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Joe MagnarelliJoe Magnarelli Small’s, February 17Small’s, February 17

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Jazz Inside Magazine

ISSN: 2150-3419 (print) • ISSN 2150-3427 (online)

January-February 2019 – Volume 9, Number 10

Cover Photo of Jimmy Cobb and photo at right of

Buster Williams (left) and Jimmy Cobb (right) By Eric Nemeyer

Publisher: Eric Nemeyer Editor: Wendi Li Marketing Director: Cheryl Powers Advertising Sales & Marketing: Eric Nemeyer Circulation: Susan Brodsky Photo Editor: Joe Patitucci Layout and Design: Gail Gentry Contributing Artists: Shelly Rhodes Contributing Photographers: Eric Nemeyer, Ken Weiss Contributing Writers: John Alexander, John R. Barrett, Curtis Daven-port; Alex Henderson; Joe Patitucci; Ken Weiss.

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CONTENTSCONTENTS

CLUBS, CONCERTS, EVENTSCLUBS, CONCERTS, EVENTS 13 Calendar of Events 18 Clubs & Venue Listings

INTERVIEWSINTERVIEWS 4 Matthew Shipp 8 Joe Magnarelli 20 Idris Ackamoor by Ken Weiss

28 Bobby Broom 36 Dianne Reeves

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By Eric Nemeyer

JI: Some artists have mentioned that rather than

prepare for a moment, they prepare for being in the

moment.

MS: Well, I prepare for being out of the moment.

[laughs] In a sense, I like to think of the self of

myself as always just outside of even the precincts

of my body, and the performance, and any of this

that constitutes the jazz world—or this world in

general. Maybe on a circle above that—that could

create circles that come down through space time.

JI: There are certain strictures and structures that

exist in the forms, a series of chord changes, har-

monic, melodic elements of the composition.

MS: I try to melt all the materials down. On one

level, it all comes from one continuum. There’s

one

thing that holds all musical space-time together, or

space-time in general—especially if you think of

the Universe as coming out of the big bang. It’s all

coming out of the dimensionalist point. If you’re

trying to get back to the beginning of it all, and

you situate yourself there, then it’s all the same,

it’s all a variation on a theme. You can melt all the

materials down to a basic set of parameters that

can then be inter-exchanged and interweaved in all

different types of ways, and all different types of

frequencies because it’s coming from the same

nexus, or the same nodal point. I’ve been thinking

in these terms ever since I was a teenager, and

wanted to have an original musical identity. I

wanted to be a musician and also wanted to have

an original style on my instrument. I’ve always felt

that to do that, you had to get to who you are—and

then once you deal with who you are, you’re deal-

ing with what everything is.

JI: What kinds of music were you working on

when you were searching for your path?

MS: I think as a teen I was interested in what any

young jazz musician would have been interested

in.

As a pianist, you have the three post-Miles [Davis]

pianists: Herbie [Hancock], Chick [Corea], and

Keith [Jarrett] - that paradigm. I wasn’t interested

in it per se. I knew it was there. I actually look at

that paradigm as problematic.

JI: Why is that?

MS: When you’re a teenager you’re just gathering

materials and you know you want to get some-

where, but you don’t really know. You’re trying to

gather a lot of experiences and hoping that it will

come together in a way that will thrust you some-

where—and you’re not exactly sure what that

“where” is...because that “where” is a process, and

the end point is part of the process. You don’t

know where it’s going to be. I did know that I

wanted to have my own universe—and walk in my

own universe in the way that say Thelonious Monk

did. In a similar way, I had my own idiosyncratic

way of playing the piano. This is not calculation

either. I knew this was inside of me. The whole

Herbie, Chick and Keith thing is such a ‘70s

[1970s] thing. I’m not saying that what they did is

not great. It’s just such a 70s thing. I knew in my

way of wanting to step outside of that … that was

such a powerful paradigm. But, if you’re going to

bypass that in any way … that has such a powerful

effect on people’s psychologies, that people are

going to have a hard time perceiving you, if you

don’t somehow come out of that. I always thought

of myself as coming out of various strands. I’ve

always loved Thelonious Monk and Bud Powell—

but I’ve never wanted to play bebop, per se. I ad-

mire Bud Powell too much to try to actually do

that. Bud Powell’s way of playing is as idiosyn-

cratic as Monk’s. People don’t think of it that way,

because it is probably a little easier to copy it in

some ways. But it is as idiosyncratic. Actually that

effect can never ever, ever be duplicated—because

he’s not really playing bebop. He’s playing brain-

waves on the piano and it just happens to go

through a period that was called bebop. It’s really

it’s own world. So Monk and Bud Powell were the

people I really idolized. Then I really idolized

Duke Ellington’s piano playing. I also really ad-

mired Lennie Tristano, and Bill Evans to some

degree. I knew that McCoy Tyner was another

person, because I was also into the Coltrane uni-

verse. But, I knew that I didn’t want to be a

McCoy Tyner type of player. I didn’t want to end

up getting a gig with Pharaoh Sanders. I really

didn’t want to be in the Herbie-Chick-Keith post-

Miles paradigm. There wasn’t anything outside of

that. There are models like Andrew Hill and Cecil

Taylor—who are other iconoclastic players, who

have gone their own way. But I knew that if I was

seen in that lineage, also, that that’s a prison. So I

guess I really just wanted to keep putting a lot of

ideas into the hopper of the mind — but at the

same time trying to discover what makes me tick,

which is an extra-musical thing that has nothing to

do with music. Finding out what makes you tick—

that’s your world view, your way of seeing things.

And, you hope that there is some intersection be-

tween your world view, your own electromagnetic

mind field, and the actual materials of music.

JI: Beyond whatever the approach to music and

the musical vocabulary is, those players involved

in the aforementioned paradigm that you refer-

enced have been able to connect with audiences.

How has the consideration of connecting with an

audience influenced your approach, if at all?

MS: First of all, they played with Miles Davis.

JI: So, you’re saying that they’ve got charisma pre

-sold, and doors opened by virtue of their prior

connection.

MS: There is no marketing thing for any young

jazz musician, nowadays, that is like that. Playing

with Miles Davis was an important thing. Even

someone like Brad Mehldau, can’t quite get the

advantage like they got the advantage. It was

something that was open to those guys that just

doesn’t exist anymore. I actually read an interview

in the Chicago Tribune where Herbie Hancock

was talking about this - where he mentioned that

no matter what jazz musicians have happening, the

doors are not opening for them like they were for

him and his generation. The 70s was a different

time. Nowadays there is just so much “noise” out

here, and so many different alternatives for people

to get information that there’s just no centralized

way for jazz musicians to get their identity out

there. Things are dispersed. We don’t have the

opportunities that people of that time had—or the

centralized image of who they were. There’s no

way for a musician to get that now. That’s not

what music is about of course. But, it’s important

to understand the ways of existing out here. Also,

(Continued on page 12)

Matthew Shipp

“In And Out Of The Moment”

INTERVIEWINTERVIEW

“I wanted to be a musician and also wanted to have an original style on my instrument. I’ve always felt that

to do that, you had to get to who you are—and then once you deal with who you are, you’re dealing with

what everything is.”


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Joe MagnarelliJoe Magnarelli

Hear Joe at Small’s, February 17Hear Joe at Small’s, February 17


Interview By Eric Nemeyer

Jazz Inside Magazine: What were your musi-

cal activities like growing up in Syracuse?

Joe Magnarelli: Well, my dad was a comedi-

an — not a professional comedian, well, kind

of a professional comedian. He had a radio

show, did a lot of theatre around the Syracuse,

New York area, and he was always the come-

dic relief. Between the ages of 12 and 22, I

was completely into playing competitive bas-

ketball. I wasn’t really in the music scene,

although I did go to Fredonia State, which had

a Music Program, but I wasn’t amusic major. I

wanted to play basketball but I got cut my

junior year. I didn’t really get connected till I

was about 23 or 24 — around 1984. I was to-

tally a late bloomer, but I was always playing

piano. In fact, I had more professional jobs on

piano when I was between the ages of 17 and

22 than I had on trumpet — but they weren’t

jazz situations. They were mostly accompany-

ing singers and playing in churches. When I

was in sixth, seventh, and eighth grade, I had a

fantastic trumpet teacher who really taught me

good fundamentals on the trumpet. I really

practiced hard at that time, but I didn’t play

much through high school or college. Maybe

about my junior year in college is when I start-

ed to practicing more.

JI: What was the tipping point that pushed you

over the edge to pursue a professional career

as a trumpet player?

JM: Well, I knew I was going to be a musician

of some sort. I did go one semester to Berklee

School of Music, and while I was there I really

got into Clifford Brown. I remember going to

the library at Berklee every day and just

checking out all of Clifford’s recordings. And

so I started learning some Clifford Brown so-

los, and I think that’s when I started to realize

that I really wanted to play the trumpet and

pursue it after college.

JI: Were you transcribing those solos off the

record?

JM: I was. I wasn’t writing them down, but I

was learning them. I learned a couple solos,

“It’s Crazy” and of course, “Joy Spring” and I

played one or two others that I learned. I

couldn’t really execute the solos at first, but I

already had the ability to play the horn, so

playing with the Clifford Brown records kind

of brought that ability out again. At Fredonia,

when I got cut from the basketball team, I just

kind of switched over to trumpet. All of a sud-

den, I just started playing trumpet all day. It

was too late to switch my major to music so I

just got a Criminal Justice degree and that was

it. I got out of school and just starting practic-

ing music all the time, every day.

JI: What was the timeframe in terms of you

making the transition from school to New

York?

JM: In 1982 I graduated from Fredonia. That

summer of ‘82 I just practiced all day long. I

started to get into Fats Navarro records and

then eventually into Blue Mitchell and Kenny

Dorham records. So from 1982 to 1985 I was

in Syracuse. I got a day job and practiced as

much as I could. I wasn’t interested in any-

thing else other than practicing the trumpet -

not even hanging out. I was playing gigs out-

side of Syracuse, and then in 1985 I left.

JI: How did things work for you when you

moved to New York?

JM: Well, you know, I actually came down

here with a job. I was playing Ain’t Misbehav-

in’ on the road, and the conductor had been

hired to do ten weeks at the Darien Dinner

Theater. So he asked me to move to New York

and to take this gig at the Darien Dinner Thea-

ter. That was my chance to move to New

York. So that’s what I did. My first year and a

half in New York was spent playing shows. I

got involved with A Chorus Line at the time,

but then I had heard about a Lionel Hampton

audition through some guys I met playing

these shows - other young cats who were play-

ing jazz. I got a chance to audition for Lionel

Hampton’s Big Band in ‘87, and I won the

audition. I was with him for two years and

started meeting more people and getting in

different bands. I played with Jack McDuff,

‘89 through ‘91.

JI: What were some of the challenges that you

were experiencing?

JM: New York was different back then be-

cause in the late 80’s, early 90’s a lot of the

masters were still alive. I used to go hear Jun-

ior Cook, Dizzy Reece and C Sharp at Au-

gie’s. There were all these great older musi-

cians — Woody Shaw and Freddie Hubbard

— so I never felt like I was really getting any-

where playing in the jazz industry. I just felt

blessed that I was there and learning and lis-

tening to these guys. Plus you have to remem-

ber that back then recording was not like it is

now. There were companies who recorded

musicians and you had to wait in line. Now

anybody can record a CD and put it out there

so that whole aspect of the business has

changed completely.

JI: What were some of the advice or words of

wisdom that you were receiving from mentors

that had a significant impact on your playing

and your life?

JM: Well, I’m not sure if anybody really told

me anything, although I did work with a lot of

great people. I think back then you were just

shown the way on the bandstand. I did lessons

with various cats, but I would just say that by


“I did work with a lot of great people. … back then you were just shown

the way on the bandstand. I did lessons with various cats, but … hearing these great musicians in person, by living in New York all

these years —that’s your lesson.”

Joe Magnarelli

“...ccc”

INTERVIEWINTERVIEW


hearing these great musicians in person, by

living in New York all these years - that’s

your lesson. You know, going to hear Tom

Harrell at Bradley’s, maybe there was four or

five engagements he had there and I was there

probably four to five nights each engagement

— all three sets! That’s the learning experi-

ence! Going and hearing Clifford Jordan and

then Woody Shaw and Eddie Harris. Just in-

credible experience! And that’s your lesson.

JI: Talk about some of the gigs that really

stood out for you with some of these great

players.

JM: I think playing with Charles Davis in the

90’s. That was a real learning experience be-

cause he really knew Kenny Dorham’s music

and also Dizzy’s music. He knew a lot of ins

and outs in the music that really helped me. I

worked a little bit with Louis Hayes and some

gigs with Jimmy Cobb once. It’s just things

like that where either you’re going to fold be-

cause you’re going to say, “Wow! I can never

be that great.” Or you just say, like, “Wow,

man. I want to keep practicing and get better

so I have more opportunities like these.”

JI: How has your study and practice routine

changed over the years since you’ve been in

New York?

JM: Well, I guess since I’ve been here I’ve

edited out a lot of the bullshit. I just try to

work on the essentials. I just try to listen to

certain players and the way they play and try

to copy what they do and work it out for my-

self.

JI: What’s your approach to writing?

JM: I wish it was more regular, but it’s more

of an occasional thing. I start writing stuff

when I know there’s a record date coming up.

JI: You’ve done several recordings. Why

don’t you talk a little bit about how your first

recording came about?

JM: I had been hounding Gerry Teekens with

Criss Cross Records for two years. I actually

had a gig with Grant Stewart, Spike Wilner

and Jimmy Lovelace on the East Side. We

played every Thursday night and one week,

Gerry Teekens walked in and heard me play.

The next fall he gave me a record date, which

was really great—an exciting moment for me.

I did six records for him so it worked out well.

JI: What kind of discoveries did you make

about the music business and record industry

as a result of your business association with

him?

JM: I was so into just trying to sound good on

the records and do the right thing musically

that I didn’t study the business as much as I

should have then. Gerry wasn’t really into the

business part of it either. Gerry was more into

recording good music, putting it out, and mov-

ing on. He didn’t really push his artists to get

them recognized. His philosophy was, “I rec-

orded you. I’m going to distribute these CDs

all over the world, and that’s enough.” In a

way, it’s a lot better than nothing. I learned

more from the record business these last two

years—with my last record on Reservoir and

doing my own thing here with the strings.

JI: Talk about your new recording with

strings, My Old Flame

JM: I think the record came out very well, and

I think the reason why it came out well is be-

cause of the experience that I gained recording

for other labels. I kind of knew what it would

be like in the studio. Everything went very

smooth and everybody had a good time. I

think that shows on the recording. It was defi-

nitely a learning experience though. I mean

you don’t realize how much responsibility you

really do have when people start calling you

and need to know answers. You have to make

sure all the funds are correct and everybody

gets what they’re supposed to. It’s a lot to do

while thinking about your own playing. What I

did learn is that I don’t really want to be a rec-

ord producer for my own records. I want

somebody else to produce them because I

want to just think about the music, but I could-

n’t do that this time. I had to plan rehearsals

and get new string players and get music to

people. It just got crazy, and I couldn’t really

concentrate on my own playing, but luckily

I’ve been practicing for this date for almost a

year, so I felt like I had put in my time. Basi-

cally I learned the complete Bird with Strings

record—all of Bird’s solos. I learned a whole

bunch of Louie Armstrong’s solos too because

I knew if I got Marty Sheller to write the string

parts, the strings would be hip and beautiful

and I just wanted to be able to go into a situa-

tion where my phrasing was cool and it felt

good. Plus, I memorized all the scores. When

Marty sent the scores to me, I memorized

them on piano so I could play the scores like I

was playing a tune. I felt confident going in.

JI: How does teaching impact your artistry?

JM: I’m teaching at Rutgers and New Jersey

City University. I feel like I need to practice to

try to stay one step ahead of my students. I

like teaching because it gives me reason to

“shed” and learn tunes and concepts. A couple

of my students are really into writing tunes in

odd meters, and I’ve never really been into

that. So I love the teaching for that reason. It

inspires me. Young kids have a lot of positive

energy and they’re dreaming about their lives

and you can feed off that.

JI: Talk about some of the artists you’ve been

performing with.

JM: Lately I’ve been playing a little bit with

Ralph Bowen, which is another great experi-

ence for me. Living in New York at this time

and being the age that I am, a lot of my peers

are just some of the baddest cats out there. So,

playing with them is a beautiful thing. It’s


Joe Magnarelli

“if I sit home and I start practicing what I’m going to play on a particular tune and then I go to the gig, that’s

what I play on the gig. I feel hindered, creatively. But when I sit at the piano and play those things, and I hadn’t

played them on trumpet yet, then I go to the gig, I feel something different

comes out … like my creativity is on a good level, it’s in a good place.”

January-February 2019 Jazz Inside Magazine www.JazzInsideMagazine.com 11 To Advertise CALL: 215-887-8880 Visit JohnALewisJazz.com

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Joe Magnarelli

exciting for me and it also keeps me focused

on trying to get better and trying to play on a

higher level. I sub a lot with the Village Van-

guard Band. So, there’s learning that music,

learning Thad’s music and Jim McNeely’s

music. There’s a lot of opportunity here in

New York just by hanging out with your peers.

The gig that changed my career and my life

was playing with Ray Barretto. He was really

the first person that gave me a real jazz gig,

even though it was Latin jazz. We traveled all

around the world playing the best venues, and

we played our own stuff. We played my tunes,

Robert Rodriguez’s tunes, Myron Walden’s

tunes. That gig was when I thought to myself,

“Yeah, I can—not only do it but I can survive

in this business doing what I do…”

JI: Having facility on piano is so important

when you’re playing another instrument.

