Blue Note December 2012

CHRIS BOTTIA N N U A L H O L I D A Y R E S I D E N C YI N C L U D I N G

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131 W. 3RD ST. NEW yORk CITy 212. 475. 8592 WWW.BLUENOTEJAZZ.COm

NEW YEAR’S

EVE

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DECEMBER CALENDAR

TWO SHOWS NIGHTLY:LATE NIGHT GROOVE SERIES:

SUNDAY JAZZ BRUNCH:

8 & 10:30PMFRIDAYS & SATURDAYS 12:30AM MIDnIghT12:30 & 2:30 PM

SUNDAY BRUNCH

MARK GROSS & BLACKSIDEDECEMBER 9

AKIKO TSURUGADECEMBER 16

MARLENE VERPLANCKDECEMBER 23

SONY HOLLANDDECEMBER 30

NYU JAZZ ENSEMBLEJANUARY 6

LATE NIGHT GROOVE SERIES

SONUVO DECEMBER 7

THE FLOWDOWNDECEMBER 8

INTERNATIONAL ORANGEDECEMBER 14

SOPHISTAFUNK DECEMBER 15

REVIVE MUSIC PRESENTS “THE EVOLUTION OF RAY ANGRY” AKA MISTER GOLDFINGERDECEMBER 21

JEF LEE JOHNSON DECEMBER 22

QUEEN AAMINAH DECEMBER 28

SPIRITCHILD & MENTAL NOTESDECEMBER 29

EVA CORTéSJANUARY 4

MATT GERAGHTY JANUARY 5

DAVID SANBORNDECEMBER 5-9

KENDRA ROSSDECEMBER 10

MEDESKI MARTIN & WOODDECEMBER 11-16

CHRIS BOTTIDECEMBER 17 - JANUARY 6

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Renowned and revered the world over as one of the greatest saxo-phone players of all time, David San-born is an artist whose music has in-spired countless other musicians.

A naturally gifted performer whose body of work spans rock ‘n’ roll, R&B, pop, and jazz, he has helped define the saxophone’s modern sound while influencing a generation.

Born in 1945 in Tampa, Florida, San-born contracted polio when he was only three years old. As a part of his rehabilitation therapy, he was intro-duced to the saxophone – an intro-duction with consequences beyond the imagination of his parents, doc-

tors, or anyone else. “When I was 17 or 18,” Sanborn has said, “and it was time to figure out what to do with my life, I realized that I didn’t enjoy any-thing as much as I enjoyed playing

music. I felt that I had no choice, that I HAD to become a musician. Either that or steal cars.”

Sanborn studied music for a year at Northwestern University be-fore transferring to the University of Iowa. The early years of his career saw him take the stage at Woodstock with the Butterfield Blues Band and tour with legends like Stevie Wonder, The Rolling Stones, and David Bowie.

In 1975, Sanborn released his first solo album, Taking Off. While he continued working with other performers like Paul Simon and James Taylor in the coming years, he also began flexing his consid-erable muscles as a solo artist, eventually scoring massive popu-lar hits with Hideaway (1980), the Grammy-winning Voyeur (1981), and Backstreet (1983), the last of which proved to be a major hit in the world of contemporary jazz. He won his second of six career Grammy Awards in 1986 for Dou-ble Vision (with Bob James), and in the late ‘80s he hosted the clas-sic television program Night Mu-sic.

Throughout the ‘90s, ‘00s, and into the present, Sanborn has continued to tour and record, having amassed a wide and enthusiastic fan base around the world. Recent albums like Dreaming Girl (2008), Here & Gone (2008), and Only Everything (2010) reflect the essence of an artist at peace with his own sound and de-velopment, yet still hungry – eager to explore the possibilities of his instru-ment and his abilities. n

DAVID SANBORNDECEMBER 5 - 9, 8PM & 10:30PM

$45 - 55 AT TABLE/$30 - 40 AT BAR

L at e N i g h t g r o o v e S e r i e S

SoNuvo is a Brooklyn based trio con-sisting of 2012 Montreux Jazz Voice Competition finalist Marie Martin on vocals, Seth Johnson on acoustic and electric guitars and Jerome Jennings on cajón and percussion. Aside from the unusual instrumentation, the group is unique in its eclectic repertoire in-cluding Jazz, Brazilian music, Soul/ R&B, Chanson and elements of Fla-menco. As versatile musicians, SoNu-vo is as tasteful and convincing playing a simple, subtle melody as they are playing complex, polyrhythmic music.

