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HEATH BROTHERS - Endurance

For over 60 years, the legendaryHeath Brothers

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Endurance is their first CD since the passing of their belovedbrother, legendary bassist Percy Heath. The Philly dynasty of

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CYRUS CHESTNUT - Spirit

The long anticipated follow-up to Blessed Quietness.

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STEVE DAVIS - Eloquence

The hottest trombonistin jazz today!

This 14th recording from the baddest bone in the land featuresjazz legends Hank Jones, Roy Hargrove, and Steve Nelson.

SHAREL CASSITY - Relentless

One of the jazz worlds fastest risingstars!

Relentless makes a clear statement of how far Sharel

Cassity has come and how much farther she will go,

providing indisputable proof of her great talent and hereven greater future in jazz. Bob Bernotas

Jazz Is A Fountain Of Expression.

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7/25/2019 Jazz_Inside_NY_2009_10 (1)

4/682 October 2009 Jazz InsideNY www.jazzinsidemagazine.com To Advertise CALL: 215.887.8

Jazz Inside

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

October 2009 Volume 1, Number 3

Cover Design by Lori Dawson

Cover photo of Mike Mainieri by Eric Nemeyer

Publisher: Eric Nemeyer

Editor: Gary Heimbauer

Advertising Sales & Marketing: Eric Nemeyer, John Alexander

Circulation: Robin Friedman, Susan Brodsky

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Contributing Artists: Shelly Rhodes

Contributing Photographers: Eric Nemeyer, Joe Patitucci, Ken Weiss.

Contributing Writers: Dan Bilawsky; Al Bunshaft; John Cizik;

Curtis Davenport; Bill Donaldson; Dimitry Ekshtut; Robert Gish; Ira Gitler;

Gary Heimbauer; Rick Helzer; Jan Klincewicz; Joe Lang; Ronald Lyles,Matthew Marshall; Dave Miele; Nick Mondello; Patricia Nicholson;

Joe Patitucci; Michael Steinman Ariel Teitel; Ken Weiss.

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COPYRIGHT NOTICE

Copyright 2009 by Eric Nemeyer Corporation. All rights reserved. No part

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per infringement, costs and attorneys fees.

CONTENTSCLUBS, CONCERTS, EVENTS

14 Noteworthy Performances

17 Calendar of Events25 Announcements Upcoming Events

Regular Engagements; Additional Clu

and Venue Schedules

30 Directory of Clubs, Venues, Music an

Record Stores, Schools & Universitie

and more

32 Around Town

COLUMNS

4 Apple Chorus by Ira Gitler

INTERVIEWS & SKETCHES

6 Mike Mainieri10 Arturo OFarrill

12 David Gibson

14 Irene Atman

INDIE ARTIST CELEBRATION

34 Peter Mazza

35 Wayne Wallace

36 Rez Abbasi37 Sheryl Bailey38 Maurice Zottarelli

39 Joshua Breakstone

40 Tine Bruhn

41 Elli Fordyce

48 Javier Arau

LIVE PERFORMANCE REVIEWS

49 Vision Fest; John Surman Quartet;

Caramoor Jazz Festival

CD REVIEWS

53 16 Hot New CDs

Two publications from Jazz Inside

Jazz InsideNYMONTHLY FREE(available FREE in print at 200 locations around NY and via download of PDF file fromwebsite. Also available in print by paid subscription, delivered to your home or office). Features interviews,articles, reviews of recordings and books, listings of events, jazz clubs, festivals and other venues.

Jazz Inside MagazineQUARTERLY 150200 pages, CD (available by paid subscription & at retailers throughout the USA,Internationally) is a 150250 page quarterly magazine that includes a companion CD featuring full-lengthtracks by leading and emerging artists. It is available by subscription and at book, record and music storesand chains and newsstands nationally and internationally. Each edition of Jazz InsideMagazinefeaturesdetailed interviews, colossal bio-discographical features, reviews of recordings, books and musicalproducts, motivational, philosophical, articles, and for those readers who make music, a bonus 150-pagee-book on the enhanced CD with lead sheets, transcriptions, analyses and more.

