Blue Note June 2013

J U N E 2 0 1 3 p r o g r a m

131 w. 3rd st. new york city 212. 475. 8592 www.bluenotejazz.com

July 16-25 • Bill Charlap, Artistic Director

92nd Street Y | Lexington Avenue at 92nd Street | An agency of UJA-Federation

For tickets, visit 92Y.org/JazzinJuly or call 212.415.5500.Discounted tickets are available to patrons 35 and under.

SIX ONE NIGHT STANDSwith legends of JAZZ, including Rossano Sportiello, Anat Cohen, Freddy Cole, Dena DeRose, Chris Potter, Bucky Pizzarelli and more!

Tue, Jul 16, 8 pm FATS WAllER: A HANDFul OF KEyS Wed, Jul 17, 8 pmJImmy VAN HEuSEN: SWINGIN’ ON A STAR

Thu, Jul 18, 8 pm WEST COAST JAZZ

Tue, Jul 23, 8 pm THE mAD HATTER: muSIC OF CHICK COREA

Wed, Jul 24, 8 pm mANCINI, mANDEl & THE mOVIES

Thu, Jul 25, 8 pm BENNy GOODmAN: lET’S DANCE!

The Jazz in July series is partially endowed by Simona and Jerome A. Chazen.

JUNE CALENDAR

TWO SHOWS NIGHTLY:LATE NIGHT GROOVE SERIES:

SUNDAY JAZZ BRUNCH:

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

SUNDAY BRUNCH SERIES

PEDRO GIRAUDO“EXPANSIONS” BIG BANDJUNE 2

MIKE MORENOJUNE 9

GIULIA VALLE QUINTETJUNE 16

JOE ALTERMAN TRIOW/ HOUSTON PERSONJUNE 23

BEN ALLISON TRIOJUNE 30

STEVEN FEIFKE TRIOJUNE 11 6:30PM

CASEY BERMAN TRIOJUNE 17 6:30PM

LATE NIGHT GROOVE SERIES

SPARKPLUGW/ TIM PALMIERI (KUNG FU)MAY 31

DJ LOGICJUNE 1

ADAM DEITCH & THE MIDNIGHT MARAUDERSJUNE 7

RUBY VELLE & THE SOULPHONICSJUNE 8

NIGEL HALLJUNE 14

DJ LOGICJUNE 15

DESSY Di LAUROJUNE 21

SPOKINN MOVEMENTJUNE 22

ALAN EVANS TRIO(LEGENDARY DRUMMER OF SOULIVE)JUNE 28

MARCUS STRICKLAND’S TWI-LIFEJUNE 29

DIZZY GILLESPIETM ALL-STAR BIG BANDMAY 28 - JUNE 2

GATO BARBIERIJUNE 3

MARSHA AMBROSIUSPRODUCED BY JILL NEWMAN PRODUCTIONS

JUNE 4 & 5

JERRY DOUGLASJUNE 6 - 9

TBAJUNE 10

KENNY WERNER QUINTETW/ LIONEL LOUEKE & MIGUEL ZENóNJUNE 11 - 13

MCCOY TYNER & THE LATIN ALL-STARSJUNE 14 - 16

GATO BARBIERIJUNE 17

JOHN MCLAUGHLIN & THE 4TH DIMENSIONJUNE 18 - 20

SADAO WATANABEJUNE 21 - 23

THE GREYBOY ALLSTARSW/ GUESTS HOUSTON PERSON (24), JAMES CARTER (25) & GARY BARTZ (26)JUNE 24 - 26

ROY HAYNESPRODUCED BY JILL NEWMAN PRODUCTIONS

JUNE 27 - 29

ANDY BEY - SOLOPRODUCED BY JILL NEWMAN PRODUCTIONS

JUNE 30

EMERGING ARTIST SERIES

July 16-25 • Bill Charlap, Artistic Director

92nd Street Y | Lexington Avenue at 92nd Street | An agency of UJA-Federation

For tickets, visit 92Y.org/JazzinJuly or call 212.415.5500.Discounted tickets are available to patrons 35 and under.

SIX ONE NIGHT STANDSwith legends of JAZZ, including Rossano Sportiello, Anat Cohen, Freddy Cole, Dena DeRose, Chris Potter, Bucky Pizzarelli and more!