Both world-class musicians, Jerome Jennings and Seth Johnson grew up playing music together in Cleveland Ohio and have built a rapport that spans half their lives. Marie Martin,

NYC-based ‘The Flowdown’ presents a modern integration of jazz, rock, funk, and hip-hop sen-sibilities. The group blends lush instrumental ar-rangements, fresh grooves, and thoughtful mel-odies & rhymes offering a unique journey to its accompanying listeners. Since 2009, The Flow-

down has brought forward a live improvisational spirit with an eclectic, intercultural sense of musicianship that adds new color and dimension to every performance. The group’s 2011 debut release, Meta-morphosis, has been well-re-ceived from both jazz luminar-ies and mainstream listeners alike. To discover more about the band, visit: www.theflow-down.com. n

SONUVO

THE FLOWDOWN

FRIDAY, DECEMBER 712:30AM $10

SATURDAY, DECEMBER 812:30 AM $10


originally from Brittany, France, brings an international flavor to the group as well as impeccable rhythm and a sen-sational voice. The result is a trio that has a truly new sound, SoNuvo. n

Mark Gross swings and sings with soul and rhythm along today’s jazz van-guard. He constantly pushes the mu-sic forward, while staying true to the elements of the classic sound. Mark Gross has recorded on over 80 notable jazz recording, including 2 GRAMMYTM AWARD winning projects by the Dave Holland Big Band - What Goes Around on ECM Records, and

MARK GROSS & BLACKSIDESUNDAY, DECEMBER 912:30 & 2:30PM$29.50 includes music, brunch & 1 drink

SUNDAY BRUNCH SERIES

Overtime on Dare 2 Records. Mark’s recordings Preach Daddy on King Re-cords and Riddle of the Sphinx on J Curve Record have received rave re-views. n

ENFANTs TERRIBLEswith lee konitz, bill frisellgarry peacock & joey baronlive at the blue note

AVAILABLE UPSTAIRS IN THE BLUE NOTE GIFT SHOP!

ENFANTS TERRIBLES features four veteran jazzmen whose collective efforts on stage and in the studio span decades. Together they are saxophonist Lee Konitz, guitarist Bill Frisell, bassist Gary Peacock and drummer Joey Baron; individually, each boasts a distinguished career path and network of associations representing jazz’s wide range of stylistic directions.

Kendra Ross is a gifted singer and performer who has built an impres-sive career playing to her strengths in an effort to stand out from the crowd. With her uniquely rich con-tralto vocal stylings and impressive songwriting talent, she is an artist in high demand.

A proud Pittsburgh native who cur-rently resides in Brooklyn, Ross launched her professional career as a theater singer and actress starring in a national tour of the Broadway smash hit Smokey Joe’s Café, along with Rita Coolidge and Gary “U.S.” Bonds. She has since become an ac-complished solo artist, appearing at legendary venues like the Blue Note and Highline Ballroom in New York City, the Arena Theater in Houston, and the Jazz Café in London. She has opened for many world-renowned artists, including Babyface, Isaac Hayes, Ryan Shaw, and Lalah Hatha-way, and she was one of a handful of soul artists invited to showcase at the 2009 SXSW Music Festival.

Ross is a sought-after session vo-calist, having lent her talents to sev-eral major label recordings, includ-ing “Ironside” from Quincy Jones’s

2010 release Q: Soul Bossa Nostra, as well as “Won’t You Stay” and the Kanye West-produced hit “Get By,” both from Talib Kweli’s gold-selling album Quality (2002). Her songwriting skills are also featured on Kweli’s second solo LP, The Beautiful Struggle (2004), on a track featuring Faith Evans called “We Know.” She is currently featured as a vocalist and writer on Kweli’s recent release Gutter Rainbows (2011).

Ross, who sites Sarah Vaughan, Phyllis Hyman, Donnie Hathaway, Joni Mitch-ell, Mary J. Blige, and Lewis Taylor as some of her greatest musical influ-ences, released her debut album, New Voice, in 2007. The critically acclaimed project, co-produced with longtime col-laborator, music director, and guitarist Christian Ver Halen, is comprised of all original compositions. In addition to ap-pearances by hip-hop luminary Talib Kweli and soul sensation Eric Rober-son, the disc features many of the best touring and session musicians on the music scene today.