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www.JazzInsidemagazine.com.Credit:EricNemeyer

On The Cover:Mike MainieriFeature begins on page 6

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http://www.cannonballmusic.com/

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Apple Chorus

Moodyby Ira Gitler

Last months Jazz Inside NY had a short butilluminating interview with musical giant JamesMoody. (He preers to be called Moody and so beit.) In any encounter with Moody you get a sense o

the man because he is direct and succinct and notwithout humor; but beyond the printed word Moodyis a man to be experienced in live perormance asmusician and entertainer.

I had that experience (one o many with Moodydating back to 1946) at the beginning o Septemberwhen he did three nights at Iridium with his regulars:Renee Rosnes, piano; odd Coolman, bass; and AdamNussbaum, drums. He opened with add DameronsOur Delight which could have served as the audi-ences theme song given its reaction to the set.

Moodys tenor saxophone sound is not merelybig, it is spacious. His mind is always in the rightmoment and his energy is inectious. Rosnes used

her dexterity into an easy fluency with connectivepassages that flowered as they flowed. Coolman andNussbaum completed a flawless interactive, groupblend and also brought their solo talents into play.

Moody, the entertainer, sang the near-man-datory Moodys Mood For Love (words by EddieJefferson), playing both the mans and the womans

parts, yodeled, screamed a nd emoted. His other vo-cal was another o his perennials, Bennies FromHeaven, words again by E.J. to the tune o PenniesFrom Heaven. Between the opening and closing

vocals Moody melted more than a ew pennies thatbecame the lava spewing rom the bell o his tenor.

His romantic side suraced on flute with Jo-bims Wave. Here his superior breath control madehis instrument sound more like the larger, ulleralto flute. He worked-in a quote o While My LadySleeps, Rosnes summoned up a chant-like theme Iassociate with the amba Four, a Brazilian groupthat recorded on A&M in the late 60s. Nussbaumsbrushwork was perect or the groove.

Last rain From Overbrook, Moodys strongblues that he wrote and recorded at a pivotal pointin his lie, the late1950s, has remained a captivatingvehicle throughout his career and this version was no

exception. Renee surprised with a quote o Moon-light Serenade and the conversation between oddsthoughtul, ample pizzicato and Adams dancingbrushes urther invigorated the proceedings.

St. Tomas, most closely associated with SonnyRollins, ound Moody planting his flag on the island.Te relentless rhythmic attack o his tenor, buoyed by

his mates and chockull o ideation,topped off a set roma man who gives his

all (and thats a lot) with a sense o enjoyment tcant help but connect with his audience.

As usual, I am behind in my listening to the Cthat arrive every week in abundance but there are soI can recommend that may pique your interest.

Te Short (by necessity) List: James MoodMoody 4A (IPO); Angelica/Francesco Cafiso tet (CamJazz); Eric Alexander Revival o the Fi(HighNote); Cedar Walton Voices Deep Wi(HighNote); Te Heath Brothers, Jimmy and o Endurance (Jazz Legacy Productions); RoniBHur Fortuna (incidentally Ronnie Mathews recording) (Motema); Ithamara Koorax and JuMoreira Te Complete Joao Gilberto Songb

(Motema); Joe Magnarelli Persistence (ReservoPete Malinverni Te Spirit(Saranac).

More next time. Until then a happy Autuin New York or as a baritone saxophonist riendmine, back in my college days, wrote on his sheemusic that sat on a Porta-Desk in ront o him onbandstand, Fall in the Apple.

http://www.jonfaddis.net/

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The GrammyAward-winning trumpeter

-composer addresses the choices we all make in

life both as a society and on a personal level.

Recorded LIVE at the Ogden Museum in

New Orleans, CD features long-standing Blanchard

bandmembers Fabian Almazan, Derrick Hodge,

Kendrick Scott and Walter Smith III, plus special

guests Dr. Cornel West and Bilal.