Tue, Jul 16, 8 pm FATS WAllER: A HANDFul OF KEyS Wed, Jul 17, 8 pmJImmy VAN HEuSEN: SWINGIN’ ON A STAR

Thu, Jul 18, 8 pm WEST COAST JAZZ

Tue, Jul 23, 8 pm THE mAD HATTER: muSIC OF CHICK COREA

Wed, Jul 24, 8 pm mANCINI, mANDEl & THE mOVIES

Thu, Jul 25, 8 pm BENNy GOODmAN: lET’S DANCE!

The Jazz in July series is partially endowed by Simona and Jerome A. Chazen.

DIZZY GILLESPIETM ALL-STAR BIG BAND

MAY 28-JUNE 2, 8PM & 10:30PM

History has produced its share of great artists and great people – John Birks “Dizzy” Gillespie was both. As a performer, he left behind an incred-ible record of innovation and inspira-tion; as a composer, a broad reposi-tory of musical masterpieces; and as a man, a legion of friends, colleagues, and compatriots who remember him with the same degree of love and es-teem they reserve for his work.

For Gillespie, playing in a small com-bo was never enough. His artistry compelled him to seek larger ensem-bles because, for a brilliant composer and arranger, a big band is the ulti-mate vehicle for self-expression. Giv-en that the majority of his career took place after 1950 when the big band era was over, it is especially notable that Gillespie continued to create bril-liant music using the grand-scale for-mats of jazz big band and orchestra right up to the end of his life in 1993.

The Dizzy Gillespie™ All-Star Big Band and smaller Alumni All-Star group are the direct descendants

of Gillespie’s musical ventures. The groups feature some of Dizzy’s clos-est compatriots: senior statesman and NEA Jazz Master Jimmy Heath; veteran Gillespie alumni Roy Har-grove, vocalist Roberta Gambarini, Cyrus Chestnut, Steve Davis, and Lewis Nash; and musical director John Lee. All of them are bandlead-ers, educators, and recording artists in their own right. These groups are the legacy the master would have wanted, and they serve as a living tribute from extraordinary musicians who exemplify Dizzy’s style, range, and commitment.

Together, the Dizzy Big Band and small group All-Stars have recorded numerous critically acclaimed al-bums. One of the Big Band’s latest albums, I’m BeBoppin’ Too, was re-leased on Half Note Records in 2009. All About Jazz called the recording “a remarkably proficient and invariably engaging outing.” n

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

DIZZY GILLESPIETM ALL-STAR BIG BAND

Since DJ Logic’s emergence in the early nineties amidst the Bronx hip-hop scene, the New York City based deejay has been amassing a veritable moun-tain of collaborations including Medes-ki, Martin & Wood, Christian McBride, Vernon Reid, Charlie Hunter, Jack De-Johnette, John Mayer, Ben Harper, Mos Def, and The Roots.

DJ Logic has produced notable proj-ects such as Re-imagination with jazz piano phenomenon Eldar, collaborated with Vernon Reid on a project he co-founded called the Yohimbe Brothers and participated in a rock band with John Popper. Logic’s body of work also

DJ LOGICSATURDAY NIGHT, JUNE 1 12:30AM

includes three highly accomplished solo albums.

With a growing catalogue of recordings under his belt, DJ Logic’s supreme mu-sicianship and catholic tastes will allow him to journey wherever an infectious groove may take him. of other genres. In addition to jazz, he writes and produces hip hop, rap, film scores, and contemporary classical, as well as many other forms of music. n

For several years, organist Beau Sasser and drummer Bill Carbone each made up 1/3 of the late legendary soul jazz guitarist Melvin Sparks’ trio. Since Sparks’ passing, Sasser and Carbone created a way of paying tribute to their friend and mentor by forming the band Sparkplug. The band performs songs written and performed by Sparks dur-ing his 45-year career as a musician, as well as imagining where Sparks would have taken the music if he was still with us today. Because Sparks is irreplace-able, Sparkplug does not have a steady guitarist in the band. Instead, they fea-

SPARKPLUGW/ TIM PALMIERI (KUNG FU)

FRIDAY NIGHT, MAY 3112:30AM


ture a new special guest guitarist on each gig. Tonight Sparkplug will feature saxophonist David Davis as well as per-cussionist Jamemurrell Stanley. n

For their second Half Note issue, the power trio of DONALD HARRISON, RON CARTER and BILLY COBHAM declare themselves spokesmen for a kind of exploratory improvisation and interplay known only to seasoned jazz profes-sionals. Staunch individualists all, they come together with a united voice of alto, bass and drums - at once steeped in jazz’s richly variegated traditions yet forward-thinking in the cause of new creative expression.