JM: Oh, yeah. Well, I find as a trumpet play-

er—if I sit home and I start practicing what

I’m going to play on a particular tune and then

I go to the gig, that’s what I play on the gig. I

feel hindered, creatively. But when I sit at the

piano and play those things, and I hadn’t

played them on trumpet yet, then I go to the

gig, I feel something different comes out …

like my creativity is on a good level, it’s in a

good place. There’s something about not

working it out on the trumpet, having it in

your head and having it played out on the pi-

ano for a long time that gives it a certain

amount of freshness that I really dig.

JI: Tell us about your association with Marty

Sheller who arranged the music for your al-

bum, My Old Flame.

JM: I met him about five or six years ago. I

didn’t know much about him, but as soon as I

met him and I played in his band, with his

music, his nonet music, octet music … I start-

ed to realize what a great writer he was, as

well as a great person. He was nice enough to

lend me his scores to the octet music, and I

studied his scores. Basically I was studying

with him. So when I got this idea about doing

a record, a string record, he was my first and

only choice. He had written the Woody Shaw

version of “We Will Be Together Again” back

in the 70’s, or early 80’s. That was one of the

first things I heard when I was young. So

that’s been in my head for years. I just felt

really lucky to know Marty at this time and

have an opportunity to do this with him. He’s

a great musician. He’s really a bad dude, man.

(Continued from page 10)

the Miles Davis thing is a heavy thing. I try to

figure out sometimes why jazz marketing has

never gotten beyond that image. It seems like it is

going to be problematic for the music to go any-

where until that image, which is restrictive, is

destroyed. Maybe we’re at the end of it because

you have the last generation of people — people

who have had significant careers, that played with

him, such as John Scofield, Marcus Miller … so

hopefully that whole thing is coming to an end. I

think it has hurt the music—despite the fact that a

lot of great, great music was created by it. The

mindset of that has just infested every aspect of

jazz marketing. It’s like an insidious disease.

JI: How have you experienced or bypassed the

impact that the marketplace and or peer pressure

can have on your creating music?

MS: I don’t listen much to my peers. For instance,

I know Dave Douglas well. I’ve never listened to

a Dave Douglas ever. My musical personality was

very established by the time I was 22 or 23. I’m

very focused in who I am and what I do, and I

don’t really care what anybody else is doing. I

mean, I work with a record label, so that’s kind of

a weird thing to say. I do hear a lot of things in

that capacity. But, to use a post-Clinton term, I

have the ability to compartmentalize [laughs]. I

don’t really listen to what other musicians are

doing. I don’t care because I’m really centered in

what I’m doing, and I’m a centered individual.

And, this business is so difficult. If critics like

something that Dave Douglas does, or Brad

Mehldau does, it is not going to influence me to

do something like they do just because they have

had success with it.

JI: Given that you take a more abstract approach

to music...

MS: Well, I don’t take an abstract approach to

getting gigs [laughs]

JI: Once on stage, though… Your associations

have been with artists who are noted for more

exploratory approaches like bassist William Par-

ker, Mat Maneri. How do you take that abstract

approach and make it more accessible or other-

wise make more people aware of it?

MS: If you look at Monk as the model, his music

was as abstract as anything. Yet, they were able to

sell the idea of Monk. He had a name, a look, a

way of being that all fit his music—and was able

to enter into the general cultural mien by virtue of

its freshness, it’s beauty, it’s power, and the fact

that there was a personality behind it. So some-

body like myself had to be able to do something

like that on some level. I’m not trying to compare

myself to Monk. But, I had to be able to do some-

thing like that in some way. Whatever my thought

in modern society is, I have to be able to figure it

out, so I can build a network—so I can be that

within society, but stay true to the actual music

that I play, and not compromise that in any way. I

just want to find a way to make people realize that

maybe they should listen to this—because it does

serve some purpose within society. So I have to be

able to sell this idea. How do you do that? That’s a

matter of luck, ingenuity on my part, and my mu-

sic actually being able to reach the people—

people who then in turn will help out, and try to

make byways out here, to find places and ways I

fit within the society. Within the language of

jazz—even though it’s an American music—is not

given the chance to really fit in society.

JI: Could you talk about your association with

William Parker.

MS: I met him when I moved to New York in

1984. I had heard him on records, and I knew he

was a kindred soul who I wanted to play with. He

is seven or eight years older than me. He is a

bridge between generations. I knew he had played

with Don Cherry. He was playing with Cecil Tay-

lor at the time. So he was playing with a genera-

tion older than me. He was also playing with peo-

ple like Billy Bang, Frank Lowe, Jameel Moon-

doc—people that were peers in his age group—

and me. I felt a kinship to his language. I met him

on the street when I first moved here. I just

stopped him and talked to him, and he was very

gracious. He could have had an attitude, like “who

are you...I play with Cecil Taylor.” But he was

very cool. He heard a tape of mine, and then we

just started playing together, and we built up a

very close friendship and musical relationship

over the years. He has been one of the most im-

portant people in my life.

JI: What kinds of suggestions or advice from

William Parker had your received that have made

an impact on your approach?

MS: When I moved to New York, I was fully

formed in what I do. Not that I haven’t improved a

lot or changed, but I was who I was. We talked

more about non-musical things. The thing about

William that is so great is that he is his own acad-

emy. Even though he studied with a number of

heavyweights for short periods of time—Richard

Davis, Jimmy Garrison—he’s really a self-made

musician. He really put his own information to-

gether. He started playing as a teenager. He would

listen to records for hours, and take a broom, hold

it like an upright bass, and play bass lines. He

didn’t know anything about the bass then, but he

was developing a kinesthetic connection between

what he heard on the record and the physicality of

it, and the mental processing of the whole thing—

just by playing a game as a kid. To me that is so

great and so profound because kids really learn

through play. He developed a concept in his head

about how he learned to play bass before he even

started studying. He’s a very deep, deep human

being. I’m not going to blow him up to be a saint.

When you get to know William, there are a lot of

intense paradoxes that make him even more inter-

esting. If anybody knows my discography, he’s

been a huge part of my musical universe and my

universe in general.


Matthew Shipp Joe Magnarelli

13 To Advertise CALL: 215-887-8880 January-February 2019 Jazz Inside Magazine www.JazzInsideMagazine.com

Tuesday, January 1 Jonathan Barber & Vision Ahead; Jazz Standard, 116 E. 27th St.

Chris Botti; Blue Note, 131 W. 3rd St.

Wednesday, January 2 Queen Esther Sings Billie Holiday: The Lost Classics; Dizzy’s

Club, Jazz At Lincoln Center, 60th & Bdwy

Gretchen Parlato ‘flor’; Jazz Standard, 116 E. 27th St.


Thursday, January 3 Jumaane Smith Presents Louis! Louis! Louis!; Dizzy’s Club, Jazz

At Lincoln Center, 60th & Bdwy

Gretchen Parlato ‘flor’; Jazz Standard, 116 E. 27th St.


Friday, January 4 Patrick Bartley: The Mighty Cannonball Adderley; Dizzy’s Club,

Jazz At Lincoln Center, 60th & Bdwy

Stefon Harris & Blackout featuring Casey Benjamin; Jazz Stand-ard, 116 E. 27th St.


Saturday, January 5 Christian Sands Quartet; Dizzy’s Club, Jazz At Lincoln Center,

60th & Bdwy

Dafnis Prieto Big Band; Jazz Standard, 116 E. 27th St.


Sunday January 6 High Wire Trio featuring Christian Sands; Dizzy’s Club, Jazz At

Lincoln Center, 60th & Bdwy

Camila Meza & The Nectar Orchestra; Jazz Standard, 116 E. 27th


Monday, January 7 Mingus Big Band: Celebrating 10 Years at Jazz Standard; Jazz

Standard, 116 E. 27th St.

Baylor Project; Francisco Mela’s Ancestros; Blue Note, 131 W. 3rd St.

Tuesday, January 8 Bill Charlap: Portraits in Jazz – Solo Piano; Jazz Standard, 116 E.

27th St.

Ben Williams & Friends; Blue Note, 131 W. 3rd St.

Wednesday, January 9 Corcoran Holt Quintet; Dizzy’s Club, Jazz At Lincoln Center, 60th

& Bdwy

Bill Charlap: Portraits in Jazz – Bill Charlap/Jon Faddis Duo; Jazz Standard, 116 E. 27th St.

Ben Williams & Friends; Blue Note, 131 W. 3rd St.

Thursday, January 10 Bill Charlap: Portaits in Jazz with Sean Smith & Bill Stewart; Jazz

Standard, 116 E. 27th St.

Ralph Peterson’s Aggregate Prime; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy

Jimmy Heath Big Band; Blue Note, 131 W. 3rd St.

Friday, January 11 Hamilton de Holanda Trio; Dizzy’s Club, Jazz At Lincoln Center,

60th & Bdwy

Jazz At Lincoln Center Orchestra with Wynton Marsalis and the National Symphony Orchestra of Romania, 8PM, Rose Theatre, Jazz at Lincoln Center, 60th & Broadway

Bill Charlap: Portraits in Jazz – The Bill Charlap Trio featuring Peter Washington & Kenny Washington with Special Guest Tom Harrell; Jazz Standard, 116 E. 27th St.


Saturday, January 12 Igor Butman and the Moscow Jazz Orchestra; Dizzy’s Club, Jazz


Jazz At Lincoln Center Orchestra with Wynton Marsalis and the National Symphony Orchestra of Romania, 8PM, Rose Theatre, Jazz at Lincoln Center, 60th & Broadway

Bill Charlap: Portraits in Jazz – The Bill Charlap Trio featuring Peter Washington & Kenny Washington with Special Guest Houston Person; Jazz Standard, 116 E. 27th St.


Sunday January 13 Bill Charlap: Portraits in Jazz – The Bill Charlap Trio featuring

Peter Washington & Kenny Washington with Special Guest Houston Person; Jazz Standard, 116 E. 27th St.


Monday, January 14 Ellis Marsalis Presents: Ben Patterson, Rina Yamazaki, & Isaiah

J. Thompson - The Winners of the 2018 Ellis Marsalis Internation-al Jazz Piano Competition; Dizzy’s Club, Jazz At Lincoln Center, 60th & B’dwy

Mingus Orchestra: Celebrating 10 Years at Jazz Standard; Jazz Standard, 116 E. 27th St.

Tuesday, January 15 André Mehmari Trio with special guest Rogerio Boccato; Dizzy’s


Michael Leonhart Orchestra; Jazz Standard, 116 E. 27th St.

Eddie Palmieri; Blue Note, 131 W. 3rd St.

Wednesday, January 16 The Oberlin Sonny Rollins Jazz Ensemble; Dizzy’s Club, Jazz At


E.J. Strickland Quintet: Warriors For Peace Release Party; Jazz Standard, 116 E. 27th St.


Thursday, January 17 Romero Lubambo & Rafael Piccolotto de Lima Chamber Orches-

tra Project; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy

George Coleman Quintet; Jazz Standard, 116 E. 27th St.

Eddie Palmieri; Blue Note, 131 W. 3rd St. (Continued on page 14)

CALENDAR OF EVENTSCALENDAR OF EVENTS

How to Get Your Gigs and Events Listed in Jazz Inside Magazine Submit your listings via e-mail to [email protected]. Include date, times, location, phone,

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ADVERTISING: Reserve your ads to promote your events and get the marketing advantage of con-trolling your own message — size, content, image, identity, photos and more. Contact the advertising department:

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Friday, January 18 George Coleman Quintet; Jazz Standard, 116 E. 27th St.


Saturday, January 19 George Coleman Quintet; Jazz Standard, 116 E. 27th St.


Sunday January 20 George Coleman Quintet; Jazz Standard, 116 E. 27th St.


Monday, January 21 Jazz at Lincoln Center Youth Orchestra; Dizzy’s Club, Jazz At


Mingus Big Band: Celebrating 10 Years at Jazz Standard; Jazz Standard, 116 E. 27th St.

Keyon Herold; Blue Note, 131 W. 3rd St.

Tuesday, January 22 Tatiana Eva-Marie: Django Birthday Celebration; Dizzy’s Club,


Vijay Iyer Trio; Jazz Standard, 116 E. 27th St.


Wednesday, January 23 Sharón Clark Quartet; Dizzy’s Club, Jazz At Lincoln Center, 60th

& Bdwy

Vijay Iyer Trio; Jazz Standard, 116 E. 27th St.


Thursday, January 24 The Cookers; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy

Life of A Legend: Carmen De LaVallade, Dancer, actor, choreog-rapher, and 2017 Kennedy Center Honors recipient. Carmen de Lavallade celebrates her love for jazz in this special Life of a Legend performance; 7PM, Appel Room, Jazz at Lincoln Center, 60th & Broadway

Vijay Iyer Sextet; Jazz Standard, 116 E. 27th St.

Friday, January 25 Vijay Iyer Sextet; Jazz Standard, 116 E. 27th St.

Life of A Legend: Carmen De LaVallade, Dancer, actor, choreog-rapher, and 2017 Kennedy Center Honors recipient. Carmen de Lavallade celebrates her love for jazz in this special Life of a Legend performance; 7PM, Appel Room, Jazz at Lincoln Center, 60th & Broadway

Saturday, January 26 Vijay Iyer Sextet; Jazz Standard, 116 E. 27th St.

Wadada Leo Smith: America’s National Parks, 7PM, 9:30 PM, Appel

Room, Jazz at Lincoln Center, 60th & Broadway

Sunday January 27 Vijay Iyer’s Ritual Ensemble; Jazz Standard, 116 E. 27th St.

Monday, January 28 Monday Nights with WBGO: Valery Ponomarev Jazz Big Band;

Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy

Mingus Big Band: Celebrating 10 Years at Jazz Standard; Jazz Standard, 116 E. 27th St.

Tuesday, January 29 Andy Milne & Unison featuring La Tanya Hall; Dizzy’s Club, Jazz


Nabaté Isles’ Eclectic Excursions; Jazz Standard, 116 E. 27th

Wednesday, January 30 Shenel Johns Sings Dianne Reeves, Diana Ross, and Dinah

Shore; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy

Pat Bianchi Quartet; Jazz Standard, 116 E. 27th St.

Thursday, January 31 Songs of Freedom with music direction by Ulysses Owens, Jr.

featuring René Marie, Theo Bleckmann, & Alicia Olatuja; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy

Jimmy Cobb’s 90th Birthday Celebration; Jazz Standard, 116 E.

Friday, February 1 Songs Of Freedom With Ulysses Owens, Jr. & Friends; Dizzy’s



Saturday, February 2 Songs Of Freedom With Ulysses Owens, Jr. & Friends; Dizzy’s



Sunday, February 3 Songs Of Freedom With Ulysses Owens, Jr. & Friends; Dizzy’s


Monday, February 4 Joe Fiedler’s Open Sesame; Dizzy’s Club, Jazz At Lincoln Cen-

ter, 60th & Bdwy

Vanguard Jazz Orchestra; Village Vanguard 178 7th Ave S.

Tuesday, February 5 Joel Ross Good Vibes; Dizzy’s, Jazz At Lincoln Ctr, 60th & Bdwy


http://www.jazz.org/dizzys


George CablesGeorge Cables Appearing at Village Vanguard, February 5Appearing at Village Vanguard, February 5--1010

© Eric Nemeyer© Eric Nemeyer


George Cables Trio - George Cables, Piano; Dezron Douglas, Bass; Victor Lewis, Drums; Village Vanguard 178 7th Ave S.

Wednesday, February 6 Troy Roberts Organ Trio With Special Guest Chris Potter; Dizzy’s



Thursday, February 7 Freddy Cole Quintet: Songs For Lovers; Dizzy’s Club, Jazz At



Friday, February 8 Freddy Cole Quintet: Songs For Lovers; Dizzy’s Club, Jazz At


The Clayton Brothers Quintet; Jazz Standard, 116 E. 27th St.


John Pizzarelli Trio; Birdland, 315 W. 44th St.

Saturday, February 9 Freddy Cole Quintet: Songs For Lovers; Dizzy’s Club, Jazz At


The Clayton Brothers Quintet; Jazz Standard, 116 E. 27th St.


Smalls Showcase: Dave Meder Trio; Adam Birnbaum Quartet; Darrell Green Quintet; Philip Harper Quintet; Small’s, 183 W. 10th St.; Small’s, 183 W. 10th St.

John Pizzarelli Trio; Birdland, 315 W. 44th St.

Ron Carter’s Blue Note Winter Residency; Gideon King & City Blog; Blue Note, 131 W. 3rd St.

Sunday, February 10 Freddy Cole Quintet: Songs For Lovers; Dizzy’s Club, Jazz At


Jazz For Kids; The Clayton Brothers Quintet; Jazz Standard, 116 E. 27th St.


Scott Reeves Jazz Orchestra; The Afro Latin Jazz Orchestra; Birdland, 315 W. 44th St.

Ron Carter’s Blue Note Winter Residency; Blue Note, 131 W. 3rd

Monday, February 11 Brussels Jazz Orchestra & Tutu Puoane: We Have A Dream;


Mingus Big Band: Celebrating 10 Years At Jazz Standard; Jazz Standard, 116 E. 27th St.


Ronnie Burrage & Holographic Principle; Jonathan Barber Quar-tet; Jon Elbaz Trio “After-hours”; Small’s, 183 W. 10th St.

Lorna Dallas; Birdland, 315 W. 44th St.

Wallace Roney Quintet - February Residency; Blue Note, 131 W. 3rd St.

Tuesday, February 12 Brussels Jazz Orchestra & Tutu Puoane: We Have A Dream;


Michael Leonhart Orchestra “Valentine’s Day Show: Movie Love Themes”; Jazz Standard, 116 E. 27th St.


Catherine Russell and Her Septet, 315 W. 44th St.

Thundercat; Blue Note, 131 W. 3rd St.

Wednesday, February 13 Brian Charette: Music For Organ Sextette; Dizzy’s Club, Jazz At


Double Date With Tierney & Kate: From Django To Joni; Jazz Standard, 116 E. 27th St.


John Stetch & Vulneraville; Dave Pietro Quintet; Davis Whitfield Trio “After-hours”; Small’s, 183 W. 10th St.