Fully aware of the iconic legacy associ-ated with her last name by a triple threat performer whom she has admired since childhood, Ross is set to garner her own respect and attention. n

KENDRA ROSSDECEMBER 10, 8PM & 10:30PM

$15 AT TABLE/$10 AT BAR

Wide open. That’s the phrase John Medeski uses to describe his band-mates’ musical sensibilities, the attitude he seeks in himself, and the spirit of musical adventure that Medeski, Martin & Wood have pur-sued for over two decades. The trio’s amalgam of jazz, funk, “avant-noise,” and a million other musical currents and impulses is nearly impossible to classify, which is just how they like it. Medeski’s keyboard ex-cursions, Chris Wood’s hard-charging bass lines, and Billy Mar-tin’s supple, danceable beats have come to re-semble a single organ-ism, moving gracefully between genre-defying compositions and ex-pansive improvisa-tion atop a relentless groove.

Though the “jazz spir-it,” as they like to call it, has been ever-pres-ent in their sonic voy-ages, Medeski Martin & Wood have won over a substantial audience that rarely responds to instrumental music, let alone a guitar-less trinity purveying an unholy blend of Jimmy Smith, György Ligeti, and the Art En-semble of Chicago. In fact, their club and festival appearances are packed with alternative-rock lovers as well as jam-band aficionados and jazz heads.

Medeski Martin & Wood’s onstage adventurousness have sparked an experimental approach to record-ing as well. Examples include 1996’s Shack-Man (recorded in a solar-powered plywood shack in Hawaii); the funked-out 1998 Blue Note disc Combustication; the acoustic live

set Tonic (2000) and its plugged-in twin, 2001’s Electric Tonic; 2004’s End of the World Party (Just in Case); their two collaborations with guitarist John Scofield – A Go Go (1998) and Out Louder (2006); the 2008 children’s record Let’s Go Ev-erywhere; the 2008-09 Radiolarian series, a trilogy of albums gener-ated according to a strict policy of “Write > Tour > Record > Repeat,”

as the band noted in an online an-nouncement; and 20, a collection of tracks released monthly over the course of 2011 in commemoration of the band’s 20th anniversary. They’ve also founded and run their own label, Indirecto.

Do Medeski Martin & Wood have any reflections on having recently reached the extraordinary mile-stone of playing together for some 20 years? “We’re old motherfuckers, man,” Medeski replies with a laugh. He adds: “We’re in a really good place. We’ve been writing a lot of new music. We always want to cre-ate a certain vibration in the evening – if we’re doing something new and feeling the excitement, that’ll do it.”n

MEDESKI MARTIN & WOODW/ AIYB DIENG (TU), NELS CLINE (WED), MARC RIBOT (TH), BILL EVANS (FRI), & MARTY EHRLICH (SAT)

DECEMBER 11-16, 8PM & 10:30PM

$40 AT TABLE/$30 AT BAR

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FUSICOLOGY’S CHRISTMAS SPECTACULAR FEATURING

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THE 13TH ANNUALINTERNATIONAL GUITAR NIGHT

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JANUARY 16 7:30PM

an incredible retro stage presence, he is also very well known around Syracuse as a former funk DJ (WAER 88.3) and live music venue owner (Funk ‘n Waf-fles). Jack Brown burst on the scene in 2005 as a hip hop producer. He later established himself as a performer and spoken-word poet. Emanuel Washing-ton has had drum sticks in his hands since before he could walk, perform-ing with several of high-profile bands in Syracuse. n

International Orange’s name comes from the guitarist’s wife, who was read-ing a bottle cap that said, “The Golden Gate bridge is painted in International Orange.” That appealed to him be-cause orange is his favorite color. The “international” part appealed to drum-mer Todd because his drumming has taken him to Africa, India, and Brazil to study and play.

They have that thing that makes the music compelling: trust. n

Fans across America are talking about the Syracuse based band Sophista-funk, the product of three multi-talented musicians (Adam Gold, Jack Brown, and Emanuel Washington) who com-bine spoken-word artistry, old-school hip hop, and funk rhythms to create a unique live band experience.