FAMED VIBRAPHONIST-

COMPOSER STEFON HARRIS

returns with Urbanus; a spectacular piece of

work sparkling with optimism, ingenuity andemotional immediacy. This is Harris and

Blackouts first recorded collaboration in

5 years, following 2004s successful Evolution

2EXTRAORDINARY ARTISTSEXTRAORDINARY CONCORD JAZZ DEBUTS

www.concordmusicgroup.com

BOTH CDS NOW AVAILABLE

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Mike MainieriBy Eric Nemeyer

FEATURE

[Tis is an excerpt om the ull interview sched-uled or publication in Jazz Inside Magazine (avail-able by subsc ription at www.jazzinsidemagazine.com]

Mike Mainieri grew up in a musical household with ather and uncle inoled in entertainment.When asked what instrument he wanted to play, hetold his mother he wanted to play vibes. Growing upin a working class amily meant buying a vibraphonewould be expensive. His mother went to work in asweat shop to earn the money to buy Mike the instru-ment and he humbly admitted that he elt a debt ogratitude do everything he could succeed. Indeed, hehas. His achievements include innumerable studio ses-sion dates during the 1960s and 70s, recording albums,jingles and V and moies scores, composing and ar-ranging; perorming with Buddy Rich or several

years, and scores o others; leading the groups WhiteElephant , Steps, Steps Ahead, and operating his ownrecord label. Mike talks about his career, the reconnect-ing long-time iends in the group LImage, his newrecordings and more.

MM: By 1964 I had been on the road almost tenyears. I started a amily and by then I had my first

www.nycrecords.com/mikemainieri.html

being a ather its something that its inexplicable.Your whole world changes your whole perspective.

Youre not the center o the universe any longer.

It shifs. Tat child becomes your universe.

child. I decided to more or less stay in New York. Istarted getting more gigs in New York as a sessionplayer. A nd that became my ocus until I guess themiddle 70s. I was still making records and I still hadalways a quartet or trio or something like that. But Iwas playing mostly in the New York area and Boston.But I became a session musician. I started arrangingand later on became a producer A&R guy and thenfinally owning my own record company, which I stilldo. It sounds like it may be glamorous that I own my

own record company but it is basically becausewere selling mill ions o CDs these days [laughs]. SoI had an opportunity to sign a ew artists and thensince the whole industry has basically crashed in thelast 10 years, Im just putting out my own. O course,it sounds a lot bigger verbally than it is in reality.

JI: Want dont you talk about that transition romthe road to getting into the studio scene in NewYork.

MM:Te session work was so diverse and it was lu-crative compared to being on the road. On the road,you would get something like $150 a week as a sal-

ary. When I first started withBuddy Rich I think I was mak-ing $98 a week and I signed acontract. He became my man-

ager and owned all o my pub-lishing and writing. I didntknow. I was just a kid. He saidsign here and I signed. WhenI started doing recording ses-sions or all types I startedmaking a lot more money. Likea lot o guys that I met duringthat period, I stopped going onthe road. Te road was not asinviting as it was staying out inNew York. Although you goout or little spins or something

like that basically, it was hardto turn down the opportunity.But to be able to make a goodliving, especially i you had aamily I have eight children.Tey are all grown now. I havean 8-year-old daughter but therest o my children vary in age

rom 37-50. And then the climate changed in termso the music. I wasnt completely into playing straightahead. I had been involved in jazz rock during the60s. My musical tastes, Id like to say expanded.

JI: You organized the group White Elephant backaround 1970. Why dont you talk a little bit aboutthat?

MM:Let me just backup maybe several years beorethat. I started playing with Jeremy Steig in 1965 Jeremy Steig and the Satyrs. Donald MacDonald isthe drummer and Eddie Gomez played with him andso did Warren Bernhardt. Te scene down in the vil-lage the music was changing. Tey were playing theCa Au Go-Go. We werent playing jazz clubs. Wewere playing in places like the Electric Circus and theFillmore. I really started getting into that music too listening to Dylan, the Beatles, Joni Mitchell andpeople that were singing at these clubs. It was whenI first started playing in the studios in the late 50searly 60s. It was basically tie, shirt, and suit kind o

a gig. You walked in and in ten minutes, sat doread the charts it was like being in Catholic schTen when rock-n-roll happened, there werthat many musicians that were really into it.

