasteful musical phrasings and
piano riffs. Hank and Gerald took turns picking up
and dropping off the melody and putting a different
spin on this perennial tune. The ballad “Skylark”
was intuitively played—each player accompanying
the other with soothing well-connected phrases and
beautiful harmonies. Mr. Hargrove joined the duet
on a second rendition of “Rhythm-A-Ning”, as Gerald
offered up a notably venturesome solo. After a
long standing ovation, the entire band came together
to play the Sonny Rollins’ favorite “Oleo”, as an encore.
The spotlight took its rounds as Roy Hargrove
started it off with a colorful trumpet solo before Gerald
Clayton took his cue to demonstrate his pianistic
acuity. Mr. Jones followed him up with an extremely
melodic solo of his own, demonstrating that he’s still
a major force to be reckoned with. Following this
awesome demonstration from the front line, bassist
Lee took a fine solo before the entire band traded
4’s, ending in a climactic drum solo from Ector. This
“Rent Party” surely ended with a bang, and fortunately,
it is an annual occurrence, so be sure not to
miss it next time around!
By Dan Bilawsky
This eagerly awaited performance of the Charles
Lloyd Quartet began in a rather unique way. Lloyd,
bassist Reuben Rogers, drummer Eric Harland and
pianist Jason Moran were joined on stage by poet laureate
Charles Simic who recited several poems before
the quartet took over. The works he recited, including
“Crepuscule With Nellie,” “Hotel Insomnia” and
“Two for Charles Lloyd,” featured some incidental
music occasionally popping up on the radar behind
Simic. When he departed the stage, Rogers took
over and set the mood for the first number. Harland
took a typical train beat and gave it a variety of jazz
inflections while Moran, playing on a striking, red
Steinway, joined Lloyd to run through some different
passages in unison. The booming and bouncing
acoustics of the hall made it a bit difficult to hear Moran’s
playing in louder passages but the balance got
better as the night went on and the medium to softer
passages were much more balanced. Harland had one
more trick up his sleeve before this song was through
and it involved two sticks in his right hand that created
a steady sixteenth note pulse from the top and
bottom cymbals of the hi-hat. The drummer coaxed
gentle sounds out of his drums, using brushes, at the
outset of “Requiem.” Lloyd appeared and performed
like a shaman of the saxophone, bending and blurring
notes and phrases to create some powerful statements.
Harland’s cymbal work during this song was
drumming artistry at its best and both Moran and
Rogers had some solo space as well. Lloyd’s moving
cadenza near the end of the track was breathtaking.
Hank Jones Trio
Harlem Stage Gatehouse
May 14, 2008
JVC Festival
Charles Lloyd Quartet
New York Society For Ethical Culture
June 28, 2008
To Advertise CALL: 212.889.0853 August 2008 􀁕 Jazz Improv® NY 􀁕 www.jazzimprov.com 7
Interspersed between several of the songs were
Lloyd’s stream-of-consciousness, fast-as-a-speedingbullet,
stories involving any number of people, places
or things. One such story, involving Lloyd’s connection
to Th elonius Monk, provided a nice segue
into “Monk’s Dance.” Strains of “Round Midnight”
crept into the middle of some rapid-fi re runs and Moran,
playing a solo that was tumultuous, yet totally in
the zone, was rather impressive here. Harland, in a
Tony Williams mode, was aggressive, energetic and
unbelievably musical as he tore through his drum
set. Aft er this piece the band took things in a more
introspective direction. Following an absorbing introduction
by Moran, which showcased his incredible
touch, Lloyd built things to a frenzied, orgasmic
state while Harland created a torrential downpour
of cymbals and toms. “Booker’s Garden” featured a
lovely fl ute cadenza from Lloyd and things got funky
when Rogers laid down some bubbling bass lines.
Harland returned to the “two-stick trick” mentioned
earlier and he continually tweaked the groove throwing
in little thirty-second notes and slightly displaced
notes, which allowed the music to evolve and
develop in some unexpected ways. “Rabo De Nube,”
the title track from the new Charles Lloyd Quartet
album, and “Ramanujan” (also from the new album)
were encores. Th e latter tune featured Lloyd on the
tarogato and the multi-instrumentalist joined Moran
at the piano when he put this instrument down. Th e
piece became a deep musical meditation when Moran
and Lloyd began playing simple lines on the piano
while Eric Harland provided a vocal drone. Th is
music helped to accompany Lloyd’s spoken words on
the song and the whole evening proved to be a unique
fusion of poetry, words, music and emotion.
By Joe Lang
Each year there seems to be less and less straightahead
jazz at the JVC Jazz Festival. Th e economics of
the current music markets make it necessary for the
larger jazz festivals like the JVC to include a lot of
pop performers who have at best a tenuous relationship
with jazz. Many of the other headliners are jazz
performers who developed a following by presenting
their music in a way that incorporates many elements
of non-jazz pop music, and this is in order to attract
the broader audience required to make these festivals
economically viable. Fortunately, several concerts
remained that featured straight-ahead jazz, and three
of them are the focus of this piece.
Jack Kleinsinger’s Highlights in Jazz is the longest
running jazz concert series in New York City,
having recently completed its 35th season. Kleinsinger
is a dedicated jazz enthusiast who has consistently
presented the top performers of the jazz world
from Dixieland to swing to bebop to Latin and beyond.
Th is legendary series was saluted on the evening
of June 18 at the Ethical Culture Center on 64th
Street in Manhattan.
To kick off the festivities, Dr. Billy Taylor took
up residence at a red enamel piano, and was joined by
Jay Leonhart on bass and Dan Gottlieb on drums for
a pair of selections prior to Taylor’s introduction of the
Guest of Honor. As always, Taylor played with imagination
and elegance. Once Kleinsinger assumed his
familiar position with microphone in hand, it was like
old times to anyone who has been an attendee at any
of his concerts. His passion and sense of humor, often
self-deprecating, has been a hallmark of his shows.
Kleinsinger informed the audience that the concert
JVC Jazz Festival New York
A Celebration of 35 Years of
Highlights in Jazz: A Tribute
to Jack Kleinsinger
Ethical Culture Center, New York
June 18, 2008
Dick Hyman & Friends
Zankel Hall, New York
June 23, 2008
The Tierney Sutton Band
Zankel Hall, New York
June 24, 2008
“…the Hot Club of Detroit proves their mastery of Reinhardt‘s
music, since they can not only play his songs so well; they know
how to translate it to other styles.” - All Music Guide
“…as good as the best.” - Jazziz Magazine
“…Hot Club of Detroit has impressively mastered a difficult and
distinctive repertoire.” - Downbeat Magazine
Night Town, the follow-up to Hot Club Of Detroit’s acclaimed Mack Avenue
self-titled debut, showcases the band’s maturity, virtuosity, and musical growth.
While HCOD remains true to their ‘Gypsy Jazz’ roots – and continues to tip their
collective hat to Django Reinhardt – Night Town delves into a deeper and
wider milieu, drawing inspiration from the clubs of New Orleans to the
free wheeling architecture of Miles Davis. Featuring collaborative compositions,
these five-time Detroit Music Award winners are poised to cast an even wider net.
􀀰􀀷􀀼􀀈􀀫􀀴􀀽􀀪􀀈􀀷􀀮􀀈􀀬􀀭􀀼􀀺􀀷􀀱􀀼 night town
8 August 2008 􀁕 Jazz Improv® NY 􀁕 www.jazzimprov.com To Advertise CALL: 212.889.0853
would be performed without microphones, a fact that
was audibly welcomed by the crowd. He then introduced
the lineup of musicians who were to perform the
bulk of the selections for the concert: Ken Peplowski
on tenor sax and clarinet, Wycliffe Gordon on trombone,
Byron Stripling on trumpet, Ted Rosenthal on
piano, Leonhart on bass and Gottlieb on drums, with
Leonhart serving as the nominal leader.
“Lester Leaps In”, a classic from the Count Basie
book, set the tone for what was to follow—music
that swung easily, and individual brilliance from this
stellar lineup. Next, things moved into an Ellington
mode with “Squeeze Me”. Peplowski moved front and
center with his clarinet for a moving reading of Ellington’s
“Single Petal of a Rose” that segued into “In
a Sentimental Mood”. The full complement of players
returned for “St. James Infirmary”, highlighted by a
vocal from Stripling. The vocal chores on “Freedom
Jazz Dance” were handled by Leonhart, and Gordon
surprised all by bringing out a didgeridoo and placing
it into a jazz context. The group took out the first set
with a rousing “Back Home Again in Indiana”.
The second set kicked off with a duo performance
by guitarists Bucky Pizzarelli and Gene Bertoncini.
Kleinsinger introduced them with a story
recalling his introduction to Bertoncini as a last
minute sub for Pizzarelli at Kleinsinger’s first Highlights
in Jazz concert. These masters of the guitar enchanted
a hushed and attentive audience with their
combination of subtlety, musicianship and dexterity
as they assayed “In a Mellow Tone”, “Emily”, “Jitterbug
Waltz”, “Nuages”, and “Limehouse Blues.”
The crew from the first set returned for a Gordon
original entitled “Savannah Song”. Rosenthal took
“People Will Say We’re in Love” on an impressive journey
with the assistance of Leonhart and Gottlieb. To
end the concert, all hands were on deck for a song that
summed up what the evening’s music was all about,
namely “It Don’t Mean a Thing (If It Ain’t Got That
Swing)”. Those who came to enjoy a concert representation
of what this exciting series and its producer are
all about, certainly left the building satisfied.
Five nights later, our focus turned to Zankel Hall
for an evening of Dick Hyman & Friends. Hyman is a
master at selecting great players to perform with him,
and presenting them in a variety of combinations that
evoke the kind of eclecticism that is a characteristic of
great jazz musicians. For this performance, he chose
as his compatriots Ken Peplowski on tenor sax and
clarinet, Randy Sandke on trumpet, Wycliffe Gordon
on trombone, Howard Alden on guitar, Jay Leonhart
on bass and Eddie Locke on drums.
Hyman opened the concert with a couple of solo
efforts—a “Mack the Knife” that wandered through
a spectrum of jazz styles, and a take on “Yesterdays”
that started contemplatively and gradually emerged as
an all out romp. He demonstrated exceptional chops,
and the kind of left hand that you rarely hear in today’s
jazz pianists. He then called upon Peplowski and his
clarinet for a fascinating visit to “My Funny Valentine”,
a version that began with Peplowski’s clarinet
emitting the feeling of birds fluttering, followed by
the foreboding sense that a storm was arriving, and
evolving into a nightmarish conclusion that made me
think that I had just heard “Sweeney Todd’s Funny
Valentine”. Things lightened up considerably with the
arrival of Alden and Leonhart who made the ensuing
“Jubilee” a frolicsome, feel-good experience, as they
explored this Hoagy Carmichael gem from a slightly
askew perspective. The stage was then left to Hyman
and Sandke who offered a brightly melancholy reading
of Hyman’s “Thinking About Bix”. Finally, the
whole band hit the stage to play a swinging “Rockin’
in Rhythm”, with each cat taking a terse and thoughtful
solo. Alden stepped into the spotlight for a duo
take with Hyman on “How High the Moon”, a deft
exploration of musical time and space where the melody
was never far from the surface. The first set ended
with “Evidence”, full of all of the angularity that is inherent
in this Monk classic. Peplowski opened the soloing
with energy and imagination, Sandke was boppish
and brilliant, and Gordon was just blowin’ man!
Initiating the second set, Hyman and Locke
combined for an examination of the stride tradition
with James P. Johnson’s “Jingles” and Willie “the
Lion” Smith’s elegiac “Echoes of Spring”. Following
Gordon being featured on “Stars Fell on Alabama”,
and Peplowski grabbing the spotlight on “The Jeep Is
Jumpin’”, a surprise guest arrived on the scene in the
person of Bob Wilber. Joining Peplowski on clarinet
and the rhythm section, Wilber lent his soprano sax
mastery to “A Porter’s Love Song to a Chambermaid”.
Wilber then brought out his alto sax for a lovely rendition
of the beautiful Billy Strayhorn song, “A Flower
Is a Lovesome Thing”. The high spirit that pervaded
this evening was carried through to the concluding
piece; “High Society”. Once again, Hyman proved
to be a masterful blender of jazz talents.
The next evening, Zankel Hall served as the site
for a very different musical experience. The featured
performers were the members of The Tierney Sutton
Band, with Sutton on vocals, Christian Jacob on piano,
Trey Henry on bass and Ray Brinker on drums.
This is simply one of the tightest groups in jazz, having
performed together for over 14 years. They work
out their arrangements as a group, with each member
making contributions to the whole.
The individual members of TSB are intensely
talented. Sutton has a sound all her own, slightly
nasal at times, but always in tune and on pitch. Her
musicianship is always apparent, and she sings with
an intelligence that never wavers. This is also evident
in her incisive and witty commentary between songs.
Jacob is simply one of the finest pianists on the jazz
scene today. He is a complete player, equally at home
as a jazz improviser, and as a sensitive accompanist.
Henry keeps time like a fine Swiss watch, and always
seems to choose just the right notes. Brinker is truly a
percussion artist. He paints a variety of colors, especially
when utilizing his deft touch with the brushes.
One feature of many TSB arrangements is the
musical tension that underlies much of their approach
to songs. This was particularly evident on their opener
“What’ll I Do”, where Brinker’s use of brushes creates
an edgy energy that emphasizes the sadness inherent in
Berlin’s lyric. To ease the tension, Sutton next turned
to the Cole Porter catalog for a sprightly “I Get a Kick
out of You”, with Jacob contributing a scintillating
solo. Then it was back to the world of Irving Berlin for
a medley of “Let’s Face the Music and Dance”, “Cheek
to Cheek” and an ethereal “Blue Skies”. They bounced
back to Porter for a passionate “It’s All Right with Me”
before getting edgy again for “It’s Only a Paper Moon”,
with a bit of mystical magic added to the musical stew.
Jacob sat out as Sutton sang “’S Wonderful” with
Henry and Brinker, but was back on board as her sole
accompanist on a romantic return to Porter and “All
of You”. A last dip into the Porter book resulted in a
saucy “My Heart Belongs to Daddy”. The next three
selections are ones that seem to find their way into
most of the performances that I have seen by Sutton
and her cohorts. Her romp through “Surrey with the
Fringe on Top” with only Brinker along for the ride is
always a crowd pleaser. Her most recent album, On
the Other Side, explored what she has described as “the
dark side of happy songs.” The opening track from
that album is a unique reading of “You Are My Sunshine”,
where Sutton movingly explores this lyric that
bounces back and forth between longing for what had
been and the reality of heartbreak. Her “Happy Days
Are Here Again” is also from On the Other Side, and
finds her happiness touched with madness.
An enthusiastic audience roared for an encore,
and Sutton delivered a touching lyric penned by vocalist
Karen Gallinger for a lovely Bill Evans tune
titled “We Will Meet Again”. Most of those present
seemed to be hoping that they shall indeed meet the
Tierney Sutton Band again in the near future.
These are the kinds of concerts that attracted me,
and many others into the world of jazz, full of music
that challenges the listener to pay attention, yet never
so out that it allows that attention to wander.
Around Town
To Advertise CALL: 212.889.0853 August 2008 􀁕 Jazz Improv® NY 􀁕 www.jazzimprov.com 9
Jazz at Caramoor
August 1, 2 & 3
The 2008 Caramoor International Music Festival
presents a weekend of jazz on August 1, 2 and
3. The legendary pianist, Ahmad Jamal and his Trio
were chosen by Jim Luce, Caramoor’s jazz producer,
to open the fifteenth annual International Jazz Festival.
Other highlights include performances by the
Ahmad Jamal Trio, Mulgrew Miller’s Wingspan,
Jimmy Heath Big Band, Michel Camilo Trio, pianist
Aaron Diehl, and Wynton Marslis. The Festival’s
emphasis on Latin Jazz as part of Sonidos Latinos,
Caramoor’s Latin-American Music Initiative,
continues with a Cuban Piano Summit featuring
Elio Villafranca and Chuchito Valdes. The innovative
and delightfully surprising improvisations heard
in the intimate Spanish Courtyard show why Caramoor
is the perfect environment for summertime
jazz. The concerts take place in two outdoor theaters
– the large, acoustically superb Venetian Theater, and
the more intimate, romantic Spanish Courtyard.
Sonidos Latinos, Caramoor’s adventurous twoyear
Latin American Music Initiative, is now in its
second year and has been made possible with generous
support from the New York State Music Fund.
Pianists at this year’s Caramoor Jazz Festival will play
the Fazioli F-278 piano, courtesy of Klavierhaus, Inc.
in New York City. Caramoor is located at 149 Girdle
Ridge Road, Katonah, New York. Tickets may be ordered
by calling the Box Office at 914.232.1252 or
online at www.caramoor.org.
Tanglewood Jazz Festival
Celebrates Marian
McPartland’s 90th Birthday
August 29–31
The Boston Symphony Orchestra (BSO) will
be presenting yet another stellar line-up for Tanglewood’s
Jazz Festival located in the picturesque Berkshire
Mountains in Massachusetts on August 29 –
31. Always a Labor Day staple, the Tanglewood Jazz
Festival continues to be a traditional annual event
for many jazz fans. Vocalists Nnenna Freelon and
Spencer Day, and pianist, Mulgrew Miller will be
the special guests of Marian McPartland for the live
taping of “Piano Jazz” for NPR in celebration of Ms.
McPartland’s 90th birthday.
Returning again this year is the popular Jazz
Café, an informal, cabaret style venue that features
emerging talent such as the Aaron Parks Quintet,
the Kate McGarry Trio, the Jason Palmer Quintet,
the Spencer Day Quartet, and the Alex Brown Trio.
Antoinette MONTAGUE
For Bookings: Call 203-820-8819 􀀋􀀕􀀁􀀕􀀖􀀡􀀙􀀗􀀝􀀊􀀁􀀎􀀒􀀝􀀙􀀢􀀒􀀁􀀋􀀛􀀓􀀖􀀠􀀢􀀁􀀁􀀁􀀦􀀁􀀁􀀁Photo: Andrew Lepley
JAZZMOBILE AUGUST 7th 􀀗􀀁6 pm summer 2008
Ferry St. at Hawkins Street, Newark, NJ East Ward FREE!
(Inspired by Earl May)
AUGUST 15TH􀀁􀀡􀀁􀀌􀀞􀀜􀀛􀀁􀀇􀀉􀀆􀀄􀀁􀀠􀀜􀀁􀀈􀀉􀀄􀀄􀀁􀀝􀀛􀀁
With the Bill Easley Quartet
Main Street, (aka 1 VanDerdonk St.) Yonkers, NY
FREE to the Public! Lovely waterfront stage!
AUGUST 20th 􀀗􀀁􀀔􀀚􀀠􀀟􀀁􀀙􀀠 􀀈􀀁􀀂􀀁􀀅􀀄􀀁􀀝􀀛
The Kitano Hotel, 66 Park Ave. at 38th St.,NYC
No cover / $15 minimum (parking on 38th)
Reservations recommended: 212-885-7119
􀀑􀀈􀀔􀀋􀀗􀀒􀀍􀀋􀀗􀀊􀀈􀀒􀀋 􀀘 􀀑􀀋􀀏􀀒􀀋􀀎􀀉􀀋􀀐􀀁􀀆􀀒􀀍
The Many Colors of a Woman Jazz Festival, Hartford, CT
10 August 2008 􀁕 Jazz Improv® NY 􀁕 www.jazzimprov.com To Advertise CALL: 212.889.0853
Available again this year is an all-day lawn pass for
Saturday and Sunday for $33 per day.
The full lineup also includes Dianne Reeves,
Terence Blanchard, Donal Fox, Christian Scott,
Eddie Daniels, Mark O’Connor, Jane Monheit, Joe
Locke, Eliane Elias, and Edmar Castaneda.
Tickets for the 2008 Tanglewood Jazz Festival
are available by calling SymphonyCharge at 888-
266-1200, online at www.tanglewood.org and in
person at the Tanglewood Box Office in Lenox.. A
full schedule is also available at their website.
Nick Mathis Presents
On Saturday, September 6th at 8:00pm, the 24th
production of MANY COLORS of a W*O*M*A*N
XXIV will take place at the Aetna Theater, Wadsworth
Atheneum Museum of Art on 600 Main St,
Hartford, Connecticut. The free jazz festival will
feature: Nicki Mathis’ Afrikan Amerikan Jazz New
Millennium All Stars, Ricky Alfonso, Kalyn Dean,
Melanie Dyer, Joe Fonda, Raynell Frazier, Janice
Friedman, Yasuyo Kimura, Rozanne Levine, Bill
Lowe, Yunie Mojica, Jocelyn Pleasant, Carol Sudhalter,
Dotti Anita Taylor, Deborah Weisz, Mark
Whitecage, Antoinette Montague, and more!
Nicki Mathis first gained popularity performing
with Jerry Sandifer’s Modern Jazz Trio Plus 1 in her
hometown of El Paso, Texas when they opened the
first Pass of the North Jazz Festival featuring Dave
Brubeck, Chico Hamilton, Lambert Hendricks &
Ross among others. Now based in Hartford, Nicki
and her All Stars excite audiences with jazz standards,
blues, Latin jazz, Brazilian, spirituals, originals, show
tunes, popular, contemporary, and reggae music. Mathis
has sung across the United States, in Mexico, Japan,
Cuba, and Canada, and has also enjoyed air-time
in Africa. In July, Mathis performed at The Greater
Hartford Festival of Jazz in Bushnell Park, Hartford,
CT. In addition to leading her All Stars, Mathis annually
produces and performs in The Many Colors of a
W*O*M*A*N Jazz Festival. For more information and
bio, Google “Nicki Mathis, jazz.”
Charlie Parker Jazz Festival
August 23 & 24
The Charlie Parker Jazz Festival will take place
on Saturday, August 23 in Marcus Garvey Park and
Sunday, August 24 in Tompkins Square Park. Marcus
Garvey Park is located at 124th St. & Mt. Morris
Park in Harlem. The line up for Saturday includes
presents pianists Hank Jones and Robert Glasper,
vocalist Vanessa Rubin, and drummer Rashied Ali.
On Sunday, the festival moves to Thompkins Square
Park which is located at E. 8th St. between Aves. A
& B. The line up includes pianists Randy Weston
and Eric Lewis, vocalist Gretchen Parlato and trumpeter
Jerry Gonzalez & Fort Apache. The City Parks
Foundation produces over 1,200 performances each
year in parks across all five boroughs, a schedule that
makes the organization one of the largest arts presenters
in the city and in the nation. Its performing
arts programs include Central Park SummerStage,
CityParks Theater, CityParks Dance, CityParks
Concerts, the Charlie Parker Jazz Festival, CityParks
Kids, the Swedish Cottage Marionette Theatre, and
puppet performances through the CityParks PuppetMobile.
Details about all these festivals and more
can be found at www.cityparksfoundation.org.
To Advertise CALL: 212.889.0853 August 2008 􀁕 Jazz Improv® NY 􀁕 www.jazzimprov.com 11
AUGUST – Local & Regional
Belleayre Music Festival: Aug 8–16
Highmount, NY
Aug 8: KJ Denhert 5; Aug 9: Ramsey Lewis; Aug 15: Ken
Peplowski 4; Aug 16: Two Jazz Diamonds 75th Birthday All
Star Celebration for David “Fathead” Newman & Curtis Fuller
with Cedar Walton, Rufus Reid, Jimmy Cobb, plus surprise
guests. www.belleayremusic.org
Caramoor Jazz Festival: Aug 1–3
Katonah, NY
Aug. 1: Ahmad Jamal; Aug 2: Elio Villafranca, Chuchito
Valdes; Mulgrew Miller’s Wingspan; Ricardo Peixoto and
Claudia Villela; Wynton Marsalis; Aug. 3: Aaron Diehl, Jimmy
Heath Big Band; Michel Camilo Trio w/Charles Flores &
Dafnis Prieto. www.caramoor.org
Charlie Parker Festival: Aug 23– 24
New York, NY
Aug 23: Hank Jones, Vanessa Rubin, Rashied Ali, Robert
Aug 24: Randy Weston, Jerry Gonzalez and Fort Apache, Eric
Lewis, Gretchen Parlato. www.cityparksfoundation.org
Coltrane Jazz Festival: Aug 30–31
Philadelphia, PA
George Braith, Marcus Belgrave, Azar Lawrence, Billy Hart,
James Spalding’s Swing Expressions, Fred Adams & the
Philadelphia Heritage Art Ensemble, Minas Brazilian Jazz,
Sherry Butler, Byron Lancaster, Benito Gonzalez.