Keyboard virtuoso & funk energizer Adam Gold is a one-man music ma-chine. An unforgettable performer with

INTERNATIONAL ORANGE

SOPHISTAFUNK

FRIDAY, DECEMBER 1412:30AM $10



Yoshi’s in California. She is keeping herself busy between her own group and the Lou Donaldson Quartet touring extensively in the US, Europe, and Japan. n

Hailing from Osaka, Japan, the Ham-mond organist, Akiko Tsuruga has been a mainstay in the New York jazz scene since 2001 after Grady Tate convinced her to move to the United States. Tsu-ruga began playing the organ at the age of three and launched her career in jazz immediately after graduating from the Osaka College of Music. The talented young lady has performed with numer-ous world-renowned jazz musicians in Japan including Roy Hargrove, Jeff “Tain” Watts, and Grady Tate. She has also graced the stages of the most fa-mous venues in the United States like the Blue Note, Birdland, Smoke, and

AKIKO TSURUGADECEMBER 1612:30 & 2:30PM$29.50 includes music, brunch & 1 drink


CHRIS BOTTIINTERVIEW

Blue Note: Is it a big adjustment to go from life on the road, with upwards of 300 shows to playing one venue for 3 weeks?

Chris Botti: Well, this is our eighth year playing Christmas and New Year’s at the Blue Note and we all love it. I can speak for myself, the band, the crew in saying that it’s the highlight of the year for us. It feels very much like coming home, being in one place. To not be on an airplane, playing the most famous club in the world, in the most famous city, at the best time of year, it’s very festive. And when it snows, people waiting on line, cars going by, the at-mosphere of the city – it’s just great to be a subset of all that.

BN: Is there a difference in the energy and the way you and your band per-form in an intimate club setting?

CB: From a practical standpoint, the show is a bit shorter. We have to con-dense our regular set and get it to the point where it works in a jazz club set-ting – it’s not the same as a concert hall. As far as the audience, for us to get an up-close sense of people’s ex-pressions, how they enjoy coming to a small famous space, is the best. We know that because we travel all around the world – Australia, Japan, every-where – the fans say they’re coming to the Blue Note to see us. They say, “We’re making the trek.” They love see-ing us up close. You can sense that. It’s harded to do in concert halls and large stages.

BN: Your repertoire has really expanded over your career, from earlier records in the ‘90s that were more R&B/groove based to your contemporary orchestral records. Your new record Impressions has everybody from Andrea Bocelli to Vince Gill, Herbie Hancock to Mark Knopfler. Is that a conscious choice or a natural musical progression for you?

CB: It’s a combination of a few things. First, it’s a question of how to define yourself as an artist. Second, it’s having a record company like Columbia that believes in you and will allow you to do whatever you want. Even though my early records had grooves in the drum and bass, the top part, the melodies, were less R&B were more atmospheric and more Peter Gabriel-esque. I was using the musicians and sensibilities and I loved the loved the texture of or-chestral music. But not until Columbia Records really believed in me enough to open the checkbook was I able to do these kinds of projects. And they found found out there’s an audience for this music. It goes back to Miles (Davis) & Gil (Evans). There’s a template for an audience that wants to hear this stuff. The melodies, the orchestra. And once it was successful, I was able to do more and be more cinematic.

CHRIS BOTTI WILL BE PERFORmING HIS EIGHTHWINTER RESIDENCy WITH THE BLUE NOTE THIS yEAR (12/17 -1/6). WE SAT DOWN FOR OUR ANNUAL CHAT.

BN: Your show is both accessible and has an incredibly high musical caliber. Is that a specific goal and how do you go about it?

CB: Well our show is not a jazz prem-ise. It’s what I believe in. I take great musicians and take their stature and the sound they pull from at such a high level, and put it together. The headier (or more abstract) the music is, the more constrained I feel to allow your emo-tion to come out. By definition, with more complex music, you’re locked into chord changes and the intricacies. I’ve done that type of music, all the guys in my band have too, but it doesn’t allow the listener to hear who I am. When you play something more open, harmonical-ly, you get to really hear who is playing. Like Keith Jarrett’s simpler music, peo-ple really appreciate that. I think if you surround yourself with great musicians and infuse the music with freedom, not strangled by chords, they blossom in a way.

BN: You’ve worked with the world’s greatest vocalists like Sting, Barbra Streisand, Josh Groban, Michael Buble, Paul simon, Andrea Bocelli, and Frank Sinatra. How has working with these singers affected you and how important are lyrics to your interpretation of melo-dies?

CB: What I love most of all is the tone of a singer, first and foremost. When I first heard Sting, Peter Gabriel or even Leon-ard Cohen (even though his lyrics are paramount), I fell in love with the sound. That’s what I go for first rather than the lyrics and their depth. Oddly I’ve worked with two of the best lyricists of all time, Joni Mitchell and Paul Simon. They’re awesome but I what I really love is the way they phrase, the tone of their voice. That’s what resonates with me. I just did a 6-week tour with Barbra Streisand – and with her it’s the voice that gets me, the way she phrases, her elasticity.