Catherine Russell; Birdland, 315 W. 44th St.


Thursday, February 14 Valentine’s Day: Kim Nalley Sings Love Songs; Dizzy’s Club,


Double Date With Tierney & Kate: From Django To Joni; Jazz Standard, 116 E. 27th St.


Phil Stewart Quartet; Chris Byars Original Sextet; Jonathan Thomas Trio “After-hours”; Small’s, 183 W. 10th St.

Catherine Russell and Her Septet: Alone Together; Birdland, 315 W. 44th St.


Friday, February 15 Kim Nalley: Love Songs; Dizzy’s Club, Jazz At Lincoln Center,

60th & Bdwy

Dianne Reeves, 2018 NEA Jazz Master, Valentine’s Day week-end, 8PM, Rose Theatre, Jazz at Lincoln Center, 60th & Bdway



Michael Weiss Quartet; Alexander Claffy Quintet; JD Allen “After-hours”; Small’s, 183 W. 10th St.



Saturday, February 16 Kim Nalley: Love Songs; Dizzy’s Club, Jazz At Lincoln Center,

60th & Bdwy

Dianne Reeves, 2018 NEA Jazz Master, Valentine’s Day week-end, 8PM, Rose Theatre, Jazz at Lincoln Center, 60th & Bdway



Smalls Showcase: Dean Tsur Saxophone Choir; Michael Weiss Quartet; Alexander Claffy Quintet; Brooklyn Circle; Small’s, 183 W. 10th St.



Sunday, February 17 Kim Nalley: Love Songs; Dizzy’s Club, Jazz At Lincoln Center,

60th & Bdwy

Jazz For Kids; Mingus Big Band: Celebrating 10 Years At Jazz Standard; Jazz Standard, 116 E. 27th St.


Vocal Masterclass with Marion Cowings; Emanuele Tozzi Quintet; Bill Goodwin Trio; Joe Magnarelli Group; Ben Zweig Trio “After-hours”; Small’s, 183 W. 10th St.

Birdland Latin Jazz Orchestra; Birdland, 315 W. 44th St.


Monday, February 18 Juilliard Jazz Ensembles; Dizzy’s Club, Jazz At Lincoln Center,

60th & Bdwy

Mingus Orchestra: Celebrating 10 Years At Jazz Standard; Jazz Standard, 116 E. 27th St.


Ari Hoenig Trio; Joel Frahm Trio; Sean Mason Trio “After-hours”; Small’s, 183 W. 10th St.

Judi Silvano and The Zephyr Band; Birdland, 315 W. 44th St.


Tuesday, February 19 John Chin Quintet; Dizzy’s Club, Jazz At Lincoln Center, 60th &

Bdwy

Godwin Louis; Jazz Standard, 116 E. 27th St.

Steve Nelson Quartet; Frank Lacy’s Tromboniverse; Malik McLaurine Trio “After-hours”; Small’s, 183 W. 10th St.

Saxophone Summit with Joe Lovano, Dave Liebman, and Greg Osby; Birdland, 315 W. 44th St.

David Sanborn; Blue Note, 131 W. 3rd St.


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Wednesday, February 20 Bobby Broom Organi-Sation: Soul Fingers; Dizzy’s Club, Jazz At


An Evening With Branford Marsalis; Jazz Standard, 116 E. 27th

Dayna Stephens Quartet - Dayna Stephens, Saxophone; Aaron Parks, Piano; Ben Street, Bass; Greg Hutchinson, Drums; Village Vanguard 178 7th Ave S.

Rob Bargad’s Reunion 7tet; Harold Mabern Trio; Micah Thomas Trio “After-hours”; Small’s, 183 W. 10th St.



Thursday, February 21 David Binney’s Angelino Quartet; Dizzy’s Club, Jazz At Lincoln

Center, 60th & Bdwy

Spanish Harlem Orchestra; Jazz Standard, 116 E. 27th St.



Friday, February 22

Warren Wolf Quartet Featuring Joe Locke; Dizzy’s Club, Jazz At Lincoln Center, 60th & Bdwy





Saturday, February 23 Warren Wolf Quartet Featuring Joe Locke; Dizzy’s Club, Jazz At





Sunday, February 24 Warren Wolf Quartet Featuring Joe Locke; Dizzy’s Club, Jazz At


Jazz For Kids; Spanish Harlem Orchestra; Jazz Standard, 116 E. 27th St.


Emilio Solla Tango Jazz Orchestra; The Ktet; The Afro Latin Jazz Orchestra; Birdland, 315 W. 44th St.


Monday, February 25 Matthew Shipp Trio; Dizzy’s Club, Jazz At Lincoln Center, 60th &

Bdwy



Lucas Pino Nonet; Rodney Green Group; Jon Elbaz Trio “After-hours”; Small’s, 183 W. 10th St.

Victoria Shaw; Birdland, 315 W. 44th St.


Tuesday, February 26 Allison Miller’s Boom Tic Boom; Dizzy’s Club, Jazz At Lincoln

Center, 60th & Bdwy

Steve Slagle’s A.M. Band; Jazz Standard, 116 E. 27th St.

Terell Stafford Quintet - Terell Stafford, Trumpet; Tim Warfield, Saxophone; Bruce Barth, Piano; Peter Washington, Bass; Billy Williams, Drums; Village Vanguard 178 7th Ave S.

Eric Harland’s Voyager; Blue Note, 131 W. 3rd St.

Wednesday, February 27 Black Art Jazz Collective; Dizzy’s Club, Jazz At Lincoln Center,

60th & Bdwy

Joey Defrancesco Trio With Troy Roberts And Billy Hart; Jazz Standard, 116 E. 27th St.


Michael Stephans: Quartette Oblique; Amos Hoffman Trio; Davis Whitfield Trio “After-hours”; Small’s, 183 W. 10th St.

Cyrille Aimee: A Sondheim Adventure; Birdland, 315 W. 44th St.

Eric Harland’s Voyager; Blue Note, 131 W. 3rd St.

Thursday, February 28 Black Art Jazz Collective; Dizzy’s Club, Jazz At Lincoln Center,

60th & Bdwy

Alfredo Rodriguez/Pedrito Martinez Duo; Jazz Standard, 116 E. 27th St.


Cyrille Aimee: A Sondheim Adventure; Birdland, 315 W. 44th St.

Cory Henry Birthday Residency: The Revival; Blue Note, 131 W. 3rd St.

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5 C Cultural Center, 68 Avenue C. 212-477-5993. www.5ccc.com

55 Bar, 55 Christopher St. 212-929-9883, 55bar.com

92nd St Y, 1395 Lexington Ave, New York, NY 10128,

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Aaron Davis Hall, City College of NY, Convent Ave., 212-650-

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Alice Tully Hall, Lincoln Center, Broadway & 65th St., 212-875-

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Allen Room, Lincoln Center, Time Warner Center, Broadway and

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American Museum of Natural History, 81st St. & Central Park

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Antibes Bistro, 112 Suffolk Street. 212-533-6088.

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Arthur’s Tavern, 57 Grove St., 212-675-6879 or 917-301-8759,

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Arts Maplewood, P.O. Box 383, Maplewood, NJ 07040; 973-378-

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Avery Fischer Hall, Lincoln Center, Columbus Ave. & 65th St.,

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BAM Café, 30 Lafayette Av, Brooklyn, 718-636-4100, bam.org

Bar Chord, 1008 Cortelyou Rd., Brooklyn, barchordnyc.com

Bar Lunatico, 486 Halsey St., Brooklyn. 718-513-0339.

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Barbes, 376 9th St. (corner of 6th Ave.), Park Slope, Brooklyn,

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Barge Music, Fulton Ferry Landing, Brooklyn, 718-624-2083,

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B.B. King’s Blues Bar, 237 W. 42nd St., 212-997-4144,

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Beacon Theatre, 74th St. & Broadway, 212-496-7070

Beco Bar, 45 Richardson, Brooklyn. 718-599-1645.

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Bickford Theatre, on Columbia Turnpike @ Normandy Heights

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Birdland, 315 W. 44th, 212-581-3080

Blue Note, 131 W. 3rd, 212-475-8592, bluenotejazz.com

Bourbon St Bar and Grille, 346 W. 46th St, NY, 10036,

212-245-2030, [email protected]

Bowery Poetry Club, 308 Bowery (at Bleecker), 212-614-0505,

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BRIC House, 647 Fulton St. Brooklyn, NY 11217, 718-683-5600,

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Brooklyn Public Library, Grand Army Plaza, 2nd Fl, Brooklyn,

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Café Carlyle, 35 E. 76th St., 212-570-7189, thecarlyle.com

Café Loup, 105 W. 13th St. (West Village) , between Sixth and

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Café St. Bart’s, 109 E. 50th St, 212-888-2664, cafestbarts.com

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Caffe Vivaldi, 32 Jones St, NYC; caffevivaldi.com

Candlelight Lounge, 24 Passaic St, Trenton. 609-695-9612.

Carnegie Hall, 7th Av & 57th, 212-247-7800, carnegiehall.org

Cassandra’s Jazz, 2256 7th Avenue. 917-435-2250. cassan-

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Chico’s House Of Jazz, In Shoppes at the Arcade, 631 Lake Ave.,

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City Winery, 155 Varick St. Bet. Vandam & Spring St., 212-608-

0555. citywinery.com

Cleopatra’s Needle, 2485 Broadway (betw 92nd & 93rd), 212-769-

6969, cleopatrasneedleny.com

Club Bonafide, 212 W. 52nd, 646-918-6189. clubbonafide.com

C’mon Everybody, 325 Franklin Avenue, Brooklyn.

www.cmoneverybody.com

Copeland’s, 547 W. 145th St. (at Bdwy), 212-234-2356

Cornelia St Café, 29 Cornelia, 212-989-9319

Count Basie Theatre, 99 Monmouth St., Red Bank, New Jersey

07701, 732-842-9000, countbasietheatre.org

Crossroads at Garwood, 78 North Ave., Garwood, NJ 07027,

908-232-5666

Cutting Room, 19 W. 24th St, 212-691-1900

Dizzy’s Club, Broadway at 60th St., 5th Floor, 212-258-9595,

jalc.com

DROM, 85 Avenue A, New York, 212-777-1157, dromnyc.com

The Ear Inn, 326 Spring St., NY, 212-226-9060, earinn.com

East Village Social, 126 St. Marks Place. 646-755-8662.

www.evsnyc.com

Edward Hopper House, 82 N. Broadway, Nyack NY. 854-358-

0774.

El Museo Del Barrio, 1230 Fifth Ave (at 104th St.), Tel: 212-831-

7272, Fax: 212-831-7927, elmuseo.org

Esperanto, 145 Avenue C. 212-505-6559. www.esperantony.com

The Falcon, 1348 Rt. 9W, Marlboro, NY., 845) 236-7970,

Fat Cat, 75 Christopher St., 212-675-7369, fatcatjazz.com

Fine and Rare, 9 East 37th Street. www.fineandrare.nyc

Five Spot, 459 Myrtle Ave, Brooklyn, NY, 718-852-0202, fivespot-

soulfood.com

Flushing Town Hall, 137-35 Northern Blvd., Flushing, NY, 718-

463-7700 x222, flushingtownhall.org

For My Sweet, 1103 Fulton St., Brooklyn, NY 718-857-1427

Galapagos, 70 N. 6th St., Brooklyn, NY, 718-782-5188, galapago-

sartspace.com

Garage Restaurant and Café, 99 Seventh Ave. (betw 4th and

Bleecker), 212-645-0600, garagerest.com

Garden Café, 4961 Broadway, by 207th St., New York, 10034,

212-544-9480

Gin Fizz, 308 Lenox Ave, 2nd floor. (212) 289-2220.

www.ginfizzharlem.com

Ginny’s Supper Club, 310 Malcolm X Boulevard Manhattan, NY

10027, 212-792-9001, http://redroosterharlem.com/ginnys/

Glen Rock Inn, 222 Rock Road, Glen Rock, NJ, (201) 445-2362,

glenrockinn.com

GoodRoom, 98 Meserole, Bklyn, 718-349-2373, goodroombk.com.

Green Growler, 368 S, Riverside Ave., Croton-on-Hudson NY.

914-862-0961. www.thegreengrowler.com

Greenwich Village Bistro, 13 Carmine St., 212-206-9777, green-

wichvillagebistro.com

Harlem on 5th, 2150 5th Avenue. 212-234-5600.

www.harlemonfifth.com

Harlem Tea Room, 1793A Madison Ave., 212-348-3471, har-

lemtearoom.com

Hat City Kitchen, 459 Valley St, Orange. 862-252-9147.

hatcitykitchen.com

Havana Central West End, 2911 Broadway/114th St), NYC,

212-662-8830, havanacentral.com

Highline Ballroom, 431 West 16th St (between 9th & 10th Ave.

highlineballroom.com, 212-414-4314.

Hopewell Valley Bistro, 15 East Broad St, Hopewell, NJ 08525,

609-466-9889, hopewellvalleybistro.com

Hudson Room, 27 S. Division St., Peekskill NY. 914-788-FOOD.

hudsonroom.com

Hyatt New Brunswick, 2 Albany St., New Brunswick, NJ

IBeam Music Studio, 168 7th St., Brooklyn, ibeambrooklyn.com

INC American Bar & Kitchen, 302 George St., New Brunswick

NJ. (732) 640-0553. www.increstaurant.com

Iridium, 1650 Broadway, 212-582-2121, iridiumjazzclub.com

Jazz 966, 966 Fulton St., Brooklyn, NY, 718-638-6910

Jazz at Lincoln Center, 33 W. 60th St., 212-258-9800, 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, 1160 Bdwy, (212) 242-1063, jazzgallery.org

The Jazz Spot, 375 Kosciuszko St. (enter at 179 Marcus Garvey

Blvd.), Brooklyn, NY, 718-453-7825, thejazz.8m.com

Jazz Standard, 116 E. 27th St., 212-576-2232, jazzstandard.net

Joe’s Pub at the Public Theater, 425 Lafayette St & Astor Pl.,

212-539-8778, joespub.com

John Birks Gillespie Auditorium (see Baha’i Center)

Jules Bistro, 65 St. Marks Pl, 212-477-5560, julesbistro.com

Kasser Theater, 1 Normal Av, Montclair State College, Montclair,

973-655-4000, montclair.edu

Key Club, 58 Park Pl, Newark, NJ, 973-799-0306, keyclubnj.com

Kitano Hotel, 66 Park Ave., 212-885-7119. kitano.com

Knickerbocker Bar & Grill, 33 University Pl., 212-228-8490,

knickerbockerbarandgrill.com

Knitting Factory, 74 Leonard St, 212-219-3132, knittingfacto-

ry.com

Langham Place — Measure, Fifth Avenue, 400 Fifth Avenue

New York, NY 10018, 212-613-8738, langhamplacehotels.com

La Lanterna (Bar Next Door at La Lanterna), 129 MacDougal St,

New York, 212-529-5945, lalanternarcaffe.com

Le Cirque Cafe, 151 E. 58th St., lecirque.com

Le Fanfare, 1103 Manhattan Ave., Brooklyn. 347-987-4244.

www.lefanfare.com

Le Madeleine, 403 W. 43rd St. (betw 9th & 10th Ave.), New York,

New York, 212-246-2993, lemadeleine.com

Les Gallery Clemente Soto Velez, 107 Suffolk St, 212-260-4080

Lexington Hotel, 511 Lexington Ave. (212) 755-4400.

www.lexinghotelnyc.com

Live @ The Falcon, 1348 Route 9W, Marlboro, NY 12542,

Living Room, 154 Ludlow St. 212-533-7235, livingroomny.com

The Local 269, 269 E. Houston St. (corner of Suffolk St.), NYC

Makor, 35 W. 67th St., 212-601-1000, makor.org

Lounge Zen, 254 DeGraw Ave, Teaneck, NJ, (201) 692-8585,

lounge-zen.com

Maureen’s Jazz Cellar, 2 N. Broadway, Nyack NY. 845-535-

3143. maureensjazzcellar.com

Maxwell’s, 1039 Washington St, Hoboken, NJ, 201-653-1703

McCarter Theater, 91 University Pl., Princeton, 609-258-2787,

mccarter.org

Merkin Concert Hall, Kaufman Center, 129 W. 67th St., 212-501

-3330, ekcc.org/merkin.htm

Metropolitan Room, 34 West 22nd St NY, NY 10012, 212-206-

0440

Mezzrow, 163 West 10th Street, Basement, New York, NY

10014. 646-476-4346. www.mezzrow.com

Minton’s, 206 W 118th St., 212-243-2222, mintonsharlem.com

Mirelle’s, 170 Post Ave., Westbury, NY, 516-338-4933

MIST Harlem, 46 W. 116th St., myimagestudios.com

Mixed Notes Café, 333 Elmont Rd., Elmont, NY (Queens area),

516-328-2233, mixednotescafe.com

Montauk Club, 25 8th Ave., Brooklyn, 718-638-0800,

montaukclub.com

Moscow 57, 168½ Delancey. 212-260-5775. moscow57.com

Muchmore’s, 2 Havemeyer St., Brooklyn. 718-576-3222.

www.muchmoresnyc.com

Mundo, 37-06 36th St., Queens. mundony.com

Museum of the City of New York, 1220 Fifth Ave. (between

103rd & 104th St.), 212-534-1672, mcny.org

Musicians’ Local 802, 332 W. 48th, 718-468-7376

National Sawdust, 80 N. 6th St., Brooklyn. 646-779-8455.

www.nationalsawdust.org

Newark Museum, 49 Washington St, Newark, New Jersey 07102-

3176, 973-596-6550, newarkmuseum.org

New Jersey Performing Arts Center, 1 Center St., Newark, NJ,

07102, 973-642-8989, njpac.org

New Leaf Restaurant, 1 Margaret Corbin Dr., Ft. Tryon Park. 212-

568-5323. newleafrestaurant.com

New School Performance Space, 55 W. 13th St., 5th Floor (betw

5th & 6th Ave.), 212-229-5896, newschool.edu.