Historic Lewiston Jazz Festival: Aug 22–24
Lewiston, NY
Litchfield Jazz Festival: Aug 1–3
Goshen, CT
Aug 1: Friends of the Festival Gala; Paquito D’Rivera w/Zaccai
Curtis 3; Bebe Neuwirth; Aug 2: Dave Brubeck; Winard Harper
6; Nicole Zuraitis 4; Kenny Werner 3; Wayne Shorter Tribute Big
Band; Dave Brubeck 4; Conrad Herwig’s Latin Side of Miles &
‘Trane; Aug 3: John Pizzarelli; Claire Daly’s “Rah! Rah!” Band;
Peter Madsen 3; Jimmy Greene 4; Chestnut 3; John Pizzarelli
& Dear Mr. Sinatra w/Orchestra. www.litchfieldjazzfest.com
Long Island Jazz Festival: Aug 9 & 10
Oyster Bay, NY
Aug 9: Dave Koz, Lizz Wright; Aug 10: Jonathan Butler,
Boney James. www.fotapresents.org
JVC Newport Jazz Festival: Aug 8–10
Newport, RI
Aug 8: Chris Botti; Ledisi; Aug 9: Chris Botti; Wayne Shorter 4;
Dave Holland-Gonzalo Rubalcaba-Chris Potter-Eric Harland;
Ledisi; Lettuce w/Fred Wesley; Charlie Hayden-Ethan Iverson-
Paul Motian; Jacob Fred Jazz Odyssey; Christian Scott;
Warren Vache 5; Aaron Goldberg 3; Aug 10: Sonny Rollins;
Herbie Hancock; Anthony Hamilton; Guillermo Klein Y Los
Gauchos; Soulive w/Fred Wesley, Lionel Loueke 3; Chris
Potter’s Underground; George Wein & Newport All-Stars w/
Anat Cohen-Howard Alden; Marco Benevento 3 w/Chris
Potter; Mark Rapp Band. www.festivalnetwork.com
Sackets Harbor Jazz Festival: Aug 9
Sackets Harbor, NY
12 August 2008 􀁕 Jazz Improv® NY 􀁕 www.jazzimprov.com To Advertise CALL: 212.889.0853
Speakeasy Jazz Babies; Russ Kassoff Trio, w/Martin Wind,
Dennis Mackrel, Catherine Dupuis. www.jazzinsackets.org
Tanglewood Jazz Festival: Aug 29–31
Lenox, MA
Aug 29: Colombian harpist, Edmar Castaneda & Trio w/Joe
Locke; Eliane Elias; Aug 30: Marian McPartland; Donal Fox,
w/Christian Scott; Dianne Reeves; Aug 31: Eddie Daniels 4;
Mark O’Connor, w/Jane Monheit; Aug 31: Terence Blanchard
& 30-piece orchestra performing A Tale of God’s Will (A
Requiem for Katrina). www.bso.org
AUGUST – National
Anacortes Jazz Festival: Aug 30–Sep 1
Anacortes, WA
Detroit International Jazz Festival: Aug 29–Sep 1
Detriot, MI
Grand Hotel Labor Day Jazz Festival: Aug 29–Sep 1
MacKinac Island, MI
Long Beach Jazz Festival: Aug 8–10
Long Beach, CA
Markham Jazz Festival: Aug 15–17
Markham, Ontario Canada
Mt. Hood Jazz Festival: Aug 15–16
Gresham, OR
Orange County Classic Jazz Festival: Aug 7–10
Costa Mesa, CA
Vail Jazz Festival & Party: Aug 29–Sep 1
Vail, CO
West Coast Jazz Party & Brunch Cruise: Aug 28–31
Irvine, CA
Jazz Festival Willisau: Aug 27–31
Willisau, Switzerland
Oslo Jazz Festival: Aug 11–16
Oslo, Norway
Red Sea Jazz Festival: Aug 25–28
Eilat, Israel
Rimouski Festi Jazz International: Aug 28–31
Rimouski, Quebec Canada
Sildajazz: Aug 6–10
Haugesund, Norway
Zomer Jazz Fiets Tour: Aug 29–30
SEPTEMBER—Local & Regional
COTA Jazz Festival: Sept 5–7
Delawre Water Gap, PA
Long Beach Jazz Festival: Sept 4–7
Long Beach, NY (Long Island)
Lake George Jazz Festival: Sept 13–14
Lake George, NY
Sep 13: Ted Firth Trio w/Marilyn Mae; Roswell Rudd & Shout;
Pucho & The Latin Soul Brothers; Sep 14: Lee Shaw 3; Cindy
Blackman 5; The Either/Orchestra. www.lakegeorgearts.org
Sedona Jazz Festival: Sep 23 - 28
Sedona, AZ
Monterey Jazz Festival: Sep 19–21
Monterey, CA
Jazz By The Boulevard: Sep 19–21
Fort Worth, TX
Summit Jazz: Sep 26–28
Denver, CO
Ziegler Kettle Moraine Jazz Festival: Sep 5–6
West Bend WI
DölaJazz - Lillehammer Jazzfestival: Oct 16–19
Lillehammer, Norway
Guelph Jazz Festival: Sep 3–7
Guelph Ontarario, Canada
Trinidad & Tobago Steel Pan & Jazz Festival: Oct 24–Nov 1
Tridad & Tobago, West Indies
David “Happy” Williams Quintet w/Eddie Henderson & Javon
Jackson; Etienne Charles; Tinidad All Stars Steel Orchestra;
Skiffle Bunch Stell Orchestra; EXODUS Steel Orchestra; Oliver
Lake Steel 4 & more! www.steelpanjazzfestival.com
Bebe Neuwirth
Dave Brubeck
Paquito D’Rivera
Cyrus Chestnut
John Pizzarelli
Dear Mr. Sinatra with orchestra
Wayne Shorter
Tribute Big Band
led by David Weiss
Conrad Herwig’s Latin
Side of Miles & ‘Trane
Cyrus Chestnut
Kenny Werner
Winard Harper
Jimmy Greene
Peter Madsen
Claire Daly
Nicole Zuraitis
and much more
Closer to New York City
Than You Think...
13TH ANNUAL Litchfield Jazz Festival
1, 2 & 3
2 0 0 8
Photos courtesy of Stuart Feldman
& Steven Sussman
The Vando Jam is The Hang
Monday, August 11th at 9pm
Mark Gross Trio
Iguana Restaurant
240 W 54th Street (bet B’way/8th Avenue)
For more information call

􀀖 􀀠 􀀌 􀀖 􀀍 􀃊 􀀭 􀀪 􀀢 􀀯 􀀝 􀀖 􀀔 􀀕 􀀯 􀃊 􀁕 􀃊 􀀖 􀀠 􀀌 􀀖 􀀍 􀃊 􀀭 􀀪 􀀢 􀀯 􀀝 􀀖 􀀔 􀀕 􀀯
􀀖 􀀠 􀀌 􀀖 􀀍 􀃊 􀀭 􀀪 􀀢 􀀯 􀀝 􀀖 􀀔 􀀕 􀀯 􀃊 􀁕 􀃊 􀀖 􀀠 􀀌 􀀖 􀀍 􀃊 􀀭 􀀪 􀀢 􀀯 􀀝 􀀖 􀀔 􀀕 􀀯
Saturday, September 6th 8:00pm
FREE Jazz Festival, Aetna
Theater, Wadsworth Atheneum
Museum of Art
600 Main St Hartford, CT
Featuring: NICKI MATHIS' Afrikan Amerikan Jazz
New Millennium All Stars: with Ricky Alfonso,
Kalyn Dean, Melanie Dyer, Joe Fonda, Raynell
Frazier, JANICE FRIEDMAN, Yasuyo Kimura,
Rozanne Levine, Bill Lowe, Yunie Mojica,
Jocelyn Pleasant, Carol Sudhalter, DOTTI ANITA
Co-Sponsored by MCW, Inc., OPUS, Inc. SAND, Inc., Funded in part by
Evelyn Preston Memorial Foundation; Supported by Smith Whiley & Co.;
Sponsors Invited 860.231.0663
Nicki Mathis has been
the resident
producer/performer for
of a W*O*M*A*N for
over 20 years...
Celebrating jazz
women thru her New
Millennium All Stars.
16 August 2008 􀁕 Jazz Improv® NY 􀁕 www.jazzimprov.com To Advertise CALL: 212.889.0853
Litchfield Jazz Festival
Delivers the Goods
By Marie Wilkins
Bebe Neuwirth, John Pizzarelli, Dave Brubeck,
and Paquito D’Rivera are just a few of the artists you
will get to see at this year’s Litchfield Jazz Festival!
Joining these legends will be many newer stars such
as Nicole Zuraitis and Jimmy Greene. It is the festival’s
13th year running and jazz lovers; it’s surely one
you don’t want to miss! This 3 day event is also known
for its tasty food and general feel-good atmosphere.
“Artists love to play at this festival, critics praise it
and audiences can’t get enough,” says Lindsey Turner,
the Public Relations and Marketing Director for The
Litchfield Performing Arts Center.
Besides presenting the best jazz has to offer, the
festival also allows Litchfield Jazz Camp students to
show off their hard work from the preceding four
weeks. The students get to perform in a smaller tent
on Saturday and Sunday alongside the large main
stage tent. Speaking of students, Nicole Zuraitis will
be singing songs from her debut album with Zaccai
Curtis on piano, Luques Curtis on bass, and Richie
Barshay on drums—all of whom were past students
at the camp. Nicole began attending the program in
1997; the year it began. She says that in regards to her
successful music career, everything she has learned is
rooted in her years at the Litchfield Jazz Camp. “Incredible
musicians and instructors surrounded you
there,” she says. That is precisely what festival goers
can expect on August 1, 2 & 3—to be surrounded by
incredible musicians; many of whom double as great
educators. Nicole will be singing both standards and
original material.
The Festival begins Friday the 1st with a “Friends
of the Festival Gala”. The night will start off with
a gourmet dinner, followed by performances from
Tony & Emmy Award winning actress, dancer, and
singer Bebe Neuwirth, and nine time Grammy winner
Paquito D’Rivera who will be joined by the Zaccai
Curtis Trio. D’ Rivera has revealed that he will be
premiering some brand new material.
Saturday morning takes off with Winard Harper,
founder of the prominent Harper Brothers Band, and
his sextet, followed by Nicole Zuraitis, the Kenny
Werner Trio, the Wayne Shorter tribute Big Band led
by David Weiss, the Dave Brubeck Quartet, and lastly,
Conrad Herwig’s Latin Side of Miles and ‘Trane
band. For the last day, the action does not slow down.
Sunday begins with the entertaining baritone saxophonist,
Claire Daly and her “Rah! Rah!” band, and
will continue on with performances by the Peter Madsen
Trio (who will be presenting his fresh new work
entitled “The Litchfield Suite”), the Jimmy Greene
Quartet, and the Cyrus Chestnut Trio. Ending this
jam packed all-star weekend is the one and only multitalented
John Pizzarelli who, with an orchestra behind
him, will be performing a tribute to Frank Sinatra.
After making her US debut at the first Litchfield
Jazz Festival some years back, Diana Krall called the
event “one of the best festivals”. But what makes this
year different? A slew of previous students and instructors
are performing with their own bands. Their
hard work is paying off. Thirty-five percent more students
than any other year are performing this summer.
PR & Marketing Director Lindsey Turner says
the students from the camp receive all that they will
need to “grow and expand” and the opportunity to
play at the festival is perhaps the greatest asset of all.
Along with Nicole Zuraitis, Jimmy Greene is also an
ex-camper as well as a current instructor. This is his
first time leading his own band at the festival. Jimmy
has given back by teaching ensemble, theory, and saxophone
since 1997. As an ode to the camp, Greene will
be performing his original composition entitled “Mission
Statement” along with some other tunes from his
new album, The Overcomer’s Suite. In his own words,
the Litchfield Jazz Festival is a “marketing tool for students
and professionals” and a “historical event.”
As history proves, the Litchfield Jazz Camp creates
stars and the festival showcases them! The proceeds
from the event will support the Litchfield Jazz
Camp scholarship program. As Lindsey says, “We do
everything in our power to never turn down a student
in significant financial need to attend the camp
on scholarship.”
The festival will be held at the Goshen Fairgrounds
in northwest Connecticut. Festival grounds
open at 4:30pm Friday afternoon, with music running
from 7:00pm to 10:00pm, and on Saturday
and Sunday, grounds open at 10:30am with music
running from noon to 10:00pm. Tickets can be purchased
on-line at www.litchfieldjazzfest.com or over
the phone at 860-567-4162. Main stage tent tickets
are limited, while lawn tickets are usually available at
the gate. Rain or shine, the show will go on and audiences
will experience one of the greatest jazz events
of the summer. As vocalist Nicole Zuraitis simply
states, “Expect to have a blast!”
Nicole Zuraitis
Credit: Brooke Duffy
To Advertise CALL: 212.889.0853 August 2008 􀁕 Jazz Improv® NY 􀁕 www.jazzimprov.com 17
Ron Affif Trio Zinc Bar 9:00, 11:00pm, 12:30, 2AM
Dave Allen Group Push Cafe 8:00pm
Gene Bertoncini Le Madeleine Bistro
Christine Cadeville Le Pere Pinard 9 & 11pm
Cecil’s Big Band w/ Joe Elefante Cecil’s 9:00pm
Eddy Davis N. Orleans Jazz Band The Carlyle 8:45pm
John Farnsworth Jazz Jam Smoke 8:00pm
Harlem Renaissance Orchestra Swing 46 8:30 pm
Jack Jeffers Big Band Minton’s 9, 10:30 pm 12 am
JFA Jazz Jam Local 802 7 pm
Nathan Lucas Trio Perk’s Restaurant 8 pm
Les Paul & his Trio Iridium 8:00 & 10:30pm
Patience Higgins Lenox Lounge 9:30pm
Scott Whitfield Jazz Orchestra Birdland 5:30pm
Vanguard Jazz Orchestra V. Vanguard 9:30 & 11:30pm
Melvin Vines Kortet St. Nick’s Pub 10 pm
Killer Ray Appleton Sextet Creole 7:30 pm
Sedric Choukroun Seppi’s 8:30pm
Seleno Clarke Trio Perk’s Restaurant 8:00 pm
Chris Crocco Duo Mario’s Trattoria 8:00 pm
Duke Ellington Orchestra Birdland 9:00 & 11:00 pm
Joel Frahm Bar Next Door 8:00pm
George Gee Big Band Swing 46 8:30pm-11:30pm
Loston Harris Café Carlyle 9:30 pm
Ken Hatfield Fetch 8:30 pm—12:00am
Yuichi Hirakawa Trio Arthur’s Tavern 7, 8:30 pm
Annie Ross The Metropolitan Room 7:00 pm
Jenny Scheinman; Slavic Soul Party Barbès 7, 9pm
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
Julius Tolentino Jam Cleopatra’s Needle 8:00pm
Joe Traina & Quintet Sardi’s 9:30 pm
Mingus Big Band Iridium 8:00 & 10:30pm
Sweet Rhythm Vocal Series 8:00 & 10:00pm
Bruce Williams Jam Session Cecil’s 9:00pm
Greg Bandy Group St. Nick’s Pub 10:00 pm
Rick Germanson Duo Ruth’s Chris Steakhouse 6:00 pm
Patience Higgins Sugar Hill 4 Minton’s 9,10:30pm 12am
Yuichi Hirakawa Trio Arthur’s Tavern 7, 8:30 pm
Jonathan Kreisberg Bar Next Door 8 pm
Arturo O’Farrill Sextet Birdland 9:00 & 11:00 pm
David Ostwald Birdland 5:30pm
Avi Rothbard Ethiopian Restaurant 7:30 pm
Jerry Weldon Trio Smoke 8:30, 10, 11:30 pm
Nathan & Max Lucas Organ Trio Lenox Lounge 6:00pm
Calendar of Events
How to Get Your Gigs and Events Listed in Jazz Improv® NY
Submit your listings via e-mail to jazz@jazzimprov.com. Include date, times, location, phone
number 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.
18 August 2008 􀁕 Jazz Improv® NY 􀁕 www.jazzimprov.com To Advertise CALL: 212.889.0853
Sedric Choukroun Brasserie Julien 7:00pm
Duane Eubanks Late Nite Session Sweet Rhythm 11:30
Avram Fefer Trio Le Pere Pinard 9:00 pm
Gerald Hayes & Qualified Gents Minton’s 9, 10:30 pm 12
Manhattan Ragtime Orchestra The Cajun 8:00pm
Pam Purvis Savoy Grill 5:30—7:30pm
Barbara Rosene Times Square Brewery 8:00 pm
Straight Street Quartet Shutters Café 8:00pm
Will Vinson Bar Next Door 8:00pm
Canal Street Dixieland Jazz/Blues Band Cajun 8:00pm
Sedric Choukroun Brasserie Julien 7:00pm
Mike Davis Quintet St. Nick’s Pub 10 pm
Kelly Friesen Quartet Shelly’s 8:30 pm
Don Hanson Quintet Minton’s 9, 10:30 pm 12 am
Tommy Igoe’s Birdland Big Band Birdland 5:50–7:30pm
Ralph Lalama’s Bopjuice w/Clifford Barbaro Smalls 12
Jan Leder Trio La Prima Donna 8:30 pm
Jeremy Manasia 3 Roth’s Westside Steakhse 10:00 pm
Oren Nieman Quartet Roth’s Steakhouse 10:00 pm
Lenore Raphael Strada 57 7:00pm
Bill Saxton and Friends Bill’s Place 10:00 pm
Donald Smith St. Nick’s Pub 10:00 pm
Brazilian Bossa Jazz Zinc 10:00 & 11:30pm, 1:00am
Andy Brown/Petra Jensen Osterua Del Sole 1:00pm
Sedric Choukroun Brasserie Julien 7:00pm
Ted Hefko Quartet Antique Garage 1:30 pm
Whitney Moulton/Brian Cashwell Perk’s Rest. 7:00 pm
Alan Jay Palmer & New Soil Band Creole 9:00pm
Iris Ornig/Chuck Jennings Duo Dodo 12 pm
Wayne Robert/Joe Cohn City Crab 12 pm
Skye Jazz Trio Jack 9:15, 11 pm
Harry Whitaker & Friends Smalls afterhours
Gene Bertoncini Le Madeleine Bistro
Brazilian Samba Jazz Zinc 10:00 & 11:30pm, 1:00am
Rick Bogart Trio Seppi’s 3:00 pm
Anat Cohen & Friends; Ari Hoenig 3 Louis 649 6, 9 pm
David Coss & Trio Garage 7:00pm
Toru Dodo Jam Cleopatra’s Needle 8:00pm
Eli Fountain’s Organizers Minton’s 9, 10:30 pm 12 am
Ted Hefko Quartet Antique Garage 1:30 pm
Ear Regulars w/Jon-Erik Kellso The Ear Inn 8:00pm
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
Satoshi Inoue Trio Sushi Samba 1:00pm
Satoshi Inoue Duo Roth’s Steakhouse 6:00pm
Myrna Lake; Spike Wilner Group Smalls 7, 10:30 pm
Peter Leitch Duo Walker’s 8:00pm
Peter Mazza Bar Next Door 8:00 pm
Jazz Standard Youth Orchestra Jazz Standard 2:00pm
Rudell Drears, Sedric Choukroun & Marjorie Elliot
Parlor Entertainment 4:00pm
TC III St. Nick’s Pub 10:30 pm
Chris Washburne SYOTOS Band Smoke 9, 11:00pm,
New York City
􀁶􀀀 Tues 8/5, 8/12, 8/19, 8/26: David Berger & The Sultans
of Swing at Birdland. 8:30pm & 11:00pm. 315 W. 44th St.
212-581-3080. www.birdlandjazz.com
􀁶􀀀 Fri 8/1: Tommy Igoe’s “Birdland Big Band” at Birdland.
Every Friday 5:30-7:30PM. 315 W. 44th St. Visit TommyIgoe.
com for surprise special guest line-up.
􀁶􀀀 Fri 8/1: TK Blue at the American Museum of Natural
History’s Rose Center for Earth and Space. 6:00pm &
7:30pm. $15; $11 students & seniors; $8.50 children. Central
Park West @ 79th St. 212-496-3409. www.amnh.org.
􀁶􀀀 Fri 8/1: Harry Schnitt Modern Jazz at Greenwich Village
Bistro. 13 Carmine St. 212-206-9777.
􀁶􀀀 Fri 8/1, 8/8, 8/15, 8/22 & 8/29: Junior Mance & Hide
Tanaka at Café Loup. 6:30pm. No cover. 105 W. 13th St.
212-255-4746. www.juniormance.com
“Jazz Venue of the Year” - ALL ABOUT JAZZ 􀀂 “Best Jazz Club” - NEW YORK MAGAZINE & CITYSEARCH
TUE & WED AUGUST 19 & 20
PETER BERNSTEIN TRIO􀀉􀀔􀀙􀀌􀀁􀀛􀀊􀀎􀀗􀀗􀀁􀀃􀀁􀀇􀀎􀀑􀀑􀀁􀀗􀀘􀀊􀀛􀀆􀀖􀀘
ANDREA TIERRA􀀛􀀎􀀘􀀍􀀁􀀗􀀕􀀊􀀈􀀎􀀆􀀑􀀁􀀌􀀙􀀊􀀗􀀘􀀁􀀁DANA LEONG
Fulton Ferry Landing, Brooklyn
(718) 624-2083
To Advertise CALL: 212.889.0853 August 2008 􀁕 Jazz Improv® NY 􀁕 www.jazzimprov.com 19
􀁶􀀀 Fri 8/1, 8/8, 8/15, 8/22 & 8/29: Sedric Choukroun Duo at
Brasserie Julien. 7:00pm. 1422 3rd Ave. (Bet. 80th & 81st St.)
212-744-6327. www.brasseriejulien.com. www.sedric.net
􀁶􀀀 Sat 8/2: Roy Hargrove Big Band at Central Park
SummerStage. 7:00pm. Free. At Rumsey Playfield. Enter
park @ 69th Ave. & 5th Ave. on east side or @ 72nd St. &
Central Park West on west side. 212-360-2756. www.
􀁶􀀀 Sat 8/2: Poogie Bell Band at Blue Note. Late Night Groove
Series. 12:30am.131 W. 3rd St. 212-475-8592.
􀁶􀀀 Sat 8/2: Sleepy Lester & Brother Bob Blues at Greenwich
Village Bistro. 13 Carmine St. 212-206-9777.
􀁶􀀀 Sat 8/2, 8/9, 8/16, 8/23 & 8/30: Junior Mance & Hide
Tanaka at Café Loup. 6:30pm. No cover. 105 W. 13th St.
212-255-4746. www.juniormance.com
􀁶􀀀 Sat 8/2, 8/9, 8/16, 8/23 & 8/30: Sedric Choukroun Duo at
Brasserie Julien. 7:00pm. 1422 3rd Ave. (Bet. 80th & 81st St.)
212-744-6327. www.brasseriejulien.com. www.sedric.net
􀁶􀀀 Sun 8/3: Vic Juris at Blue Note. 12:30pm & 2:30pm.
$24.50 includes brunch, show & 1 drink. 131 W. 3rd St. 212-
475-8592. www.bluenote.net
􀁶􀀀 Sun 8/3: Leighting & Shields Blues at Greenwich Village
Bistro. 13 Carmine St. 212-206-9777.
􀁶􀀀 Sun 8/3: Melissa Stylianou with Jamie Reynolds at
St. Peter’s Church. 5:00pm. Jazz Mass. Free. 54th &
Lexington. 212-935-2200. www.saintpeters.org/jazz. www.
􀁶􀀀 Sun 8/3, 8/10, 8/17, 8/24, 8/31: Junior Mance & Hide
Tanaka at Café Loup. 6:30pm. No cover. 105 W. 13th St.
212-255-4746. www.juniormance.com
􀁶􀀀 Sun 8/3, 8/10, 8/17, 8/24 & 8/31: Marjorie Eliot with Rudel
Drears & Sedric Choukroun at Parlor Entertainment
Studio. 4:00pm. Free. 555 Edgecombe Ave., #3F. (Bet.
159th & 160th St.) 212-781-6595. www.ParlorEntertainment.
com. www.sedric.net
􀁶􀀀 Mon 8/4: Alyssa Graham at Lincoln Triangle Barnes and
Noble. 6:00pm. No charge. 66th St. & Broadway, third floor
events space. 212-595-9340.
􀁶􀀀 Mon 8/4: Alexis Cole with Chip Jackson & Ian Froman at
Zinc Bar. 7:30pm. 90 W. Houston St. 212-477-8337. www.
zincbar.com. www.alexiscole.com
􀁶􀀀 Mon 8/4: Bruce Arnold & Jane Getter at Cachaça.
7:00pm. $5 cover, $5 min. 35 W. 8th St. 212-388-9099. www.
cachacajazz.com. www.janegetter.com
􀁶􀀀 Mon 8/4: Vince Giordano & His Nighthawks at Sofia’s
Restaurant, downstairs at the Edison Hotel. 8:00pm. $15
cover & $15 min. 221 W. 46th St. (Bet. Broadway & 8th)
212-719-5799. www.sofiasny.com. www.myspace.com/
􀁶􀀀 Tues 8/5: Jamie Begian Big Band at NYC Baha’i Center.
53 E. 11th St. (Bet. University Place & Broadway) 212-674-
8998. www.bahainyc.org/jazz.html.
􀁶􀀀 Tues 8/5: Jack Wilkins & Carl Barry at Bella Luna
Restaurant. 8:00pm. 584 Columbus Ave. @ 88th St. 212-
877-2267. www.jackwilkins.com
􀁶􀀀 Tues 8/5: Ken Hatfield with Hans Glawischnig & Eric
Hoffman at Fetch. 7:30pm. No cover. 1649 Third Ave. (Bet.