BN: Any particularly memorable Blue Note memories you can share?

CB: Any time Sting comes and jumps onstage is great. When he comes it’s always “Game On!” John Mayer came and took over a whole night. He played with us the first set. Then he asked per-mission to play with us on the 2nd set! We said, “Any time!” And he’s so fan-tastic and he ripped it. I like it also when people from the industry sit in like Brad Garrett, or Gerard Butler or whoever. I also love spending time with the musi-cians that are in the craft. That’s one thing I most like about the Blue Note – when we play a one night show uptown and my friends in the business never come, it’s just for the fans. But when we do a 3-week run, everybody will have a night off at some point and they can stop by the club. It’s just great to be in one place so long and get to see every-body.

BN: What is something you enjoy listen-ing to that may be surprising for your fans? Do you have a musical guilty plea-sure?

CB: I ‘m getting more stuck in my ways as I get older. The ones I love really stick with me. Like unaccompanied Keith Jarett or Sinatra’s “Only The Lonely.” I have an old-school palette. But I can still appreciate a good pop song. When something comes on the radio like “Call Me Maybe” (by Carly Rae Jepsen), I can get into it. But it doesn’t move me where I want to hear it in a personal space. What do you listen to at night? When you’re driving? I always going back to Miles (Davis). The same stuff moves me.

BN: Is there anyone you’ve always wanted to play with but haven’t?

CB: Peter Gabriel. I’m lucky enough to have played with so many people. But if it had to come down to one person, it would be him.

Over the past 25 years, Philadelphia-based singer-songwriter-guitarist Jeff Lee Johnson has built a reputation as a musician’s musician. As a teenager, Johnson discovered jazz-fusion and became committed to pursuing the guitar. Initially playing in local garage bands with friends, he graduated to the ranks of accomplished studio mu-sician, routinely doing sessions in New York and touring throughout the U.S. and abroad.

Since first appearing on violinist John Blake’s Twinkling of an Eye, Johnson has recorded with a vast array of art-ists, including Jeff Beck, George Duke, Aretha Franklin, Mariah Carey, Stan-ley Clarke, McCoy Tyner and James Carter. Johnson is also an alum of Paul

JEF LEE JOHNSONSATURDAY, DECEMBER 2212:30 AM $10

Schaffer’s “World’s Most Dangerous Band” on The David Letterman Show and Ronald Shannon Jackson’s De-coding Society. He recently released his eleventh al-bum, Longing Belonging Ongoing. n

Born and raised in Miami, Florida, Ray Angry took to the piano at nine years old. After high school, he moved onto Howard University, earning his bach-elor’s and master’s degrees in music. Immersing himself in the Washington, D.C. music scene, Angry became ac-quainted with Shai and embarked on his first international tour. While still in D.C., Angry collaborated with Raheem DeVaughn, Yolanda Adams and Richard Smallwood.

In 2001, Angry moved to New York City. Soon thereafter, he began to further his career as a performer, composer, and

REVIVE MUSIC PRESENTS“THE EVOLUTION OF RAY ANGRY” AKA MISTER GOLDFINGER

producer. Throughout his career he has worked with such artists as Joss Stone, Mick Jagger, Dave Stewart, Whitney Houston, Esparanza Spalding, The Roots, Macy Gray, Roy Hargrove, Wynton Marsalis, Benny Golson, Trey Songz, John Legend, Christina Agu-ilera, and many more. n


FRIDAY, DECEMBER 2112:30 AM $10


in dance classes, piano lessons, and she joined her church choir.

Later, she attended Lincoln University in Pennsylvania where she studied all fac-ets of performing arts and music. This “Opera turned Jazz” vocalist is also well-versed in R&B, Hip-Hop, Alterna-tive, House, and Classical music.

From the USA to Australia...Massachu-setts to Morocco...Harlem to Helsinki...This queen has performed both lead and background vocals to thousands of concert-goers worldwide. In recent years, queen AaMinah* has established herself as a singer/songwriter, producer, and choreographer. n

Queen AaMinah*, born Kimberly Has-sell, was raised in the Addesleigh Park area of St. Albans, Queens, New York. Very early in her life, her supportive par-ents realized they had a daughter who loved performing, so they enrolled her

QUEEN AAMINAH

FRIDAY, DECEMBER 2812:30 AM $10

Born and raised in Miami, Florida, Ray Angry took to the piano at nine years old. After high school, he moved onto Howard University, earning his bach-elor’s and master’s degrees in music. Immersing himself in the Washington, D.C. music scene, Angry became ac-quainted with Shai and embarked on his first international tour. While still in D.C., Angry collaborated with Raheem DeVaughn, Yolanda Adams and Rich-ard Smallwood.