HALF NOTE RECORDS NEW RELEASEDONALD HARRISONRON CARTERBILLY COBHAM

AVAILABLE UPSTAIRS IN THE BLUE NOTE GIFT SHOP!

THIS IS JAZZ

Argentine-born Pedro Giraudo has been hailed as one of the most creative and daring composer/bandleaders on the jazz scene today. Downbeat Maga-zine has called his music “An opulent listening experience of modern orches-tral jazz, brimming with passionate im-provisations, contrapuntal melodies, and plush harmonies.”

Giraudo’s 17-piece big band, “Expan-sions,” displays the powerful emotional impact of his compositions, which have captivated listeners around the world with their passion and energy. With Argentine underpinnings and a hint of South American grooves, they’re subtly

PEDRO GIRAUDO“EXPANSIONS” BIG BANDSUNDAY, JUNE 212:30 & 2:30PM$29.50 includes music, brunch & 1 drink


suggestive of such composers as Duke Ellington and Charles Mingus, master-fully weaving together pre-composed and improvised elements.

The band has performed regularly in the most prestigious jazz clubs in the New York City area, including the Jazz Stan-dard, Birdland, the Jazz Gallery, Joe’s Pub. n

Mystical yet fiery, passionately ro-mantic yet supremely cool – you hear those first few notes from that instantly recognizable tenor, and know you’re in the unique musical world of Gato Barbieri. His career has covered virtually the entire jazz landscape, from free jazz with trum-peter Don Cherry and avant-garde in the mid-’60s, to film scoring and his ultimate embrace of Latin music throughout the ’70s and ’80s. Barbieri began playing tenor saxophone with his own band in the late ’50s and moved to Rome with his Italian-born first wife Michelle in 1962, where he began collabo-rating with Cherry. The two recorded albums for Blue Note: Complete Commu-nion (1965) and Symphony for Improvisers (1966), both of which are consid-ered classics of free group improvisation. He also col-laborated with Steve Lacy, Abdullah Ibrahim, Charlie Haden, Carla Bley and the Jazz Composer’s Orches-tra, Stanley Clarke, Airto Moreira, Chico O’Farrell, and Lonnie Liston Smith during this period.

Barbieri recorded a handful of al-bums on the Flying Dutchman label in the early ’70s and then signed with Impulse, where he recorded his clas-sic Chapter Series: Latin America (1973), Hasta Siempre (1973), Viva Emiliano Zapata (1974), and Alive in New York (1975). While at Impulse, he also composed the Grammy-winning score for the film Last Tango in Paris (1972) – an achievement he parlayed into success as a film composer, scoring international films over the years in Europe, South America, and

the U.S. By the mid-’70s, Barbieri’s coarse, wailing tone began to mellow, a change evident on his ’70s A&M re-cordings. However, early ’80s dates like the Live Gato … Para Los Amigos (1984) saw the saxophonist reclaim a more intense, rock-influenced South American sound.

After years of limited musical activ-ity due to the passing of his first wife

(also his closest musical confidant and manager) and his own triple by-pass surgery, Barbieri returned stron-ger than ever with the 1997 Columbia offering Que Pasa, the fourth-high-est-selling contemporary jazz album of that year. Since that reemergence, he has continued to release albums, including The Shadow of the Cat (2002), which won Billboard’s presti-gious 2003 Latin Jazz Album of the Year award and garnered a Grammy nomination, and New York Meeting (2010). n

GATO BARBIERI

MONDAY, JUNE 3, 8PM & 10:30PM

Lorem ipsum dolor sit amet, con-sectetur adipiscing elit. Etiam con-vallis magna at quam bibendum vitae venenatis neque sollicitudin. Sus-pendisse blandit pulvinar interdum. Sed sagittis justo a magna tincidunt tempor. Vivamus fringilla, turpis vitae dignissim congue, leo sapien sagit-tis nibh, eu faucibus arcu justo et mauris. Nullam auctor pu-rus odio. Curabitur luctus aliquet libero ac egestas. Integer vehicula massa vitae tortor rutrum ulla-mcorper vitae ut massa. Aenean et lacus varius nisi viverra laoreet sit amet sed elit. Nullam eget diam nec neque laoreet facili-sis. Duis sed felis sed lo-rem condimentum sollici-tudin a vestibulum tortor. Aenean dignissim, eros sed congue consectetur, tortor velit lacinia libero, sit amet sagittis eros nibh sed nulla.