New School University-Tishman Auditorium, 66 W. 12th St., 1st

Floor, Room 106, 212-229-5488, newschool.edu

New York City Baha’i Center, 53 E. 11th St. (betw Broadway &

University), 212-222-5159, bahainyc.org

North Square Lounge, 103 Waverly Pl. (at MacDougal St.),

212-254-1200, northsquarejazz.com

Oak Room at The Algonquin Hotel, 59 W. 44th St. (betw 5th and

6th Ave.), 212-840-6800, thealgonquin.net

Oceana Restaurant, 120 West 49th St, New York, NY 10020

212-759-5941, oceanarestaurant.com

Orchid, 765 Sixth Ave. (betw 25th & 26th St.), 212-206-9928

The Owl, 497 Rogers Ave, Bklyn. 718-774-0042. www.theowl.nyc

Palazzo Restaurant, 11 South Fullerton Avenue, Montclair. 973-

746-6778. palazzonj.com

Priory Jazz Club: 223 W Market, Newark, 07103, 973-639-7885

Proper Café, 217-01 Linden Blvd., Queens, 718-341-2233

Clubs, Venues & Jazz ResourcesClubs, Venues & Jazz Resources

— Anton Chekhov

“A system of morality

which is based on relative

emotional values is a mere

illusion, a thoroughly vulgar

conception which has nothing

sound in it and nothing true.”

— Socrates


Prospect Park Bandshell, 9th St. & Prospect Park W., Brooklyn,

NY, 718-768-0855

Prospect Wine Bar & Bistro, 16 Prospect St. Westfield, NJ,

908-232-7320, 16prospect.com, cjayrecords.com

Red Eye Grill, 890 7th Av (56th), 212-541-9000, redeyegrill.com

Ridgefield Playhouse, 80 East Ridge, parallel to Main St.,

Ridgefield, CT; ridgefieldplayhouse.org, 203-438-5795

Rockwood Music Hall, 196 Allen St, 212-477-4155

Rose Center (American Museum of Natural History), 81st St.

(Central Park W. & Columbus), 212-769-5100, amnh.org/rose

Rose Hall, 33 W. 60th St., 212-258-9800, jalc.org

Rosendale Café, 434 Main St., PO Box 436, Rosendale, NY 12472,

845-658-9048, rosendalecafe.com

Rubin Museum of Art - “Harlem in the Himalayas”, 150 W. 17th

St. 212-620-5000. rmanyc.org

Rustik, 471 DeKalb Ave, Brooklyn, NY, 347-406-9700,

rustikrestaurant.com

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,

saintpeters.org

Sasa’s Lounge, 924 Columbus Ave, Between 105th & 106th St.

NY, NY 10025, 212-865-5159, sasasloungenyc.yolasite.com

Savoy Grill, 60 Park Place, Newark, NJ 07102, 973-286-1700

Schomburg Center, 515 Malcolm X Blvd., 212-491-2200,

nypl.org/research/sc/sc.html

Shanghai Jazz, 24 Main St., Madison, NJ, 973-822-2899, shang-

haijazz.com

ShapeShifter Lab, 18 Whitwell Pl, Brooklyn, NY 11215

shapeshifterlab.com

Showman’s, 375 W. 125th St., 212-864-8941

Sidewalk Café, 94 Ave. A, 212-473-7373

Sista’s Place, 456 Nostrand, Bklyn, 718-398-1766, sistasplace.org

Skippers Plane St Pub, 304 University Ave. Newark NJ, 973-733-

9300, skippersplaneStpub.com

Smalls Jazz Club, 183 W. 10th St. (at 7th Ave.), 212-929-7565,

SmallsJazzClub.com

Smith’s Bar, 701 8th Ave, New York, 212-246-3268

Sofia’s Restaurant - Club Cache’ [downstairs], Edison Hotel,

221 W. 46th St. (between Broadway & 8th Ave), 212-719-5799

South Gate Restaurant & Bar, 154 Central Park South, 212-484-

5120, 154southgate.com

South Orange Performing Arts Center, One SOPAC

Way, South Orange, NJ 07079, sopacnow.org, 973-313-2787

Spectrum, 2nd floor, 121 Ludlow St.

Spoken Words Café, 266 4th Av, Brooklyn, 718-596-3923

Stanley H. Kaplan Penthouse, 165 W. 65th St., 10th Floor,

212-721-6500, lincolncenter.org

The Stone, Ave. C & 2nd St., thestonenyc.com

Strand Bistro, 33 W. 37th St. 212-584-4000

SubCulture, 45 Bleecker St., subculturenewyork.com

Sugar Bar, 254 W. 72nd St, 212-579-0222, sugarbarnyc.com

Swing 46, 349 W. 46th St.(betw 8th & 9th Ave.),

212-262-9554, swing46.com

Symphony Space, 2537 Broadway, Tel: 212-864-1414, Fax: 212-

932-3228, symphonyspace.org

Tea Lounge, 837 Union St. (betw 6th & 7th Ave), Park Slope,

Broooklyn, 718-789-2762, tealoungeNY.com

Terra Blues, 149 Bleecker St. (betw Thompson & LaGuardia),

212-777-7776, terrablues.com

Threes Brewing, 333 Douglass St., Brooklyn. 718-522-2110.

www.threesbrewing.com

Tito Puente’s Restaurant and Cabaret, 64 City Island Avenue,

City Island, Bronx, 718-885-3200, titopuentesrestaurant.com

Tomi Jazz, 239 E. 53rd St., 646-497-1254, tomijazz.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, triadnyc.com

Tribeca Performing Arts Center, 199 Chambers St, 10007,

[email protected], tribecapac.org

Trumpets, 6 Depot Square, Montclair, NJ, 973-744-2600,

trumpetsjazz.com

Turning Point Cafe, 468 Piermont Ave. Piermont, N.Y. 10968

(845) 359-1089, http://turningpointcafe.com

Urbo, 11 Times Square. 212-542-8950. urbonyc.com

Village Vanguard, 178 7th Ave S., 212-255-4037

Vision Festival, 212-696-6681, [email protected],

Watchung Arts Center, 18 Stirling Rd, Watchung, NJ 07069,

908-753-0190, watchungarts.org

Watercolor Café, 2094 Boston Post Road, Larchmont, NY 10538,

914-834-2213, watercolorcafe.net

Weill Recital Hall, Carnegie Hall, 57th & 7th Ave, 212-247-7800

Williamsburg Music Center, 367 Bedford Avenue, Brooklyn, NY

11211, (718) 384-1654 wmcjazz.org

Zankel Hall, 881 7th Ave, New York, 212-247-7800

Zinc Bar, 82 West 3rd St.

RECORD STORES

Academy Records, 12 W. 18th St., New York, NY 10011, 212-242

-3000, http://academy-records.com

Downtown Music Gallery, 13 Monroe St, New York, NY 10002,

(212) 473-0043, downtownmusicgallery.com

Jazz Record Center, 236 W. 26th St., Room 804,

212-675-4480, jazzrecordcenter.com

MUSIC STORES

Roberto’s Woodwind & Brass, 149 West 46th St. NY, NY 10036,

646-366-0240, robertoswoodwind.com

Sam Ash, 333 W 34th St, New York, NY 10001

Phone: (212) 719-2299 samash.com

Sadowsky Guitars Ltd, 2107 41st Avenue 4th Floor, Long Island

City, NY 11101, 718-433-1990. sadowsky.com

Steve Maxwell Vintage Drums, 723 7th Ave, 3rd Floor, New

York, NY 10019, 212-730-8138, maxwelldrums.com

SCHOOLS, COLLEGES, CONSERVATORIES

92nd St Y, 1395 Lexington Ave, New York, NY 10128

212.415.5500; 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, brooklynconservatory.com

City College of NY-Jazz Program, 212-650-5411,

Drummers Collective, 541 6th Ave, New York, NY 10011,

212-741-0091, thecoll.com

Five Towns College, 305 N. Service, 516-424-7000, x Hills, NY

Greenwich House Music School, 46 Barrow St., Tel: 212-242-

4770, Fax: 212-366-9621, 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

NJ City Univ, 2039 Kennedy Blvd., Jersey City, 888-441-6528

New School, 55 W. 13th St., 212-229-5896, 212-229-8936

NY University, 35 West 4th St. Rm #777, 212-998-5446

NY Jazz Academy, 718-426-0633 NYJazzAcademy.com

Princeton University-Dept. of Music, Woolworth Center Musical

Studies, Princeton, NJ, 609-258-4241, 609-258-6793

Queens College — Copland School of Music, City University of

NY, Flushing, 718-997-3800

Rutgers Univ. at New Brunswick, Jazz Studies, Douglass Cam-

pus, PO Box 270, New Brunswick, NJ, 908-932-9302

Rutgers University Institute of Jazz Studies, 185 University

Avenue, Newark NJ 07102, 973-353-5595

newarkrutgers.edu/IJS/index1.html

SUNY Purchase, 735 Anderson Hill, Purchase, 914-251-6300

Swing University (see Jazz At Lincoln Center, under Venues)

William Paterson University Jazz Studies Program, 300 Pompton

Rd, Wayne, NJ, 973-720-2320

RADIO

WBGO 88.3 FM, 54 Park Pl, Newark, NJ 07102, Tel: 973-624-

8880, Fax: 973-824-8888, 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, NY 10027, 212-854-9920, columbia.edu/cu/wkcr

ADDITIONAL JAZZ RESOURCES Big Apple Jazz, bigapplejazz.com, 718-606-8442, gor-

[email protected]

Louis Armstrong House, 34-56 107th St, Corona, NY 11368,

718-997-3670, satchmo.net

Institute of Jazz Studies, John Cotton Dana Library, Rutgers-

Univ, 185 University Av, Newark, NJ, 07102, 973-353-5595

Jazzmobile, Inc., jazzmobile.org

Jazz Museum in Harlem, 104 E. 126th St., 212-348-8300,

jazzmuseuminharlem.org

Jazz Foundation of America, 322 W. 48th St. 10036,

212-245-3999, jazzfoundation.org

New Jersey Jazz Society, 1-800-303-NJJS, njjs.org

New York Blues & Jazz Society, NYBluesandJazz.org

Rubin Museum, 150 W. 17th St, New York, NY,

212-620-5000 ex 344, rmanyc.org.

“It is curious that physical courage should be so common in the world

and moral courage so rare.”

— Mark Twain

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Interview & Photos by Ken Weiss

Idris Ackamoor (born Bruce Baker, January 9,

1951, Chicago, Illinois) founded his group The

Pyramids in the early ‘70s in Europe while still

a student at Antioch College. Utilizing the

school’s study abroad program, he was one of

the first jazz musicians to live in Africa, inter-

nalizing the nine months he spent there into a

lifetime of creative inspiration. He also, very

significantly, studied under Cecil Taylor at

Antioch as part of Taylor’s Black Music En-

semble. The life and musical lessons learned

under the iconoclastic pianist still enrich him

today. The Pyramids self-released three well-

received albums in the early ‘70s and then

disbanded. Ackamoor resettled in San Francis-

co, where he still resides, and became the

founder and co-artistic director of Cultural

Odyssey, a performance company, along with

his partner, Rhodessa Jones. The Pyramids

reunited in 2007, more than thirty years after

dissolving, and remain committed to incorpo-

rating the broad elements of the African dias-

pora along with a social consciousness. Acka-

moor is a charismatic artist who utilizes cos-

tumes, tap dance, and audience participation,

along with searing saxophone playing. He’s

done a lot and has much to say. This interview

took place on October 5, 2018 while he was in

Philadelphia with The Pyramids to play Ars

Nova Workshop’s October Revolution of Jazz

& Contemporary Music Festival.

Jazz inside Magazine: Viewing your list of

accomplishments is more than a bit over-

whelming. You’re a creative musician who’s

work spans multiple genres, a multi-

instrumentalist, a composer, actor, tap dancer,

athlete, a co-director of a performance compa-

ny, a community activist, and on top of all that,

you’ve got a real flair for style and theatrics.

Being good at so many things, it must have

been a challenge to decide the focus of your

life’s work.

Idris Ackamoor: It seems like I became as

versatile as I am through a natural process. It

was never really rushed or designed. I started

early, I started music when I was seven-years-

old, and then I left music for a period in high

school for sports but I eventually came back

after I found my teacher and mentor in Chica-

go. Since that time I’ve been consistent at be-

coming an artistic being, surrounding myself

with music. My African odyssey was very im-

portant. In Africa, you find the griots and it’s

rare that anyone just does one discipline. The

griot will tell stories, play music, he’ll do

movement, so that was one of my formative

times and I realized that that’s what I was

about. I was about interdisciplinary perfor-

mance – combining music with theater and

dance – so that over the years I was able to

become adept at these different disciplines.

I’ve been a tap dancer for thirty years. I studied

with some of the masters in the ‘80s. The thing

that gave me the ability in order to do that was

my company Cultural Odyssey. I never had a

day job and with the company, being an artist-

centered company, I made up my own time and

it gave me a salary so I didn’t have the pres-

sure of getting a job or a boss telling me what

to do. It wasn’t easy because there were pro-

jects to do but it was exactly what I wanted to

do.

JI: Your music with The Pyramids is generally

described in the press as something along the

lines of Afrocentric/world music and spiritual

jazz or cosmic jazz. How do you define what

you do?

IA: It has to be traced to Africa and my nine

months living there. I became a percussionist

as well when I was in Africa after starting out

as an alto saxophonist. When I came back from

Africa I was playing many instruments includ-

ing talking drums and balaphone. In defining

my music, I think I play the music of my own

soul through the varied influences in my life.

As far as The Pyramids, we’ve always been

rhythmically based but very avant-garde, com-

ing from the Cecil Taylor school. We came

from the “energy” school, the spiritual jazz

school, but what we were even doing in the

early ‘70s was still rooted in the rhythm.

JI: Taking into account that you live in San

Francisco and play the music that you play,

how has the abrupt emergence of Kamasi

Washington and the West Coast’s growing

Afro-futuristic spiritual revival affected you

and your band? Also do you have a relation-

ship with Kamasi Washington?

IA: I like and enjoy his music but I have no

relationship with him. I feel we are compatriots

in a sense that his emergence seems to mirror

my re-emergence. How people have embraced

Kamasi’s music is similar to how they’ve em-

braced my music. The Pyramids are really

forerunners and the emergence of the DJ cul-

ture has coincided with these heavy DJs, such

as Gilles Peterson and Flying Lotus, rediscov-

ering The Pyramids’ music. I am the elder, the

progenitor, my band came out of the breath of

Cecil Taylor and the Sun Ra Arkestra in the

early ‘70s.

JI: It’s remarkable that your band was active

in the early ‘70s, disbanded in ’77, and then

successfully reformed more than 30 years later.

Why did the band fail in the ‘70s? Do you feel

the concept was too far ahead of its time?

IA: I believe we were ahead of our time and

we finally let time catch up. [Laughs] In the

early ‘70s we were young. We were touring in

Africa when I was like 22. Once The Pyramids

came back from Africa, we were isolated in

Yellow Springs, Ohio. We weren’t influenced

by the Chicago scene, the AACM, or the New

York loft scene. We were in this village in

Ohio and so all of it came from within, which I

think is the best thing that could have hap-

pened to me. I was in a cocoon and I was able

to develop naturally without outside influ-


Idris Ackamoor Out of the Breath of Cecil and Sun Ra

INTERVIEWINTERVIEW

“When I got to L.A. I wanted to find another teacher so I went to this very

well-known studio saxophonist and he asked me to show him how I played. So I played through my routine and he said, ‘I’m not teaching you, man. Go about

your business, you got it.’”


ences. Of course, when Cecil came, he was one

of my major influences, and a mentor and a

friend. When we came out to the West Coast,

we learned we had to make a living and we

couldn’t make a living with our music. We

couldn’t start families and all those pressures

led to the dissolution of the band which was

probably the best thing for me because it al-

lowed me to go on my journey that I’m still on

now. That was in ’77, and in ’79 I formed my

company, Cultural Odyssey.

JI: In speaking with a couple other musicians,

they feel it’s encouraging to see you have suc-

cess finally after so many years. They feel

there’s also hope for them.

IA: [Laughs] Other people have told me that.

I’ve stayed healthy and I’ve always stayed with

my music, and I’ve always been hell on my

instrument. I’ve listened to John Gilmore, and

listened and played with Charles Tyler, and of

course, Clifford King, who was one of my

teachers when I first got back on my instru-

ment in Chicago. I studied with him for over

two years and he really got me going. I’m

learning stuff from him still! I learned every-

thing I needed to know from several amazing

instructors close to fifty years ago that I’m still

discovering. I really didn’t grasp it then and

now I’m starting to grasp it.

JI: What you do with your band is unique, the

way you plunge a stormy African percussive

and rhythmic base into a cosmic, avant-garde

mash. Would you talk about your commitment

to your music?

IA: Because I am a multi-instrumentalist, I

find instruments that help to help me with my

composition and make that connection between

spiritual jazz, between avant-garde jazz, and a

rhythmical foundation. I’m using many instru-

ments, including many African instruments, in

a non-traditional way that comes out very other

worldly.

JI: Another immediate attention-grabbing as-

pect of Idris Ackamoor and The Pyramids is

the use of theatrics. There’s numerous photos

of you online wearing outlandish costumes.

Would you talk about your use and choice of

costumes and costume design?

IA: Once again, Africa is the source. Being in

Africa, you just go nuts because all of the cos-

tume possibilities there. When The Pyramids

came back from Africa, we were all dressed in

African costumes. That’s where we got our

initial inspiration for theatricality, and particu-

larly for costumes. Later on, I became aware of

Sun Ra’s work but Sun Ra was not an influ-

ence on me in terms of my theatricality. I was

already moving in that direction before I was

really into Ra. I was in Africa, that’s even Ra’s

source, along with outer space. In Africa you

see all these incredible costume dramas, the

masquerades they do where they become an-

other entity, another spirit. Once I got into Cul-

tural Odyssey, and I met my partner, Rhodessa

Jones, I got seriously into the whole idea of

costumes and theater.