Most producers just thought the rock thing wpassing ancy. I had been playing with guys who wplaying this kind o music. Tese people would me up and say, Hey, do you want to write this mor this V show? Its a little rock-n-roll thing.its, You know so and so is doing an album andneeds an arranger. He wants to put a band togethSo I hired all these hippies. In those days, it was Wren Bernhardt, Sam Brown and some o these chacters that would sort o saunter in a little late wthe tie dyed shirts. All you have to do is go back look at some o the records that were happeninthe 60s and you can see that there was a transitbeing made. Also, there were independent peo

that started their own record studios, like Rudy VGelder or example. Going to Rudys studio again like going to school because Rudy was so stBut it was beore things were controlled by a ew ctractors in terms o jingle dates or film dates. Incording studios it was all unionized that you couldmove, you couldnt touch a microphone. Tey hadperson that would just move microphones. Tey another person that would operate the tape machand then there was an engineer who couldnt tothe tape machine. Everything was just very strSo people started opening up their own recordstudios and then using different miking techniqand the whole thing just became more creative. It

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Pamela Luss with Houston PersonNEW ALBUM AVAILABLE NOW & CD RELEASE EVENT AT JAZZ STANDAR

Pamelas new album, Sweet and Saxy with Houston Person, is now availabProduced by and featuring Houston Person. Released by Savant/HighNote Record

Available in retail stores, on-line stores, and iTuneRefer to www.pamelaluss.com for all purchasing informatio

JAZZ STANDARD with Houston Perso

Wednesday, Oct 28th - 7:30pm & 9:30pCover Charge: $20.

116 East 27th (between Lex & Park Avenuewww.jazzstandard.co

**Reservations Required, 212-576-2232

Houston Person (tenor saxophone), John di Martino (pianJames Chirillo (guitar), Ray Drummond (bass), & Alvin Atkinson (drum

Everything about Pamela is rst-rabe it her solid chops, well-endow

voice, or skillful ballad deliverThis album will dramatica

increase her visibility in JapanThe magical interaction betwe

the warm sound of Persontenor sax and Lus

expressive singisuggests the birof a new, splend

partnership JazzYell- Japa

SWEETAND SAXYCD RELEASE

EVENT

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more o an exchange o ideas and how to record. Forsessions, Artist Services would call you. I played allthe percussion instruments. So rom nine to eleven,youre at A&R Studios, and rom one to our youreover here, and then rom five until whenever, youre

at this gig. You could work constantly i you were anA player.

JI: Were you playing vibes and drums and tympanitoo?

MM: I wasnt playing drums. I would play snaredrums. I played tympani, bells, xylophone, vibra-phone, congas, a ll the percussion instruments, Latinpercussion. Id bring my case with all various toys. Inthe morning you play on a jingle. In the aernoonyoure playing Don McLeans records. At night Idplay on a Wes Montgomery record. It was un or me.

Tat was something that I had a lot o and enjoyed that diversity and the challenges and the idea thatI could arrange also some o the music. With WhiteElephant, there was one studio that was a jingle stu-dio. It was dark at night. During that time I hadormed my own jingle company. I was doing a lot osessions there and knew Phil Ramone. Te owner

said the studio is dark and i you want to come inand rehearse or play, fine. Tats what I did. I startedwith the Jeremy Steig rhythm section. Although bythen I had met ony Levin and Steve Gadd on a GapMangione session. Tey were playing with Gap and

they were living in Rochester at the time. But theycame down or one session and we said, Who arethese guys? I was there with all o them. It was abig band. I heard Steve or the first time and it was, Iwas quite impressed with his drumming . So was ev-eryone else. Chuck did all the charts that rankly Ididnt know who Chuck was either. Levin played thisupright electric bass, which I had never seen. All kindo guitar players would show up, Hugh McCracken,David Spinoza, Sam Brown. It was sort o a jam ses-sion. Whoever wanted to come and play, played. TeBrecker Brothers, George Young, Ronny Cuber.It was pretty much a ree-or-all kind o jam. Wed

vamp on a tune or like an hour. Everybody wouldget high too. I might as well say that. Ten I startedarranging some o the tunes and some singers wouldshow because I was hiring singers on some o thesedates. I started writing lyrics. By then I had moved upto the Woodstock area and I was traveling back andorth, commuting like Warren was and Levin moved

up there, and Steve Gadd a couple years later. Twas a very erti le experience. A lot o great musichave been living there rom rock and olk and jSo with the White Elephant band Jay Messina an engineer and is still a dear riend. He would co