92nd & 93rd St.) 212-289-2700. www.kenhatfield.com.
􀁶􀀀 Tues 8/5, 8/12, 8/19 & 8/26: Sedric Choukroun Duo at
Seppi’s. 8:30pm. In Parker Meridian Hotel, 123 W. 56th St.
212-708-7444. www.parkermeridien.com. www.sedric.net
􀁶􀀀 Wed 8/6: Frank Wess with Jazzmobile at Grant’s Tomb.
7:00pm. 122nd St. & Riverside Dr.
􀁶􀀀 Wed 8/6: Tony Bracco Jazz at Greenwich Village Bistro.
13 Carmine St. 212-206-9777.
􀁶􀀀 Wed 8/6: Ken Hatfield, Eric Hoffman, Hans Glawischnig
& Steve Kroon at Trinity Lower East Side Luther Parish
Garden. 6:00pm. Free. 602 E. 9th St. @ Ave. B.
􀁶􀀀 Wed 8/6: Arturo O’Farrill Trio at Bryant Park, Upper
Terrace. 5:00pm. Free. Piano in the Park Series. Behind
NY Public Library. (Bet. 40th & 42nd St. and Fifth & Sixth
Ave.) 212-768-4242. www.bryantpark.org.
􀁶􀀀 Wed 8/6: Sonny Rollins at Central Park SummerStage.
8:00pm. Free. At Rumsey Playfield. Enter park @ 69th Ave.
& 5th Ave. on east side or @ 72nd St. & Central Park West on
west side. 212-360-2756. www.summerstage.org
􀁶􀀀 Thu 8/7, 8/14, 8/21 & 8/28: Sedric Choukroun Duo at
Brasserie Julien. 7:00pm. 1422 3rd Ave. (Bet. 80th & 81st St.)
212-744-6327. www.brasseriejulien.com. www.sedric.net
􀁶􀀀 Thu 8/7: Andy Collier Jazz at Greenwich Village Bistro.
13 Carmine St. 212-206-9777.
􀁶􀀀 Fri 8/8: Tommy Igoe’s “Birdland Big Band” at Birdland.
Every Friday 5:30-7:30PM. 315 W. 44th St. Visit TommyIgoe.
com for surprise special guest line-up.
􀁶􀀀 Fri 8/8: Winard Harper with Jazzmobile at Marcus Garvey
Park. 7:00pm. 122nd St. & 5th Ave.
􀁶􀀀 Fri 8/8: Hironobu Saito Group at Blue Note. Late Night
Groove Series. 12:30am.131 W. 3rd St. 212-475-8592.
􀁶􀀀 Fri 8/8: Carras Canton Trio at Greenwich Village Bistro.
13 Carmine St. 212-206-9777.
􀁶􀀀 Sat 8/9: Sandy Sasso with Steve Elmer, Desi Norman &
Rick Crane at 55 Bar. 6:00pm. 55 Christopher St. 212-929-
9883. www.55bar.com. www.sandysasso.com
􀁶􀀀 Sat 8/9: Matt Geraghty at Blue Note. Late Night Groove
Series. 12:30am.131 W. 3rd St. 212-475-8592.
􀁶􀀀 Sun 8/10: Country Joe Rockabilly at Greenwich Village
Bistro. 13 Carmine St. 212-206-9777.
􀁶􀀀 Sun 8/10: Vinnie Zummo at Blue Note. 12:30pm & 2:30pm.
$24.50 includes brunch, show & 1 drink. 131 W. 3rd St. 212-
475-8592. www.bluenote.net
􀁶􀀀 Mon 8/11: Melissa Stylianou at Bar Next Door. 8:00pm.
149 Macdougal St. $10 cover, 1 drink min. www.
lalanterncaffe.com. www.melissastylianou.com
August 2008 Jazz Schedule
1st & 2nd: (vocalist) ANNETTE ST. JOHN & TRIO
8th & 9th: (vocalist) PAULETTE LUCKIE SILVER & TRIO
15th & 16th: WILLIE MARTINEZ & LaFamilia
22nd & 23rd: DANNY MIXON TRIO with
Lisle Atkinson, bass & George Gray, drums
29th & 30th: T.K. BLUE QUINTET
7th & 14th: RAY SCHINNERY
21st & 28th: JIMMY ALEXANDER
20 August 2008 􀁕 Jazz Improv® NY 􀁕 www.jazzimprov.com To Advertise CALL: 212.889.0853
􀁶􀀀 Mon 8/11: Robert Silverman at Lincoln Triangle Barnes
and Noble. 6:00pm. No charge. 66th St. & Broadway, third
floor events space. 212-595-9340.
􀁶􀀀 Mon 8/11: Vince Giordano & His Nighthawks at
Sofia’s Restaurant, downstairs at the Edison Hotel.
8:00pm. $15 cover & $15 min. 221 W. 46th St. (Bet.
Broadway & 8th) 212-719-5799. www.myspace.com/
􀁶􀀀 Mon 8/11: David Zimabalist at Greenwich Village Bistro.
13 Carmine St. 212-206-9777.
􀁶􀀀 Tues 8/12: David Berger & The Sultans of Swing at
Birdland. 8:30pm & 11:00pm. 315 W. 44th St. 212-581-
3080. www.birdlandjazz.com
􀁶􀀀 Tues 8/12: Wally Dunbar’s Jazz Eleven at NYC Baha’i
Center. 53 E. 11th St. (Bet. University Place & Broadway)
212-674-8998. www.bahainyc.org/jazz.html.
􀁶􀀀 Tues 8/12: Ken Hatfield with Harvie S & Steve Kroon at
Fetch. 7:30pm. No cover. 1649 Third Ave. (Bet. 92nd & 93rd
St.) 212-289-2700. www.kenhatfield.com.
􀁶􀀀 Wed 8/13: Benny Powell with Jazzmobile at Grant’s
Tomb. 7:00pm. 122nd St. & Riverside Dr.
􀁶􀀀 Wed 8/13: Apollo 63 Modern Jazz at Greenwich Village
Bistro. 13 Carmine St. 212-206-9777.
􀁶􀀀 Wed 8/13: Christiane Noll at Lincoln Triangle Barnes
and Noble. 6:00pm. No charge. 66th St. & Broadway, third
floor events space. 212-595-9340.
􀁶􀀀 Thu 8/14: Scot Albertson with Daryl Kojak, Cameron
Brown, Tony Jefferson, “Sweet” Sue Terry & Dave
Pietro at The Laurie Beechman Theater at the West
Bank Café. 8:00pm. $20 cover; $15 min. 407 W. 42nd St.
212-695-6909. www.scotalbertson.com
􀁶􀀀 Thu 8/14: David Ullman Jazz Trio at Greenwich Village
Bistro. 13 Carmine St. 212-206-9777.
􀁶􀀀 Fri 8/15: Tommy Igoe’s “Birdland Big Band” at Birdland.
Every Friday 5:30-7:30PM. 315 W. 44th St. Visit TommyIgoe.
com for surprise special guest line-up.
􀁶􀀀 Fri 8/15: Jean-Michel Pilc with Boris Koslov & Billy
Hart at 55 Bar. 6:00pm. 55 Christopher St. 212-929-9883.
􀁶􀀀 Fri 8/15: April Hill at Blue Note. Late Night Groove Series.
12:30am.131 W. 3rd St. 212-475-8592.
􀁶􀀀 Fri 8/15: Ray Mantilla & The Good Vibrations Band with
Jazzmobile at Marcus Garvey Park. 7:00pm. 122nd St. &
5th Ave.
􀁶􀀀 Fri 8/15: Nobuki Jazz at Greenwich Village Bistro. 13
Carmine St. 212-206-9777.
􀁶􀀀 Sat 8/16: Yuko Kimura with Roberta Piket, Cameron
Brown & Gene Jackson at Smalls. 7:30pm & 10:00pm.
$20 cover. 183 W. 10th St. @ 7th Ave. 212-252-5091. www.
􀁶􀀀 Sat 8/16: Jack Wilkins & Carl Barry at Whole Foods
Market Bowery. 5:30pm. 2nd Annual Gibson/Baldwin Jazz
Festival. 95 E. Houston St. (Bet. Bowery & Chrystie). www.
􀁶􀀀 Sat 8/16: Metrosonics at Blue Note. Late Night Groove
Series. 12:30am.131 W. 3rd St. 212-475-8592.
􀁶􀀀 Sat 8/16: Sleepy Lester & Brother Bob Blues at
Greenwich Village Bistro. 13 Carmine St. 212-206-9777.
􀁶􀀀 Sun 8/17: Buyu Ambroise & The Blues in Red Band at
Blue Note. 12:30pm & 2:30pm. $24.50 includes brunch,
show & 1 drink. 131 W. 3rd St. 212-475-8592. www.
􀁶􀀀 Sun 8/17: Radio I-Ching with Andy Haas, Don Fiorino
& Dee Pop at Rehab. 3:00pm. 25 Ave. B. 212-253-2595.
􀁶􀀀 Sun 8/17: Leighting & Shields Blues at Greenwich
Village Bistro. 13 Carmine St. 212-206-9777.
􀁶􀀀 Mon 8/18: Cast & Creators of “The Gig” at Lincoln
Triangle Barnes and Noble. 6:00pm. No charge. 66th St. &
Broadway, third floor events space. 212-595-9340.
􀁶􀀀 Mon 8/18: Vince Giordano & His Nighthawks at Sofia’s
Restaurant, downstairs at the Edison Hotel. 8:00pm. $15
cover & $15 min. 221 W. 46th St. (Bet. B’way/8th) 212-719-
5799. myspace.com/vincegiordano.
􀁶􀀀 Mon 8/18: Radio I-Ching at Otto’s Shrunken Head.
538 E. 15th St. 212-228-2240. www.myspace.com/
􀁶􀀀 Tues 8/19: David Berger & The Sultans of Swing at
Birdland. 8:30pm & 11:00pm. 315 W. 44th St. 212-581-
3080. www.birdlandjazz.com
􀁶􀀀 Tues 8/19: Ken Hatfield with Harvie S & Rob Thomas at
Fetch. 7:30pm. No cover. 1649 Third Ave. (Bet. 92nd & 93rd
St.) 212-289-2700. www.kenhatfield.com.
􀁶􀀀 Tues 8/19: Jack Wilkins & Gene Bertoncini at Bella Luna
Restaurant. 8:00pm. 584 Columbus Ave. @ 88th St. 212-
877-2267. www.jackwilkins.com
􀁶􀀀 Wed 8/20: Wycliffe Gordon with Jazzmobile at Grant’s
Tomb. 7:00pm. 122nd St. & Riverside Dr.
􀁶􀀀 Wed 8/20: Crag Pomranz at Lincoln Triangle Barnes and
Noble. 6:00pm. No charge. 66th St. & Broadway, third floor
events space. 212-595-9340.
􀁶􀀀 Wed 8/20: The Adam Ramsay-C.J. Glass Quartet
featuring Steve Gelfand & Alex Rivas at Stop 125.
7:30pm. 3143 Broadway. 212-662-2336.
􀁶􀀀 Wed 8/20: Akua Dixon Quartet at Bryant Park, Upper
Terrace. 5:00pm. Free. Piano in the Park Series. Behind
NY Public Library. (Bet. 40th & 42nd St. and Fifth & Sixth
Ave.) 212-768-4242. www.bryantpark.org.
􀁶􀀀 Thu 8/21: Frank Owens at Bryant Park, Upper Terrace.
5:00pm. Free. Piano in the Park Series. Behind NY Public
To Advertise CALL: 212.889.0853 August 2008 􀁕 Jazz Improv® NY 􀁕 www.jazzimprov.com 21
Library. (Bet. 40th & 42nd St. and Fifth & Sixth Ave.) 212-768-
4242. www.bryantpark.org.
􀁶􀀀 Thu 8/21: Hiroko Kanna Jazz at Greenwich Village
Bistro. 13 Carmine St. 212-206-9777.
􀁶􀀀 Fri 8/22: Tommy Igoe’s “Birdland Big Band” at Birdland.
Every Friday 5:30-7:30PM. 315 W. 44th St. Visit TommyIgoe.
com for surprise special guest line-up.
􀁶􀀀 Fri 8/22: PlanetJABR at Blue Note. Late Night Groove
Series. 12:30am.131 W. 3rd St. 212-475-8592.
􀁶􀀀 Fri 8/22: Larry Ridley & The Jazz Legacy Ensemble with
Jazzmobile at Marcus Garvey Park. 7:00pm. 122nd St. &
5th Ave.
􀁶􀀀 Fri 8/22: Yasmine at Greenwich Village Bistro. 13
Carmine St. 212-206-9777.
􀁶􀀀 Sat 8/23: Majorie Eliot & Friends at Morris Jumel
Mansion. 2:00pm. Free. 65 Jumel Terrace (Bet. 160th &
162nd St.). www.morrisjumel.org/information.
􀁶􀀀 Sat 8/23: Jeremy Clemons at Blue Note. Late Night
Groove Series. 12:30am.131 W. 3rd St. 212-475-8592.
􀁶􀀀 Sat 8/23: Hank Jones, Vanessa Rubin, Rashied Ali &
Robert Glasper in the Charlie Parker Jazz Festival.
Marcus Garvey Park. Starts at 3:00pm. 124th St. & Mt.
Morris Park.
􀁶􀀀 Sat 8/23: Quantum Blues Band at Greenwich Village
Bistro. 13 Carmine St. 212-206-9777.
􀁶􀀀 Sun 8/24: Julio Santillan at Blue Note. 12:30pm & 2:30pm.
$24.50 includes brunch, show & 1 drink. 131 W. 3rd St. 212-
475-8592. www.bluenote.net
􀁶􀀀 Sun 8/24: Randy Weston, Jerry Gonzales & Fort Apache,
Eric Lewis and Gretchen Parlato in the Charlie Parker
Jazz Festival. Tompkins Square Park. E. 8th St. bet. Aves.
A & B.
􀁶􀀀 Sun 8/24: Saboteur Tiger at Greenwich Village Bistro. 13
Carmine St. 212-206-9777.
􀁶􀀀 Mon 8/25: Dr. Joe Utterback at Lincoln Triangle Barnes
and Noble. 6:00pm. No charge. 66th St. & Broadway, third
floor events space. 212-595-9340.
􀁶􀀀 Mon 8/25: Amy Cervini with Michael Cabe, Mark Lau &
Ernesto Cervini at 55 Bar. 7:00pm. Free; drink min. 55
Christopher St. 212-929-9883. www.55bar.com. www.
􀁶􀀀 Mon 8/25: Vince Giordano & His Nighthawks at Sofia’s
Restaurant, downstairs at the Edison Hotel. 8:00pm. $15
cover & $15 min. 221 W. 46th St. (Bet. Broadway & 8th)
212-719-5799. www.sofiasny.com. www.myspace.com/
􀁶􀀀 Tues 8/26: David Berger & The Sultans of Swing at
Birdland. 8:30pm & 11:00pm. 315 W. 44th St. 212-581-
3080. www.birdlandjazz.com
􀁶􀀀 Tues 8/26: Mike Longo Trio at NYC Baha’i Center. 53 E.
11th St. (Bet. University Place & Broadway) 212-674-8998.
􀁶􀀀 Tues 8/26: Ken Hatfield with Harvie S & Rob Thomas at
Fetch. 7:30pm. No cover. 1649 Third Ave. (Bet. 92nd & 93rd
St.) 212-289-2700. www.kenhatfield.com.
􀁶􀀀 Wed 8/27: Jimmy Heath with Jazzmobile at Grant’s
Tomb. 7:00pm. 122nd St. & Riverside Dr.
􀁶􀀀 Wed 8/27: The Linemen at Greenwich Village Bistro. 13
Carmine St. 212-206-9777.
􀁶􀀀 Wed 8/27: Klea Blackhurst & Billy Stritch at Lincoln
Triangle Barnes and Noble. 6:00pm. No charge. 66th St. &
Broadway, third floor events space. 212-595-9340.
􀁶􀀀 Fri 8/29: Tommy Igoe’s “Birdland Big Band” at Birdland.
Every Friday 5:30-7:30PM. 315 W. 44th St. Visit TommyIgoe.
com for surprise special guest line-up.
􀁶􀀀 Fri 8/29: Ghanniyya Green with Jazzmobile at Marcus
Garvey Park. 7:00pm. 122nd St. & 5th Ave.
􀁶􀀀 Fri 8/29: K.J. Denhert at Blue Note. Late Night Groove
Series. 12:30am.131 W. 3rd St. 212-475-8592.
A U G U S T 2 0 0 8 E V E N T S
P h o t o c o u r t e s y o f t h e e s t a t e o f W i l l i a m P . G o t t l i e b , C o p y r i g h t 1 9 7 9 , w w w . j a z z p h o t o s . c o m
TIME: 6:30 --- 8:30 pm PRICE: Free FOR RESERVATIONS: 212-348-8300
LOCATION: The NJMIH Visitors Center, 104 E. 126th Street, #2C, New York, NY 10035
The Theo Croker Quartet
The Theo Croker Quartet
Aug. 15
Aug. 29
Jazz for Curious Listeners
Free classes celebrating Harlem & its legacy
Tuesdays 7:00 - 8:30 p.m.
LOCATION: The NJMIH Visitors Center,
104 E. 126th Street, #2C, New York, NY
Attend any individual class, Registration is always open
call 212-348-8300 or register online
Harlem Speaks
august 7: Dick Katz
august 28: Eddie Bert
THIS MONTH: A Celebration
of Dr. Billy Taylor
with Loren Schoenberg
& Christian McBride
aug. 5, 12, 19, 26
August 4, 6:30 - 8:00 pm | FREE
The NJMIH Visitors Center
104 E. 126th Street, #2C, NYC
Call 212-348-8300
or register online!
Jazz for
Curious Readers
Aug. 3 2:00 pm
Harlem Rent Party: Jazz Film Series
Museum of the City of New York, 1220 5th Ave.
Free with museum admission
More information: 212.534.1672, x. 3395
Film Shows 6:30 p.m. free
Jazz in the Parks
August 23: Harlem Dance
Location: Jackie Robinson Park
(Bradhurst and Edgecomb Avenues)
Featuring the National Jazz
Museum in Harlem All-Star
Big Band conducted by
Christian McBride
t h e
Come and see our new
visitors center!
OPEN M-F 10 AM - 4 PM
104 East 126th Street, #2C, New York, NY 10035

To Advertise CALL: 212.889.0853 August 2008 􀁕 Jazz Improv® NY 􀁕 www.jazzimprov.com 23
􀁶􀀀 Thurs 8/14: Alex Weisse with Nate Wooley, Dmittry
Ichenko & EJ Frye at The Tea Lounge. 9:00pm & 10:30pm.
No cover; $5 donation encouraged. 837 Union St. (Bet. 6th
& 7th Ave.), Park Slope. 718-789-2762. www.tealoungeNY.
com. www.myspace.com/nookbandnyc
􀁶􀀀 Fri 8/15: Garden Gnome with John Mettam, Rob Jost,
Michel Gentile, Briggan Krauss, Crutis Hasselbring &
Tom Beckham at The Tea Lounge. 9:00pm & 10:30pm.
No cover; $5 donation encouraged. 837 Union St. (Bet. 6th
& 7th Ave.), Park Slope. 718-789-2762. www.tealoungeNY.
com. www.myspace.com/nookbandnyc
􀁶􀀀 Sat 8/16: Eclectic at The Brooklyn Waterfront Artists
Coalition. 3:00pm. Free. 499 Van Brunt St. 718-596-2507.
􀁶􀀀 Mon 8/18: Mike Gamble with Ari Folman-Cohen & Walker
Adams at The Tea Lounge. 8:30pm. Movie Bottle Rocket
@ 10:00pm. No cover; $5 donation encouraged. 837 Union
St. (Bet. 6th & 7th Ave.), Park Slope. 718-789-2762. www.
tealoungeNY.com. www.michaelgamble.com
􀁶􀀀 Thurs 8/21: The Arnold Lee Quartet at Bargemusic.
8:00pm. $35; $30 for senior; $20 for student. Fulton Ferry
Landing, at the foot of the Brooklyn Bridge. 718-624-2083.
􀁶􀀀 Thurs 8/21: Untyte with Dalius Naujo, Sand Ra K., Nick
Gianni, Jonathan Haffner, Mike Irwin, Mile Williams,
Matt McDonald, On Davis & Dmitry Ishenko at The
Tea Lounge. 9:00pm & 10:30pm. No cover; $5 donation
encouraged. 837 Union St. (Bet. 6th & 7th Ave.), Park Slope.
718-789-2762. www.tealoungeNY.com. www.myspace.
􀁶􀀀 Fri 8/22: The Eclectic String Quartet with Cody Geil,
Sarah Parkington, Jessica Pavone & Meena Cho at The
Tea Lounge. 9:00pm & 10:30pm. No cover; $5 donation
encouraged. 837 Union St. (Bet. 6th & 7th Ave.), Park Slope.
718-789-2762. www.tealoungeNY.com. www.codygeil.com
􀁶􀀀 Mon 8/25: Mike Gamble’s Second Wind at The Tea
Lounge. 8:30pm. Movie @ 10:00pm. No cover; $5
donation encouraged. 837 Union St. (Bet. 6th & 7th Ave.),
Park Slope. 718-789-2762. www.tealoungeNY.com. www.
􀁶􀀀 Tues 8/26: The Out of Hand Radio Hour at The Tea
Lounge. 8:00pm. Live recording. No cover; $5 donation
encouraged. 837 Union St. (Bet. 6th & 7th Ave.), Park Slope.
718-789-2762. www.tealoungeNY.com. www.myspace.
􀁶􀀀 Wed 8/27: Magnum Trio with Tony Barba, Nick Cassarino
& Conor Elmes at The Tea Lounge. 9:00pm & 10:30pm.
No cover; $5 donation encouraged. 837 Union St. (Bet. 6th
& 7th Ave.), Park Slope. 718-789-2762. www.tealoungeNY.
com. www.anthonybarba.com
􀁶􀀀 Thurs 8/28: Whoopie Pie with Bill McHenry, Jamie Saft
& Mike Pride at The Tea Lounge. 9:00pm & 10:30pm. No
cover; $5 donation encouraged. 837 Union St. (Bet. 6th & 7th
Ave.), Park Slope. 718-789-2762. www.tealoungeNY.com.
􀁶􀀀 Fri 8/29: The Dymaxion Quartet with Mike Shobe, Stephan
Kamerer, Dan Loomis & Gabe Gloege at The Tea Lounge.
9:00pm & 10:30pm. No cover; $5 donation encouraged. 837
Union St. (Bet. 6th & 7th Ave.), Park Slope. 718-789-2762.
www.tealoungeNY.com. www.dymaxion4.com
Long Island
􀁶􀀀 Thu 7/24: Diane Hoffman with Sean Fitzpatrick & Zeke
Martin at Hewlett Woodmere Library. 7:00pm. Free.
Metropolitan Records CD Release
For Todd Herbert--”The Tree of Life”
Benny Maupin, Billy Harper, David Weiss, Dwayne Burno,
Geri Allen (8/14, 8/17); George Cables (8/15, 8/16);
Billy Hart (8/14, 8/17); Lenny White (8/15, 8/16)
Big Boss Bossa Nova 2.0 CMG Records
24 August 2008 􀁕 Jazz Improv® NY 􀁕 www.jazzimprov.com To Advertise CALL: 212.889.0853
Music of Kurt Weill & Alec Wilder. 1125 Broadway, Hewlett.
516-374-1967. www.dianehoffman.org
􀁶􀀀 Sun 7/25: Judith Alstadter’s Classics to Jazz at Dix Hills
Performing Arts Center. 2:00pm. Meet the Artist session
follows. $15; $10 seniors & students. 631-656-2148. www.
􀁶􀀀 Fri 8/15: Antoinette Montague with the Bill Easley
Quartet at Yonkers Water Plaza. 6:30pm. Main St. (or 1
VanDerdonk St.) Free. www.antoinettemontague.com
New Jersey
􀁶􀀀 Fri 8/1: “Trio Zen” with Reggie Pittman & Loren Daniels
at The Zen Lounge. 7:30pm. $10 min. 254 Degraw Ave.,
Teaneck. 201-692-8585.
􀁶􀀀 Fri 8/1: Priscilla Ahn at Maxwell’s. 7:00pm. $10. 1039
Washington St., Hoboken. www.maxwellsnj.com.
􀁶􀀀 Fri 8/1: Emmet Cohen at Shanghai Jazz. 24 Main St.,
Madison. 973-822-2899. www.shanghaijazz.com.
􀁶􀀀 Sat 8/2, 8/9, 8/16, 8/23 & 8/30: Bob Wylde & Mike
Richmond at The Ho-Ho-Kus Inn. 7:00pm. 1 East Franklin
Turnpike, Hohokus. 201-445-4115. www.hohokusinn.net
􀁶􀀀 Mon 8/4: Wolverines at Bickford Theatre. 8:00pm. $13 in
advance; $15 at door. On Columbia Turnpike @ Normandy
Heights Road, east of downtown Morristown. 973-971-
3706. www.njjs.org
􀁶􀀀 Tues 8/5: Paris Washboard at Bickford Theatre. 8:00pm.