JI: Have you had concerns that you might not

be taken seriously when dressed as an Egyptian

pharaoh or a zebra at performances?

IA: I’ve never had any concerns. We don’t

want to look better than we play, we want to

play better than we look. That has always been

my feeling and if someone thinks that I don’t,

that’s up to them. I’m not wearing costumes to

masquerade anything, I’m playing out of the

African tradition. That’s what I learned.

JI: It’s challenging to view your use of theat-

rics, costumes, audience interaction, including

walking the aisles, and the use of Egyptian

themes, without drawing a comparison to the

Sun Ra Arkestra. You said earlier that your

work emerged separately from what the

Arkestra was doing. Would you talk more

about that?

IA: I’ve always loved Sun Ra but I was never

immersed in Sun Ra. The first time I saw Sun

Ra was in the early ‘70s when he did the

Berkeley Jazz Festival. In reality, I think I was

in Africa before Ra was in Africa, before he

went to Egypt. I was living in Africa in ’72 and

that gave me a grounding sense. I’ve never put

Ra’s cosmic idea of being from outer space

down in any manner, but that’s his philosophy,

not my philosophy. I’m more grounded, I’m

more in the earth. When I was with Cecil, he

was talking about Africa, about the churches in

Lalibela, Ethiopia. I’ve constantly been on my

own path, taking in various inspirations but

mostly influenced by my teachers, my life, and

my parents.

JI: What kind of feedback have you gotten

from the Arkestra?

IA: Oh, Marshall [Allen] loves what we do,

but they’re doing their thing and we’re doing

our thing. I’ve come about it in a very different

way.

JI: What practical things have you learned

over the years?

IA: I have learned the concept of a business

sense from all the years that I’ve been involved

with my company. I realize all the stumbling

blocks and the challenges of trying to survive

as a musician. I knew I had to go back to the

“street” school of how do you survive as a mu-

sician, and through my ability to take classes

and learn grant writing, I was able to have

health insurance decades ago. I think about

Aretha Franklin dying with no will and that

Prince’s estate is all messed up. That is my

mission in this life. No, I ain’t going out that

way and you don’t have to go out that way.


Idris Ackamoor

“It was all about cooperation, it was all about personality, about uniqueness,

finding your own voice. That was some of the biggest takeaways that I received from Cecil. When we worked with him, we didn’t do notes, we didn’t do lines on music paper. He had a completely different way of composing and way

of trying to give his music to us as aco-lytes in his orchestra. It was all basically

based on his own concept of letters.”


Musicians shouldn’t go out that way. Fortu-

nately I’ve learned all that without handicap-

ping my music. I have an estate plan, I’ve got a

retirement plan, I’ve had health insurance and

a salary for decades. That’s my one little peeve

with Ra and his Arkestra. He’s kept his orches-

tra together for a long time but from what I can

see the business connection is very sparse. It

would have been better to have a situation

where the members of the Arkestra were taken

care of. That, to me, would have been a great

accomplishment. His music speaks for itself

but what about the human element? We can’t

ignore that and I’m not about ignoring that.

JI: What instruments do you play?

IA: [Laughs] The question is what instruments

don’t I play! My babies are alto and tenor sax-

ophone, and lately I’ve been playing a lot more

tenor, but alto always gives me a little edge

because alto is really what I became known

for. I’ve been playing keyboards for many

years. I’m a percussionist that can stand my

own with master percussionists, but I’m not a

master percussionist. I’m a mover, I’m a tap

dancer. That’s one of my secrets for my lon-

gevity because tap dancing is one of the best

health exercises that you can engage in. I play

gongs and anything I can get my hands on ex-

cept the trumpet or any of the brass. I play all

that stuff but my calling is the alto and tenor

sax.

JI: Your given name is Bruce Baker. When

and why did you change your name?

IA: Bruce Baker was up until high school and

until I went on my path. 1968 was one of the

most important years of the 20th Century.

That’s when I graduated and that’s when we

had the assassination of Martin Luther King,

the Democratic riots in Chicago, Bobby Ken-

nedy’s assassination, and Black Power was in

full bloom. I had a big afro. Everybody was

changing their names and I took Idris at that

time. Later, I did research and found out Acka-

moor is my true family’s name on my father’s

side.

JI: Music almost didn’t happen for you. You

originally went to college on a basketball

scholarship but during your freshman year you

changed plans. What was your jazz epiphany?

IA: It wasn’t a jazz epiphany, it was a drug

epiphany. It was around that time that we were

experimenting with LSD. I was a basketball

player but I realized that basketball wasn’t my

calling. I played freshman ball at Coe College

in Cedar Rapids, Iowa but I was the sixth man.

The coach didn’t like that I was growing an

afro and a beard. There were only 50 blacks at

the college. I had a LSD trip that went bad

which was an epiphany and made me realize

this Iowa thing just wasn’t for me. I had a

friend at the college, Albert Waters, a trumpet

player, who started an R & B rock band and he

asked me to join. I told him I hadn’t played in

four years but he said, “Just come on and

play.” So that got my horn back out. That was

in ’69. I soon saw a Jet Magazine with a fea-

tured article on the Nyambi Umoja-Unity

House in Antioch College, the nation’s first

separate black dorm. I thought that was cool

and I read the article and it said that Antioch

College was the most experimental college in

the nation. It was a five-year program with a

work-study program. There were no athletics

or grades, just pass/fail, and they had an educa-

tion abroad program. It just hit me that I need-

ed to go there. I was on the Dean’s List at Coe

College but I called my dad to come and get

me out of there. He took me back home to Chi-

cago and I was thumbing through the Chicago

telephone book for instrument lessons and

that’s where I found my mentor, my guru,

Clifford King, who was an old, retired gentle-

man who had been a part of the whole ‘30s big

band movement with Jimmie Lunceford and all

those other big bands. I studied with him in the

spring and summer and then left for Antioch.

JI: Did Clifford King share any anecdotes

from his time with Jelly Roll Morton?

IA: He didn’t tell me any stories, he just

showed me all kinds of tricks he had learned.

He was a master clarinetist and the first person

to show me how to make any animal sound

you wanted to make on a clarinet – dog, cat,

bear. He could do that all because back in the

day, that’s one of the things the big bands

wanted for the movie scores. They could make

their instruments talk and sing. I was learning

my chromatics, my scales, and a lot of the stuff

he showed me just went over my head but I

became his star pupil because I was a fast

learner.

JI: Your years at Antioch College in Yellow

Springs, Ohio, beginning in 1969, were pivotal

years in your life. The first of two off-campus

training experiences came in 1971 when you

did a semester in Los Angeles and studied with

alto saxophonist Charles Tyler [Albert Ayler’s

cousin and band member]. How did he help

you?

IA: Charles was amazing and he always sup-

ported my sound. Clifford had taught me in

such a way that I was playing stuff that I didn’t

even know I was playing. When I got to L.A. I

wanted to find another teacher so I went to this

very well-known studio saxophonist and he

asked me to show him how I played. So I

played through my routine and he said, “I’m

not teaching you, man. Go about your busi-

ness, you got it.” He turned me away because

he said I was on my way and he didn’t want to

mess with it. I found Charles and always told

me, “If you can play every note in every key

on the saxophone with one finger…” More

than anything, what I learned from Charles was

the ability to improvise, in a trio mostly, be-

cause he wasn’t really into pianos. He was out

of Albert’s school so he had that folk-like thing

in his melodies that I loved playing. Most

amazingly, Charles liked my early composi-

tions so he played my compositions.

JI: During your time at Antioch, you suffered

a severe hand injury that almost ended your

career before it started. You refer to it as a “life

-changing accident.” What happened and how

did it change your life?

IA: Around that time I was really blossoming

and I think God said to me, ‘You’re moving

way too fast. Let me show you something.’

Because I was playing saxophones and flutes

and constructing instruments, making percus-

sion instruments even before I went to Africa. I

did design this very formidable instrument that

they called Idrissa’s machine. It was hallowed

out blocks placed on a board and I’d play them

with bamboo and it sounded almost like a

horse galloping. I really didn’t know anything

about instrument construction and one day I

was alone in the theater department’s construc-

tion shop making my second percussion instru-

ment and there was a faulty guide on the power

saw I was using to gouge out the block. Why

the hell was I using that saw with huge teeth

like that? Needless to say, the guard broke and

my left hand went into the saw and nobody

was around. I got knocked down and, of

course, it was panic and complete mayhem. I

just picked up and ran across a big golf course.

Nobody was around, zero. One Antioch stu-

dent happened to be driving by in a

Volkswagen and heard my screams, saw me

running and got me right to the infirmary and

then to the hospital. The doctors thought I had

lost my finger, I thought I was done. I had sev-

ered my index finger, it was hanging by the

skin. The surgeon who fixed me knew I was an

artist so he set the finger to be curved so that I

could still play saxophone. It was hard but I

was fierce, I was determined. That happened

right when Cecil came. So I’m preparing for

Cecil to come to Antioch, waiting for my hero,

and bam! I’m out of the picture. Cecil got there

and I helped letting students know about him

but my hand was in a cast. I began to play

trumpet because all I needed was my right

hand to play it. I went to Cecil and told him

about the accident and that all I wanted was to

participate with what he was doing. He said,

“Idris, if you can play one note, come, come,

come join the ensemble.” And that’s what I did

and then Clifford Sykes is the guy that turned

the lightbulb on for me. He was a percussionist

who came with Cecil’s ensemble and I saw


Idris Ackamoor


xxxxxxxxxx

that Clifford had his right index finger severed.

I had my left and he had his right so I said,

‘Damn, Clifford, we like twins!’ [Laughs] He

said, “Hey, Idris, don’t worry about it, I know

a clarinet player who has two fingers missing

and he’s still playing. Think about it. Roll your

palm…” So he opened my eyes and I got a

Selmer alto, had it modified, and I’ve been

playing it ever since.

JI: What most surprised you about Cecil Tay-

lor once you got to know him in the fall of

1971?

IA: His non-competitive nature, his collabora-

tive sense. He was always maligned by the

critics, other musicians, and the club owners.

So he was the epitome of the outlaw. He had

the ability to embrace you for who you were

and not put you into a competitive structure. It

was all about cooperation, it was all about per-

sonality, about uniqueness, finding your own

voice. That was some of the biggest takeaways

that I received from Cecil. When we worked

with him, we didn’t do notes, we didn’t do

lines on music paper. He had a completely

different way of composing and way of trying

to give his music to us as acolytes in his or-

chestra. It was all basically based on his own

concept of letters. And he was fast, he’d lose

me sometimes. He’d go, “You’re gonna go A

to G …,” and you had to be writing these let-

ters in a way that was kind of architectural in

many ways, as opposed to giving notes value.

He didn’t do quarter notes or half notes, he’d

give you the notes and you were supposed to

find a way to interpret it.

JI: You share a love of dance with Cecil Tay-

lor. Did he speak to you about that?

IA: No, I didn’t but Cecil always loved to do

social dancing. Before I became a musician I

loved dancing and Chicago was known for

social dancing. They had multiple unique danc-

es there including the Bop, which became

Stepping. I grew up with the Bop in the ‘60s

and that’s what you would dance with to

Marvin Gaye and the Temptations. We’d also

“walk” on the slow dances and then we would

“grind” when we were old enough in those

basement parties. That was the nasty dance. I

love Tap but I didn’t become aware of it until

quite a bit later, and when I had the opportuni-

ty to take Tap, that was one of the best things I

ever did.

JI: You eventually left Antioch’s campus and

Taylor behind in ‘72, utilizing the college’s

abroad program to spend a year in Europe and

Africa to organize a band and to study. What

was your initial concept for The Pyramids and

how did it evolve during your time in Africa?

IA: I didn’t know much about African music

until I got there. The Pyramids had evolved out

of my 1971 band, The Collective. My music

back then was full of so many different colors

with French horn, flute, alto and piano. Once

Cecil came, and that band ended, I was fire-

breathing. The three of us that went on to form

The Pyramids – myself, [future wife/ flutist]

Margaux Simmons, and [bassist] Kimathi

Asante, we were all in Cecil’s ensemble and

we were fire breathing. We did the most avant

of the avant-garde. We were playing my tunes,

I didn’t know about standards at that time. We

were trying to make our souls leave our bodies.

We met our drummer Donald Robinson in

France and we formed as The Pyramids in Am-

sterdam, and then played all over Holland. One

night, the trio with myself, Margaux and Kima-

thi were playing the Literary Café in Holland

and in the audience was this very distinguished

looking black guy who was writing while we

were playing. It so happened that we met one

of the preeminent Beat Poets – Ted Jones. His

famous poem is “Jazz is My Religion.” Well,

he took us under his arm. He wrote a review of

that concert and he composed a poem called

“Pyramids I’ve Known.” In his review, he re-

ferred to us as Cecil Taylor tots. [Laughs] Ted

ended up coming and performing with us, do-

ing his poetry. He had that piece that went – “If

you should see a poet walking down a crowed

street, talking to himself, don’t run in the oppo-

site direction. Run towards him for he is a poet,

you have nothing to fear from the poet but the

truth,” [and then we would blast away on

stage], out into outer space, and he would jump

off the stage because he saw the music coming.

[Laughs] Then we got to Africa and we added

all that African rhythm and stuff to our con-

cept.

JI: You were one of the first American jazz

musicians of your generation to go and live in

Africa. Did you see other American artists

there?

IA: We were one of the first. We ran into an-

other group of African American musicians in

Ghana during our time there called Sons &

Daughters of Lite. They were going on the

same path.

JI: Why didn’t more musicians explore Africa

at that time?

IA: Financially, it was a big issue. Who had

money to go to Africa? Where would you stay?

It was as far away as being on another planet.

There was also the stigma that African Ameri-

cans had about Africa in the late ‘60s. It took a

long time to get over that stigma that Africa

was a primitive place. There were so many

African Americans that thought Africa was just

a jungle and Tarzan. The Black Power Move-

ment was formulated to dispel that and it did.

People thought you’d go there and die of ma-

laria.

JI: What did the indigenous African musicians

make of your music?

IA: Nothing but positive. Margaux and I took

this spiritual journey up to northern Ghana that

was another one of my most life changing ad-

ventures. Just through sheer luck we fell into

the Dagomba people’s musicians of the king’s

court. They were prayer drummers and they

allowed us to pray in their prayer circles. They


“I think dance and music is integral. Jazz used to be a dancing art form. In the ‘20s and ‘30s you didn’t play jazz

for listening, you played jazz for dancing. Jazz was the social dance music of America. Something got lost when jazz transitioned to music that people listened to. I mean how did we get from jazz being the predominant musical voice of America to it becoming 1.2% of record sales?”

Idris Ackamoor


xxxxxxxxxx

met in the village square of a small town with

dirt streets called Tamale. There’d be like 10-

16 Dagomba master drummers from the king’s

court. It was like going back to Africa 500

years in the past. I also saw the parade with the

King of Kings on his horse with a big umbrella

and the talking drummers behind him playing

while the horses were prancing. We then went

further north, almost to the border of Upper

Volta, to Bolgatanga, which was the home of

the Frafra people, and we experienced two

ceremonies there. One of the ceremonies was

the second burial ritual of a Frafra king. In

ancient days, when a Frafra king died, they

wouldn’t let it out that the king had died be-

cause they were worried that the surrounding

tribes might try to take advantage of the disar-

ray. So the second burial would be celebrated a

year later, after the governmental transition had

taken place. We played along with the other

musicians during the ceremony.

JI: You made field recordings of the African

musicians you encountered. How have you

used those documentations?

IA: The only thing I’ve actually issued is on

my double album The Music of Idris Ackamoor

[EM, 2006]. On one of the sides is a track

called “Africa” and that field recording is of

the Dagomba prayer drummers along with me

and Margaux. It’s an amazing track. I’ve got

hours of field recordings that I haven’t released

yet because I’m deciding in what manner I’m

gonna release them and how I can donate the

proceeds to an African charity because these

recordings are like fifty years old and most of

those musicians are no longer with us. Antioch

gave me a very nice Sony field recorder and I

digitized those recordings which are from Gha-

na, Kenya and Ethiopia.

JI: In the early to mid-‘70s, you self-released

three albums of your band. How unusual was it

to self-release at the time and why did you go

that route?

IA: Right, it was absolutely unusual to do that

at that time. I did it through sheer determina-

tion in getting the music out. Around that time,

Cecil was also self-releasing. He did Indent on

his own label and he was at Antioch at that

time. Cincinnati had a pressing plant and it was

about an hour and twenty minutes from Yellow

Springs. We wanted to get The Pyramids

sound on wax and there was no record compa-

ny beating a path to our door, [Laughs] and at

that time I had settlement money from the acci-

dent. It was a really powerful statement that

Antioch fully supported me during this transi-

tional period. They waved any loans that I had

and they made all of my education free and I

had a significant settlement so I became the

financer for the albums. We started with 500 to

1000 of each of the records and we might have

to reorder for another 500.

JI: Since 1979, you’ve led Cultural Odyssey,

the San Francisco-based non-profit performing

arts organization, along with actress/vocalist

Rhodessa Jones. One of the programs the or-

ganization heads is the Medea Project which

entails going into jails to make theater with

incarcerated women out of their own experi-

ences. Why do so and why only target women?