In 2001, Angry moved to New York City. Soon thereafter, he began to further his career as a performer, composer, and

MARLENE VERPLANCKDECEMBER 2312:30 & 2:30PM$29.50 includes music, brunch & 1 drink



producer. Throughout his career he has worked with such artists as Joss Stone, Mick Jagger, Dave Stewart, Whitney Houston, Esparanza Spalding, The Roots, Macy Gray, Roy Hargrove, Wynton Marsalis, Benny Golson, Trey Songz, John Legend, Christina Aguilera, and many more. n

Armed with a unique signature sound, New York City’s original hip-hop ensem-ble Mental Notes has been attracting audiences with its sound and vibrations since 1999. The group’s eclectic fusion of old school hip-hop, funk, electronica, jazz, and acid rock breaks the boundar-ies of the New York music scene.

In addition to his work with Mental Notes, lead vocalist and emcee Spirit-child has produced several film scores and spoken word albums for Nuyorican Slam Champions Ainsley Burrows and

SPIRITCHILD & MENTAL NOTES

SmokiFantastic and has released multiple solo albums, including A Tribute to Nina Sim-one (2001), Eclipse of Hope (2005), and Dark Matters (2010). He and the other members of Mental Notes create an intense listening ex-perience that rivals any sound to come out of the NYC hip-hop scene in recent memory.



of those artists that seemed to burst on the scene from nowhere. But in reality, she has been building her career the old fashioned way, one sweet note at a time. n

Sony Holland is a performer with the talent that personifies the golden age of American music. Holland found her voice on the streets of San Francisco, which led to countless festival and nightclub performances and three tours of Asia.

Her newest single “On A San Francisco High” was recorded with musicians Le-land Sklar, Greg Bissonette and Gram-my winning engineer Leslie Ann Jones.

Sony is at home on stage, whether accompanied by a jazz combo or an 18-piece band. “She is the quintes-sential artist who keeps getting better and better,” says Richard Connema of Talking Broadway. Indeed, Sony is one

SONY HOLLANDSATURDAY, DECEMBER 3012:30 & 2:30PM$29.50 includes music, brunch & 1 drink


Nigel Hall is an honest, humble guardian of soul music. When asked about him-self, Nigel reflects, “I’m just someone who lives, eats, drinks music.” Whether he is leading his own band, performing solo, or fronting bands like Soulive and Lettuce, he instantly commands the at-tention of the audience.

A Washington D.C. native, Nigel soaked in the sounds of Go-Go, funk and soul, influenced by James Brown and Donny Hathaway. In 2011, Nigel became a

NIGEL HALL NYE

full-time member of the Warren Haynes Band and toured Europe as a part of John Scofield’s band. Nigel is currently recording his debut album with produc-ers Eric Krasno and Adam Deitch with Royal Family Records. n


MoNDAY, NovEMBER 311:30 AM $10

After her first release for EMI, Sola Con-tigo (Alone with You) (2007), and her two subsequent releases for Universal Jazz Spain, Como Agua Entre los Dedos (Like Water Between the Fingers) (2009) and El Mar de mi Vida (The Sea of My Life) (2010), Eva Cortés ranks among the young and most interesting Span-ish-speaking composers and perform-ers on the jazz scene today.

Back 2 The Source (2011), Cortés’s lat-est release, is her personal look at the essence of what she considers to be the mainstay of her musical influence: jazz. Packed with standards, it is an album in which the Honduras-born art-ist uses for the first time English as the main language in one of her recordings.

EVA CORTéS

Cortes just released her fifth album, Jazz One Night with Eva Cortés in Madrid, on April 17th, 2012. n

FRIDAY, JANUARY 412:30 AM $10

Matt Geraghty is a sonic traveler whose musical pursuits have drawn him to the local music scenes on four continents. Geraghty has collaborated with musi-cians from Brazil, Colombia, West Af-rica, Japan, India, and Trinidad, and has journeyed deep into the musical enclaves of Spain, France, Portugal, Cuba, Colombia, and the Philippines.