$13 in advance; $15 at door. On Columbia Turnpike @
Normandy Heights Road, east of downtown Morristown.
973-971-3706. www.njjs.org
􀁶􀀀 Tues 8/5: John Zweig with Steve Freeman at Shanghai
Jazz. 24 Main St., Madison. 973-822-2899. www.
􀁶􀀀 Wed 8/6: Dave Glasser with Larry Ham, Eddie Locke &
Evette Glover at Schleiffer Park. 6:00pm. Jazzmobile Earl
May Tribute. W. Bigelow St. @ Milford Ave.
􀁶􀀀 Wed 8/6: Bucky Pizzarelli at Shanghai Jazz. 24 Main St.,
Madison. 973-822-2899. www.shanghaijazz.com.
􀁶􀀀 Thurs 8/7: Bossa Brasil at Market in the Middle. 7:00pm.
No cover or min. 516 Cookman Ave., Asbury Park. 732-776-
8886. www.kitschens.com. www.mauriciodesouza.com
􀁶􀀀 Thurs 8/7: Sean Jones at The Newark Museum. 12:15pm.
Summer concert series. 49 Washington St. (3 blocks from
NJPAC). On-site parking available. NewarkMuseum.org
􀁶􀀀 Thurs 8/7: Antoinette Montague with Jazzmobile. 6:00pm.
“The Earl May Series.” Ferry St. at Hawkins St., East Ward,
Newark. www.antoinettemontague.com
􀁶􀀀 Thurs 8/7: DJ Frank D, Gretchen Parlato Band, Winard
Harper and Taj Weekes & Adowa at New Jersey
Performing Arts Center’s Theater Square. 5:30pm-
9:45pm. Free. “Chase Sounds of the City.” One Center St.,
Newark. 1-888-GO-NJPAC. www.njpac.org
􀁶􀀀 Thurs 8/7: Vince Giordano Classic Jazz Quartet at
Shanghai Jazz. 24 Main St., Madison. 973-822-2899.
􀁶􀀀 Thurs 8/7: Bucky Pizzarelli & Jerry Bruno at Glen Rock
Inn. 7:00pm. 222 Rock Road, Glen Rock. 201-445-2362.
􀁶􀀀 Fri 8/8: “Les Jumelles Jazz” with Sarah Jane Cion &
Audrey Besty Welber at The Zen Lounge. 7:30pm.
$10 min. 254 Degraw Ave., Teaneck. 201-692-8585.
www.lounge-zen.com. www.sarajanecion.com. www.
􀁶􀀀 Fri 8/8: Jerry Vivino at Shanghai Jazz. 24 Main St.,
Madison. 973-822-2899. www.shanghaijazz.com.
􀁶􀀀 Fri 8/8: Carrie Jackson & Trio at Brookdale Park. 7:00pm.
Free. Bloomfield. 973-268-3517.
􀁶􀀀 Sat 8/9: Roseanna Vitro Trio at Shanghai Jazz. 24 Main
St., Madison. 973-822-2899. www.shanghaijazz.com.
􀁶􀀀 Sat 8/9: Three Newark Divas with Ms. Carrie Jackson, Lady
CiCi Williams & Madam Pat Tandy at Ivy Hill Park. 6:00pm.
Free. Mt. Vernon/Manor Dr., Newark. 973-733-3940.
􀁶􀀀 Sun 8/10: Pam Purvis at Market in the Middle. 516
Cookman Ave., Asbury Park. 732-776-8886. www.
􀁶􀀀 Sun 8/10: Ms. Carrie Jackson & Jazzin’ All Star Trio at
Skippers Plane Street Pub. 4:00pm. 304 University Ave.
(Near Market St., across the street from Essex County
College), Newark. www.skippersplanestreetpub.com
􀁶􀀀 Mon 8/11: Swingadelic at Maxwell’s. 9:00pm. No cover.
1039 Washington St., Hoboken. 201-653-1703. www.
􀁶􀀀 Tues 8/12: Carrie Jackson & Trio at Watsessing Park.
7:00pm. Free. Prospect St., Bloomfield. 973-680-8570.
􀁶􀀀 Wed 8/13: Nicki Parrot at Shanghai Jazz. 24 Main St.,
Madison. 973-822-2899. www.shanghaijazz.com.
􀁶􀀀 Thurs 8/14: DJ Joey Mazza, Richard Bennett Group,
Walter Christopher and Maya Azucena at New Jersey
Performing Arts Center’s Theater Square. 5:30pm-
9:45pm. Free. “Chase Sounds of the City.” One Center St.,
Newark. 1-888-GO-NJPAC. www.njpac.org
􀁶􀀀 Thurs 8/14: Stephanie Nakasian with Hod O’Brien & Vic
Juris at Shanghai Jazz. 24 Main St., Madison. 973-822-
2899. www.shanghaijazz.com.
􀁶􀀀 Thurs 8/14: Champian Fulton & Alex Stein at Glen Rock
Inn. 7:00pm. 222 Rock Road, Glen Rock. 201-445-2362.
􀁶􀀀 Fri 8/15: Jeff Pines & Daille Kettrell at The Zen Lounge.
7:30pm. $10 min. 254 Degraw Ave., Teaneck. 201-692-
8585. www.lounge-zen.com.
􀁶􀀀 Fri 8/15: Jerry Vezza Trio at Shanghai Jazz. 24 Main St.,
Madison. 973-822-2899. www.shanghaijazz.com.
􀁶􀀀 Sun 8/17: James L. Dean Big Band & Carrie Jackson
at Whiskey Café Restaurant. 8:00pm. Swing dance party.
1050 Wall St., Lyndhurst. 201-939-4889.
􀁶􀀀 Sun 8/17: Sandy Sasso with band at Warren Park. 6:00pm.
Woodbridge. www.sandysasso.com
􀁶􀀀 Mon 8/18: The Palomar Quartet with Dan Levinson, Mark
Shane, Kevin Dorn & Matt Hoffmann at Bickford Theatre.
8:00pm. $13 in advance; $15 at door. On Columbia Turnpike
@ Normandy Heights Rd, east of downtown Morristown.
973-971-3706. www.njjs.org
􀁶􀀀 Tues 8/19: John Zweig with Steve Freeman at Shanghai
Jazz. 24 Main St., Madison. 973-822-2899. www.
􀁶􀀀 Wed 8/20: Dan Tobias with Vinnie Corrao, Frank Tate &
Jim Lawlor at Ocean County College, Fine Arts Center.
8:00. $13 in advance; $15 at door. Campus Drive, just off
Rt. 549. 732-255-0500. www.ocean.edu.
􀁶􀀀 Thurs 8/21: DJ Delmar Browne, Stephen McClean, Eve
Cornelius and Brian Jackson at New Jersey Performing
Arts Center’s Theater Square. 5:30pm-9:45pm. Free.
“Chase Sounds of the City.” One Center St., Newark.
1-888-GO-NJPAC. www.njpac.org
To Advertise CALL: 212.889.0853 August 2008 􀁕 Jazz Improv® NY 􀁕 www.jazzimprov.com 25
􀁶􀀀 Thurs 8/21: Morris Nanton Trio at Shanghai Jazz. 24
Main St., Madison. 973-822-2899.
􀁶􀀀 Thurs 8/21: Sarah Jane Cion & Audrey Betsy Webber
at Glen Rock Inn. 7:00pm. 222 Rock Road, Glen Rock.
􀁶􀀀 Fri 8/22: Anal Chaubert at The Zen Lounge. 7:30pm. $10
min. 254 Degraw Ave., Teaneck. 201-692-8585.
􀁶􀀀 Fri 8/22 & Sat 8/23: Winard Harper Group at Shanghai
Jazz. 24 Main St., Madison. 973-822-2899.
􀁶􀀀 Thurs 8/28: DJ Tee Mallory, Rainbow Fresh, Lizz Fields
and Tortured Soul at New Jersey Performing Arts
Center’s Theater Square. 5:30pm-9:45pm. Free. “Chase
Sounds of the City.” One Center St., Newark. 1-888-GONJPAC.
􀁶􀀀 Thurs 8/28: Rob Paparozzi Quartet at Shanghai Jazz. 24
Main St., Madison. 973-822-2899. shanghaijazz.com.
􀁶􀀀 Thurs 8/28: Joe Caniano & Louie Sabini at Glen Rock
Inn. 7:00pm. 222 Rock Road, Glen Rock. 201-445-2362.
􀁶􀀀 Fri 8/29: Mike Eber Trio at The Zen Lounge. 7:30pm. $10
min. 254 Degraw Ave., Teaneck. 201-692-8585.
􀁶􀀀 Fri 8/29: DJ Danny Ramirez, Mayra Casalas & CoCoMaMa
and Luisito Rosario y Su Orq at New Jersey Performing
Arts Center’s Theater Square. 5:30pm-9:45pm. Free.
“Chase Sounds of the City.” One Center St., Newark.
1-888-GO-NJPAC. www.njpac.org
􀁶􀀀 Fri 8/29 & Sat 8/30: Claudio Roditi at Shanghai Jazz. 24
Main St., Madison. 973-822-2899. shanghaijazz.com.
􀁶􀀀 Fri 8/29: Carrie Jackson & Trio at Priory Restaurant &
Jazz Club. 7:00pm. No cover or min. 233 W. Market St.,
Newark. 973-242-8012.
…And Beyond
􀁶􀀀 Fri 8/1: Ahmad Jamal with James Cammack & Idris
Muhammad at Caramoor International Jazz Festival.
8:00. Spanish Courtyard. $25, $35. 149 Girdle Ridge Rd.,
Katonah, NY. 914-232-1252. www.caramoor.org.
􀁶􀀀 Fri 8/1: Dave Liebman’s Master Saxes at Deer Head
Inn. 7:00pm. $8 music charge; $4 after 9:30pm. 5 Main
St., Delaware Water Gap, PA. 570-424-2000. www.
􀁶􀀀 Fri 8/1: Litchfield Jazz Festival. Paquito D’Rivera
with Zaccai Curtis Trio @ 7:45pm. Bebe Neuwirth @
9:15pm. $55 tent ticket; $150 Friends of the Festival Friday
night ticket; $350 Best Friends 3-day VIP ticket. 116 Old
Middle Road (Rt. 63), Goshen, CT. 860-567-4162. www.
􀁶􀀀 Sat 8/2: Caramoor International Jazz Festival. Elio
Villafranca & Chuchito Valdes @ 3:00pm. Mulgrew Miller
& Wingspan @ 4:15pm. The Claudia Villela Quintet with
Ricardo Peixoto @ 5:30pm. Wynton Marsalis @ 8:00pm.
Venetian Theater sold out. Tickets available for lawn seating
in the Pegasus Circle Listening Garden 149 Girdle Ridge
Rd., Katonah, NY.
􀁶􀀀 Sat 8/2: Bob Dorough with Pat O’Leary & Steve Berger
at Deer Head Inn. 7:00pm. $12 music charge; $6 after
􀁶􀀀 Sat 8/2: Winard Harper Sextet, Nicole Zuraitis Quartet,
Kenny Werner Trio, Wayne Shorter Tribute Big Band,
Dave Brubeck Quartet and Conrad Herwig’s Latin Side
of Miles & Trane Band at Litchfield Jazz Festival. $35
Lawn ticket; $55 tent ticket; $350 Best Friends 3-day VIP
ticket. 116 Old Middle Road (Rt. 63), Goshen, CT. 860-567-
4162. www.litchfieldjazzfest.com
􀁶􀀀 Sun 8/3: Caramoor International Jazz Festival. Aaron
Diehl @ 3:00pm. Jimmy Heath Big Band @ 4:15pm.
Michel Camilo Trio with Charles Flores & Dafnis Prieto
@ 5:30pm. Venetian Theater. $35, $45. 149 Girdle Ridge
Rd., Katonah, NY. 914-232-1252. www.caramoor.org.
􀁶􀀀 Sun 8/3: Claire Daly Band, Peter Madsen Trio, Jimmy
Greene Quartet, Cyrus Chestnut Trio and John Pizzarelli
Saturday, Sept. 13:
Special Saturday Evening
Performance with
followed by fireworks
Sunday, Sept. 14:
26 August 2008 􀁕 Jazz Improv® NY 􀁕 www.jazzimprov.com To Advertise CALL: 212.889.0853
with Orchestra at Litchfield Jazz Festival. $35 lawn
ticket; $55 tent ticket; $350 Best Friends 3-day VIP ticket.
116 Old Middle Road (Rt. 63), Goshen, CT. 860-567-4162.
􀁶􀀀 Thurs 8/6: Vince Giordano & His Nighthawks at Old
Westbury Gardens. 71 Old Westbury Rd., Old Westbury,
NY. 516-333-0048. www.oldwestburygardens.org. www.
􀁶􀀀 Wed 8/7: Spencer Reed at Deer Head Inn. 8:00pm. No
music charge.
􀁶􀀀 Fri 8/8: Chris Botti & Ledisi at JVC Jazz Festival. 8:00pm.
$40 bleachers; $60 chairs; $75 lawn & regular boxes; $100
gold circle. International Tennis Hall of Fame, 194 Bellevue
Ave., Newport, RI. 877-655-4TIX. www.festivalnetwork.com
􀁶􀀀 Fri 8/8: Jay Rattman with Najwa, Bobby Avey, Tony
Marino & Glen Davis at Deer Head Inn. 7:00pm. $12
music charge; $6 after 9:30pm.
􀁶􀀀 Sat 8/9: Aretha Franklin, Chris Botti, Wayne Shorter, Dave
Holland, Gonzalo Rubalcaba, Chris Potter, Eric Harland,
Charlie Haden, Bill Frisell, Ethan Iverson, Lettuce, Fred
Wesley, Melody Gardot, Ledisi, Brian Blade, Jacob Fred
Jazz Odyssey, Christian Scott, Warren Vaché & Aaron
Goldberg at JVC Jazz Festival. 11:30am – 7:00pm. $69
general admission; $15 child; $85 reserved; $100 gold
circle. Fort Adams State Park, Harrison Ave., Newport, RI.
877-655-4TIX. www.festivalnetwork.com.
􀁶􀀀 Sat 8/9: Russ Kassoff with Martin Wind, Dennis Mackrel,
Catherine Dupuis & Jerry Dodgion at The Sackets
Harbor Jazz Festival. 7:00pm. Free. Sacketts Harbor, NY.
􀁶􀀀 Sat 8/9: Eric Doney with Vicki Doney & Will Galison at Deer
Head Inn. 7:00pm. $12 music charge; $6 after 9:30pm.
􀁶􀀀 Sun 8/10: Sonny Rollins, Herbie Hancock, Anthony
Hamilton, Lionel Loueke, Soulive, Fred Wesley, Marco
Benevento, Chris Potter, Guillermo Klein, Anat Cohen,
Howard Alden, Jeff Ballard, Empirical, Esperanza
Spalding & Mark Rapp at JVC Jazz Festival. 11:30am –
7:00pm. $69 general admission; $15 child; $85 reserved,
$100 gold circle. Fort Adams State Park, Harrison Ave.,
Newport, RI. 877-655-4TIX. www.festivalnetwork.com.
􀁶􀀀 Sun 8/10: BD Lenz Trio at Deer Head Inn. 5:00pm. $5
music charge.
􀁶􀀀 Thurs 8/14: Jesse Green at Deer Head Inn. 8:00pm. No
music charge.
􀁶􀀀 Fri 8/15: Mike Stephans Trio at Deer Head Inn. 7:00pm.
$12 music charge; $6 after 9:30pm.
􀁶􀀀 Sat 8/16: Michele Bautier at Deer Head Inn. 7:00pm.
􀁶􀀀 Sun 8/17: Hod O’Brien & Stephanie Nakasian at Deer
Head Inn. 8:00pm. $10 music charge.
􀁶􀀀 Thurs 8/21: Spencer Reed at Deer Head Inn. 8:00pm. No
music charge.
􀁶􀀀 Fri 8/22: Dave Glasser with Yonatan Voltzok, Dave
Robaire & Larry Ham at Grasso’s. 7:30pm. 134 Main St.,
Cold Spring Harbor, NY. 631-367-6060.
􀁶􀀀 Fri 8/22: Dave Leonhardt with Matthew Parrish & Alvester
Garnett at Deer Head Inn. 7:00pm. $12 music charge; $6
after 9:30pm.
􀁶􀀀 Sat 8/23: Virginia Mayhew Quartet at Deer Head Inn.
􀁶􀀀 Sun 8/24: Len Mooney at Deer Head Inn. 5:00pm. $5
music charge.
􀁶􀀀 Thurs 8/28: Jesse Green at Deer Head Inn. 8:00pm. No
music charge.
􀁶􀀀 Fri 8/29: Donna Antonow with Jay Rattman, Len Scott &
Glen Davis at Deer Head Inn. 7:00pm. $12 music charge;
$6 after 9:30pm.
􀁶􀀀 Sat 8/30: Gap Time at Deer Head Inn. 7:00pm. $10 music
charge; $5 after 9:30pm.
􀁶􀀀 Sun 8/31: Nicole Pasternak with Carmine Marino, Jeff
Pittson & Tom Melito at Pizza Lauretano. 6:00pm. 291
Greenwood Ave., Bethel, CT. 203-792-1500.
􀁶􀀀 Sun 8/31: Abigail Riccards at Deer Head Inn. 5:00pm. $5
music charge.
Highlights in Jazz, 7 Peter Cooper Rd., New York, NY 10010
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Highlights In JAZZ New Yo r k ' s L o n g e s t R u n n i n g J a z z C o n c e r t S e r i e s
Four Great JAZZ Concerts
Thurs. Sept 18, 2008 - 8:00 pm Thurs. Oct 16, 2008 - 8:00 pm
Thurs. Nov 13, 2008 - 8:00 pm Thurs. Dec 11, 2008 - 8:00 pm
Please send ________ subscription(s) at $130.00 each for
the Fall 2008 Season of Highlights in Jazz
Tickets for individual concerts
may be ordered for:
$35.00/students $32.50
Produced in association with:
Performing Arts Center
Borough of Manhattan
Community College
199 Chambers Street
Subscriptions are only $130
for all 4 concerts
Please send _______ ticket(s) $35.00/students $32.50 for the following:
􀁆􀀃Sept 18, Concert 􀁆􀀃Oct 16, Concert 􀁆􀀃Nov 13, Concert 􀁆􀀃Dec 11, Concert
Salute to Jay Leonhart
Barbara Carroll
Carolyn Leonhart & Wayne Excoffery
Jay Leonhart's - BIG SIX
Ken Peplowski - Byron Stripling
Harry Allen - Ted Rosenthal
Alvin Atkinson
Statesmen of Jazz
Bucky Pizzarelli
Warren Vache
Mickey Roker
John Bunch
Aaron Weinstein
Aaron Diehl
Jake Hertzog
Theo Croker
(Doc Cheatham’s Grandson)
Next Generation All Stars
Eldar (Kyrgyzstan)
Trio Da Paz (Brazil)
Warren Chiasson (Canada)
Roni Ben-Hur (Israel)
Dr. Lyn Christie (Australia)
Keely Is My Passport
In Concert
Musical Director
Dennis Michaels
To Advertise CALL: 212.889.0853 August 2008 􀁕 Jazz Improv® NY 􀁕 www.jazzimprov.com 27
Calendar of Events
Aug 2 6:00PM POETRY & JAZZ
Steve Dalachinsky, Matt Shipp
David Devoe, host, Becca Stevens,
Amanda Baisinger, Keith Ganz, Pete Rende,
Massimo Biolcati, Jordan Perlson
David Devoe, host, Suzanne Pittson, Jeff Pittson,
Phil Palombi, Nadav Snir-Zelniker
Bill Zinsser, Arnie Roth,
David Devoe, host; Fay Victor, Michael Attias,
Anders Nilsson, Jose Davila, Yoon-Sun Choi,
Kyoko Kitamura, Jen Shyu
Aug 11 8:30PM AMRAM & CO
David Amram, Kevin Twigg, John de Witt,
Adam Amram, John Ventimiglia
Joe Giardullo, Reuben Radding, Todd Capp
Rez Abbasi, Sam Barsh, Jochen Ruekert,
Kiran Ahluwalia
10:30PM Gerry Hemingway, Herb Robertson,
Ellery Eskelin, Mark Helias
10:30PM Aruan Ortiz, Myron Walden, Matt Penman,
Eric McPherson
George Wallace, host
Luiz Simas, Adriano Santos, Itaiguara, bass
Aug 21 6:00PM PO’JAZZ
Cameron Brown, Russ Johnson, Jason Rigby,
Tony Jefferson
10:30PM Mario Pavone, Tony Malaby, Jimmy Greene,
Michael Musillami, Tyshawn Sorey
Pete Robbins, Jesse Neuman, Mike Gamble,
Thomas Morgan, Tyshawn Sorey
Aug 26 8:30PM MEM3
Ernesto Cervini, Michael Cabe, Mark Lau
Robin Verheyen, Ralph Alessi, Thomas Morgan,
Flin van Hemmen
28 August 2008 􀁕 Jazz Improv® NY 􀁕 www.jazzimprov.com To Advertise CALL: 212.889.0853
To Advertise CALL: 212.889.0853 August 2008 􀁕 Jazz Improv® NY 􀁕 www.jazzimprov.com 29
Jackie Ryan
You and the Night
and the Music
with the legendary
Red Holloway
rivaling the dexterous sass of
Sarah Vaughan, the instinctive
smarts of Carmen McRae and the
scintillating verve of Diana Krall.”
–Christopher Loudon, JAZZTIMES
Don't miss Jackie & her Trio
Boston: SCULLERS Jazz Club
Wed Aug. 13th
400 Soldiers Field Road
New York City: KITANO’s
Fri & Sat, Aug 15th & 16th
66 Park Ave, 38thSt
30 August 2008 􀁕 Jazz Improv® NY 􀁕 www.jazzimprov.com To Advertise CALL: 212.889.0853
To Advertise CALL: 212.889.0853 August 2008 􀁕 Jazz Improv® NY 􀁕 www.jazzimprov.com 31
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), 212-982-4770
55 Bar, 55 Christopher St. (betw 6th & 7th Ave.), 212-929-9883,
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),
212-254-3697, www.abcnorio.org
Aaron Davis Hall, City College of NY, Convent Ave.,
212-650-6900, www.aarondavishall.org
Alice Tully Hall, Lincoln Center, Broadway & 65th St.,
212-875-5050, www.lincolncenter.org/default.asp
Allen Room, Lincoln Center, Time Warner Center, Broadway and
60th, 5th floor, 212-258-9800, www.lincolncenter.org/default.asp
American Museum of Natural History (Starry Nights), 81st St. &
Central Park W., 212-769-5100, www.amnh.org
Anyway Café, 34 E. 2nd St., 212-533-3412 or 212-473-5021,
Arthur’s Tavern, 57 Grove St., 212-675-6879 or 917-301-8759,
Arts Maplewood, P.O. Box 383, Maplewood, NJ 07040;
973-378-2133, www.artsmaplewood.org
Avery Fischer Hall, Lincoln Center, Columbus Ave. & 65th St.,
212-875-5030, www.lincolncenter.org
Backroom at Freddie’s, 485 Dean St. (at 6th Ave.), Brooklyn, NY,
718-622-7035, www.freddysbackroom.com
BAM Café, 30 Lafayette Ave., Brooklyn, NY, 718-636-4100,
Bar4, 7 Ave and 15th, Brooklyn NY 11215, 718-832-9800,
Barbes, 376 9th St. (corner of 6th Ave.), Park Slope, Brooklyn,
718-965-9177, www.barbesbrooklyn.com
Barge Music, Fulton Ferry Landing, Brooklyn, 718-624-2083,
B.B. King’s Blues Bar, 237 W. 42nd St., 212-997-4144,
Beacon Theatre, 74th St. & Broadway, 212-496-7070
Big Apple Jazz/EZ’s Woodshed, 2236 7th Ave, New York, NY
10027, 718-606-8442, www.bigapplejazz.com
Birdland, 315 W. 44th St., 212-581-3080
Blue Note, 131 W. 3rd St., 212-475-8592,
Bluestone Bar & Grill, 117 Columbia St., Brooklyn, NY,
718-403-7450, www.bluestonebarngrill.com
Blue Water Grill, 31 Union Square West, 212-675-9500
Bodles Opera House, 39 Main St, Chester, NY 10918,
Bowery Poetry Club, 308 Bowery (at Bleecker), 212-614-0505,
BRIC Studio, 647 Fulton St., Brooklyn, NY, Tel: 718-855-7882
x53, Fax: 718-802-9095, www.bricstudio.org
Brooklyn Exposure, 1401 Bedford Avenue, Brooklyn, NY 11216,
Brooklyn Public Library, Grand Army Plaza, 2nd Fl, Brooklyn,
NY, 718-230-2100, www.brooklynpubliclibrary.org
C-Note, 157 Ave. C (at 10th St.), 212-677-8142,
Cachaça, 35 West 8th St (bet. 5th/6th Aves), 212-388-9099
Café 111, 111 Court St., Brooklyn, NY, 718-858-2806,
Café Bar, 247 Eldridge (Houston, Stanton), 212-505-0955
Cafe Brama, 157 2nd Ave. (at 10th St.) 212-358-7140
Café Carlyle, 35 E. 76th St., 212-570-7189, www.thecarlyle.com
Café Loup, 105 W. 13th St. (West Village) , between Sixth and
Seventh Aves., 212-255-4746
Café St. Bart’s, 109 E. 50th St. (at Park Ave.), 212-888-2664,
Café Steinhof, 422 Seventh Ave. (14th St., Park Slope S.), Brooklyn,
NY, 718-369-7776, www.cafesteinhof.com
Caffé Buon Gusto, 151 Montague St., Brooklyn, NY, 718-624-3838,
Cami Hall, 165 W. 57th, 212-978-3726, www.camihall.com
Carnegie Club, 156 W. 56th St., 212-957-9676,
Carnegie Hall, 7th Av & 57th, 212-247-7800, www.carnegiehall.org
Cecil’s Jazz Club & Restaurant, 364 Valley Rd, West Orange, NJ,
Phone: 973-736-4800, www.cecilsjazzclub.com
Central Park Summerstage, Rumsey Playfield, 72nd St. & 5th Ave.,
212-360-2777, www.summerstage.org
Charley O’s, 713 Eighth Ave., 212-626-7300
The Church-in-the-Gardens, 50 Ascan Ave., Forest Hills, NY,
718-268-6704, www.thechurchinthegardens.org
Cleopatra’s Needle, 2485 Broadway (betw 92nd & 93rd),
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.