IA: Because this was Rhodessa’s pet project

and she’s always told me there’s so many so-

cial programs in prison for men. Men go out to

the yard and lift weights and various work-

shops are available for them. Women have

never had that. They’re left alone to sit in their

cells and just go crazy. Rhodessa went into the

San Francisco city jail around 1989 to make

theater out of these women’s real life experi-

ences. San Francisco had a very radical sheriff

at that time [Michael Hennessey], he loved the

idea and got behind it completely. He even

allowed the women to be escorted outside the

prison to a major city theater for a two week

run. Every night they go there in their orange

clothes and in handcuffs, deputies at every exit,

they do the show, and are then transported

back to jail. First I’d ever heard of that. Since

that time, Rhodessa has done it all over the

world. Over the past twenty-five years the Me-

dea Project has become the model for working

with incarcerated women and ex-inmates, and

now with HIV + women. I produce the project,

I do all the fundraising.

JI: You’ve also worked with Rhodessa Jones’

brother, famed choreographer/dancer Bill T.

Jones [best known as the Broadway choreogra-

pher for the musical Fela!] How do you view

the connection between dance and music?

IA: I think dance and music is integral. Jazz

used to be a dancing art form. In the ‘20s and

‘30s you didn’t play jazz for listening, you

played jazz for dancing. Jazz was the social

dance music of America. Something got lost

when jazz transitioned to music that people

listened to. I mean how did we get from jazz

being the predominant musical voice of Ameri-

ca to it becoming 1.2% of record sales?

JI: How did you come to simultaneously com-

bine tap dancing and saxophone playing? Had

you seen others do it?

IA: The only person I’ve seen do that, and I


“it’s not black people that don’t care about jazz, I’d say it’s that same divide that separated jazz as a

danceable art form to where it’s evolved, including Wynton Marsalis’ music, that there’s a disconnect. The main apparatus for spreading the word are the

radio shows ... radio has become so bad, in terms of playing jazz, it doesn’t get heard by the black popu-lation … There’s a disconnect between the market-ing apparatus of jazz and getting it to black people.”

Idris Ackamoor


xxxxxxxxxx

didn’t know that at the time, is a white saxo-

phone player named Shoehorn. He doesn’t play

saxophone the way that I do. My combining

Tap and sax happened naturally. I took an in-

tensive study program in Tap, the first thing I

thought about was how I could maybe apply it

to my saxophone playing. It took me a long

time, I should have just been concentrating on

my steps. I didn’t want to make it just a novel-

ty. I wanted to present the substance of a

hoofer. I didn’t know what I was doing at first

but once I had more facility with Tap I began

to use it while playing standards such as

“Misty” and “Sophisticated Ladies.” My whole

idea was playing these beautiful tunes and I

could really float across the floor.

JI: Your current release is called An Angel Fell

[Strut]. Do you believe in fallen angels?

IA: Yes, I’ve seen them. That’s what An Angel

Fell is all about. Between 2005 to 2012,

Rhodessa and I worked in a South African

prison through the Medea Project. We original-

ly were brought over there to do our duet

shows but while we were there, the promotor

got us into the prisons and we set the wheels

moving for a seven-year residency, six weeks

out of the year, to go into the women’s prisons.

The women that we met there, we saw the

whole gamut – murderers, mules, a lot of drug

crime. You’d never know by looking at them.

They were the most beautiful creatures you’d

ever see. In fact, I met and fell in love with this

gorgeous South African woman who was in

there for murder. The lyrics for the title song of

the album are inspired by the meeting I had

with her. A lot of the women were in there for

crimes of economics, not having money and

hooking up with the Nigerian drug cartel, or

for killing their abusive partner in self-defense.

So yes, I’ve seen fallen angels.

JI: The last questions have been given to me

by other artists to ask you:

Rhodessa Jones (actress/vocalist) asked:

“What was your first reaction to our initial

performance together? I always say we fell in

love on stage—I was singing Nina Simone’s

version of “West Wind” and you played the

balaphone.”

IA: Yes, those initial performances liberated

me. I met her around 1979 but we didn’t really

start collaborating until 1983, and once we did

hook up, it was as a duet. It was a revolution-

ary duet that we had. I had been going to Eu-

rope with my quartet since 1980 but every time

I’d go, I’d lose money. I had an agent in Aus-

tria call me to come play and I told him I

would only come over as a duet with this very

beautiful woman who is a dancer, singer and a

mover. He said, “Well, what am I going to do

with that? I’ve got jazz clubs and festivals?” I

told him to trust me and we went over there as

one of the early originators of this new form of

interdisciplinary spoken word and theater. We

went over there with about five gigs that the

quartet had that was replaced with the duet,

and we ended up staying three months because

we were able to play theater festivals, jazz

clubs, and most important, we did dance inten-

sives. She was the main dancer, teaching them

all the crazy four-legged dancing, and I would

play the music to accompany them. At the end

of the intensive, we’d do a big show at a major

venue. That began the basis of Cultural Odys-

sey.

Bill T. Jones (choreographer/dancer)

asked: “Recently, Wynton Marsalis and I were

challenged with a question directed to the both

of us and our specific disciplines during a pub-

lic conversation. The question was why more

black people were not in jazz audiences.

Wynton said he had tried everything he could

think of to attract a wider audience but it

seemed that black people really didn't care

about jazz. How would you answer that ques-

tion?”

IA: I would say it’s not black people that don’t

care about jazz, I’d say it’s that same divide

that separated jazz as a danceable art form to

where it’s evolved, including Wynton Marsal-

is’ music, that there’s a disconnect. The main

apparatus for spreading the word are the radio

shows and because radio has become so bad, in

terms of playing jazz, it doesn’t get heard by

the black population. San Francisco has one

jazz station and most places don’t have any. I

think the reason that blacks aren’t in the audi-

ences is that you’ve got to look at what is the

social atmosphere of, not only black audience

members, but also young, white listeners.

There’s a disconnect between the marketing

apparatus of jazz and getting it to black people.

So it’s mostly a question of exposure, and then

the other issue is jazz education in America.

Bobby Zankel (alto sax) asked: “You may

remember that we first met when I traveled

from Madison Wisconsin, where I worked and

studied with Cecil Taylor, to Yellow Springs,

Ohio to find a place to live. Cecil was hired to

create sort of a Black Aesthetics program that

included literature, dance and, of course, create

an ensemble, as he had done in Madison,

which I was going to continue being a part of.

You and I are about the same age, and in a lot

of ways we seemed to be interested in many of

the same things. You shared your experience

of working with Charles Tyler in L.A., who I

admired. (In 1974 I got to play with Charles

with Cecil at Carnegie Hall) You invited me to

stay at your house and I remember having a

late night jam session. I was really impressed

with your saxophone playing and I was amazed

at your courageous and creative response to

your accident. Of course the time we spent

working on Cecil's music was wonderful and

life changing. The question I would like to ask

you centers around my interest in how musi-

cians evolve and develop themselves over time

- I hate to use the word mature, because that

means you’re getting old. I’d be curious to

know how you connect what we did with Cecil

in Ohio, to the work you’re doing now. I know

for myself, there’s stuff that I do that comes

directly through Cecil but it doesn’t sound too

much like him, but in my mind I know how it

connects. It’s not like I’m doing a Cecil thing,

but it came from that. Knowing how brilliant

you are, I’m sure your personal connection

with Cecil comes up in many interesting and

personal ways.”

IA: I definitely can say that what I got from

Cecil was the idea of possession in music.

When Cecil plays, it’s almost as if he’s pos-

sessed. I mean Cecil would play like he’s a

beautiful demon or a beautiful angel. He al-

ways connected the possession Haitian Voodoo

or possession in African and he played piano

like it was 88-tuned drums. He would be play-

ing as if his soul was being possessed. If you

listen to some of my early recordings, there’s

some things that scare you. We’re doing some-

thing else, we’re possessed, and the soul is

taking you somewhere else. In those early

years, when I was right out of Cecil’s ensem-

ble, those early Pyramid’s recordings, especial-

ly on the 2 CD set out on EM Records, there’s

a solo I take on “Land of Eternal Song,” it’s a

LONG solo. When I listen to it, I don’t even

believe it, it just keeps getting further and fur-

ther out. It’s out of what Clifford taught me

about animal noises. It’s really intense, I think

probably one of the most intense alto solos on

record. Talk about maturity, although I’ve got-

ten older and my sound has changed, but I still

play with my whole body, I still have that

sense of possession when I play. I try to reach,

I become transformed in my body on certain

songs. I’m still a very physical player, like

Cecil was always a very physical player. Jim-

my Lyons could play these beautiful, sweet,

long segments. He was the perfect counterpoint

to Cecil. And then there’s Bobby, he’s the

same way as me. He would play such intense


“Have the courage to say no. Have the courage to face the truth.

Do the right thing because it is right. These are the magic keys to living

your life with integrity.”

- W. Clement Stone

Idris Ackamoor


alto solos.

Bobby Zankel also asked: “Talk about main-

taining a concept and also apparently not feel-

ing any need to live in New York. I like that.”

IA: [Laughs] I’ve maintained a concept while

being very isolated, at first in Yellow Springs,

and secondly in San Francisco. Neither of them

were supposed to be the hotbed of avant-garde

music. I’m the last man standing in San Fran-

cisco. A lot of my contemporaries left San

Francisco a long time ago. I stayed in San

Francisco and made a life, made a foundation.

Karen Borca (bassoon) asked: “Cecil [Taylor]

didn't give lessons, he directed rehearsals.

What was your take on Cecil's methodology?”

IA: When Cecil did auditions for the Black

Music Ensemble, we all came thinking it was

involving music but there wasn’t one note

played in the auditions. Cecil was basically

doing theatrical exercises. He had the musi-

cians lay on the floor and with his directions he

would direct people to crawl over one group of

people to get to another place. You had to fig-

ure out how you were to get over there and

how people could help you get over there.

These were theatrical sensitivity exercises. He

was not looking for the most technically profi-

cient musicians. I think he was looking for the

ones that best took his directions and that’s

been with me all this time. I’m in the same

situation in my bands. I’ve been through lots of

personnel changes. I’m not looking for the

most technically proficient musicians, I’m

looking for the ones that can best take my di-

rection because I know what I’m doing, I know

what I want, and when I give a direction I want

that direction to be followed. Not as a dictator,

but my band is not a democracy. The Pyramids

began as a family band, I had to subvert my

leadership responsibilities, but in reality I was

always the leader.

Andrew Cyrille (drums) asked: “Hi Idris,

what was the best thing you got out of being at

Antioch College in the early 1970’s?”

IA: Wow, you’re getting all the greatest hits!

My god! [Laughs] The best thing I think I got

was Antioch College Abroad Program and of

course the Cecil experience, but more than

anything, developing an independent study

concept. No one told you you had to go to clas-

ses. No one told you to do homework. No one

told you any of those things. You had to make

your own plans. I told them I wanted to go and

form a band and then I wanted to travel to Af-

rica. The abroad program was really set up for

people to go to universities in Europe but I

didn’t want to do that. The best thing that ever

happened to me was that they cast me out into

an abroad program and all they said was that I

had to go to a university in France and take six

weeks of French. Other than that, they gave us

an around the world ticket where we could stop

anywhere in a circle by airplane and they gave

us a 300 dollars-per-month stipend. Other than

that, we were on our own. So I had to get to

Amsterdam and figure out where we were gon-

na stay, how we were gonna get gigs. We did-

n’t even know anybody in Africa. What were

we supposed to do in Africa? It all came about

me as a leader in collaboration with Margaux

and Kimathi. I was always the fearless one. I

was always let’s go, we’ll do this.

Famoudou Don Moye (percussion) asked:

“How did you get interested in learning to play

and dance with the chekere [a percussive in-

strument of West African origin consisting of a

dried gourd with seeds woven into a net cover-

ing the gourd] and how has your command of

the instrument and dance movements pro-

gressed over the years?”

IA: I did a big collaboration with Moye and

other master percussionists once and we did a

chekere dance. I’ve always been very physical

so I would play the chekere, bounce it on my

knees, throw it under my legs, and then throw

it over to the other chekere master percussion-

ist, and he’d have a chekere and he’d throw his

to me. It was almost like a basketball game but

it was all in rhythm. When I get with a master

percussionist, there’s nothing we can’t do be-

cause the master’s got it under control and I’m

able to hang. As far as progression of dance

movements, I’ve continued to advance my

ability to tap dance and play saxophone at the

same time. The physicality has helped to keep

me in shape. I’m also an active swimmer,

which has helped me with my lung capacity.

It’s all about the wind.

Jemeel Moondoc (saxophone) asked: “How

did your travels to Africa enhance or support

your concept of American Black Music?”

IA: No, you didn’t talk to Jemeel! No! Well,

what Cecil taught us was timeline patterns.

Basically, it is a continuation from Africa to

the slave trade to the middle passage to the

field shouts to the blues to New Orleans, so

that the connection with Africa is a part of our

common experience as African Americans.

They’re getting ready to celebrate 400 years

since 1619, the year the first black slaves ar-

rived in America. They’re gonna celebrate that

in August, 2019. The whole concept is depend-

ing on how you relate and associate yourself

with Africa, and I think that Africa is only now

becoming even more important through cli-

mate change. Western society is damaging our

environments with climate change. Africa is

such a large continent, and there’s been several

books written that Africa may be the last basti-

on of nature and the pureness of the Earth. It’s

so vast, some parts of the interior have not

even been explored. I’m still very inspired by

the developments in Africa and Fela’s music.

It’s a diaspora. I’ve always been inspired by

Bob Marley’s music, Sun Ra, Art Ensemble,

the griots, the chroniclers of the African socie-

ty and history. I can connect myself to that and

I’m finally in that position with An Angel Fell,

which is, in my opinion, the most socially con-

scious album I’ve ever done, and that’s where

I’ve always wanted to be. I’ve always wanted

to be like a New Age griot. I see things that

inspire my compositions.

Jemeel Moondoc also asked: “How was We

Be All Africans [Strut] conceived?”

IA: It was conceived because of all the police

shootings of young black men. The oldest

bones have been found in Africa and a lot of

scholars, including Leakey, believe we are all

descended from a common ancestor, and many

people think that ancestor happened in Africa

and then migrated to different places. There’s a

lot of scientific information that we came out

of the Garden of Eden, and that’s in Africa. So

I’m asking why are we killing each other?

Why are white policemen killing black youth?

Why is there all this racism when we be all

Africans? We’re all a part of a common ances-

tor.

Jemeel Moondoc also wanted to know if you

would be interested in performing in a project

that he’s calling 'Alto Gladness'. He wants to

reform Cecil Taylor's alto section at Antioch

along with you and Bobby Zankel. The three of

you and a rhythm section.

IA: He really said that? This is what I’ve been

thinking about for the last couple of years!

Yes! Wow, I’m ready!

“Time makes heroes and dissolves celebrities.”

- Daniel Boorstin, Past Librarian of Congress

““The greatest discovery of any generation is that human beings

can alter their lives by altering the attitudes of their minds.”

- Albert Schweitzer

Idris Ackamoor


By Eric Nemeyer

JI: What were the circumstances that led to

your association with Miles Davis?

BB: Around 1983, before I moved to Chicago,

there was talk about the possibility that I would

play with Miles. There was a musicians’ club in

the village at that time called 55 Grand Street,

where a who’s who of the modern jazz, fusion

and funk scenes would be playing and/or hang-

ing out every night. Miles’ road manager was

there a lot and would tell me that I was going to

be getting that gig eventually. I didn’t believe

him. In 1987 a few of the members of Miles’

band were native Chicagoans – Robert (Babe)

Irving, III, Darryl Jones and Vince Wilburn.

Miles was going through guitarists in search of

the right one, and they (and possibly others)

must have told him about me. I was told to put

a tape together, so I did my best rocked-out

guitar impersonation, which was pretty phony,

but got me to the next stage of being sum-

moned to New York. I still had my apartment

there. We rehearsed, and I started working. I

recall breaking a string seconds before I was to

take my first solo…a portent. I never, ever, was

inclined toward rock guitar. Never felt comfort-

able with distortion as a part of my voice. So

really, I wasn’t the man for the job because

that’s what Miles was looking for. That sound

had been a part of Miles’ bands for ten to fif-

teen years up to that point. At the same time

though, I wasn’t going to pass on the chance to

play with him. I think it became clear to him

pretty quickly where my heart was musically.

He’d come over to me on stage and play lines

that he would have played in 1958; then he’d

wink at me and stroll off.

JI: What kinds of discussions did you have

with Miles Davis?

BB: Just regular ones I guess. Sometimes they

were about music of course and then other

times just regular things; you know, like when

you’re traveling with people and sitting around

airports for hours passing time. The conversa-

tion that really stands out in my memory

though, is when I had to call him up to tell him

I couldn’t play a concert with him because I

had a previous commitment. Miles was sched-

uled to play at Chicago’s Auditorium Theater,

but Kenny Burrell had a job in Jersey some-

where for the Jazz Guitar Band. Kenny would-

n’t let me out of the job, so I was trapped! I

called Sonny Rollins for some words of wis-

dom. When I told him “Part of me really wants

to do the gig with Miles…” he asked me,

“Which part is that?” So I hung up, called

Miles and explained everything to him. Miles’

response was: “Kenny Burrell?!” And then,

“Who you gonna get to sub for you?”

JI: What impact did Miles Davis have upon

your approach to creating music?

BB: The way I see it, Miles was great at getting

the musicians he picked to give him what he

needed so that he could make his presentation.

In that way, as an artist, he was a great ban-

dleader. He had vision and could implement it.

He was listening to everything everyone played

at all times. He would give his musicians direc-

tion days after a performance regarding some-

thing they did or didn’t do two nights before.

He was concerned with the total picture – not

just the trumpet. I feel a similar kind of caring

for the overall sound of my trio. I’d prefer to

play less in terms of content and have the group

as a whole feel really good, than to have any-

thing even approaching the other way around.

That’s not a conscious decision of mine that has

anything to do with Miles per se. It’s just very

difficult for me to control the ways in which I

respond to music. I‘m not sure that I need or

want to change my natural responses anyway.

Although, sometimes I think about being able

to just play over the top of anything, any situa-

tion, no matter how it feels or sounds to me.