Matt’s list of music collaborations crosses all genres of music and in-cludes projects and recordings with Grammy winners Gil Goldstein, How-ard Levy and Paul Wertico, Polish star vocalist Anna Maria Jopek, and Indian Sarangi Master Ramesh Misra.Drawing inspiration from Pat Metheny and Herbie Hancock, Geraghty crafts a

MATT GERAGHTYSATURDAY, JANUARY 512:30 AM $10

global sound that’s rooted in the style of contemporary jazz. His compositions are both atmospheric and tuneful, serv-ing as compelling narratives of the jour-neys that continue to shape his musical style. n

In addition to performing with his own groups (The Brad Shepik Trio, The Brad Shepik Quartet and Human Activity Suite), Brad Shepik has performed and/or recorded with Paul Motian, Joey Bar-on, Bob Brookmeyer, Carla Bley, Charlie Haden, Dave Douglas as well as oud/violin virtuoso Simon Shaheen, and Bul-garian saxophone legend Yuri Yunakov.

Shepik has been a member of many groups including Dave Douglas’ Tiny Bell Trio, Matt Darriau’s Paradox Trio, Pachora w/Chris Speed, Jim Black and Skuli Sverrisson, and BABKAS. He has

BRAD SHEPIK & HIS NYU ENSEMBLESUNDAY, JANUARY 6 12:30 & 2:30PM$29.50 includes music, brunch & 1 drink



performed with Carla Bley’s Escalator Over the Hill, Charlie Haden’s Liberation Orchestra and toured and recorded with Paul Motian’s Electric Bebop Band for 5 years. The guitarist extended his interest in world music by work-ing with groups as Yuri Yunakov’s Bulgarian Wedding Band and Simon Shaheen’s Quan-tara.

1/8-11 DONALD HARRISON, RON CARTER,

BILLY COBHAM TRIO

1/15-20 BENNY GOODMAN REINVENTED:

75TH ANNIVERSARY,

1938 CARNEGIE HALL CONCERT

1/22-23 SONNY FORTUNE

1/24-27 OMAR SOSA & PAOLO FRESU DUO

1/29-2/3 DIANE SCHUUR

2/5-10 RON CARTER QUARTET

2/14-17 RACHELLE FERRELL

2/19-24 DOUBLE FEATURE: KARRIN ALLYSON

+ RAUL MIDON

3/5-10 THE JAZZ CRUSADERS

FEAT. JOE SAMPLE, WAYNE HENDERSON,

& WILTON FELDER

3/12-17 AFRO-CUBAN ALL STARS

3/26-31 DOUBLE FEATURE: KYLE EASTWOOD

+ LARRY CORYELL

W/ RICHARD BONA & KENWOOD DENNARD

4/2-7 DEE DEE BRIDGEWATER,

CHRISTIAN MCBRIDE, AND MORE!

MONTEREY JAZZ FESTIVAL ON TOUR

4/9-14 AL DIMEOLA & GONZALO RUBALCABA DUO

4/16-21 HIROMI FEAT. ANTHONY JACKSON

& SIMON PHILLIPS

4/22-25 MACEO PARKER

4/26-28 ARTURO SANDOVAL

4/30-5/5 MICHEL CAMILO

5/7-5/12 TAKE 6

UPCOMING AT THE BLUE NOTE

MANHATTANRedemption rye whiskey,Carpano Antico sweet vermouth

NEGRONIDH Krahn gin, Campari,Carpano Antico sweet vermouth

VESPERTanqueray gin, Chopin Vodka, and Lillet with a lemon twist

FRENCH MARTINIGrey Goose vodka, Chambord& pineapple juice

HENNESSY SIDECARHennessy Cognac with GrandMarnier and fresh lemon juice

BLUE NOTE MARTINIcitrus vodka, blue curocao, lime juice

“MANTECA” MARTINIBrinley Gold coconut rum, coconut-cream & pineapple juice

ITALIAN CHOCOLATE MARTINIMeletti Chocolate Liquer Stolivanilla vodka

APPLE MARTINIKetel One & apple schnapps

COSMOPOLITANCitrus Vodka, Triple Sec,cranberry & lime juice

METROPOLITANAbsolut Kurant with Triple Sec,cranberry & lime juice

MARGARITA MARTINISauza Conmemorativo tequila, agave, fresh lime & splash orange juice