in and record the band or un. We collected enomaterial and put out an album. Michael Lang was o the two promoters o the Woodstock Festival. put it out on Michaels label in 1971. But basicallyo that band came a lot o other groups, like Dreand another band called Ars Nova, and eventuSteps. It was a un time. I cant say anymore thawas a great experience. Around that t ime, I bougarm up near upper Red Hook, a vineyard. I bouit or $45,000 believe it or not a 100 acre armwas a lso arming and playing sessions. And that really a great experience or me and the kids. Wa vineyard, you basically do the harvesting. You

even hire people to do that in late September. Tthe grapes get pruned in October and then you ddo anything. Id have a plane come over and dust vines. Its very l ittle work on my part . I mean it hard work but being a dairy armer is a ull time

JI:What years was the arming happening?

[Steps] started as an acoustic band. But it was considered an electric band by the critics I wondered what was so conusing. We were playing straight ahead tunes but we were also playin

something that was like R&B or unk-based or something like that. Te audiences were into it so. Sthats kind o really all that mattered. And we had more than that - we had un playing music.

Ad design: Danita Albert Photo: Andrew Lepley www.antoinettemontague.com

Thu. NOVEMBER 5THTHE KITANO 66 Park Avenue at 38tth St., NY 212-885-7119 Check website for updates

Sat. NOVEMBER 7THJAZZ VESPERS 6 7:30 pm at St. AlbansCongregational Church, 172-17 Linden Blvd.,St. Albans, Queens 718-657-8282

Wed.DECEMBER 16THTHE DUKE ELLINGTON SOCIETY CONTINUES IT

50TH ANNIVERSARY CELEBRATION

AT THE HOLIDAY CONCERT PARTY7:30pm 9:45pmwithThe Antoinette Montague groupFeaturing Bill Easleyon sax/flute & clarinFree for TDES Members- $20 Donation forNonmembers- $10 Donation for StudentsSaint Peters Church, East 54th St. & Lexingto

Ave., NY, NY Seating begins at 7 pm

*Swinging music and refreshments!*Check out the Duke Ellington website:www.thedukeellingtonsociety.orgTDES,Inc. Box 31, Church Street Station, NYC 10008-0031

Stay posted for theNew Releaseof:

Behind theSmileMulgrew Miller, Bill Easley,Kenny Washington,Peter Washington. With originalmusic by AntoinetteMontague & songs by SamJones, William SmokeyRobinson, Duke Ellington,Big Bill Broonzy.

MontagueAntoinette

For Bookings: Call 203-820-8819or E-mail: annie@antoinettemontague.com*Also Check out

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It is up to us to educate future generations and

to perform this music with integrity. Ellington, Monk,

Parker, Roberts and many others have and continue to

give us high quality art. Of course, there will always be

some new talent creating other ways to play. Their

innovations will become part of one glorious mainstream.

Wynton MarsalisEDUCATION MATERIALS FOR THE INDIVIDUALMUSICIAN, BAND DIRECTOR OR TEACHER:

DVDS

Sheet Music andSolo Transcriptions

BOOKS

wyntonmarsalis.com

MM: Well I bought the arm in 1969. I was rightacross the river rom Woodstock so I would go hangout with the guys in Woodstock. And then I movedto Woodstock in 72 but I still had the arm. I wasstill working the arm unti l about 1975. Ten I sold itseveral years aer that, maybe our or five years aerthat. I couldnt afford to keep two places. I was a busydad and musician playing in the city and doing thearming there. I had a jingle company I started also

in 1972. I had a deal with Paramount records withMichael Lang, so I was occupied with also puttingout several albums. I got a little more into the arrang-ing and producing part o the business in the middle1970s. Ten when the Brecker Brothers opened theirclub, I sensed the need to start playing and perorm-ing more. I thought I was letting my instrument, myplaying abi lity sort o al l by the wayside, so I sta rtedplaying and playing more. Tats where basically I wasplaying with t wo di fferent groups. I had an acousticband with Michael Brecker and Eddie Gomez, SteveGadd, Don Grolnick. It was then billed as MikeMainieri quintet. Joe Farrell used to sit in occasion-ally when Mike couldnt make it. I was signed with