Cornerstone Café & Bistro, 25 New Street, Metuchen, NJ 08840,
732-549-5306, www.cornerstonenj.us
Creole Café, 2167 Third Ave (at 118th), 212-876-8838.
Crossroads at Garwood, 78 North Ave., Garwood, NJ 07027,
Cutting Room, 19 W. 24th St, Tel: 212-691-1900, www.
Detour, 349 E. 13th St. (betw 1st & 2nd Ave.), 212-533-6212, www.
Dizzy’s Club Coca Cola, Broadway at 60th St., 5th Floor,
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.), 212-473-0043, www.dtmgallery.com
The Ear Inn, 326 Spring St., NY, 212-226-9060, www.earinn.com
eighty-eights, 1467 Main Street, Rahway, NJ, 732-499-7100
Elixir, 95 W. Broadway (at Chambers St.), 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., 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)
EZ’s Woodshed, 2236 AC Powell Blvd (bet 131st/132nd Sts),
212-283-JAZZ (5299)
Fat Cat, 75 Christopher St. (at &th Ave.), 212-675-7369,
Firehouse 12, New Haven, CT, 203-785-0468, www.firehouse12.com
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,
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, 718-782-5188,
Garage Restaurant and Café, 99 Seventh Ave. (betw 4th and
Bleecker), 212-645-0600, www.garagerest.com
Gishen Café, 2150 Fifth Ave., 212-283-7699.
Glen Rock Inn, (Glen Rock, New Jersey) 222 Rock Road,
Glen Rock, NJ 07452, 800-400-2362
The Goat, 21 South Orange Ave. So. Orange, NJ
973-275-9000, www.thegoatcafe.typepad.com
Greenwich Village Bistro, 13 Carmine St., 212-206-9777,
Harlem Tea Room, 1793A Madison Ave., 212-348-3471,
Helen’s, 169 Eighth Ave. (betw 18th & 19th St.), 212-206-0609,
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.),
212-695-6111, www.ilcampanelloristorante.com
Iridium, 1650 Broadway (below 51st St.), 212-582-2121,
Jazz 966, 966 Fulton St., Brooklyn, NY, 718-638-6910
Jazz at Lincoln Center, 33 W. 60th St., 212-258-9800, 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
The Jazz Spot, 375 Kosciuszko St. (enter at 179 Marcus Garvey
Blvd.), Brooklyn, NY, 718-453-7825, www.thejazz.8m.com
Jazz Standard, 116 E. 27th St., 212-576-2232, www.jazzstandard.net
Jimmy’s, 43 East 7th Street (between 2nd and 3rd Ave),
Joe’s Pub at the Public Theater, 425 Lafayette St & Astor Pl.,
212-539-8778, www.joespub.com
John Birks Gillespie Auditorium (see Baha’i Center)
Johnny’s On The Green, 440 Parsonage Hill Rd., Short Hills,
NJ 07078, 973-467-8882, www.foreseasonsrestaurant.com
Jules Bistro, 65 St. Marks Place, Tel: 212-477-5560, Fax:
212-420-0998, www.julesbistro.com
Kitano Hotel, 66 Park Ave., 212-885-7000 or 800-548-2666,
The Kitchen, 512 W. 19th St., 212-255-5793
Knickerbocker Bar & Grill, 33 University Pl., 212-228-8490,
The Knitting Factory, 74 Leonard St., Tel: 212-219-3132, www.
Kush, 191 Chrystie Street, New York , NY, 212-677-7328
L&M Loft, 170 Tillary St. #205, Brooklyn, 718-855-5952.
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), Brooklyn, NY,
718-486-6791, www.lailalounge.com
Le Madeleine, 403 W. 43rd St. (betw 9th & 10th Ave.), New York,
New York, 212-246-2993, www.lemadeleine.com
Le Figaro Café, 184 Bleecker (at MacDougal), 212-677-1100
Lenox Lounge, 288 Lenox Ave. (above 124th St.), 212-427-0253,
Les Gallery Clemente Soto Velez, 107 Suffolk St. (at Rivington
St.), 212-260-4080
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),
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
Makor, 35 W. 67th St. (at Columbus Ave.), 212-601-1000,
Mannahatta, 316 Bowery, New York, 10022, 212-253-8644,
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,
Merkin Concert Hall, Kaufman Center, 129 W. 67th St. (betw
Broadway & Amsterdam), 212-501-3330, www.ekcc.org/merkin.htm
Metropolitan Room, 34 West 22nd Street New York City, NY
10012, 212-206-0440, www.metropolitanroom.com
MetroTech Commons, Flatbush & Myrtle Ave., Brooklyn, NY,
718-488-8200 or 718-636-4100 (BAM)
Minton’s Playhouse, 210 W. 118th St, (at St. Nicholas Ave.), www.
uptownatmintons.com, 212-864-8346
Mirelle’s, 170 Post Ave., Westbury, NY, 516-338-4933
Mixed Notes Café, 333 Elmont Rd., Elmont, NY (Queens area),
516-328-2233, www.mixednotescafe.com
Mo-Bay Uptown, 17 W. 125th St., 212-876-9300,
Mo Pitkins, 34 Avenue A, New York, NY, 212-777-5660
Montauk Club, 25 Eighth Ave., Brooklyn, NY, 718-638-0800,
Museum of the City of New York, 1220 Fifth Ave. (betw 103rd &
104th St.), 212-534-1672, www.mcny.org
Musicians’ Local 802, 332 W. 48th St., 718-468-7376 or
NAMA, 107 W. 130th. (bet Lenox & 7th Av.), 212-234-2973
Newark Museum, 49 Washington Street, Newark, New Jersey
07102-3176, 973-596-6550, www.newarkmuseum.org
New Jersey Performing Arts Center, 1 Center St., Newark, NJ,
07102, 973-642-8989, www.njpac.org
New School Performance Space, 55 W. 13th St., 5th Floor (betw
5th & 6th Ave.), 212-229-5896, www.newschool.edu.
New School University-Tishman Auditorium, 66 W. 12th St., 1st
Floor, Room 106, 212-229-5488, www.newschool.edu
New York City Baha’i Center, 53 E. 11th St. (betw Broadway &
University), 212-222-5159, www.bahainyc.org
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.),
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),
212-505-8183, www.nuyorican.org
Oak Room at The Algonquin Hotel, 59 W. 44th St. (betw 5th and
6th Ave.), 212-840-6800, www.thealgonquin.net
Opia, 130 E. 57th St., 212-688-3939, www.opiarestaurant.com
Orbit, 2257 First Ave. (at 116th St.), 212-348-7818,
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.),
Parlor Entertainment, 555 Edgecomb Ave., 3rd Floor (betw 159 &
160 St.), 212-781-6595, www.parlorentertainment.com
Parlor Jazz, 119 Vanderbilt Ave. (betw Myrtle & Park), Brooklyn,
NY, 718-855-1981, www.parlorjazz.com
Passions Jazz Café (at Cameo Banquet Center), 800 Rahway Ave,
Woodbridge, NJ, 732-636-2904
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
Clubs and Venues
32 August 2008 􀁕 Jazz Improv® NY 􀁕 www.jazzimprov.com To Advertise CALL: 212.889.0853
Perch Cafe, Brooklyn
Perk’s, 535 Manhattan Ave, New York NY 10027,
Performance Space 122, 150 First Av., 212-477-5829, www.ps122.org
Porter’s, 216 Seventh Ave. (bet 22nd & 23rd), 212-229-2878
Priory Restaurant & Jazz Club: 223 W Market St., Newark, NJ
07103, 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., Brooklyn,
NY, 718-768-0855
Pumpkins, 1448 Nostrand Ave, Brooklyn, 718-284-9086,
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
Rare, 416 W. 14 St. (betw 9th Av & Washgtn), 212-675-2220
RARE Jazz at The Lexington Lounge,
303 Lexington Ave (at 38th St.), 212-481-8439
Red Eye Grill, 890 Seventh Ave. (at 56th St.), 212-541-9000,
River Room, Riverbank State Park, Riverside Drive at 145th Street,
212-491-1500, www.theriverroomofharlem.com
Robin’s Nest Restaurant & Bar, 2075 1st Av, 212-316-6170
Rose Center (American Museum of Natural History), 81st St.
(Central Park West & Columbus), 212-769-5100, www.amnh.org/rose
Rose Hall, 33 W. 60th St., 212-258-9800, www.jalc.org
Rosendale Café, 434 Main St., PO Box 436, Rosendale, NY 12472,
845-658-9048, www.rosendalecafe.com
Roth’s Westside Steakhouse, 680 Columbus Ave., Tel:
212-280-4103, Fax: 212-280-7384, www.rothswestsidesteakhouse.
Ruby Lounge, 186 E. 2nd St., 212-387-9400
St. John’s Lutheran Church, 115 Milton St. (betw Manhattan Ave.
& Franklin St.), Brooklyn, NY, 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,
Sanctuary, 25 First Ave. (above 1st St), 212-780-9786
Savoy Grill, 60 Park Place, Newark, NJ 07102, 973-286-1700
Schomburg Center, 515 Malcolm X Blvd., 212-491-2200,
Shades Bar, 720 Monroe St., Hoboken, NJ 07030, 888-374-2337,
Shanghai Jazz, 24 Main St., Madison, NJ, 973-822-2899,
Shelly’s, 104 W. 57th St. (betw 6th & 7th Ave.), 212-245-2422,
Showman’s, 375 W. 125th St., 212-864-8941
Shrimp Box on City Island, 64 City Island Ave, Bronx, NY,
Sidewalk Café, 94 Ave. A, 212-473-7373
Silvermine Tavern, 194 Perry Ave. Norwalk, CT 06850,
203-847-4558, www.silverminetavern.com
Sista’s Place, 456 Nostrand Ave. (at Jefferson Ave.), Brooklyn, NY,
718-398-1766, www.sistasplace.org
Slipper Room, 167 Orchard St. (at Stanton St.), 212-253-7246,
Small’s, 183 W. 10th St. (at 7th Ave.), 212-929-7565,
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, 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,
South Street Seaport, 207 Front St., 212-748-8600,
Spoken Words Café, 266 4th Av, Brooklyn, 718-596-3923
Stanley H. Kaplan Penthouse, 165 W. 65th St., 10th Floor,
212-721-6500, www.lincolncenter.org
Stella Adler Studio, 31 W. 27th St., 3rd Floor, 212-689-0087,
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., 212-921-1940,
Sweet Rhythm, 88 Seventh Ave. S. (betw Grove & Bleecker),
212-255-3626, www.sweetrhythmny.com
Swing 46, 349 W. 46th St.(betw 8th & 9th Ave.),
212-262-9554, www.swing46.com
Symphony Space, 2537 Broadway, Tel: 212-864-1414, Fax:
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.), 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),
212-777-7776, www.terrablues.com
Theatre Row, 410 W. 42nd, 212-714-2442, www.theatrerow.org
Tito Puente’s Restaurant and Cabaret, 64 City Island Avenue,
City Island, Bronx, 718-885-3200, www.titopuentesrestaurant.com
Tonic, 107 Norfolk St. (betw Delancey & Rivington), Tel:
212-358-7501, Fax: 212-358-1237, tonicnyc.com
Town Hall, 123 W. 43rd St., 212-997-1003
Triad Theater, 158 W. 72nd St. (betw Broadway & Columbus Ave.),
212-362-2590, 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.
the turning point cafe, 468 Piermont Ave. Piermont, N.Y. 10968
(845) 359-1089
Village Vanguard, 178 7th Avenue South, 212-255-4037.
Vision Festival, 212-696-6681, info@visionfestival.org,
Watchung Arts Center, 18 Stirling Rd, Watchung, NJ 07069,
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,
Williamsburg Music Center, 367 Bedford Avenue, Brooklyn, NY
11211, (718) 384-1654 www.wmcjazz.org
Zankel Hall, 881 7th Ave, New York, 212-247-7800
Zebulon, 258 Wythe St., Brooklyn, NY, 11211, 718-218-6934,
Zinc Bar, 90 W Houston St., 212-477-8337, www.zincbar.com
Zipper Theater Lounge, 336 W 37th St. (Between 8th and 9th
Aves.), 212-563-0485, www.zippertheater.com
Zuni, 598 9th Ave # 1, New York, NY 10036, 212-765-7626
Academy Records & CDs, 12 W. 18th St., 212-242-3000,
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,
Downtown Music Gallery, 342 Bowery (between 2nd & 3rd St),
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),
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.), 212-505-1774
Scotti’s Records, 351 Springfield Ave, Summit, NJ, 07901,
908-277-3893, www.scotticd.com
Virgin Megastore, 1540 Broadway, 212-921-1020
Virgin Megastore, 52 East 14th Street, 212-598-4666
Charles Colin Publications, 315 W. 53rd St., 212-581-1480
Jody Jazz, 35 White St., 5th Floor, New York, NY 10013,
212-219-4050, www.jodyjazz.com
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,
Tel: 646-366-0240, Fax: 646-366-0242, Repair Shop: 212-391-1315;
212-840-7224, www.robertoswoodwind.com
Rod Baltimore Intl Woodwind & Brass, 168 W. 48 St. New York,
NY 10036, 212-302-5893
Sam Ash, 160 West 48th St, 212-719-2299, www.samash.com
Sadowsky Guitars, 20 Jay St. Brooklyn, NY, 718-422-1123,
92nd Street Y, 1395 Lexington Ave, New York, NY 10128
212.415.5500; www.92ndsty.org
Brooklyn-Queens Conservatory of Music, 42-76 Main St.,
Flushing, NY, Tel: 718-461-8910, Fax: 718-886-2450
Brooklyn Conservatory of Music, 58 Seventh Ave., Brooklyn, NY,
718-622-3300, www.brooklynconservatory.com
Charles Colin Studios, 315 W. 53rd St., 212-581-1480
City College of NY-Jazz Program, 212-650-5411,
Columbia University, 2960 Broadway, 10027
Drummers Collective, 541 6th Ave, New York, NY 10011,
212-741-0091, www.thecoll.com
Five Towns College, 305 N. Service Rd., 516-424-7000, ext.163,
Dix Hills, NY
Greenwich House Music School, 46 Barrow St., Tel: 212-242-
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, 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., New York, NY 10022,
212-753-8811, www.tbms.org
William Paterson University Jazz Studies Program, 300 Pompton
Rd, Wayne, NJ, 973-720-2320
CD101.9,WQCD-FM; 395 Hudson St, 7th Fl., New York, NY
10014, 212-352-1019, www.cd1019.com
WBGO 88.3 FM, 54 Park Pl, Newark, NJ 07102, Tel:
973-624-8880, Fax: 973-824-8888, www.wbgo.org
WCWP, LIU/C.W. Post Campus
WFDU, http://alpha.fdu.edu/wfdu/wfdufm/index2.html
WKCR 89.9, Columbia University, 2920 Broadway
Mailcode 2612, New York, NY 10027, Listener Line: (212)
854-9920, www.columbia.edu/cu/wkcr, jazz@wkcr.org
One Great Song, Hosted by Jay Harris, www.wmnr.org (at 6 on
Saturdays, and at www.tribecaradio.net at 11AM Sundays and again
on Monday and Thursday nights at 11PM.)
Westchester Jazz Orchestra, Emily Tabin, Exec. Director,
111 Grove Street, Mt. Kisco, NY 10549, 914-861-9100,
Louis Armstrong House, 34-56 107th St, Corona, NY 11368,
718-997-3670, www.satchmo.net
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,
Jazz Museum in Harlem, 104 E. 126th St., 212-348-8300,
Jazz Foundation of America, 322 W. 48th St. 10036,
212-245-3999, www.jazzfoundation.org
New Jersey Jazz Society, 1-800-303-NJJS, www.njjs.org
New York Blues & Jazz Society, www.NYBluesandJazz.org
Rubin Museum, 150 W. 17th St, New York, NY,
212-620-5000 ex 344, www.rmanyc.org.
To Advertise CALL: 212.889.0853 August 2008 􀁕 Jazz Improv® NY 􀁕 www.jazzimprov.com 33
Noteworthy Performances
Cyrus Chestnut www.cyruschestnut.com
Iridium: Thu 8/7 - Sun 8/10
Cyrus Chestnut’s musical journey began soon after birth and
includes stops at the Peabody Institute and the Berklee College
of Music. He began working as a sideman and developed into
a talented leader, recording and playing internationally. Cyrus’
musical spirit is one of freedom and innovation. He can be heard
with his trio on his brand new Warner Brothers jazz debut, You
Are My Sunshine.
Benny Golson www.bennygolson.com
Smoke: Thu 8/21 - Sat 8/23
A live performer who consistently knocks audiences off their
feet, Benny Golson has given hundreds of performances in the
US, Europe, South America, Far East and Japan for decades.
Few jazz musicians can boast of a performing and recording
career that literally redefines the term “jazz”. Benny Golson
is the only living jazz artist to have written eight standards for
the jazz repertoire, and was the subject of the Tom Hanks film,
The Terminal.
Felipe Salles www.sallesjazz.com
Smoke: Wed 8/27
Felipe Salles is a native of Sao Paulo, Brazil, who currently
lives and performs in New York City. Before coming to the
United States, Felipe was active in numerous combos and
bands as a saxophonist, composer and arranger. He has had
the opportunity to work with numerous prominent jazz artists
and has won several prestigious awards. Felipe’s first solo CD,
Further South, has been released on the Spanish label Fresh
Sound/New Talent to wide critical acclaim.
Maurício de Souza www.mauriciodesouzajazz.com
Born in Brasília, Brazil, Maurício de Souza is a jazz drummer
who easily performs in both traditional jazz and Brazilian jazz
styles. His good taste & finesse have allowed him to play in
numerous settings with various accomplished musicians since
settling in northern NJ in 2004. de Souza plays at clubs and
festivals with his two groups, Bossa Brasil (Brazilian jazz) and
Maurício de Souza Quartet (straight ahead jazz).
Willie Martinez www.williemartinez.com
Lenox Lounge: Fri 8/15 & Sat 8/16
Willie Martinez has been a familiar face in New York City’s
eclectic music scene for well over twenty years. As well as being
one of the most sought after drummers on the Latin Jazz scene
today, Willie is also a gifted composer, arranger and vocalist.
He has performed and recorded with artists as varied as the
legendary Jazz pianist George Cables and contemporary Pop
divas Jewel, Faith Hill, and Brandy.
Mario Pavone www.mariopavone.com
Cornelia Street Cafe: Sat 8/23
Mario Pavone has defined the cutting edge of jazz for the
past 40 years. Unlike most artists whose careers span five
decades, his most recent recordings are his most widely
acclaimed, appearing on numerous best-of-the-year lists.
Mario’s discography now features 17 recordings as a leader/
co-leader, including his acclaimed 2006 release, Deez to Blues,
on Playscape Recordings.
Gretchen Parlato www.gretchenparlato.com
Charlie Parker Jazz Fest: Sun 8/24
Gretchen Parlato has been immersed in a creative environment
from a very young age. With a shrewd, emotive, and subtle
musical approach, Gretchen won the 2004 Thelonious Monk
International Jazz Vocals Competition. Her fresh, breezy phrases
and lilting Brazilian rhythms have a hypnotizing effect on your
senses and sound unlike anything you’ve heard. “There´s no
one like Gretchen out there”, says Wayne Shorter.
Larry Carlton www.larrycarlton.com
Blue Note: Tue 8/19-Sun 8/24
Larry Carlton first gained distinction in the 1960’s for the
unmistakable and often imitated “sweet” sound he delivered
with his Gibson ES-335. After spending years as a coveted
session guitarist, Larry embarked on a Grammy Award-winning
solo career. He has set a standard for artistry that spans three
decades, and he is undoubtedly destined to leave his mark on
jazz, blues, pop and rock for years to come.
Howard Alden www.howardalden.com
BargeMusic: Thu 8/7
Howard Alden’s skills, both as soloist and accompanist, have
been sought out for appearances and recordings for decades.
Howard has been playing the seven-string guitar since 1992,
which imparts a greater range and harmonic richness to his
already colorful tonal palette. Critics say “he may be the best
of his generation” and Howard’s growing base of loyal fans
couldn’t agree more.
Kenny Barron www.kennybarron.com
Village Vanguard: Tue 8/26 - Sun 8/31
Kenny Barron has been called “one of the top jazz pianists in the
world”. After working with many jazz stars early on, Kenny joined
the faculty at Rutgers University from 1973 to 2000. He has
done extensive recording as a leader and solo artist, receiving
Grammy nominations in the process. His latest recording, The
Traveler, (import) includes an intoxicating mix of favorites of
Kenny’s tunes set to lyrics and newly penned compositions.
Akua Dixon www.akuadixon.com
Bryant Park: Wed 8/20
Akua Dixon is the 1998 recipient of The African American
Classical Music Award. She performs nationally and
internationally at concert halls, colleges, public schools, libraries,
and jazz festivals. Akua has always been involved with inspiring
children to pursue their musical talents, giving lectures and
clinics to students all over the country. She has founded a string
quartet and string ensemble that are both widely acclaimed.
Elio Villafranca www.eliovillafranca.net
Dizzy’s: Mon 8/11
Before arriving in the U.S. in late 1995, Elio Villafranca was
already well respected as one of the top young pianists in Cuba.
In composing and improvising, Elio draws from a deep historical
knowledge of a variety of musical cultures. He has performed
at world-renowned venues such as the Umbria Jazz Festival.
Elio has been called a thinking man’s Cuban jazz pianist who
“continually inspires and surprises”.
34 August 2008 􀁕 Jazz Improv® NY 􀁕 www.jazzimprov.com To Advertise CALL: 212.889.0853
Earl Klugh
JI: How did you choose the tunes for the solo album?
EK: There’s no real rhyme or reason, actually. I was
just trying to find songs that would fit together. I
took it at a leisurely pace, as it came along. I recorded
an awful lot of other songs in an effort to find songs
that would create a pretty good flow.
JI: I noticed that when you were growing up, one
of your inspirations was watching the Perry Como
show guest starring Chet Atkins. When I was three
or four, Perry Como had a TV show on the air regularly
in the 1950’s. My parents knew I had an interest
in him and I still have the record that they got
autographed when they went to see him, the We Get
Letters album. Could you talk about what it was that
attracted you to that music?
EK: Oh wow, that’s cool. Well, myself, I tend to look
at music as music. I don’t deem anything as having
special value because of what it’s supposed to be.
Perry Como, to me, was the one that came through
the television like Nat Cole, or Frank Sinatra, or Elvis,
or the Beatles. At that age it was just about the
music. Either I liked the song or I didn’t. I know my
mom liked Como quite a bit and like you say, that
was the weekly television program back then. Chet
Atkins is a really big influence on how I play right up
through now because his finger style playing led me
to pursue my own finger style with playing and also,
brought me up the way it did, following jazz piano
instead of jazz guitar which was really how I learned
how to play. I moved from Chet Atkins and Wes
Montgomery and George Benson and those types of
players, right into Bill Evans and that type of playing,
instead of a chordal type of playing. Just the way a
piano player uses voicings is so different from a guitar
player. I was just looking for my own identity and
that was something that I really keyed in on. Starting
around eighteen or nineteen, I really wanted to go after
that style. Chet has had a very special, unique approach.
It’s interesting that guitarist George Benson
was like a jazzier version of Chet, to me. He also had
a larger harmonic range and more counterpoint due
to his style. It was just a different approach. Unfortunately,
he [Chet] wasn’t as well recorded, but I did
study the four CDs of his that I did have, and these
are the things you use as inspiration as you keep trying
to move ahead.
JI: I liked your point about looking to players other
than those that play your instrument for inspiration.
For me, it was Thad Jones and Joe Henderson, their angular
sense of rhythm and the fact that they didn’t rely
so much on licks or patterns, but were more spontaneous.