But that would probably mean a change in my

sensitivity level, which I think involves the way

in which I listen to and take in music.

JI: How did Miles and his music help to shape

and expand your conception?

BB: Musicians like Sonny, Miles and Monk are

forward thinking and self-searching. Although

they did things very differently, they were all

continually searching for personal ways to sat-

isfy their creative urges. At the same time they

wished to communicate to people and to con-

nect with them through their music, not to ex-

clude the listener from their process. I look to

these and many other musicians as sources of

inspiration. They validate my desire to express

myself through jazz improvisation, to find ways

that are meaningful to me to do so and to at-

tempt to include an audience in what I’m trying

to do.

JI: Could you talk about how your association

with Sonny Rollins developed?

BB: Well, this is a pretty well documented sto-

ry now. I first played with Sonny while I was a

student at Music and Art High School in New

York. Sonny heard me play and liked some-

thing he heard. I couldn’t go on the road with

him at the time because of school, so he hired

me for a “gig” at Carnegie Hall. A few years

later he called again and asked me to join the

group. I played with him regularly for four

years or so and then on and off for some more

years after that. Until last year, I hadn’t worked

with him since the late 1980’s, but we would

keep in touch via phone and letters through the

years during the ‘90s, and so on.

JI: How is your interaction with and the pro-

cess of making music different or deeper now

than the first time you played with Sonny Rol-(Continued on page 30)

“I wasn’t going to pass on the chance to play with him [Miles

Davis]. I think it became clear to him pretty quickly where my heart was musically. He’d come over to me on stage and play lines that he would have played in 1958; then he’d wink at me and stroll off.”

Bobby Broom

On playing with Miles Davis, Sonny Rollins and more ...

INTERVIEWINTERVIEW


Bobby BroomBobby Broom Appearing at Dizzy’s Club at Jazz At Lincoln CenterAppearing at Dizzy’s Club at Jazz At Lincoln Center

February 20, 2019February 20, 2019

© Eric Nemeyer© Eric Nemeyer


lins?

BB: The music making process is much the

same for me now as it always has been: I listen,

respond creatively and try to give what I can to

the overall sound of the music – not just the

guitar solos. However now, because I am more

skilled at what I’m trying to do, I can interact in

a more sophisticated way, bringing a more re-

fined sound to the group. I can also present

more thoughtful and interesting solos, and

hopefully all of this lends to the listening expe-

rience while being inspiring within the group as

well. In the early days, sometimes I‘d think,

“Why am I even here?” because I felt I was

playing so poorly. And we all know that since

the ‘70s Sonny has gotten much flack about his

band members. But maybe there was a bigger

picture happening that’s not so apparent. It’s

fulfilling to have more to say as an improviser

now. Of course, in this situation “more” is al-

ways relative to the wellspring of ideas coming

from Sonny. And that’s inspirational to me, to

see that by continued practice and involvement,

access to more of what you want to play is pos-

sible. Anyway, I feel that it’s possible that there

can be more of a collective musical presenta-

tion by Sonny’s group now. Obviously, he is

the leader and master, but we want to contrib-

ute something more substantive than ornamen-

tation. I think that slowly, this is beginning to

happen.

JI: What prompted you to attend Berklee Col-

lege of Music since you were apparently al-

ready politically placed in professional circles?

BB: When it was time for me to attend college

I didn’t view the opportunities that I had had up

to that point in quite that way. I was most con-

cerned with developing as a musician and in

my family it was understood that I would attend

college. Music was an obvious choice as a ma-

jor for me, and Berklee was the popular choice

of colleges for jazz development at the time.

When I was well into my freshman year I be-

gan to see fellow childhood musician friends

appearing on records and also to hear talk from

all my friends at Berklee about their plans to

move to New York after they graduated. It was

then that I decided to continue college at home

in New York the following year.

JI: What kinds of challenges and or benefits

did you gain from your experiences at Berklee

College of Music?

BB: Well first of all, there were a million gui-

tarists there (much like in Chicago now) so it

forced me to stay focused on practicing and to

not concern myself with too much outside of

that. In order to learn, grow and have fun I

would connect with fellow guitarists that I ad-

mired, such as Kevin Eubanks and Joe Cohn.

Otherwise, Berklee was a fertile environment

for fellowship and development among young,

like-minded musicians. Most of the currently

well-known jazz musicians that are around my

age were there at the time and we would get

together every night, without fail, for the then

modern-day version of Minton’s jam sessions,

which happened in Berklee’s band rooms.

JI: Some people “think from the end” contem-

plating situations that they imagine themselves

to be in. What if any kind of vision did you

have about your career in jazz early on?

BB: Exactly. I didn’t know it at the time, but I

was practicing visualization as a kid. After I

became enamored with jazz music as a form of

expression, I felt that I wanted nothing more

than to do this just as those that I was listening

to were doing it. I wanted to be like these guys.

This was the direction that I moved toward in

my life from that point on and situations and

opportunities followed along with me in that

direction.

JI: Could you talk about your move to New

York in the 1980s and how doors began to open

for you?

BB: Growing up in New York allowed me ac-

cess, at a young age, to jazz, its musicians and

more. When I returned to New York from Bos-

ton I guess I had a reputation of a young guy

who could play a little bit and, because I had

been actively pursuing involvement in the field,

I knew a few people. I found myself involved

in two scenes that were happening there at that

time. One involved the talented young musi-

cians who were New York natives, guys that I

came up with. We all got involved with GRP

Records by playing in trumpeter Tom Browne’s

band. There was also a buzz around Art Bla-

key’s band as he searched for new young musi-

cians. I was there for that and was deemed by

Blakey a “Messenger”, but I chose the close-

ness and familiarity of my friends over the his-

toric significance of playing with The Jazz

Messengers. In fact, I don’t think I was even

considering that historic significance.

JI: What were some of the obstacles you faced

as you began making inroads onto the New

York scene? Who provided sources of encour-

agement and positive thinking in that important

period of development—to bolster your confi-

dence, and provide opportunity?

BB: Well, there were personal obstacles. I be-

lieve that I gave myself the most difficulty as

far as that’s concerned. I mean I was just so

young and hadn’t experienced that much, other

than trying to make music. I didn’t have

healthy outlets and alternatives. I had the great-

est mentors I could have in music – Sonny,

Weldon Irvine, Jackie McLean who gave me

my first college-level teaching job – but I had

to live and go through some things and search

for answers and meaning that would sustain me

above and beyond music. I’d say I actively

began this search in my early twenties. It’s in-

teresting for me to think back on that time.

Those were some serious musical experiences

that I had. I realized that then, but not in the

same way that I do now. Then, it was all about

learning. My first guitar teacher taught me that

it was very possible to learn by doing. So that

was my approach to music and the rest of my

life as well, I guess. It wasn’t until I was of-

fered my first recording contract that I ques-

tioned whether or not I was ready for an oppor-

tunity. I remember talking it over with my

friend Omar Hakim. He encouraged me that I

was good enough to record and suggested that I

could develop as a musician while I was mak-

ing records. So as I think about it, my musician

comrades were also very important in terms of

providing me positive energy and an environ-

ment in which I could grow. I remember well

the beautiful spirit, prompted by a shared inter-

est, that I felt from all of the other young musi-

cians in New York at that time – those who I

had known for a while and those who were just

getting to New York from their home towns.

JI: Talk about the kinds of preparation you did

to begin sitting in with Art Blakey’s band in

New York? Was the sitting in occurring on

some of the more complicated Wayne Shorter

songs, or on the more common standards and

jazz compositions?

BB: All of the listening, practicing, studying

and playing that I had done up to that point was

the preparation for the moment I was asked to

sit in with Art Blakey’s band. I didn’t know

beforehand that this would happen. I went to

see the band play and was happy to see that

James Williams was playing piano. Just a few

months prior to this he and I had met and

played a performance with saxophonist Billy

Pierce and other Berklee faculty. So in between

Blakey’s sets, James told me to go get my gui-

tar (I lived a few blocks from the club). So

that’s how it happened. The tune I most clearly

recall playing with the Messengers is “One by

One.” We played standards and some other

things. We were encouraged to play what we

could, the rest we’d learn later. We were just

eighteen or nineteen years old. However, when

we got up on the bandstand we stayed. Pretty

immediately there was an implication of ac-

ceptance from Blakey, as though we were al-

ready on the gig.

JI: What kinds of approach did you take and

adjustments did you make in the context of

having another chord instrument, piano, when

you played with Blakey?


Bobby Broom


BB: I’ve talked before about the misconception

that there’s an inherent problem with guitar and

piano playing together. The only adjustment

that I may have made then, and would still

make today when playing with another harmon-

ic instrument, is maybe to play less. In other

words, I’d leave more space for the other per-

son to comp. And I’m not suggesting that it

doesn’t work for two or more chord instruments

to comp together. When playing together, lis-

tening is most important for any combination of

instruments to get along. If there’s mutual re-

spect, courtesy, awareness, sensitivity, then

beautiful music can be made regardless of the

instrumentation. That’s assuming the musicians

can play of course.

JI: Can you discuss the development of your

association with GRP Records?

BB: GRP was signing young, aspiring, jazz-

aware musicians who lived in New York in the

late seventies/early eighties. We were jazz-

aware in that we were getting ourselves togeth-

er as jazz musicians, and most of us had an

inclination toward straight-ahead jazz along,

with the requisite passion and talent, but we

also considered the other styles of music that

were apparent and available to us. Anyway, as I

said, I was playing in Tom Browne’s band, and

I got called to do a tour of Japan with the GRP

All-Stars. I did a few records for GRP as a side-

man and was then offered a recording contract.

All this was happening just before it was fash-

ionable or feasible for a youngster to play

straight–ahead music exclusively – before the

Marsalises started recording. So we were per-

fect for GRP as a developing record label in

that we were marketable as young prodigies in

a sense, and we had the probability of making

money because we were playing cross-over

music which could potentially have greater

appeal via black radio.

JI: What kinds of direction or suggestions did

you receive in the creation of your two albums

for GRP—Clean Sweep and Living for the

Beat?

BB: For Clean Sweep I had quite a bit of free-

dom to do what I wanted. I wrote and arranged

most of the tunes, and some things were

worked out in the studio among the musicians.

That record is a good musical representation of

me at the time. Living for the Beat was a repre-

sentation as well...of the confusion in my per-

sonal life. By then the advent of the drum ma-

chine had been fully realized, and self-

production and the emphasis on electronics

were taking hold. These trends pointed toward

a future of less collective music making, as well

as to the popularity of the individual musician

as star artist/producer. As youngsters we all had

four track recorders and were making our music

at home. Add to that mix the influence of Mi-

chael Jackson, Stevie, etc. We were all trying to

write, sing, play…So for me, all this made for a

lot of confusion as far as what direction to take

in making a record was concerned. Then my

contract got assigned to Arista Records. For an

indication of what was happening over there:

that was the label that made Kenny G a star. I

would meet with the executive at Arista, and

he’d be asking me what I wanted to do: “How

do you see yourself as an artist Bobby?” Hell, I

don’t know, I’m twenty-two years old! How-

ever, I was self-aware enough to suggest jazz-

savvy musician/producers such as Marcus Mil-

ler and George Duke, but my man wasn’t feel-

ing or hearing me at all. Arista wound up as-

signing a couple of nouveau producers to make

some hit singles for my record and thus my

state of confusion was nearly complete. All that

was left was for me to pose holding the girl’s

red shoe for the back cover photo. Sure what

the hell, I’ll do that too. After agreeing to play

the nastiest sounding guitar-synth over a track

that sounded like an acid trip induced version

of Paula Abdul’s Straight Up, all hope was lost

for me. I’ve never done acid, but have heard

about bad trips. To add insult to injury, a few

years later I’m playing in London (I think I was

with Sonny), and I find out that “Living for the

Beat” (the acid trip song) is some kind of dance

hit in the UK. At that point I had to laugh.

JI: How did Kenny Burrell impact your artistry

and approach to phrasing melodies, and lines,

and your improvisations during or as a result of

your work with his Jazz Guitar Band?

BB: At the time I began working with Kenny

Burrell I had moved to Chicago and had begun

working on realizing and accepting my own

sound and tendencies on the guitar. By that

time I had a pretty good working knowledge of

the jazz language, but what was important was

what a positive impact it had on me to receive

an endorsement and validation from a jazz gui-

tar master and legend. It couldn’t have come at

a better time. I would soon be asked to play

with Miles Davis and to again be posed with

the question about my true sound and direction

on the guitar. Playing with Kenny and being

presented in the way that we were by him

would eventually help me to answer those ques-

tions. I believe that Kenny was inspired to form

the Jazz Guitar Band partially because in Rod-

ney Jones and myself, he saw two promising,

active, young jazz guitarists, not two Kenny


“What baffles and even frightens most people are mere

smokescreens. You’ll see these events as simply the illusions they actually are and begin to walk right through them. You’ll understand that your success

lies just beyond your thoughts about these walls.”

- A Rich Man’s Secret

Bobby Broom

“My basic understanding is that

everyone wants to feel connected — connected to others and to life.

Music, if dealt with correctly, can be a way for some of us to feel that

connection without having to talk too much. The problem in any field of music, as in religion - which is

really supposed to be about spiritual matters – is when people get overly controlling, which usually involves

thinking and talking too much.”


Burrell clones. Kenny also inspired and encour-

aged me to play solo guitar – one of the things

that he did so beautifully, and something that I

really shied away from then and still kind of

do… but today I’ll do it when no one’s looking.

JI: Could you talk about working with two of

the archetypal bebop pianists, who themselves

worked with Dizzy Gillespie and Charlie Par-

ker? What were some of the lessons you

learned in those situations?

BB: I’m glad that you mentioned those little

details. I sometimes think about those wonder-

ful connections to jazz music’s glorious past

that I’ve been blessed to have. Playing with Al

Haig was the sweetest thing. He heard me play

and invited me to sit in with him at a piano bar

called Gregory’s, which used to exist on the

upper-east side. He played there a few nights a

week with a bassist (Morris Edwards). Of

course, I took him up on his invitation and was

there regularly. He’d call tunes. He’d say, “Do

you know this tune?” If I said no, which at that

point I probably said a lot, he’d say something

like, “It’s not hard, just come in after the first

chorus.” I learned quite a few tunes that way.

It’s cool to think that I was so welcomed by

him and that I must have been able to hang and

get along, otherwise I’m sure I wouldn’t have

been there. Some nights Al would be absent, so

he’d call Walter Bishop, Jr. to sub for him. I’d

be thinking to myself, “Wow, he played with

Charlie Parker too!” Bishop was just as encour-

aging to me, and I’d just be reveling in these

experiences, trying to soak up the moments and

all that music I was hearing these guys play. I

got a chance to play with Walter Bishop again

in the Late ‘80s when saxophonist Paul Jeffrey

assembled a band for a Thelonious Monk Insti-

tute international exchange program in Italy.

JI: How does/has your work as an educator at

Roosevelt University, De Paul, and the Univer-

sity of Hartford expanded your creativity and

your understanding of human nature?

BB: Working with young musicians is yet an-

other way for me to exercise my creative side.

In dealing with the limitless variety of person-

alities and in such a personal endeavor as music

making, I find that I have to be very creative

and flexible in balancing my pedagogical skills

to try to get the results I’m seeking from each

student. My basic understanding is that every-

one wants to feel connected - connected to oth-

ers and to life. Music, if dealt with correctly,

can be a way for some of us to feel that connec-

tion without having to talk too much. The prob-

lem in any field of music, as in religion - which

is really supposed to be about spiritual matters

– is when people get overly controlling, which

usually involves thinking and talking too much.

JI: What do you tell students about how to

develop their relationships in the music busi-

ness?

BB: This kind of development is an inherent

part of student life. Students begin to get an

understanding about relationship building and

maintenance while they are in school. Finding

social circles in which to practice, develop and

perform music, which are comfortable in a vari-

ety of ways and provide for the needs of the

individual student, is very similar to learning

how to function in the professional world of the

music business.

JI: From the perspective of 20 years, are there

lessons or understandings that you gained from

that experience that are now becoming clear?

BB: Well, looking back and then to the present,

I’d say that the journey has been an interesting

one for me. There have been some real twists

and turns, but now it all makes sense, so far.

I’m glad that I stayed with music and that I’ve

had the help that I’ve had along the way. Some-

times, even years later, this is what keeps me

going. I’ve found that I can learn about myself

in this life by looking at my experiences and

relationships with people in and outside of mu-

sic – on the bandstand and off. Music has also

been the way for me to feel as close to peace

and ecstasy as I may ever feel. I’m so grateful

to be able to develop my relationship with it.

JI: Could you talk about what it is that you

want in a drummer that will enable your music

to soar creatively?

BB: You’re right if you sense that the drums

are a very important instrument for me. I like

drummers who have an understanding of the

backbeat – those that can make their swing

funky and their funk swing. I want musicians

that value the feeling of the music first and

foremost and who demonstrate that every sec-

ond that they play. I also want a drummer that

can coax me to higher levels without being

overpowering; one who I can interact with and

engage in the balancing act with, who will be

aware and selfless enough to forego their super-

hip two bar fill that they were just about to play

because something else more compelling just

happened in the music asking them, in that in-

stant, to take another direction.

JI: Are there certain drummers who have made

a mark on your music and spirit?

BB: I love the drums, so I’m fortunate to have

experienced playing with quite a few of the

greats. I did miss playing with Philly Joe Jones

and Elvin Jones though, two of my favorites. I

had Idris Muhammad on the Modern Man rec-

ord. That was joyful! He brought a positive,

supportive spirit to that date that can be felt in

the music. Every beat danced. We had never

played together before that time, but it never

mattered. He was a supreme music maker.

JI: What kinds of challenges and or growth did

you experience as a result of your role perform-

ing as accompanist?

BB: The biggest challenge for me in that role is

the usual one of wanting to do my best in sup-

port of what’s happening musically. Playing the

supportive role of the sideman has never been a

problem to me because I love music and want

to make it sound the best I can when I play.