Warner Brothers at that particular time. I had an-other band with Omar Hakim, Bob Mintzer, War-ren Bernhardt, and Gomez or Marcus Miller actuallyplayed on that album. I had miked my vibes. I hadinvented the amplification o the vibraphone back inthe early 60s so that I could play as loud as the guitarplayer. Ten a Japanese woman by the name o ikki

Miyake who was recording a lot o the shows rom 7thAvenue South Club and then bringing them to Japanand being broadcast there. We were offered a recordcontract and I couldnt really sign as Mike Mainieribecause I was already signed to Warner Brothers. Sowe gave the band a name. We called it Steps. And itbecame a collective group. I wasnt the band leader butDon and I were. She brought so many musicians overthere. Steps recorded Smoking At the Pit there at

the Pit Inn, which was a nightclub in okyo at night.During the day, we recorded a studio album. It wasreally a couple o hectic weeks. Tat album came outas Step By Step. A year later, Steve Gadd le the bandand Peter Erskine joined the band and we made onemore record as Steps, at the Brecker Brothers club.Te album was calledParadox. When we signed withElektra in 1981, when Eliane Elias joined the bankand Grolnick le, there was a band down in NorthCarolina that owned the name Steps. We negotiatedwith them to try and buy the name and when theyound we were like so called hotshots studio guys, theprice kept going up. It started at like $250 and wentto like $25,000. We just decided, Well lets add a

word or something, which we did. It became StepsAhead and we made our first record. Te first one wasjust called Steps Aheadand the second was Modernimesand the third I think was called Magnetici Irecall. It started as an acoustic band. But it was con-sidered an electric band by the critics. I remember inthe polls wed come in second, as an electric band.

I wondered what was so conusing. We were playstraight ahead tunes but we were also playing sothing that was like R&B or unk-based or somethlike that. Te audiences were into it so. So thats ko really all that mattered. And we had more tthat, we had un playing music. Were still doinbasically. Im more involved with the LImage Grwith putting that together. We just came back Japan playing with Levi n and Gadd and Bernh

and Spinoza again. Tat band came out o WElephant. We were living in Woodstock at the tiIn 1972, we ormed this group and practiced ormonths in my barn, which I had turned into a dio. We didnt take any gigs. We just practiced we played up in Rochester. We played at the JoyLake in Woodstock and played some other gigs then aer we had played together or about a yeathink Steve joined Stuff and everybody sort o wtheir own way. I think ony around that time starworking with Gabriel. We called the band LImathink Warren brought in a piece and we sat aromaybe a couple o weeks trying to think o a na

o a band. Its one o the hardest things to do wyou have a collective band. It ended up being LImwhich actual ly never recorded until October o year. It was a high powered usion band. Back to SAhead, we did one last album without Peter anwas called Live in okyoin 1986, which was the

Continued on Page 42

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Interview

Arturo OFarrillBy Gary Heimbauer

grams that I know o that acknowledge or teachsomething besides bebop harmony, how to swing,big band technique, all o which make up a smallpart o the jazz experience. As ar as I know, the ArtEnsemble o Chicago, Sun Ra, Hermeto Pascoal, andAlbert Ayler are le out o many curricula. Perhaps iour jazz programs le the fiies and sixties, we wouldstop turning out more teachers and start turning outmore musicians, and more importantly, more ans.

JI: With the highly competitive current reality othis artorm, the compelling need on the part omany artists to be the center o attention and to be si-multaneously and paradoxically selfless, how do youavoid the tyranny o the ego?

AF: I wake up every day grateul to be a musician,baffled at how little I know, and cognizant o theact that I will always be a student, and not a sel-ap-pointed spokesperson. Even though I have an obliga-tion to sometimes answer questions in interviews, Iam humbled by the tremendous vastness o possibil-ity that is called music.

JI:Te creative side o jazz is very much alive. Tebusiness side o this genre o music is characterized

by supply that ar exceeds demand - in terms o newand available recordings, numbers o artists compet-ing or ewer and ewer perormance opportunities.Creating increased supply, expectedly doesnt ap-pear to be inspiring more demand. What ideas doyou have about developing the demand-side or themusic, to ensure economic growth or the genre andmore opportunity or the creators?