You mentioned Bill Evans, and he has a lot of voicings
where he uses the minor seconds with the ninth
below the third which can be tricky for
a guitar player. Was that helpful for you
in developing your technique?
EK: Oh sure. What you do over the
guitar neck as you’re playing through
tunes is you learn how to re-voice
things so you play triads, inverted triads,
tight clusters, and bass lines. It becomes
a way that you navigate around
your instrument. It’s something that
with some practice you can work out,
but everyone has their own interpretation.
For me, so much of that helped
me early on.
JI: And it kind of forces you out of a
comfort zone where you’re not focusing
on guitar players or whatever your
instrument is, but rather learning a
general musical vocabulary to expand
your creativity.
EK: Absolutely.
JI: Can you talk a little bit about the importance of
developing a healthy curiosity about ideas and people
both in and out music to bolster your artistry?
EK: Oh yeah. Living your life is a large part of your
human and emotional development. For me, that
directly relates more to your songwriting than how
you play the guitar. I think all my life experiences,
good and bad, are what I draw upon when I write
music - your memories, your hopes, your hopes that
are dashed, your tragedies. All of that to me is a much
more powerful tool for songwriting than any technical
aspect of playing the guitar.
JI: What are some of the processes you go through
when composing?
EK: I write it all in my head. My songwriting is completely
organic. I don’t sit down and determine which
chords to play. It’s either there or it’s not there. It’s
very intangible to me, but it very much is drawn upon
the things you were talking about, as far as your experiences
and your path in life. I really like different
types of music and different songs, everything from
country music to R&B to Tin Pan Alley. Being a kid
in the 1960’s, I was really into Burt Bacharach, the
Beatles, and Motown. All of my exposure to music
in elementary school was Rodgers and Hammerstein
and Broadway. When I was with my family we listened
to standards from the 1940’s. So I think all of
that exposure forms a comfort zone of things that appeal
to you. For me, I try to widen that by listening to
a variety of music. But I’ve always stayed in a familiar
realm, that type of song form. At times, I’ll include
some classical or modern influence in my solo playing.
But most of that is experimental for me.
JI: How has marketplace pressure influenced your
music or your creativity?
EK: Not terribly much. I like a wide variety of music
but I can only write what I can write. I’m not gifted
enough to look at something and say, “This is working
so let me write more like this.” Anything that
has hit the marketplace is pretty much by accident.
In most instances I never expected those things to go
that way. It just happens from time to time when I do
a variety of different songs.
JI: Can you touch upon your association with George
Benson and how that developed?
EK: I met George when I was seventeen. I was still in
high school. He was playing a couple times a year at
a club that was not too far from where I lived, called
the Keyboard Lounge. I would get together with him
in the afternoon and we would practice and play. He
was fascinated with the fact that I was playing classical
guitar. I was trying to do something different,
and he was very encouraging. I remember one summer
I went to New York on vacation and I hung out
with George for a few days. I think it was 1970 and
he was doing a record with a lot of Spanish influence,
the White Rabbit album, and I played on that. I was
very young and a little nervous, so a lot of my playing
didn’t really fit, but I ended up on one of the tunes.
A few years later I joined George’s band. It was interesting
because up until that time, George was doing
an organ trio or an organ quartet with a horn and
he wanted to try something different. So about a
year after I joined, it was me and him playing guitar,
with bass and drums. It was a great experience for
Credit: © Tanner Photography
To Advertise CALL: 212.889.0853 August 2008 􀁕 Jazz Improv® NY 􀁕 www.jazzimprov.com 35
me because that was the real circuit. You’re out there
playing a club for a week to ten days and you’re going
from city to city. It was about a year of just working.
I was trying to find my own way in improvising and
being on the spot - and nothing beats being put in the
real world. So it was a great experience for me. It gave
me an opportunity to spend a lot of time with George
and evaluate what I was doing, and what I wasn’t
doing, and what I needed to do. Then, I played in a
couple of other bands before coming back to Michigan
for a couple of years. I did afternoon solo gigs and
evening shows with my bands, and practiced the rest
of the day. I got very lucky, very early, and was able to
secure a good record deal. It’s really amazing looking
back because the world is so different now compared
to 1976 when I got the deal. I just talked to a guy today
with a guitar tape and he wanted to know how
to get in touch with a record label. I want to be able
to help him but I took a six year leave from recording.
It was for a number of reasons, but most recently,
my mom passed away. Since then, Time Warner has
changed and everyone that brought me there is gone.
When I tried to come back and get a deal, it was so
different from the way I remember it. I called various
people that I knew in the business and it just doesn’t
work that way anymore. I was told that everything
is test marketed and this and that, so I said, “I’ll just
make my own record” (laughs).
JI: (Laughs) You’re probably better off.
EK: Well, yeah. You know, I never tried to hold up a
banner or anything that says, “I’m an artist” or this
or that. I’m just a guy who plays and does the best he
can. You have to be true to yourself. If you do something
that you can’t get behind, or you’re working
with people because you can get a deal - but you don’t
have a stake in those people or know them well - it
won’t work. You have a responsibility to yourself and
your fans. It’s become very complicated.
JI: Well, the nature of the record business now, there
are people who have been in it for a long time, and
by nature of their title they think they know what’s
best for you, but after practicing for twenty or thirty
years and really develop your own style, there’s a certain
spirituality in your music that some people in
the business just couldn’t understand. And now with
things changing so drastically in the record industry,
many people’s jobs are on the line and so a lot of
them are trying to be safe and doing things like, for
example, a tribute album.
EK: Yeah. And you know, it is what it is. Record
companies, in a lot of ways, are as much up against
it as someone like me because they’re trying to keep
their business going and the music going, but from
a business perspective, it’s hard. I can see their dilemma
as much as I can see mine. I don’t fault them
or think they’re bad people, it’s just so hard. Things
have really changed. But things are always changing.
When I was younger, music was the thing for people,
a major source of entertainment. Today there are so
many things vying for your attention like sports, or
other art forms like dance, and I think things have
just changed.
JI: And people have reached a sensory overload because
there are so many more gadgets than just a telephone
and a TV.
EK: That’s right. And me, I don’t want to plug in anything.
I just have my acoustic guitar. I have a ProTools
set up, and every few days I’ll do something with it
and I need to call in an expert to help me (laughs). But
you know, it’s a frustrating thing. I’ll tell you one interesting
thing that happened early on with George.
Every once in a while I would see George play and
ask him, “How did you do that?” And George is extremely
interested in explaining things and teaching
things while practicing. But once when we were on
the bandstand, just coming off an hour set, I asked
him about something and he said, “I’m gonna tell
you something. Don’t worry about what I’m doing.
One original idea is worth ten of mine.” (laughs) And
I know what he was trying to say. You want to learn
how to move around your instrument and then you
just want to be yourself.
JI: What was it like working with George Shearing?
EK: George was the sweetest man. At the time I was
working with him, I was really trying to get it together.
He played a lot of his hits but in the rehearsals
and jam sessions it was a lot of straight ahead stuff.
So that was good for me, to play with a group that
was on that level. It was fun, and it was another situation
where I learned what I needed to learn through
working with him.
JI: I know he does things in unusual keys and there
are specific arrangements. What was your approach
when you joined the band?
EK: I just really tried to learn the heads of the tunes. I
just played through the tempos and chord changes as
well as I could at the time. But I think a large part of
why he hired me was my classical guitar background.
I played electric guitar with him but George would
always let me play a couple of solo classical guitar jazz
tunes. He wanted a different approach. What a nice
man, and what a musician! Even though his recordings
may not come off this way, he definitely belongs
in the history books when it comes to playing guitar
piano-style. When I was working with George Benson,
we would play a song for ten or fifteen minutes.
In working with George Shearing, the solos moved
around, and it was harder in a lot of ways to say
anything in one chorus when you’re used to playing
longer. There’s an art to it. That’s one of the things I
admire about Wes Montgomery. He would get into a
solo and he worked through it so quickly and hit it so
hard. It’s a great thing to be able to do.
JI: What was it like collaborating with Bob James?
EK: That came about early on in my career. My
agency set up a two week tour on the West Coast,
from San Diego to Seattle. It was my group, which
was just keyboard and drums at the time, and Bob
had a quintet, a pretty big group. Bob would open
and we would play together. I started to come in early
and play with his band. I ended up playing on his album
Touchdown. I don’t remember who started the
ball rolling, but we decided to do a record together.
It was interesting because there was nothing that was
planned out ahead of time except the personnel for
the record. We knew we were going to record in New
York and use Harvey Mason, even though Bob was
using Garrett King a lot back then. Bob was going
to orchestrate the record. So basically, Bob came in
with a road map with everything completely written
out and I showed up with a piece of scrap paper with
chords on it (laughs). We did one of Bob’s tunes, then
one of my tunes throughout the record. I really enjoy
working with Bob because everything falls into place.
It’s never a job, it’s always fun, and everything stays
spontaneous. I think the album took three days to
make. There was no rhythm section and no overdubbing.
I do remember that two or three weeks after we
did everything with the first record, Bob called me up
and I could tell something was on his mind. He said,
“I don’t know what it is, but we need something else
on this record.” He was second guessing some stuff. I
told him I thought it sounded great and he went with
that because something was worrying him. When the
record came and it did so well, so quickly - none of it
was planned for radio. We just played for three days.
That was one of my best experiences ever.
JI: Given that you said your music comes freely and
naturally, how do media critics impact your perspectives
about your music?
EK: Oh, not at all, except maybe to get under my
skin (laughs). I mean, I’m the guy making the record
and traveling the world so I don’t really care
(laughs). There have been a few things that have been
said where I think, “That was a good point” or “That
makes sense”. I used to read more of that and there
are people I respect. But for me, I just keep trying.
I don’t take myself too seriously. I work hard, and I
continue to work hard. There are all kinds of stuff
I wish I could play or work at. It’s a great thing, to
wake up every day and say I want to be able to do
this. That’s the only reason to keep playing, for me.
I just know that where I am now is a much better
place than I was twenty years ago. I think I’ve seen
enough, been through enough experiences, and been
through enough ups and downs. I just work as hard
as I can and do the best I can. I don’t get frustrated
when things don’t go my way. I’m happy when things
do. But you know, it’s all just a part of life. The main
thing is to stay clear-headed and to know what you’re
trying to accomplish. A happy musician is someone
who’s happy with his playing, his writing, just the
whole process of working and trying to do better.
If you get caught up in the idea of, “Well, I want to
make a zillion bucks”, even if you get a large part of
that, something is going to be missing. I just think it
really has to be about your whole development; your
music and everything else in your life.
36 August 2008 􀁕 Jazz Improv® NY 􀁕 www.jazzimprov.com To Advertise CALL: 212.889.0853
Vocalists Shine at Kitano
Jackie Ryan
By Jamie Cosnowsky
JI: Your most recent CD, You And The Night And
The Music, was a phenomenal success. That is very
rare with a jazz CD on an independent label these
days. Can you tell us a little about that? How do you
feel it was a personal success for you, and in what
ways, if any, has this affected your career?
JR: Well, one of the biggest ways it was successful was
with radio play. That was indeed phenomenal. I was
so, so proud. It skipped chart-bound, debuted at #33
and went to #3 by the second week. That was a shock.
Two weeks later, it hit #1 and stayed on the top of the
charts for 34 weeks. I also received dozens of letters
from DJs across the country. That, to me, will always
be the best thing that ever happened. I love DJs and I
have known several as friends throughout my life. DJs
aren’t about anything other than the music. They don’t
have any political agenda going on. They just happen
to love music and play it all day long. So they are really
listening. I value their opinions very highly and I’d
rather have kudos from them than anyone else. So, in
that way, I felt the CD was a success. If the people who
I respect so much “got it”, then I accomplished what I
wanted to. It was very fulfilling reading those letters.
And the magazine critics were very kind also. So all
this was very personally gratifying for me. To finally
have all that recognition, especially after doing this
for such a long time, felt so wonderful. That’s success
to me. It’s not really about being a household name or
making tons of money. Success to me is about the feeling
that you accomplished what you wanted to do.
As far as how that success has affected my career
as an independent artist, I would say that the exposure
has made it a little bit easier getting gigs. For example,
a nice booking agent named Michael Cherigo
called me after hearing more about me through radio
play. He has given me some good concerts. I’m still
hoping to find a good manager because for the most
part I’ve done all my own bookings. And it’s still very
tough in that way. The major labels have all that included,
but not the small independents.
I must say I feel I can’t take all the credit for the
success of the CD. I can only say I was smart enough
to put together a great group of musicians. I sometimes
wondered if I was crazy as I was putting it all together
but I went totally by intuition. I had a jazz harpist,
Carol Robbins, and then the funky, bluesy Red Holloway.
I thought, “Is this going to work?” But it did, because
everyone really connected with each other and
understood what I was trying to do. I met Red for the
first time in the studio. We had spoken on the phone
and I sent him the music ahead of time. But, we hadn’t
actually met or played together until then. As soon as
he started to play I felt something in me really come
alive. His soulful style really resonated with a fundamental
part of me because I started out singing blues
and R&B when I was younger. I think you can hear
my happiness when I am singing with him. He just
brings it out in me. I also picked a trio that had worked
together for many years, consisting of Jeff Hamilton,
Christoph Luty and Tamir Hendelman. They play as
one unit, which I think is pretty important. The trio is
your base and that has to be tight. I had worked with
Tamir for a couple of years in L.A. whenever I went
down there. He is a brilliant pianist. He and I worked
on the arrangements together...actually over the
phone. He’s a great arranger and had great ideas. And
then there was the beautiful Larry Koonse on guitar
who was great to play with. He is such a warm person
and his playing is glorious. I was introduced to Carol
Robbins’ music by my friend Bob Perkins, who is programming
director at WRTI Philadelphia. He actually
got me booked at The Museum of Art in Philly.
He is one of the most gracious and knowledgeable
people I have ever met, so anything he says I will listen
to very carefully. He said I should meet her, so I did.
She has a couple of beautiful CDs out. And I started
thinking of how I could integrate this harp into the
music I had in mind. It worked beautifully.
When Carol and I played “You Are There” together
in the studio as a duet, it was just so natural and
inspired. We both felt the song the same way. It flowed
so effortlessly. So there was this hot, tight trio, a gorgeous
jazz harp, funky and spirited Red, and the beautiful
guitar of Larry Koonse. It had so many different
elements, but it worked because everyone was coming
from their true place of comfort and expertise. I can
only take credit in that I was smart enough to put it
all together and from there I let everyone just do their
thing. I listened to my own intuition, and it worked.
JI: Can you talk about what you have been up to the
past year and what you have planned going forward?
JR: I’ve been working a lot more lately and traveling
a bit. Also, four months after I recorded “You
and The Night and The Music” in August 2006, I
was asked to come to New York to record with some
East Coast musicians and play a concert at Dizzy’s
Club at Jazz at Lincoln Center the day before. I had
never performed in New York and I had never met
the musicians before. They are Cyrus Chestnut, Eric
Alexander, Jeremy Pelt, Ray Drummond, Carl Allen
and Romero Lubambo. So we did some recording.
More tunes have been added to it in the past year and
I’ve been informed it may be out later this year. It was
produced by John Ballard and Joel Chriss. So that is
a major focus of mine at this time.
JI: Are there any challenges that make it difficult at
JR: Well, a musical life is certainly challenging regarding
the business end of things. There are the logistics
of planning dates, hiring musicians, traveling, and
organizing everything. As I said before, I certainly do
hope to have someone else do that one day. That would
be a dream come true because then I could just focus
on the music. But, I can’t complain. I never forget
what a privilege it is to bring music to people; to sing
songs that are beautiful; to be inspired by great musicians;
to see people so happy. It’s really a responsibility
of ours, I feel. It’s like musicians are all ambassadors
traveling around bringing a healing touch. When it is
challenging, and at times it can be quite so, I just have
to remind myself of that. It keeps me going to know
I’m doing at least a little bit of good in this troubled
world. And I know that I am privileged to be doing
this kind of work. I don’t take that for granted at all.
JI: What are your plans for the future?
JR: I have ideas for other CDs. I would definitely
like to produce one myself again. It’s a special feeling
when you can create something and watch it all unfold
in a magical way. Maybe next year I will be able
to do that again. It’s a different kind of thrill than
being onstage, but it’s just as fulfilling.
JI: Who will you be working with at The Kitano Hotel,
August 15 and 16th?
JR: I was lucky enough to meet a wonderful pianist
through Carl Allen named Xavier Davis. I have
played with him a few times. The first time was actually
at the fantastic Jazz Improv Live. Convention last
year. He is really great. Also, for the first time I will
be working with his brother, drummer Quincy Davis,
and Vincente Archer on bass. I have heard many great
things about them. I am also really looking forward to
working at The Kitano venue as I have heard only the
most positive things about it from everyone who has
worked there. I know that it is an intimate spot. Small
rooms are very special in that you can connect so easily
to your audience. It’s like a conversation.
Anyway, I can’t wait to play in New York again.
New Yorkers make up the greatest audiences. They
made me feel so welcome the first time I sang there.
I’m really looking forward to these dates and meeting
some new friends.
Jackie will be performing at the Kitano on Friday,
August 15 & Saturday, August 16th.
Visit Jackie at www.jackieryan.com.
Credit: OpenArt Records
To Advertise CALL: 212.889.0853 August 2008 􀁕 Jazz Improv® NY 􀁕 www.jazzimprov.com 37
Vocalists Shine at Kitano
JI: Can you talk about what you have been up to the
past year and what you have planned going forward?
AM: By far my most wonderful blessing was to get
a call from Jimmy Heath to sing for him with the
Queens Jazz Orchestra which was encouragement to
the soul. He is a master and beautiful, spiritual man.
I learned why the musicians love him so. This year I
had the opportunity to perform for a week at Jazz at
Lincoln Center’s Dizzy’s Club Coca Cola after Little
Jimmy Scott. I also did Jimmy’s third set on Friday
and Saturday. We were thrilled to have Laurence Fishburne
to hang out for our entire set! He offered great
praise and encouragement. Todd Barkin was cool as
all get out. I was fortunate enough to perform with
Winard Harper and his excellent group featuring Dr.
Billy Taylor, singing “I Wish I Knew How It Would
Feel To Be Free”, and a Blues. The Blue Note Mother’s
Day event was another amazing gig. My thanks to all
who came out to pack the place. The weekend at Harlem’s
Historic Lenox Lounge with Danny Mixon, was
another highlight. All of our events were filled with
old friends and new music lovers. I got a chance to perform
with The Duke Ellington Orchestra at the Blue
Note (under Paul Ellington’s direction) this past July
4th. It was an awesome feeling in the house. The people
hollered and so did we! I worked with Bill Easley at
the Museum of Natural History’s Starry Night Series.
Wow, what a night! Gary Walker was the host and he
performed “Straighten Up And Fly Right’s” narration
with BE. I will be doing Jazzmobile for the first time
this summer. First is a Summer Breeze joint partnership
working for Mark Morganelli in Mt. Vernon at
City Hall. It is a double bill with the Antoinette Montague
Quartet featuring Huston Person as a guest.
There will be a group from 6:00 – 6:45 pm and Junior
Mance from 7:15 to 8pm. There will be a tribute to Junior
Mance that evening. Jazzmobile moves to Brooklyn
on July 24th and for the first time, it comes to my
city of birth, Newark, New Jersey. Earl May wanted it
and it is happening. I will be working one of the events
on August 7th in Newark. Yonkers Jazz and Blues at
Dusk is happening on Friday, August 15th from 6:00
to 7:45 pm. It’ll be a hot night on the beautiful waterfront
Stage on the Pier at the bottom of Main Street. I
am looking forward to being at the Kitano on August
20th. I am calling it “Kimono Blues at the Kitano”;
if you have them, wear them for fun. I will be working
with The Many Colors of a Woman project with
Nicki Matthis, and working for Columbia University
at the Cotton Club with the Harlem Renaissance Orchestra
Under the direction of Ron Allen. An upcoming
highlight? I’m playing the Cape May Jazz Festival
in November for the first time. I can’t wait! I hear they
treat their artists beautifully. For the future, I am preparing
for my next recording, Behind the Smile.
JI: How has life been for you as an independent artist
since your last release?
AM: Amazing. I feel I am still working on becoming
a better musician studying piano with Mike
Longo and voice with Jim Carson. I am learning and
maintaining relationships with our masters of music
while they are here to learn from. I am looking for
great booking agents who have integrity and a good
Rolodex. How has life been for me as an independent
artist since the last release? Humbling, eye-opening,
busy, with small quiet moments that I am learning
to appreciate, joyful, painful, encouraging and disappointing.
The full spectrum of emotions and growth.
Now is a time for re-inventing myself spiritually,
physically, and emotionally. You never know from
whom you will be getting lift and support. The musicians,
Phoebe Jacobs, Jackie Harris and Janice Miller
have been very helpful. It has taught me to keep my
head down and make a fan a friend, keep my spirits
up, and go straight ahead.
JI: What’s on your wish list?
AM: Continued good health, get a great agent, work
in the Rose Room at Lincoln Center with Wynton
Marsalis, work Dizzy’s, Carnegie Hall (“Just One
Blues”), more jazz festivals, more recording opportunities
with small group and big bands, more press coverage
that will help me find opportunities, and to remain
spiritual, to get and give love and encouragement.
Antoinette Montague
By Jamie Cosnowsky
Antoinette performs on August 20th.
Visit Antoinette at www.antoinettemontague.com
Credit: Eric Nemeyer
38 August 2008 􀁕 Jazz Improv® NY 􀁕 www.jazzimprov.com To Advertise CALL: 212.889.0853
Vocalists Shine at Kitano
Amanda Carr
By Jamie Cosnowsky
JI: One of the ways artists in jazz have in large part,
developed their own styles and or reputations, has
been to apprentice—to play in the groups lead by highprofile,
established jazz artists for extended periods of
time. Could you comment on how your own independent
path has helped or hindered your music and opportunity
in light of the aforementioned realities.
AC: Well, I have been a working musician for so many
years that there really hasn’t been one band situation
or leader that’s influenced me in great measure, aside
from recently. I work in so many different musical
situations. I’m a hired gun to the extent that I take on
a variety of work as it comes my way. I honestly try to
learn something from every situation and every single
gig that I do and I try to work on some aspect of
my singing and performing within every framework,
good or not so good. It’s about making the most of
the music at hand. I also try to listen to things that
older players impart because they have a lot to say
about the business and I understand how much you
learn by hanging in there for decades. Survival tools
are imperative. The Boston area is blessed with great
jazz players so with all the ‘jazz’ gigs I’ve done over
the last 14 or so years, I’ve cut my teeth with some
great accompaniment. It’s been about making the
most of the gig, the situation and the discipline that
comes with respecting it all.. All this has been crucial
in maintaining my work ethic in my own career
growth. So I guess it’s the collective experience that’s
been the most influencial.
JI: Self-consciousness can be the enemy of creativity.
If you’ve experienced that kind of performance anxiety
or nervousness in your career, what helped you or
how did you overcome that?
AC: I recently heard a great line, “Excellence is the
enemy of Good”. Sometimes we’re our own worst enemy
and harshest critic, and I think I fall into that
category. Generally, the smaller the audience, the
more exposed you are. It’s easy to sing for thousands,
but the small audiences are where you’re the most vulnerable
and under a microscope. So, I don’t usually
worry about singing well or being able to perform the
material as much as I get nervous about the actual performance.
I never want to ‘phone it in’ and want to bat
a thousand every time I perform in terms of how well
my audience has become a part of the experience and
feels they got what they came for. I don’t have a prepared
“schtik” so my performances are spontaneous
and I’m always concerned about being able to make
that connection. So, the more you perform in specific
situations the less anxiety there is for that situation.
But that’s just a part of growth. Getting too comfortable
presents its own set of challenges. You don’t want
to separate yourself too far from the moment or even
your own vulnerability because then you’re just going
through the motions. Coming from my background,
I’m always concerned about delivering the goods and
doing what the job requires. It’s a working-man mentality
that I most likely will never lose.
JI: In addition to your involvement in music, what
other activities help provide balance in your life?
AC: Being a creative person, I’m victim to having too
many interests and wanting to be involved in all of
them. I am on the board of directors for a busy animal
shelter, I’m on the conservation commission of my
town and somehow find myself volunteering for way
too many causes. But working with animals is very
grounding for me. I have to stay pretty healthy and in
shape to keep my schedule, so I’m prone to physical activity
being the center of my hobbies like yoga, skiing,
swimming, skating, biking, etc. But because my instrument
is inside my body, I have to take exceptional
care of myself and eat well and get enough rest or my
voice won’t work. So, balance and staying centered is
really important to the longevity of anything and everything
I want to continue to do. In some aspects,
I’m dull as dirt because it seems I just can’t do anything
fun anymore or it will affect my voice. Maybe
that’s what they call ‘being a slave to your art.’
Amanda Carr performs at the Kitano on
August 6th. Visit Amanda at www.amandacarr.com.