MARTINIS $13

ELDERFLOWER FIZZDH Krahn gin, elderflowerliqueur, fresh lemon

RUBY RYERedemption rye whiskey, grapefruit juice, Chambord

CAIPIRINHAMuddled limes, sugar andBeija Brazilian cachaca

BELLINIProsecco & white peach puree

PCPUNCHGrey Goose pear vodka, Brinleycoconut rum, pineapple juice

MAI TAIBacardi light rum, Meyers darkrum, almond liqueur, Triple Sec,Pineapple juice, splash sour mix

BRANDY ALEXANDERBrandy, crème de cacao & cream

CUBA LIBREBlackwell rum, Coke & freshly muddled lime

TOASTED ALMONDAmaretto, coffee liqueur & cream

MIXED DRINKS $12

IRISH COFFEEIrish whiskey & coffee

NUTTY IRISHMANBailey’s Irish Cream, Frangelico & coffee

BRAVE BULLTequila, Kahlua & coffee

SWISS COFFEEPeppermint Schnapps, crème de cacao & coffee

SPANISH COFFEETia Maria & coffee

MOCA ALMONDMeletti chocolate liqueramaretto, coffee

WARM DRINKS $10

IMPORTED - $8Sapporo, Amstel Light,Corona, Heineken, Guinness,Stella Artois, Bass Ale

DOMESTIC - $8Brooklyn Lager, Budweiser,Bud Light

BELGIAN-STYLE ALE - $14Brother Thelonious Abbey Ale (750 ml)

NON-ALCOHOLIC - $6Buckler

REPUBLIC OF TEA ICED TEAS - $7Pomegranate Green Iced TeaRepublic Darjeeling Black Iced TeaGinger Peach Decaf Black Iced Tea

BEER AND TEAS

BLUE NOTE DRINK MENU

SEASONAL FRUIT & SORBET 12 add Limoncello Meletti 10 NEW YORK CHEESECAKE 10 add Tia Maria 11 RED VELVET CAKE 10 add Baileys 10 TIRAMISU 10 add Grand Marnier 12CINNAMON APPLE STRUDEL 9 add Amaretto Lazzaroni 10 WARM LEMON TARTE 9 add Drambuie 10 CHOCOLATE & VANILLA TARTUFO 10 add Frangelico 10 FLOURLESS CHOCOLATE CAKE 10 add Dow’s 20-year 14 ICE CREAM 9 add Kahlua 10 SORBET OF THE DAY 8 add Prosecco 10

DESSERTS & PAIRINGS

Sherry, Dry Sack 10Sherry, Harvey’s Bristol Cream 10Taylor Fladgate Tawny 15Royal Tokaji Aszu “Red Label” 21 Cab Franc Icewine, Inniskillin 20/125

DESSERT WINES

BOURBON / RYERedemption Rye 12Basil Hayden 14Booker’s 14 Knob Creek 14Woodford Reserve 15 Whistle Pig 16

Courvoisier 12Hennessy VS 12Hennessy XO 36Remy Martin VSOP 18Remy Martin XO 36Martell VS 12Martell Cordon Bleu VSOP 25Paul Beau XO 25Poli Grappa Moscato 15

BRANDY & COGNACGlenlivet 12 year 12 Glenfiddich 12 year 12Macallan 12 year 14Talisker 10 year 12 Glenmorangie 13 Oban 14 year 14 Dahlwinnie 15 year 15Lagavulin 16 year 16Mackillop’s 1989 Scapa 34Deanston 30 year 40 Scott’s 1967 Glenlivet 58

SINGLE MALT SCOTCH

LIQUEURSAmaretto Lazzaroni 10Aperol 10Baileys Irish Cream 10B & B 11Campari 10Chambord 10Cointreau 11Drambuie 10Dubbonet 10Fernet Branca 10Frangelico 10Grand Marnier 12Kahlua 10Lillet 10Limoncello Meletti 10Nocino Walnut Liqueur 10Pernod 10Poli Miele Honey Liqueur 12Sambuca Meletti 10Tia Maria 11

DIGESTIFS

Chivas 12Dewars 11J & B 11Johnny Walker Red 11Johnny Walker Black 12Johnny Walker Blue 38

SCOTCH BLENDS

RUMBeija Cachaca 11Bacardi Silver 11Bacardi Gold 11Brinley Gold Coconut 11Captain Morgan’s 11Meyer’s 12Mount Gay 12El Dorado 15-year 15Pyrat XO 15

Blue Note December 2012

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Transcript of Blue Note December 2012