This is always the most important thing to me

regardless of my role in a musical situation.

JI: What were some of the highlights and chal-

lenges that you experience as a leader?

BB: Playing with just bass and drums was very

difficult for me to get used to. The space that’s

made available by the sound of that instrumen-

tation can be confusing. I had to become able

and comfortable to carry the total responsibility

for the chords. I also had to learn not to over-

play as a soloist – to use the space to my ad-

vantage. I make sure I have musicians that un-

derstand how to listen to and influence the total

musical picture – a drummer that can comp and

a bass player that can create a variety of colors

and make harmonic diversity. As all of these

elements developed and evolved over the years,

my sound, that of the other musicians involved

and the distinctive sound of the Bobby Broom

Trio emerged and has become more and more

apparent to me. The 2001 release of our first

trio record, Stand! (Premonition Records) and

that it was so well received, was a definite

highlight for me. Now our new recording Song

and Dance, which will emerge in September, is

the latest milestone for me. I am grateful for my

musicians (bassist, Dennis Carroll and drum-

mer, Kobie Watkins), how well we interact and

the beautiful and powerful result.

JI: The sum total of an artist’s life experiences

and the kinds of thought, philosophy, ideas,

spirituality, culture, people that we allow our-

selves to open up to are what shape the ideas

and energy that is expressed in our music. Inex-

perienced players want to copy the sound and

the notes to sound like someone like Col-

trane—but it is so much more than that. So

when an inexperienced guitar player recently

said to us, “I don’t care what these artists did

10 or 15 or 30 years ago or their experiences or

what philosophies and culture they’ve experi-

enced” (essentially what got them to play the

way they do), he wanted to know what some-

one is playing over a C7sus chord. (Listen to

the record!) What would be your response to

that kind of thinking?


Bobby Broom


BB: This type of thinking is how some musi-

cians deal with music or how some people see

life: on the surface. This is our current level of

awareness and basically how we operate as a

species. It is too difficult, unclear and unpre-

dictable for most of us to see things any other

way. We don’t understand or believe in our

awareness potential. If all I’m getting from

music are quantifiable thoughts, then I’m miss-

ing the point. If the purpose of music is expres-

sion, then I need to go beyond the surface to

find the meaning, which isn’t something we can

really talk about. Understanding the tools, lan-

guage, or whatever you want to call what some-

one is playing over a C7sus is necessary in the

process of development of the young musician,

but for me that info is just scratching the sur-

face of what experiencing music is really about.

I did a gig recently with The Deep Blue Organ

Trio. Fifty or so Canadian high school kids

were brought to the club on a field trip. Of

course these kids knew absolutely nothing

about C7sus, but they were able to have a trans-

cendent experience because of the music. These

were teenagers – supposedly too aloof to like

anything outside of their familiar realm – but

they couldn’t help themselves from moving to

the beat, and their wide eyes, open jaws, ap-

plause and request for CDs let us know they

understood and liked what we played over

C7sus chords.

JI: What were some of the experiences that

shaped your early development as an improvis-

er?

BB: Well, at first I had to play very slowly and

deliberately because I didn’t play with a pick.

My first jazz guitar teacher played with his

thumb, but only used down-strokes. I wanted to

sound like him so I copied his method. I think

playing this way forced me to be honest about

finding which notes I really wanted to play;

meaning which created the colors I wanted

against a given chord or progression of chords.

Either because I couldn’t manage or didn’t as-

pire to play fast flurries through scales, I was

determined to use rhythm and a good time feel

to give my fewer notes added quality. This em-

phasis on certain qualities over quantity stayed

with me even though I eventually started using

a pick and developing my technique. By the

time I began to focus on the type of playing and

players that I wanted to emulate in jazz, my

aesthetic, in large part, had already been

formed. Another significant memory is about

how I realized early on that I couldn’t and

shouldn’t fixate on my favorite player as far as

trying to duplicate what he was doing. I felt that

this was pointless because (a) It would be virtu-

ally impossible to sound exactly like him, and

(b) If I did, that would be self-defeating. So,

although I listened constantly to certain players

because I was obsessed with their playing, I

made sure to be democratic about transcribing.

Which brings up another good topic: When I

began taking things off recordings I was attract-

ed to certain phrases that made impacting state-

ments. These phrases had the feeling of a ver-

bal statement and also an arc, with a clear point

of departure and arrival. These were the phrases

that seemed to be common among all jazz play-

ers – the ones that comprised the language that

I wanted so desperately to learn. So, rather than

transcribing a player’s entire solo (which I real-

ized I’d never have use for anyway), I’d go for

these isolated phrases. Also, that way, I could

pick from a variety of players, on various in-

struments, as sources of information.

JI: Talk about how you compose music.

BB: Most often some part of the music will

seem to just pour out. Usually I get an idea for

a melody, and then I’ll have to work a little to

find the harmony that I want, or that which fits

best. I would like to write more often, but I

don’t like to feel like I’m forcing creativity. I

can write when I need to however, like when

there’s some kind of deadline. I guess composi-

tion is about following your ideas through to

completion.

JI: How do media critics influence your per-

spectives or your music?

BB: They don’t, really. I have to be the final

judge of what I’m offering, otherwise, my feel-

ings may have been hurt a long time ago and I

might have stopped playing music. How can I

pay serious attention to what critics have to say,

when musicians and fans are telling me one

thing and critics are sometimes saying some-

thing entirely different and for different rea-

sons? I have never read a negative review of

myself that has been an insightful commentary

or critique, or that doesn’t seem in some way

inherently negative. A lot of the time these peo-

ple are self-appointed experts, who are not very

well informed and are just reacting to what they

like or think. They have a right to their opin-

ions, but what gives them the authority to pro-

fessionally document commentary regarding

someone else’s art? Rilke says it best in Letters

to a Young Poet: “[aesthetic critiques] are ei-

ther prejudiced views that have become petri-

fied and senseless in their hardened lifeless

state, or they are clever word games. Their

views gain approval today but not tomorrow.

Works of art can be described as having an

essence of eternal solitude and understanding is

attainable least of all by critique. Only love can

grasp and hold them and can judge them fair-

ly.”

JI: Dan Boorstin, former Librarian of Congress

stated that “The greatest obstacle to discovery

is not ignorance; it is the illusion of

knowledge.” How have you experienced and

dealt with this in your life? In dealing with oth-

ers?

BB: We all deal with this, always. Especially

because western society has been built upon the

illusion that knowledge is power. I think the

important questions then are: what knowledge

and whose power?

JI: What suggestions do you have about avoid-

ing an inflated ego, as opposed to developing

quiet confidence, as an artist?

BB: I believe that an inflated ego is a result of

insecurity. If I’m secure in my place and I don’t

feel threatened or inadequate, then I can just

move about without needing to create fanfare

around my existence. I can do what I do to the

best of my ability and have that speak for itself.

As human beings, this is something that we

have to try to be aware of. Because, by playing

music, we’re sharing such a personal thing; it

takes a delicate balance of confidence and hu-

mility to be in the right place. How can I think

I’m so special when before me there exists the

work of generations of great artists from whom

I received inspiration and knowledge, directly

and indirectly? I can feel pride in knowing that

I’m getting something right or doing something

well, but there will always be some things that I

can’t do or that someone else will do better

than me.

JI: Could you discuss what ideas or activities

outside of music you engage in and how they

provide fulfillment for you?

BB: My home/family life, exercise, creative

writing, my dogs (a German Shepherd and a

Chocolate Lab/Rottweiler or Doberman mix?),

reading (sometimes)… These are all things that

give my life meaning and balance. My relation-

ship with music has been a constant for me, but

it can’t be everything. Life has so much to of-

fer.

JI: What foundational understandings are the

guideposts by which you live your life?

BB: Some of it has to do with acceptance,

which is something that is never a finished state

of being for me because things keep changing

all the time. But this is one of the important

things that I’m striving toward.

“The greatest day in your life and mine is when we take total responsibility for our attitudes.

That’s the day we truly grow up.”

- John Maxwell

Bobby Broom


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By Eric Nemeyer

JI: Like you’re saying, when you’re playing with

really great players, and you’re surrounding your-

self with people who are sensitive and in the mo-

ment and have those tools, in much the same way

you or I create a conversation using the English

language, the English language is just the language.

You want to forget about the words and the mean-

ings, and you want to convey an energy.

DR: Exactly! I loved Betty Carter for that. The

very first time I saw her, I had a totally religious

experience—it just wrecked me for a month. I

walked around kind of weeping. I had never seen

anything like that. Because it was something that I

aspired to do and it existed and I couldn’t believe

it. Basically, the musicians were an extension of

her sound and they were co-creators on stage, and I

thought, “Oh my god, how do you create that?”

JI: As you had mentioned, Clark Terry became a

mentor early on in your career. Can you talk about

the kind of discussions or advise that you received,

or opportunities that he may have helped develop

for you?

DR: It wasn’t so much what he said, as much as

all the things that he did and all the places that he

would present me. One of the biggest things was I

was so eager to improvise and he would always say

to me, “You know, you have to learn the melodies

first and you have to sing the lyrics.” What I got

from him was, the building block of improvisation

was phrasing. That was the very, very beginning

for me, you know? How I could really tell a story

with a lyric. So, when I worked for him and when I

would sing it a certain way and there would be a

reaction, I’d think, “What did I do?” or “How did I

do that? Or, “What did I say?” (laughs). “What was

that about?!” He kept putting me in those situations

and my first orchestra experience was with him. He

would just put me in these situations and just push

because he knew it was there. The more he pushed,

the more I just absorbed everything. He helped me

understand how to be respectful of the song that

you’re in. For instance, I might be singing a beauti-

ful ballad, but it may not be necessary to put a

Blues lick in the interpretation of the song.

JI: Just to show off what you have as opposed to

developing the song for what it is, or to be with

where the other musicians are going.

DR: Exactly! And so, he also taught me – I don’t

view myself as an entertainer, but I think that my

music is entertaining. I think it is because all of

those things are there and Clark really showed me

how to do that. So, as I continue to develop, people

would say, “Oh, she’s just too broad – she does all

these different things.” But it was never that. It was

respecting each song that I was presenting on rec-

ord. It might sound different, but it’s not because I

would think, “This song needs this kind of texture

in my voice, and this kind of arrangement and this

kind of way of singing.” Fortunately, people al-

ways talk about the age of fusion music and all that

kind of stuff, but for me, it was an entrée into

World Music. I would never have known about

artists like Milton Nascimento and any of the Bra-

zilian musicians or musicians from India. I would

never have known about Cuban musicians or any-

thing had it not been for Jazz musicians. So, here

was even more color and more approach and a

different way of seeing it, so I was steeped in all of

that stuff and I loved it. One of the things that I

found with the voice—which is why I loved Sarah

Vaughn so much—is that with the voice, you can

really refine your sound. And there’s so many

things that the voice has possibilities of doing and

it doesn’t have to just be one sound. When certain

harmonies are put by me, I respond to them. Or if I

work with a different pianist, I respond to that. And

Clark always liked that I was different with every-

body that I sang with.

JI: When Miles Davis was going through some

changes between Hank Mobley and John Coltrane,

he had Sonny Stitt. And as great a player as Stitt

was, he was playing his stuff. It was unlike the rest

of Mile’s concept – it was a constantly changing

amoeba-like organism – like, if Wynton Kelly was

going one way, Hank Mobley would go with

him…

DR: Exactly! And I think that’s the essence. When

I first started out working, Billy and I used to have

this group together out in the beach area. It was a

place where the owner didn’t care what you played

and how many people came in because he didn’t

pay you (laughs). But it was a cool thing because

you could pass a hat and after a while, we started

making big money…which would pay for the gas!

At the time, Larry Klein was in the band, and Billy,

myself and drummer that came from the Latin tra-

dition and we would create this music. The whole

concept was to write, arrange and then we would

take this music as far as we could. Sometimes, we

couldn’t even get back, we’d be gone so far. It was

a great experience because it gave us an opportuni-

ty to keep having that thing that keeps inspiring

one another and try different things. I think from

that, it was the thing that allowed me to sing any

kind of music or even perform with anybody.

JI: In addition to Clark, you’ve worked with some

of the greats in Jazz like Harry “Sweets” Edison,

Phil Woods, Kenny Barron. Can you share some

highlights with working with such people, or more

specifically, any ideas, or wisdom, or observations

that you made that expanded your awareness that

expanded your musical direction or artistry?

DR: When I worked with Sweets and Joe Wil-

liams, Clark on the Grand Encounter record, the

thing that taught me volumes more than anything,

was the life and the music were the same. Back

then, I looked at all those guys – they were old, but

they were young. You’d ask them how old they

were and they’d say, “Eight!” and I believed it! I

had the opportunity to work with Dizzy and it was

the same thing. The stage is a sacred place – like a

holy place where you can experience such a eupho-

ria that you can’t have anywhere else. I can be

wearing shoes that are just killing my feet and I

walk on stage and they just don’t hurt. I look at

Clark and Oscar Peterson – there was such a joy

about what they did, to me, beyond the music. It

has to be a great love. One of the things that I wish

that I had in that session was just a tape recorder

just to have captured all the stories because they

were just unbelievable. Some of them were just the

rudest and nastiest stories (laughs), but they were

great because they were life stories, and I loved it. I

loved the whole experience. The culture of the

music has inspired me more than anything and

respect they have for one another.

JI: One you’ve been playing for a while and you

don’t let the tyranny of the ego get in the way, you

can develop that direct connection with the music.

And whenever you’re creating, it supersedes the

need for the ego to take precedence and the curiosi-

ty about the other players and how they do what

they do and the love of just being there is what’s

showing up.

DR: I love watching musicians. I love looking at a

horn player and then looking at another horn player

and loving what they’re playing. Those are things I

love. The musicianship went way beyond knowing

how to play the music. The musicianship was an

attitude and a culture, and a way. And I love that I

got to be a part of that because it doesn’t really—

it’s there, but it’s not like it was.

JI: What pitfalls do you think we should be aware

of as we pursue a life in this creative music.

DR: I think you always you must pray for clarity

and awareness. Because there are so many things

that go on and tell you that this thing is okay and

that thing is okay, and you just have to be in touch

with your inner-self—your spirit, or however you

define it. You have to respect that. Definite it and

refine it always, and know what it is. Even if you

have to compromise a bit to be able to do other

things, just know how to come back to center.

“A man can get discouraged many times but he is not a failure

until he begins to blame somebody else and stops trying.”

- John Burroughs

Interview with Dianne Reeves

Taken by Eric Nemeyer

JI: Talk about your upcoming perfor-

mance at the Apollo Theater.

DR: We’ll be debuting my new

Dianne Reeves

2018 NEA Jazz Master Appearing At Jazz At Lincoln Center, Feb 15-16

INTERVIEWINTERVIEW


Dianne Reeves

Visit JohnALewisJazz.com

New CD Release from Dallas Area Pianist

John A. Lewis

John A. Lewis, piano Merik Gillett, drums Robert Trusko, bass TRACKS: Backstory Deadline Jacked Complicity Bylines Liable Precocity Excerpt from the "Ancient

Dance Suite" What Say I A Cautionary Ruse All compositions by John A Lewis

http://www.johnalewisjazz.com

Trust the world’s leading expert in vintage drums

Our experience: In addition to operating our NY and Chicagoland stores, I currently serve as manager and curator of the world’s finest private collection of rare and celebrity owned drums in the world.

We have authenticated and brokered the sale of instruments owned by such famous drummers as Buddy Rich, Joe Morello, Elvin Jones, Mel Lewis, Tony Williams, Sonny Greer, Don Lamond, Cozy Cole, Papa Jo Jones, Philly Joe Jones, Gene Krupa, Peter Erskine, Stan Levey, Dave Tough, Louie Bellson, Jake Hanna, Earl Palmer, Billy Gladstone and more.

We have sold more of the world’s rarest drums and drum sets than anyone in the world. Items such as: the finest known Ludwig Top Hat and Cane drum set; the finest known and unique example of Leedy’s Autograph of the Stars set; four of the twelve known examples of ’50s era Gretsch cadillac nitron green “Birdland” drum sets; more Gretsch round badge era 12-14-18 drum sets than any dealer world-wide; eight of the rare Billy Gladstone snares (of which only 25 exist) and one of the only two complete Billy Gladstone drum sets.

Our worldwide clientele consists of serious players; collectors, investors and anyone else who loves the finest examples of rare vintage drums. Our expertise runs deep and is rooted in the superb instru-ments crafted by US manufacturers from the 1920s through the 1970s.

Contact Steve: 630-865-6849 | email: [email protected]

When it comes to superb vintage drums

you need a true expert. I have over 40

years of experience with vintage drums

and have authenticated and brokered

some of the rarest and finest sets in exis-

tence, including sets owned by some of

the world’s most renowned drummers.

Whether you want to purchase or sell a

fine vintage snare drum or drum set, or

perhaps purchase something owned by

a famous drummer you admire, trust

the industry’s leading expert.

When you call or email, you get me. I am available and I want to speak

with you. Feel free to call or email with questions and requests.

No one does “vintage” better, and you deserve the best.

Steve Maxwell

Midtown Manhattan 242 W. 30th Street, New York, NY 10001 Ph: 212-730-8138 Hours: 11–7 M–F; 11–6 Sat

Chicagoland 2000 Bloomingdale Road, Unit #110 Glendale Heights, IL 60139 Ph: 630-237-4997 Hours: 11–6 Fri; 10–5 Sat | Additional hours by appointment.

www.maxwelldrums.comServing the

Community of

Professional

Drummers and

Drum Lovers

JAZZINSIDE_full-page_VintageExp10.07.17.indd 1 11/13/17 3:10 PM

http://www.maxwelldrums.com

eric nemeyer’s - jazz inside magazinealways loved thelonious monk and bud powell— but i’ve...

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