Credit: Brian Malloy
Piermont, NY
8:00pm – 11:00pm
Monday July 14
Tenor/soprano Saxophonist
John Richmond
Steve Ash, Mike McGuirk,
Eliot Zigmund
Monday July 21
Alto/soprano Saxophonist
Steve Slagle
John Hart, Bill Moring,
Steve Williams, John Richmond
Monday July 28
Tenor Saxophonist
Ralph Lalama
John Hart, Bill Moring,
Tim Horner, John Richmond
468 Piermont Ave. Piermont, N.Y.
(845) 359-1089
Great Atmosphere, Menu & Prices!
To Advertise CALL: 212.889.0853 August 2008 􀁕 Jazz Improv® NY 􀁕 www.jazzimprov.com 39
For the Love of
the Music
By Phyllis S. Lubarsky
Every jazz musician who has stepped foot on European
soil has heard about Claude Nobs; founder and
producer of the Montreux Jazz Festival. Claude is an
amazing individual who through sheer force, determination,
love, and belief in the music has created one of
the greatest festivals to ever exist. This year marks the
42nd annual, and the program is exciting as ever.
To honor Quincy Jones` 75th birthday, Claude
was able to pull off the impossible and surprise him
with a show whose details were kept a secret from
him. All Jones knew was that he had to be in the
audience on the night of July 14th. He would go on
to profess that the show had more sentimental value
than anything anyone has ever done for him.
Claude was able to pull together quite an allstar
list of names and faces—many of which have
been closely associated with Quincy. Included in this
list were James Moody, Patti Austin, Joe Sample, Al
Jarreau, Chaka Khan, Patrice Rushin, Petula Clark,
Nana Mouskouri, Freda Payne, Angelique Kidjou,
Mick Hucknell, Curtis Stigers, Herbie Hancock and
of course, The In The House Band , led by Greg Phillanganes
with Nathan East, J Robinson, Paul Jackson
Jr., Paulinho Da Costa and Pepe Lienhard . Also
gracing the stage was The Swiss Army Big Band and
young heart-throb singer Paulo Nutini! It was a starstudded
5 hours to say the least.
These two men, Claude and Quincy, have an
undying reverence and respect for the music and their
friendship has forged the ability to create incomparable
musical experiences. Claude was thrilled to surprise
his dear friend who is known as the guy who always
knows what`s happening before it happens. Well,
not this time, and the surprises didn’t end there. The
following evening, a statue of Quincy was unveiled in
the Garden of Greats located along the promenade of
Lake Geneva. There, Quincy now stands with Ella
Fitzgerald, BB King, and Ray Charles.
One more thing these two men have in common
is an awareness of the needs of jazz musicians who
are all too often left without the means to take care
of themselves after a lifetime of hard work in which
they’ve given us the fruits of their talent so selflessly.
This is what prompted them to join the efforts of
the Jazz Foundation of America. Claude is the first
festival producer to ever bring attention to the work
of the JFA. Along with Quincy, Wendy Oxenhorn,
executive director of the JFA, presented Claude with
a lifetime achievement award for his continuing contributions
to the world of Jazz and for his committed
support to the foundation.
The European festival circuit, with Montreux
being the grand-daddy, has been an invaluable opportunity
for jazz and its practitioners to stay strong year
after year. It is a place for history to be made and recorded,
showcasing the who’s who in jazz, from young
to old, and often both together, on an annual basis.
(For more information go to www.montreuxjazz.
com. There you can also find the collector’s edition book
“Live From Montreux” which chronicles the birth and
growth of the festival over the last 43 years.)
Jazz Improv’s 2009
Available in October 2008 in PRINT
($14.95 Magazine & CD at retailers nationwide)
The ONE and ONLY Jazz Education reference and resource
of its kind that includes both comprehensive listings and
directories, interviews, reviews, side by side with more than
200 additional pages of music, learning and instructional
materials including Songs, Transcribed Solos, Full Big Band
and Small Group Jazz Ensemble Arrangements including
scores and parts, How-To Articles and Exercises and more.
Reach tens of thousands of educators, students, musicians,
hobbyists - before, during and after practice, lessons, rehearsals
and performances, in multiple media, non-stop all year!
Call Jamie Cosnowsky: 212-889-0853, jamie@jazzimprov.com
or Eric Nemeyer 215-885-0670, eric@jazzimprov.com
Full-length tracks by
leading and emerging
artists plus E-Book
with hundreds of
pages of music
CD Reviews
40 August 2008 􀁕 Jazz Improv® NY 􀁕 www.jazzimprov.com To Advertise CALL: 212.889.0853
OF HARRY WARREN—www.sultansofswing.
com. Jeepers Creepers; You’ll Never Know; September
in the Rain; On the Atchison, Topeka, And the
Santa Fe; Summer Night; I Had the Craziest Dream;
Boulevard of Broken Dreams; I Found a Million Dollar
Baby (In a Five and Ten Cent Store); Serenade in
Blue; I Only Have Eyes for You; I’m an Old Cowhand
(From the Rio Grande); Gold Diggers’ Song.
PERSONNEL: David Berger Octet: David Berger,
conductor, arranger; Harry Allen, tenor sax; Joe Temperley,
baritone sax;Matt Hong, sax; Brian “Fletch”
Pareschi, trumpet; Marshall Gilkes, trombone; Isaac
ben Ayala, piano; Yasushi Nakamura, bass; Jimmy
Madison, drums.
By Clive Griffin
Most of David Berger’s public activities these
days revolve around his Big Band, the Sultans of
Swing, that perform weekly in new York City. The
big band has been his ensemble of choice for many
years, and he is amply equipped to excel and deliver
highly polished arrangements. Over the years Berger
has transcribed more than 500 Ellington and Strayhorn
big band arrrangements. That kind of formidable
undertaking can only help to develop a musician’s
ears and practical understanding of theory and
harmony in a profund way.
This new album, I Had The Craziest Dream –
The Music of Harry Warren, finds Berger plying his
wares, his ample arranging skills, in the context of
an eight piece group, a smaller big band with rhythm
section, three saxes, trumpet and trombone. From an
arranger’s standpoint, working with the kinds of unforgettable,
well-known, well-crafted melodies that
Harry Warren composed, gives an arranger a leg up.
The ensembles sound full and rich.
“Jeepers Creepers” starts off the twelve-song set
by moving the music from theonramp to thepassing
lane on the swing freeway. The tempo is brisk. The
band is in sync, and the track sets the quality standard
that permeates the album. Harry Allen takes the first
solo. His solo and style are clearly influenced by Lester
Young and Stan Getz, offering an ideal solo approach
to complement Berger’s approach. Allen’s sound and
approach emerge from the Swing Era, the stylistic
period from which Berger’s arrangements here are so
foundationally connected. Temperley is up next on
baritone sax and continues the driving energy.
“You’ll Never Know” takes the tempo down.
It’s a relaxed groove, but swings with intensity. Allen
turns in another beautiful tenor solo. No pyrotechnics
– simply contoured lines that complement
Warren’s lyricism .
Alto saxophonist Matt Hong takes center stage
on “SeptemberIn The Rain.” Berger takes the tempo
up a few notches here. Hong is a good foil to Allen’s
Swing-based approach. Hong is much more hgeavily
steeped in the beop and post bop traditions, and
his solo is both swinging and a tour de force for his
ample technique.
“On the Atchison, Topeka, And the Santa Fe”
features pianist Isaac Ben Ayala. The tempo is a slow
swinging groove, with a backbeat. The horns lock in,
driving even the simplest quarter-note-on-the-beat
types of phrases. It’s simple and burning with intensity.
Marshall Gilkes steps into the spotlight on
“Summer Night.” He and Ayala on piano shine on
consecutive solos. Gilkes reruns for an extended run
toward the endof the piece for a sweet romp through
a series of turnaround changes. The ensemble pecks
away with syncopated figures through the arrangement.
Jimmy Madison anchors the time throughout
the album. His contributions on this piece are representative
of thekind of impeccable time-keeping, and
tasty fills that he delivers to drive the band.
Trombonist Gilkes, baritone saxophonist Temperley
and Hong on alto all step to the plate for a solo
moment in the sun on “I Had The Craziest Dream.”
What works so well about Berger’s arranging on this
album is how naturally the music falls into place.
Every beat along the way, it’s easy to hear how the
arrangments make it easy for the players to quickly
sound great on their parts, and the enthusiasm comes
out in the music. Berger maintains the integrity of
Warren’s original melodies, and at the same time
creatively works with syncopated rhythmic phrasing
and apropos embellishments to make the arrangements
much more than run of the mill. As an aside,
it sounds like the sound of the recording, the way it
was recorded, tried to capture the kind of live in the
studio sound that is reminiscent of the 1950s.
Berger uses some different instrumental colors
on “I’ve Found A Million Dollar Baby.” The ensemble
includes muted trumpet and flute. The woodwind and
brass combination is a refreshing change from the first
several tracks. Here, Allen, Temperley, Gilkes and
Ayala each get a chance to solo on this relaxed piece.
Other highlights include “Serenade In Blue” on which
trumpeter Brian “Fletch” Pareschi plays the melody
and is featured in a solo slot. While most of the album
is composed of swing grooves andballads, a tango
groove lays the groundwork for “Boulevard of Broken
Dream” features Joe Temperley’s baritone. “The Gold
Digger’s Song” is fast, and closes out the album with
the same verve and energy that “Jeepers Creepers”
provided as the opener. Berger is a skilled arranger,
who has put together a group of fantastic personalities
to perform a wonderful set of expert arrangements,
full of dancing solos, and a driving rhythm section to
make the arrangements sing. Bravo!
www.andreabrachfeld.com. Q; Mambo Yo;
Voces Da Rua; Danzon For Richard; Cha Cha Blue;
Passing Friends; Karawak Dreams; Song For Jenny;
California Fog; Desperado; The Memory Of You; Decarga
Del Mundo
PERSONNEL: Bob Quaranta, piano; Andy Eulau,
bass; Diego Lopez, drums; Chembo Corniel, percussion.
Guest artists: Mike Longo, piano; Paul West,
bass; Brian Lynch, trumpet.
By Clive Griffin
Among the noteworthy aspects of Into The
World, A Musical Offering, this newest recording by
flutist Andrea Brachfeld is the consistently stellar
level of performance and musicianship from the first
note until the final moments of the album. Needless
to say, this is no surprise. Brachfeld has continued to
develop her skills on flute since her beginnings at The
High School of Music and Art and Manhattan School
of Music. What else would you expect from someone
with talent, whose commitment has been to practice
and study constantly, and stay on the path to hone her
artistry for more than 20 years?. She has won an array
of awards, studied with influential artists such as
flutist Hubert Laws, Jimmy Heath, and Mike Longo,
and performed with such Latin jazz stars as Dave Valentin,
Nestor Torres and Ray Barretto. Her passion
is Latin music and salsa—and that’s what you’ll get a
healthy, heaping portion of here.
The album opens with a bang with the rhythmically
complex “Q,” composed by pianist Bob Quaranta,
a member of her core group. If you were in the band,
you’d be counting this one carefully. You really have
to count this one carefully. There are some odd meters.
It’s a toe-tapper nonetheless. Quaranta’s wealth of experience
in Latin music, grounds the ensemble. Both
Quaranta and Brachfeld turn in impressive solos.
“Danzon For Richard” is underscored by a
much more relaxed tempo and groove. Brachfeld
demonstrates commanding technique. Her articu-
Have you always
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lation of intricate phrases is flawless. She more than
floats above the rhythm section. She weaves in and
out, and above and below. If this were a visual, I’d
liken it to the super heroes, action characters, animation
and special effects that characterize the action
scenes in a movie like Iron Men—and in the best
kinds of ways.
“Passing Friends” offers a change of pace from
the purely instrumental pieces. Brachfeld features
a choir of voices. The piece moves into a gentle jazz
waltz kind of groove, as the piece develops. The
rhythm section swings. “Karawak Dreams,” features
Brachfeld as the first soloist on rhythmically lilting
and shape-shifting piece. It climaxes with drummer
Lopez soloing energetically over an ostinato motif
that the rhythm section uses to punctuate and build
intensity for a couple of minutes.
The mood is gentle and reflective on “California
Fog.” It’s a ballad and the magnificence of Brachfeld’s
sound and tone are every bit as compelling as her dazzling
technique. She knows exactly what to use when
and where—the mark of a sensitive, mature artist and
improviser. Some of the other highlights on the album
include the minor bluesy, laid back, back beat
grooved, “The Memory of You,” and the refreshing
samba, “Desperado” and Brian Lynch’s high note pyrotechnics
on the final track “Descarga Del Mundo.”
FIRE DOWN BELOW—www.steveelmer.com.
Sister Joan; Silhouette; Constant Lee; Ga’s Jambalaya;
Fire Down Below; Lasting Love; Delicate Balance;
Tanaka’s Hideout; Big Chief Red Cloud, Aaronology.
PERSONNEL: Steve Elmer, piano; Hide Tanaka,
bass; Shingo Okudaira, drums.
By Dave Miele
Steve Elmer presents a program of entirely original
music with his latest release, entitled Fire Down
Below. His skills as both a pianist and a composer are
on full display on each and every tune. Neither disappoints.
He and his trio play in the modern, postbop
style that captured my heart as soon as I heard it.
Through a program of well varied material, the band
of Steve Elmer, bassist Hide Tanaka and drummer
Shingo Okudaira swing with a burnin’ fire that suggests
the disc’s title.
The disc opens with ‘Sister Joan”, a medium-up
swing number. Elmer’s love of McCoy Tyner is clearly
evident in his extensive use of bass pedals. The tune
is bluesy but energetic. Elmer and Tanaka take impressive
solos, followed by a spirited round of trading
between Elmer and Okudaira. “Silhouette” is a bossaesque
tune which features extended bass and piano solos.
The groove is relaxed and comfortable. The spirit of
McCoy Tyner lives again with “Constant Lee”, which
again features a bass pedal. The tempo is mediumup
and the melody is bop-flavored. “Ga’s Jambalaya”
brings to mind another piano player; the one and only
Thelonious Monk. The tune is set in a medium tempo
with a loping swing feel. The title track is a burnin’ fast
swing tune. The band swings hard throughout and
each member is featured in an extended solo as well
as shorter traded solos. A nice contrast is drawn with
the next tune; a gentle ballad entitled “Lasting Love”,
which serves as a piano feature.
The program continues with “Delicate Balance”,
a bouncy waltz. This tune also makes use of
bass pedals. Both Elmer and Tanaka are featured.
The humorously titled “Tanaka’s Hideout” features
the bassist for which it is named. This is an eclectic
tune, set at a very slow tempo. Tanaka plays the
haunting theme of the tune. His solo is first-rate.
“Big Chief Red Cloud” is set up by fast Latin drums.
When the band comes in, the melody is unexpectedly
catchy and pop-flavored. Elmer takes a solo and
features Okudaira in a solo played “over” the band.
The disc closes with “Aaronology”, a medium tempo,
bop-flavored swing tune, with hits for the band to
swing through, which they do in incomparable style.
Each member is featured in solos on this all-out jam.
Fire Down Below is a disc that grabs you from
the beginning with a high dynamic and energy level.
The levels drop a bit as the tunes take the listener on
a journey, but the fires is still there, down below (if I
may be allowed a pun). The silly play on words is appropriate
however, when one considers the constant
energetic pulse that lays behind this music, even on
its most relaxed tunes. The musicianship of the trio is
top-notch and the band obviously has built a comfortable
rapport. The benefits of this are tight ensemble
playing that simply has nowhere to hide within the
unforgiving format of the piano trio. The real payoff,
of course, is how great Fire Down Below sounds.
MIKE GARSON’S JAZZ HAT— Reference Recordings
RR-114. www.referencerecordings.com.
Rumble; All Blues; It’s You Or No One; A Song For
You; Waltz For Bill; A Night In Tunisia; A Gershwin
Fantasia; Nardis; Count Your Blessings.
PERSONNEL: Mike Garson, piano; Brian Bromberg,
acoustic bass; Ralph Humphry, drums; Eric
Marienthal, alto saxophone.
By Dan Bilawsky
While pianist Mike Garson has worked with a
long list of celebrated rock stars like David Bowie and
the Smashing Pumpkins, he’s also worked with more
than his fair share of jazz luminaries, like Stan Getz,
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Lee Konitz, Freddie, Hubbard, Eddie Daniels and
many more. While Garson wears many hats, the title of
his new release, Jazz Hat, refers to the business at hand
on this album. Garson takes a program of standards,
with two originals thrown into the mix, and puts
his own signature on them, with some help from his
bandmates. Garson’s own “Rumble” begins with some
clear shimmering piano notes that splash down like
light rain droplets. He ruminates for a while searching
out his desired path. Aft er more than a minute
of musical soul-searching, the piano takes on a much
more rhythmically driven and percussive texture and
the full band follows shortly aft er. Brian Bromberg, on
acoustic bass, and Ralph Humphry, on drums, provide
a nice rhythmic base over which Garson gets to fl ex his
chops and show off his creative muscle. Garson sounds
like Dr. John on steroids, with his hyper-speed New
Orleans-infl ected blues licks, on the introduction to
“All Blues.” Much like the fi rst tune, the introduction
doesn’t hint at what’s to come. Once things settle
down Eric Marienthal does some soulful strutting as
he plays atop the rest of the ensemble. Bromberg’s taste
and touch, always an asset on any recording he appears
on, perfectly meshes with Garson’s piano. Garson gets
some room to stretch out during his solo and Bromberg
turns in some semi-abstract soloing of his own.
While Garson’s explorations and extensions of the
harmonic and melodic material on “It’s You Or No
One” is impressive, it’s Bromberg’s fl uid soloing that
steals the show here. Th is take on Leon Russell’s “A
Song For You” has the power to hold the listener in
rapt attention. Garson’s gentle piano cushioning supports
Marienthal’s cries and wails in the fi rst minutes
of this piece. When the tempo picks up and things
begin to solidify, in terms of groove and timing, the
music still holds your attention as Bromberg’s bouncy
bass and Humphry’s strong groove support the soloists.
Th e energy eventually dissipates a bit and a wideopen
landscape is left for Bromberg to lay down some
funky bass soloing before Marienthal returns to take
it to the end.
While Garson is truly a musical chameleon,
adapting to any setting that he seems to inhabit, Bill
Evans has clearly left his mark and this is most evident
on Garson’s “Waltz For Bill.” Garson’s lovely melodic
turns meet up with some of Bromberg’s loveliest playing
as Humphry’s brushes lightly dance across the
snare drum. “A Night In Tunisia” is bebop at its fi nest
with Marienthal tearing through things in fi ne form
as Humphry responds to his every gesture with some
musical maneuvering of his own. Following strong
Garson and Bromberg solos, Humphry gets a chance
to cut loose and he doesn’t disappoint. “A Gershwin
Fantasia,” a medley of Gershwin tunes that Garson recorded
in a solo setting a few days aft er the rest of this
material, is a stunner. Garson uses songs like “Rhapsody
In Blue,” “Th ey Can’t Take Th at Away From Me,”
and “Summertime” as the initial seeds for his improvisations
that grow before your eyes (or ears). While
“Nardis” begins with Garson’s solo explorations,
Bromberg and Humphry soon join him as he snakes
his way through this classic. Th e album ends with a
slow, warm, inviting take on Irving Berlin’s “Count
Your Blessings.” When I fi rst heard this rendition, as
the sun was going down on a lovely Th ursday evening,
it proved to be the perfect song to capture the beauty
that we oft en seek at the close of a day.
by Herb Harris. A Two-Per to Fill; Some Many Second
Chances; Some Many Second Chances (alternate take);
For Someone Special; Toy Soldiers; In a Little Minute.
PERSONNEL: Herb Harris, tenor sax, soprano
sax; Roy Dunlop, piano; Greg Williams, bass; Robert
Rucker, drums.
By Dave Miele
Some Many Second Chances, the latest release
from sax man Herb Harris is traditional styled jazz
that hits hard. Th e quartet of Harris (who plays both
tenor and soprano), pianist Roy Dunlop, bassist Greg
Williams and drummer Robert Rucker play in a postbop
style throughout a program of entirely original
music written by Harris. While there will only ever
be one classic Coltrane quartet, this band brings images
of that legendary band to mind. Th e group is not
an imitation, however. Th ey bring a fresh approach to
a tried-and-true style of jazz.
Th e program begins with “A Two-Per Fill”, an
up-tempo number which features Harris on tenor.
Th e band burns beneath his original melody and captivating
solo. Roy Dunlop also solos before the melody
of the tune returns. Th e title track begins with a
tenor/piano rubato introduction. Th e groove fi nally
settles into a relaxed slow swinger in the style of Coltrane’s
group. Drummer Robert Rucker, particularly,
plays in a style obviously inspired by Elvin Jones. An
alternate take (oddly lasting exactly the same eight
minutes and thirty-six seconds) is included. It follows
the same order and is taken at a similar tempo.
“For Someone Special” is a ballad. Once again, however,
the band plays ala Coltrane and therefore there
To Advertise CALL: 212.889.0853 August 2008 􀁕 Jazz Improv® NY 􀁕 www.jazzimprov.com 43
is plenty of energy. The solos employ double time, and
again feature Harris’ tenor and Dunlop’s piano.
One of the most quirky tunes on the disc is “Toy
Soldiers”, which plays with 5/4 and 3/4 meters. Rucker
plays a funky New Orleans-esque groove while Harris
again shows his prowess on the tenor. Dunlop is
also featured. The disc closer is an unexpected tune
entitled “In A Little Minute”. It features Harris in
two previously unexplored arenas; on soprano sax
and vocals. Harris sings the up-tempo swing head
and follows this with an energetic soprano solo. Also
featured is Dunlop and bassist Greg Williams.
The tunes on Some Many Second Chances have
a definite unity and display the skills of a composer
with a distinct voice. The medium for that voice is a
familiar modern jazz style, which pays tribute to one
of the most classic groups in the history of jazz music.
Coltrane’s music has one of the most lasting legacies
of any jazz musician. Playing in the manner which
Coltrane did in the early sixties is still a viable form
(even if Trane himself moved on from it in his later
years). Herb Harris, through his music, his musicianship
and his choice of musicians carries on that legacy
to the benefit of all who choose to listen to his music.
TEARS — www.harumi-igarashi.com. Fragile;
Greatest Love Of All; The Cisco Kid; Desperado;
Smooth Operator; Woman; Don’t Ask Me Why;
Take A Bow; Slip Slidin’ Away; Arthur’s Theme;
My Love; I AmA Thousand Winds.
PERSONNEL: Lonnie Plaxico, arranger, bass:
George Colligan, piano, keyboards, organ, arranger;
Chris Rob, organ, synthesizer, background vocals;
Kenny Grohowski, Shigeo Hirayama, drums; Jeff
Haynes, percussion; Marvin Sewell, Richard Padron,
acoustic and electric guitar; Jeff Hermanson,
trumpet, fluegelhorn; Michael McGinnis, tenor sax;
Brian Drye, trombone; Gino Sitson, background Vocal;
Gregoire Maret, harmonica.
By Winthrop Bedford
The latest album by vocalist Hirumi Igarashi,
Tears, features her silky smooth vocal sounds on a
collection of pop hits of the 1970 and 1980, newly arranged
by bassist Lonnie Plaxico and pianist George
The album opens with the composition “Fragile”
by Sting. The groove is laid back, and the rhythm
section provides a subtle and solid underpinning.
Hermanson’s trumpet solo gives the rendition a kick,
when he solos lyrically, albeit briefly.
What would a retrospective on hits of the
1980s be without Whitney Houston’s The Greatest
Love Of All”? Igarashi is gentle here. She renders the
melody sensitively. Marvin Sewell follows Igarashi
and delivers a magnetic George Benson-like solo on
guitar, albeit all too brief.
“The Cisco Kid” picks up the pace. The horn
ensemble kicks it off with gusto. Horn lines snake
around behind Igarashi’s vocals, leading eventually
to an expectedly fine solo by Colligan on organ. They
even give the drummer some on this one.
“Smooth Operator,” as with many of the other
tracks, tempts jazz listeners with brief solos by some
of the compelling soloists that make up the band.
Trombonist Brian Drye takes a very brief, but hardly
uninteresting solo. In fact, just as he gets going, the
solo is over. Understandably, this is Igarashi’s vocal
album. However, since such a broad array of quality
jazz players have been assembled on this album,
it would have been a good idea to extend longer solo
space to these creative artists. Afterall the album is
billed as “Hits of The 70s and 80s Revived by Jazz
Musicians and the Angelic Voice of Harumi Igarashi.”
In any case, with a song like “Smooth Operator”
you can’t go wrong. The melody is unforgettable.
This tune proliferated over the airwaves, and at endless
weddings and parties during the 1980s.
Billy Joel’s “Don’t Ask Me Why” is underscored
with a mambo groove. Not to worry. For a moment,
it feels like we’re about to get a pleasant dose of one
of the house bands at a Catskill resort in the 1950s or
60s. It quickly evolves into much more. The ensemble
is tight. Colligan takes a smoking solo. Regrettably
it’s all of about eight measures, and like some of the
other solos, ends just as my ears were tantalized and
salivating for more. Oh well. Igarashi turns in an
admirable performance. She sings in tune and has
honed her voice to embody a pleasant vibrato.