AF:Tanks to Ken Burns and his riends, sales orKind o Blue are constantly humming. As brillianta record as it was, brilliant records are made every

JI:What inspired you and how did you get the op-portunity to create the Aro Latin Jazz Orchestraat Lincoln Center, which le its residency there in2007? What have been the unique challenges and

rewards o this experience?

AF: Te idea or the ALJO came to me aer per-orming with Wynton and his orchestra at a galaundraiser. I asked him i he could help lead us toan institution that could support us and in 2001, heasked us to join the Lincoln Center amily. In 2006we le due to budgetary constraints. It was quite pos-sibly the best thing that has happened to us. Wevemore international travel, gotten more press, createdour own educational initiative that doesnt ignoreLatin music, and received the 2009 Grammy Awardor Best Latin Jazz Album.

JI:Do you have any interesting anecdotes or expe-riences with players like Dizzy, Steve urre, LesterBowie, Wynton Marsalis that were valuable or inter-esting or you that you can share with us?

AF:None that are printable. Just kidding. Te oneincident that sticks out in my mind was when doingoverdubs on Lester Bowies Feelharmonic Orchestrarecording, he was looking over my shoulder in hisamous lab coat and cigar while i was attempting toplay something that had a lot o notes. He leanedover and whispered in my ear, Never let the notesget in the way o the music, - probably the best musi-

cal advice I ever heard.

JI: Aside rom directing the Aro-Latin Band, youalso direct the Chico OFarrill Aro-Cuban Jazz Or-chestra at Birdland, while also being an educator anda touring musician. How do you manage to juggle allo these things? How do you prioritize?

AF: I derive a lot o strength rom my relationshipwith my amily, my riends, and my aith. It helps meto keep my eye on the prize, which is more opportu-nities or more musicians to do more work and createmore art.

JI: How does the Chico OFarrill Birdland groupdiffer rom the Aro-Latin band in terms o style andthe overall dynamic?

AF:Te best analog y I can make is that the COACJOis like the Count Basie orchestra, committed to somebasic precepts o swing and a repertoire that, i notexclusively Chicos, reflects the Chico aesthetic. TeALJO perorms rom a wide spectrum o the Aro-Latin jazz canon. It is also a commissioning body andplays a lot o new music and music rom young com-posers. Both orchestras do not resemble either ghostbands or museum repertory orchestras. We have alotta lotta lotta un! www.arturoofarrill.com

Orchestration is a large part o the tools we have toreinvent an existing work but the real arranger sees the

hidden possibilities in a piece and exploits them.

JI:Education has played a huge role in your lie. Youattended three very prestigious music schools andyou are known or your strong role in education asa teacher as well. Your wie is also a highly respected

teacher and I took piano 1 and 2 with her a ew yearsago at City College o New York. She was great.What do you eel we need more o in schools - publicand college - and what needs to change?

AF: Jazz education across the board starting at thetop institution has to stop teaching rom the sameold sources, as great as they are. Tere are no pro-

day. Make the jazz machine more relevant, retthe ocus to new and emerging artists, create youhip, not necessarily rich ans, and you may creacontinuing buying orce or this music. Or, courtsubscription audiences.

JI:Can you talk about the process o composingyou? How do you approach this task?

AF:Composing is giving birth to what you hearside your brain, I dont know where the ideas corom but I know when theyre ready to be put on

per. Tere always has to be, at least or me, an insption, and it could come rom anywhere - a poemperson, a mathematical ormula or even a g reat cversation.Arranging is close to composing. It is not orchestion o an existing composition it is the recastinan idea or ideas in a brand new skin. Orchestratioa large part o the tools we have to reinvent an exing work but the real arranger sees the hidden psibilities in a piece and exploits them.

JI:What events current or upcoming are you excabout in your musical lie?

AF:My new albumRisa Negracomes out in Octoon the Zoho label and is the first Arturo OFaproject that is exclusively origina l works . I believis an unusually creative work unlike anything I eheard. Also on November 5th and 6th is the seaopener or Te Aro Latin Jazz Orchestra at Syphony Space [For more ino see Arolatinjazz.oand will eature a newly commissioned work o mcalled A Wise Latina in celebration o the nomtion and confirmation o our first Hispanic SupreCourt Justice, the honorable Sonia Sotoma yor. great riend and musical hero, Randy Weston, be with us.

Continued on Page 43

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