Her light and airy approach is even more pronounced
on Madonna’s “Take A Bow.” The use of parallel
fifths and pentatonic scales at certain points in
the melody hint at a sound we associate with Japanese
music – a subtle tip of the hat to her heritage. Here,
the tempo is slow. It’s a Latin-like ballad, with conga
drums shaping the rhythmic direction underneath.
Igarashi made her debut in 2000 with her single
“You Make History.” She has become an attraction
in Japan because of her assimilation of traditional
Japanese popular songs and jazz. The concept of this
latest release, Tears, is intriguing. It was created with
the possibility of combining quality arrangements,
tight ensembles, and a bevy of superb jazz soloists.
The idea was to let these exciting improvisers have
the run of the field, and in the process to energize
a host of songs that were previously very carefully
produced, with lots of strictures and structures. The
album holds together very well. Purists need to understand
that this is not a straight ahead jazz album.
There are some moments that are spiced up with
truly incredible swinging and Latin grooves with
solos – especially Jeff Hermanson’s trumpet solo followed
by Colligan’s piano solo on “Arthur’s Theme”
for example, where the arrangement is built on the
same eighth note groove as the original hit. All in all,
Tears is the product of experienced writers, soloists,
and a committed vocalist who have combined their
talents, invested their hearts and souls and a lot of
effort to produce a quality recording.
NO PAIN, NO KAIN - www.davekain.com. Juris
Duty; Shoe; Two Faces; Kolyma; The Deciding factor;
Visions of Mediocrity; Epochal; On My Way Home
PERSONNEL: Dave Kain-guitar Matt Garrisonsaxophone
Dylan Johnson-bass Jon Cowherd-piano
Jeff Hirshfield-drums
By Brandon Bernstein
Dave Kain is an up and coming jazz guitarist.
His latest album under his own name, No Pain, No
Kain, is a terrific album showcasing Kain’s imagination
as a composer, and featuring eight beautifully
written original compositions. Kain is a well-rounded
musician having studied with some of the most respected
artists including John Abercrombie, Joe Carbone,
Joe Monk, Bill Farrish, Greg Bobulinski, Jack
Wilkins, Jay Azzolina, and Chris Morrison. In 2001
he formed the Dave Kain Group with a mission not
to be restricted to playing only jazz standards, but
also to focus on creating new original jazz music. No
Pain, No Kain, includes Dave Kain on guitar, Matt
Garrison on saxophone, Dylan Johnson on bass, Jon
Cowherd on piano, and Jeff Hirshfield on drums.
The CD begins with “Juris Duty,” an original
contemporary composition. After the saxophone
states the melody, pianist Jim Cowherd is the first
soloist, and delivers an exceptional solo, highlighted
by long, linear passages, as well as creative rhythmic
ideas. Saxophonist Matt Garrison follows Cowherd,
adding a stellar performance of his own, building
on the energy Cowherd began. Kain steps up as the
final soloist on this track – impressively expanding
melodic ideas, expressed with the magnificent tone
he had developed on his instrument. The song ends
with the restatement of the melody. Throughout the
song, the band is in sync, hitting punches and listening
together well.
The composition “Kolyma” is among the highlights
of the album. The guitar and saxophone play
the melody together, with the pianist playing the harmony
in the background. The guitar and saxophone
blend beautifully together. Kain is the first to step
into the spotlight, playing a masterfully executed
44 August 2008 􀁕 Jazz Improv® NY 􀁕 www.jazzimprov.com To Advertise CALL: 212.889.0853
solo – with fluidity on the guitar, up and down the
neck, crafting intricate ideas assimilating contemporary
My favorite track on the album is the ballad
“Own My Way Home.” Kain and Garrison begin the
song as a saxophone/guitar duet. Kain’s chord voicings
are outstanding in his accompaniment of Garrison’s
improvisation. The rest of the band soon enters. Garrison
maintains the energy, captivating the listener
until the conclusion with powerful and mesmerizing
melody. This composition showcases Jon Cowherd on
piano who produces another stunning solo.
No Pain, No Gain is a well-crafted album of
contemporary jazz. The band is familiar with both
the traditions of the music – past and present – producing
a compelling hour of listening.
SOUTH AMERICAN DREAM - www.feliposalles.
com. Seven Days; Unborn Choro; Family Ties
;Somewhat Frevo; Crayon; Xote Manco; Three Views
PERSONNEL: Felipe Salles, baritone, tenor, soprano
saxes, bass clarinet, flutes; Jacam Manricks,
alto sax, bass clarinet, flutes; Laura Arpiainen, violin;
Joel Yennior, trombone; Nando Michelin, piano;
Fernando Huergo, bass; Bertram Lehmann, drums
Rogerio Boccato, percussion.
By Winthrop Bedford
There is much more to Felipe Salles than the
tenor sax, appaarently his primary instrument, and
the instrument from which the first sounds of his
emerge on his album South American Dream. This
album is replete with what feels like an open-ended
vision of the all encompassing. His compositions
and arrangements use all sorts and combinations of
instrumental colors, textures and layers. Then, Salles
puts himself rightin themidle of his compositional
offerings, delivering his own array of sounds on tenor,
baritoneand soprano saxophones, bass clarinet, and
flutes, throughout the album as well.
Felipe Salles is a New York based saxophonist
who hails from Sao Paulo, Brazil. In short, his music
evidences an extraordinary mix of his cultural roots,
the music and sounds of his native Brazil, assimilated
with the harmonic, melodic, and rhythmic vocabulary
of jazz. Salles has worked with a number of jazz
artists including George Russell, Gunther Schuller,
Sam Rivers, Jerry Bergonzi, Luciana Souza, and othersand
is a 2005-2006 winner of a Chamber Music
America grant. Salles busy schedule also includes
teaching at Manhattan School of Music and Five
Towns College. Salles claims as his influences Stravinsky,
Bartok, John Coltrane, Wayne Shorter, and
Hermeto Pascoal among others. When you immerse
yourself in this latest recording, those influences become
apparent. But the music is not any of them.
The first track on Felipe Salles South American
Dream is “Seven Days.” It opens out of tempo, with
Salles brushing over a broad landscape with his expansive
sound and explorational approach on tenor
sax. The main theme, corresponding to the numeric
allusion in the title, is correspondingly composed
over a 7/4 rhythmic meter. While the primary theme
is expressed by Salles himself initially, it is later harmonized
for several horn voices. Nando Michelin
takes a brief solo on piano. It’s compelling. I want
to tap my feet and I want more. The brief interlude
sets the stage for Salles explorations on tenor, during
which he is quickly joined by the other players
– Yennior on trombone, Manricks on alto – whose
contributions add a substabtial measure controlled
chaos, and leading to the emergence of Yennior as
the next soloist. The others drop out and it is Yennior
accompanied by the rhythm section, then followed
by another sax solo. It’s an exciting piece – the themes
emerge unexpectedly as do the the solos and soloists.
It is inspiringly unpredictable.
Like American composer Charles Ives who
used the concept of two musical ensembles playing
simultaneously approaching each other from opposite
ends of the field to create some kind of chaos or
confusion, Salles employs a similar concept on “Unborn
Choro” and the technique appears elsewhere in
the album. This piece opens freely. As it moves into
tempo, there are recurring moments where two different
groups of instrumentalists in the ensemble
sound as if they are pulling apart in terms of tempo
and rhythm. The rhythm section moves in one direction
while the horns emerge, playing at a faster
and faster tempo. A recurring one or two measure
theme (depending upon how you count) is expressed
by the horns and connects the disparate elements of
the performance, the changing meters and surface
chaos, into a logical and compelling whole. A second
more elaborate melodic theme is richly orchestrated
for the horns and Arpainen on volion. They almost
sound like a group of violins. The richness of the ensemble,
with wodwinds and violin dominating, offers
a certain warmth in contrast to the agitation of
the accompaniment, and the changing nature of the
piece. This piece requires a measure of devoted concentration.
But that’s easy, because once you focus,
it is difficult not to be drawn in by the gravitational
pull of this music. Among the many highlights on
this recording is the track “Somewhat Frevo” which
features wonderfully crafted solos, each evidencing
the unique personality of the improviser, specifically
pianist Nando Michelin, trombonist Joel Yennior,
and saxophonist Jacam Manricks.
The depth of Salles writing and his angular concept,
the changing colors of themusic, and all bolstered
by truly superb musicianship by all group members on
this recording, makes it easy to be drawn in and to feel
something. The album’s seven tracks are carefully orchestrated
and brilliantly performed. South American
Dreams is born with a concept that is out of the ordinary,
as is Felipe Salles. Extraordinary is the operative
word here – as as the listening experience.
C.T.M. 101. www.eliovillafranca.com. The Source
In Between; The Lonely One; Oddua Suite; Three Plus
One; In The Dark; Faces, Not Evil; Resurrection Of
The Incapacitated; Don’t Ever Say Never; Luna; The
Source In Between (Latin Re-Mix)
PERSONNEL: Elio Villafranca, piano; Eric Alexander,
tenor saxophone; Dafnis Prieto, drums; Jeff
Carney, bass; Ferenc Nemeth, drums; Yosvany Terry,
alto saxophone/soprano saxophone; Arturo Stable,
By Dan Bilawsky
The title track of Elio Villafranca’s The Source In
Between is a fine synthesis of disparate musical influences
forged into one cohesive statement. Imagine, if
you will, a song with the vibe of “A Night In Tunisia,”
a groove that is equal parts Mozambique-inspired
moodiness, fiery Latin lines, headlong swinging and
compositional quirkiness that screams of Thelonius
Monk. Throwing all of this in a blender might yield
this opening track. To top it off, Villafranca’s solo is
in a realm all its own, betraying no singular debt to
any one specific pianist. The “Latin Re-Mix” of this
tune that closes the album adds a little more spice to
the mix as percussionist Arturo Stable joins the fray
playing tumbadoras. Dafnis Prieto responds well
with small adjustments in his playing to Alexander’s
solo ideas. “The Lonely One,” a mournful ballad-like
piece, begins with Villafranca tenderly laying out a
sparse piano line. Alexander follows the pianist with
a gentle statement over some light cymbal work from
Prieto. Bassist Jeff Carney is the prime rhythmic catalyst
on this track, as he guides the band in the right
direction throughout. The sleepy nature of this piece
gives way to the mystery and majesty of Villafranca’s
“Oddua Suite.” Prieto’s cymbal and tom swells help
to heighten a sense of drama at the outset. Alexander
controls the direction until the group returns to the
original dark hues of the introductory material. Jeff
Carney has a brief unaccompanied cadenza before
laying down a sly bass line, at which point he hands
things over to Villafranca. Prieto, master of the everevolving
groove, follows and responds to every statement
made with slight modifications and directional
changes in his drumming. Alexander’s sound is much
broader and bolder when he returns with some explosive
soloing that really helps to light a spark under the
rest of the band and they return one last time to the
introductory theme to bring things to a close.
Monk, filtered through a Latin post-modern
prism, is once again a noticeable influence on “Three
Plus One.” Prieto brilliantly fills in the spaces at the
top of the song and toward the conclusion. Some solo
To Advertise CALL: 212.889.0853 August 2008 􀁕 Jazz Improv® NY 􀁕 www.jazzimprov.com 45
trading between Villafranca and Alexander keeps
the excitement up throughout the middle of the
piece. “In The Dark” doesn’t conjure up any of the
spooky thoughts of a child in said predicament, but
rather exudes a gently swirling and soothing mixture
of sounds. Ferenc Nemeth, occupying the drum
chair for this track, creates gentle wave like sound
with his brushes. Villafranca’s gentle lyricism and
impressionistic side is on full display. Carney’s arco
bass work melds with the waves of sound created by
Nemeth and Villafranca beneath Alexander’s saxophone
lines. Alexander, Villafranca and Carney have
no shortage of ideas during their solos on “Faces, Not
Evil” and Prieto has some nice set-ups that help to
push and drive the band. “Resurrection Of The Incapacitated”
is a stormy musical piece, which features a
lot of give and take between Villafranca, Prieto and
Carney. Yosvany Terry, on alto saxophone, makes an
appearance on “Don’t Ever Say Never.” Prieto and
Carney make the ground seem to shift beneath the
band during various parts of this tune. Terry, moving
to the soprano saxophone, plays the snake charmers
role on “Luna,” as he seduces you with his sly
yet friendly lines. Villafranca’s choice of musicians
proves to be a great match for this forward-thinking
Latin-leaning program of originals.
Rick Wald
PLAY THAT THING – Glowbow Music. No
address given. Rickwald.net. Maiden Voyage; Play
That Thing; Dawn To Dawn In The City; Quascau;
Prince Of Darkness; Gonna Getcha; Thing’s Aren’t
What They Seem; Stompin’ At The Savoy.
PERSONNEL: Leader/alto sax: Rick Wald; – Lou
Marini, Loren Stillman, Ted Nash, Adam Kolker,
Terry Goss, saxophones, woodwinds; Earl Gardner,
Seneca Black, John Eckert, Jack Walrath, trumpets;
Sam Burtis, Noah Bless, Art Baron, George Flynn,
trombone; Ted Kooshian, piano; Chip Jackson,
Dennis Irwin, bass; Jeff Brillinger, drums.
By Larry A. Detwiler
Composer, arranger, and alto saxophonist Rick
Wald has been leading bands in the New York area
for over 35 years and feels that 16/NYC may be the
finest to date. After experiencing this recording I
think many of the listeners will agree. With band
members that have performed with such notable
talents as Duke Ellington, Charles Mingus, Elvin
Jones, Lee Konitz, Village Jazz Orchestra, Lincoln
Center Orchestra, John Abercrombie, Ray Charles,
Frank Zappa, and Tito Puente this should come as
no surprise. Not only do they form a fine ensemble,
but each is also an outstanding soloist, with thirteen
of the sixteen members soloing on the album. What a
refreshing change of pace this provides from the typical
big band recording where you might get to hear
four or five soloists at most. In my opinion this is the
way all bands should assign solos, spread the wealth
and get everyone involved, especially when they are
all this talented.
That being said, I must warn you that this is
not a recording for the casual jazz fan. This is highly
intellectual music and places a high demand on the
listener. This music is very dense, heavy, and often
dissonant in nature. It is not what one would expect
from a big band recording. On a standard big
band recording, the band would carry most of the
musical material with a few solos dispersed here and
there. Not so with these originals and arrangements
by Wald. This music is reminiscent of small combo
music, with the soloists carrying most of the musical
material and the band providing the backgrounds
and connective ideas. This is not easy for any band,
because of the emphasis and demands it places on the
soloist. But it works remarkably well for this group
because of the number of fine soloists that they have.
The melodies of the works are not ones that you are
going to be singing as you finish the CD, as they are
quite disjunct and rhythmic in nature. This is the
other end of the spectrum from smooth jazz.
When you listen to the band playing the sections
that they have, they seem to blend into one
voice. This is probably the highest compliment that
I could pay to the ensemble. This implies that there
aren’t any voices that stick out more than the others
which demonstrates the extraordinary balance
within the group. It also proves that the intonation,
articulation, and interpretation (and this could well
be the hardest of these three to perfect) are also near
perfect for the entire ensemble.
Wald states that when writing or arranging he
tries “to suggest “moods” in his compositions, sometimes
a few different moods within one piece”. An excellent
example of this would be his original composition
“Dawn To Dawn In The City”. It opens with a
free jazz feel featuring a trumpet cadenza-styled solo.
From there it moves into a New Orleans feel with a
plunger-mute trombone solo, finally settling into a
slow swinging ballad. At this point the listener has
the impression that we have arrived at the main style
of the selection. But suddenly, there is a tenor sax
solo with just the piano playing the accompaniment
by way of block chords on each beat, a very interesting
effect and something that we have not heard anywhere
else on the CD. Before it returns to the ballad
style for the ending there is one more twist, a trombone
solo in an almost funk-like style. This selection,
I feel, demonstrates the appeal of this recording. The
listener is never quite sure where the next turn is going
to lead, but we are taken there by a great band and
through the improvisational genius of great players. I
think that the best symbolism that I can use for these
songs is that of a rollercoaster: you’re never quite sure
where the next dip or turn is going to take you, but it
certainly provides a lot of excitement getting there.
As I stated before, if you are a casual jazz listener
or are not willing to invest the attention and seriousness
that this CD requires, this is not for you. Even if
you attack this recording with those things in mind
it still may take more that a single listening to really
appreciate and understand these excellent songs. I can
attest to the fact that it took me a few times through
to get inside of the music and really start to appreciate
it - but I also found myself enjoying it and responding
to it more and more each time. This brings to mind the
simple truth “the best things in life aren’t always easy”,
but they are, at least in this case, worth it.
Records. www.bluearkrecords.com. Yardbird Suite;
Lush Life; Johnny Come Lately; Bright Mississippi;
Misty; Bohemia After Dark; Work Song; Resolution;
I’m A Fool To Want You; Equinox; Blue Skies; Lonnie’s
PERSONNEL: Dwight West, vocals; Clifford
Adams, trombone; Nat Adderley, Jr., piano; T.K.
Blue, alto sax, flute; Greg Bufford, drums; George
Caldwell, piano; Michael Logan, bass; Claudio
Roditi, trumpet; Greg Searvance, drums.
By Clive Griffin
Even if you don’t know who Dwight West is,
it is abundantly clear who his influences are before
even opening the package. An inset illustration of
Mt. Rushmore appears on the album cover of the
vocalist’s album Tribute To The Masters. In the
graphic, the images of John Coltrane, Charlie Parker,
Thelonious Monk and Billy Strayhorn replacing the
four American Presidents—the ones you would otherwise
see if you visited the amazing architecture in
South Dakota.
By way of background, West has performed
around the world with Amiri and Amina Baraka’s
poetry ensemble for almost two decades, and the
New Jersey native also performs with a big band regularly.
Baraka also wrote the liner notes.
On this album, West is surrounded by a cast of
experienced accompanists, and blows through a collection
of twelve well-known jazz compositions and
Great American Standards. He also wrote the lyrics
to all but the standards. Tribute To The Masters gets
46 August 2008 􀁕 Jazz Improv® NY 􀁕 www.jazzimprov.com To Advertise CALL: 212.889.0853
off to a bright start with Charlie Parker’s “Yardbird
Suite.” T.K. Blue sparkles in his rendering of the
melody for the first chorus. West delivers the lyrics
in the second chorus. His warm baritone voice is immediately
fetching. Between his sound, the rhythm
section accompaniment, and a quick look at the repertoire,
it is quickly apparent that this is going to be
an enjoyable hour of straight ahead acoustic jazz.
Nat Adderley Jr. steps to the stage to back West
on Strayhorn’s “Lush Life.” Adderley sensitively follows
West’s out of tempo rendition of the verse. The
two are joined by bassist Michael Logan, and drummer
Greg Bufford for the chorus, which moves into a
gentle ballad tempo. West’s delivery is both relaxed
and vibrant, highlighted by his carefully developed
vibrato. Needless to say, Johnny Hartman’s classic
recording of “Lush Life” with John Coltrane, virtually
made the song his. West is certainly influenced
by Hartman, and stands tall in his own offering of
this classic.
West offers another tip of the hat to Billy Strayhorn,
singing his compositon “Johnny Come Lately.”
Although the lyrics themselves didn’t capture me,
West nonetheless swings powerfully in expressing
them. T.K. Blue steps to the plate with another impressive
It is rare that we get to hear Monk’s “Bright
Mississippi,” and more infrequent that we get treated
to a vocal rendition of it. West is confident, and his
big sound bring to life this extraordinary composition.
Trombonist Clifford Adams joins the festivities,
and with a big round sound, crafts a wonderfully
melodic chorus.
Erroll Garner’s “Misty” is perhaps one of the
most often performed and recorded songs in history,
and probably one of the biggest money-makers. And,
no matter how often I hear it, I never get tired of the
magnificently colorful set of chord changes, the melody
and lyrics—especially when delivered as warmly,
sensitively and musically as Dwight West does here.
West’s performance here makes the track one of the
highlights of the set.
West performs three Coltrane compositions on
this release, in addition to the Strayhorn tune “Lush
Life” that is associated with Coltrane and Johnny
Hartman by virtue of their classic 1963 collaboration.
West covers “Lonnie’s Lament,” “Equinox,” and
“Resolution.” The latter composition was originally
recorded on Coltrane’s A Love Supreme. It’s a medium
tempo piece, with a powerful swinging groove,
and while it is very much melodically and rhythmically
mainstream, it suggests a more exploratory
realm, and adds to the expansiveness of hues and colors
of the music that West has recorded here.
Other highlights on Tribute To The Jazz Masters
include Nat Adderley’s “Work Song.” While Nat
Jr. appears on other tracks, pianist Caldwell appears
here. Incidentally, Caldwell is a strong and thoughtful
accompanist, whose solos throughout the album
are consistently superb. Claudio Roditi turns in a
noteworthy performance on this one as well.
Tribute To The Jazz Masters provides an hour of
delightful listening, and a quality snapshot of the vocal
and lyric-writing talents of Dwight West.
AWAKE—Marsalis Music. Web: www.marsalismusic.
com. Awakening – Prelude; Camarón; Penta; The
Missing Piece; Ulysses in Slow Motion; Awakening
– Interlude; Santo; Lamamilla; Third Dimension;
Awakening – Postlude.
PERSONNEL: Miguel Zenón, alto Saxophone; Luis
Perdomo, piano, Fender Rhodes; Hans Glawischnig,
bass; Henry Cole, drums, percussion; Judith Insell,
viola (tracks 1 & 8); Orlando Wells, violin (Tracks
1 & 8); Marlene Rice, violin (Tracks 1 & 8); Nioka
Workman, cello (Tracks 1 & 8); Tony Malaby, tenor
saxophone (Track 6); Michael Rodriguez, trumpet
(Track 6); Ben Gerstein, trombone (Track 6).
By John Cizik
It’s clear this will not be a “typical” jazz record
from the beginning, as Puerto Rico native Miguel
Zenón blends a small string quartet with his alto sax
on “Awakening – Prelude”. Zenón’s horn sneaks into
the strings so fluidly as to be almost unnoticeable. His
tone is absolutely gorgeous—his vibrato matching that
of the two violins, viola, and cello. A little saxophone
cadenza takes us without pause to Henry Cole’s insistent
drum lead-in to the first quartet cut, “Camarón”.
Veteran keyboardist Luis Perdomo joins on Rhodes,
with Hans Glawischnig’s bass filling out the lineup.
Perdomo switches to piano for “Penta”, a polyrhythmic
gem that has sax and piano sharing the
melody at various points, and the bass laying some
incredibly complicated rhythmic lines in the background.
Zenón’s solo work is excellent, as he runs
up and down his alto with ease. Perdomo has a fine
piano solo on this cut too, before beginning “The
Missing Piece”—the bass and sax soon join with the
melody. Glawischnig plucks the bass, producing a
nice effect. Perdomo builds tension cinematically
with heavy chords, then settles behind the melody.
All the while, fellow Puerto Rican Cole adds flavor
with drums and various percussion sounds.
The next track on this CD of original compositions
is entitled “Ulysses in Slow Motion” although
there is nothing slow about this tune whatsoever.
Perdomo is back on Rhodes to which Zenon explains,
“I felt that [it] would create a different sonic flow and
push the music in different directions.” The main
direction this track takes is straight ahead, with the
leader playing some awesome arpeggios during his
long solo. There’s a false ending about halfway through
that ends up leading into a cutting Rhodes solo.
The theme returns on “Awakening – Interlude”,
with an entirely different flavor. This time, Zenón
has added a horn section, with Tony Malaby on tenor,
Michael Rodriguez on trumpet, and Ben Gerstein on
trombone. It begins frenetically, fading in to the entire
band soloing! “I wanted to create a feeling of a
large group of instruments coming at you all at once
with different ideas,” Zenón says. The tenor whinnies
like a horse, the trumpet hits the stratosphere,
the trombone brays, the drums go crazy, and behind
it all you occasionally hear Zenón with the “Awakening”
theme. Near the end, that theme is more insistent,
and shared among the various horns. The alto
segues into “Santo”, a twelve-minute epic featuring
bowed bass and lots of percussion. This song has a
little bit of everything—tempo changes, key changes,
virtuosic solos, even chanting voices near the climax.
“Lamamilla” is a love note to Zenón’s wife Elga,
which again uses strings. “I’d never written for strings
before,” says the alto player, “and it was a big challenge
to employ them as a new color and make something
musical without over-writing.” He’s succeeded, as the
strings add variety without overpowering the quartet.
“Third Dimension” sees a return to tricky
rhythms, with a dissonant line repeated by piano and
sax, with drums and bass joining before everything
stops—suddenly, it all kicks back in with another
awesome sax solo. The tightness of this band is very
much on display here, as each instrument has its own
tasks to carry out on a complicated number.
This beautiful little collection concludes with
“Awakening – Postlude”. As expected, the theme returns,
but in the midst of a fantastic alto saxophone
cadenza lasting almost two and a half minutes. The
Berklee trained Zenón truly displays the breadth of
his talent here, and it’s the perfect coda to a brilliant
CD. As quietly as he entered on track one, he fades
into the sunset on track ten. Let’s just hope that
Miguel Zenón won’t be fading from the music scene
anytime soon.
To Advertise CALL: 212.889.0853 August 2008 􀁕 Jazz Improv® NY 􀁕 www.jazzimprov.com 47
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