Nulla facilisi. Sed male-suada ante sit amet velit consequat consectetur. Donec id turpis nisi. Vestibulum tin-cidunt, eros ac viverra fringilla, tortor velit laoreet nisi, sed facilisis purus ipsum non nisi. Phasellus quis blan-dit dolor. Phasellus id nisl id sapien accumsan fermentum. Suspendisse tellus purus, scelerisque ut sceleris-que quis, porttitor id lorem. In enim lectus, congue vel eleifend non, ali-quam at felis. Vestibulum eget diam arcu, sit amet pretium metus. Nam venenatis tristique neque, quis plac-erat lectus iaculis ac. Proin ornare scelerisque dictum. Donec tempus, nunc vel posuere rhoncus, lorem ligula egestas tortor, et feugiat felis libero adipiscing augue. Sed laoreet varius tellus, at varius velit posuere ut. Nunc dui tortor, convallis eget

sollicitudin sed, molestie sed purus. Nullam dolor ipsum, aliquet a lobortis nec, lacinia eget lacus.

Lorem ipsum dolor sit amet, con-sectetur adipiscing elit. Etiam conval-lis magna at quam bibendum vitae venenatis neque sollicitudin. Sus-pendisse blandit pulvinar interdum.

Sed sagittis justo a magna tincidunt tempor. Vivamus fringilla, turpis vitae dignissim congue, leo sapien sagittis nibh, eu faucibus arcu justo et mau-ris. Nullam auctor purus odio. Curabi-tur luctus aliquet libero ac egestas. Integer vehicula massa vitae tortor rutrum ullamcorper vitae ut massa. Aenean et lacus varius nisi viverra laoreet sit amet sed elit. Nullam eget diam nec neque laoreet facilisis. Duis sed felis sed lorem condimentum sol-licitudin a vestibulum tortor. Aenean dignissim, eros sed congue con-sectetur, tortor velit lacivarius tellus, at vlobortis nec, lacinia ege

MARSHA AMBROSIUS

JUNE 4 & 5, 8PM & 10:30PM PRODUCED BY JILL NEWMAN PRODUCTIONS

As a solo artist, band member, col-laborator and session musician, Jer-ry Douglas’ distinctive playing grac-es over 2000 albums by artists as varied as Garth Brooks, Ray Charles, Elvis Costello, John Fogerty, Bill Frisell, Charlie Haden, Emmylou Har-ris, George Jones, Dolly Parton, Earl Scruggs, Phish and the Chieftains, as well as the eight-million-plus selling soundtrack to O Brother, Where Art Thou? and its spinoff live disc Down from the Mountain. As a pro-ducer, he’s helmed albums by such notable acts as the Del McCoury Band, Maura O’Connell, Jesse Winchester and the Nashville Bluegrass Band. The Ohio-born Douglas be-gan playing Dobro at the age of eight. After playing with his dad’s group the West Virginia Travelers for several years, a 17-year-old Douglas joined the pioneering pro-gressive-bluegrass band the Country Gentlemen in 1973. Two years later, he became a member of the seminal J.D. Crowe and the New South, which also included future solo stars Ricky Skaggs and Tony Rice. In 1976, Douglas and Skaggs co-founded the now-legendary bluegrass combo Boone Creek.

In 1979, Douglas launched his solo career with his LP Fluxology, and also became a full-time member of the beloved family country group the Whites. In the late ‘80s, he formed the acoustic supergroup Strength in Numbers with Sam Bush, Bela Fleck, Edgar Meyer and Mark O’Connor.

In the late 1990s, Douglas chose to abandon his lucrative Nashville ses-sion career, in order to concentrate

on more creatively satisfying musical pursuits. At around the same time, Alison Krauss asked him to fill in on a Union Station tour. Those shows went so well that the association be-came a permanent one. Since then, Douglas has balanced his work with Union Station with his ongoing solo career.

Douglas also scored the film Get Low (starring Robert Duvall, Bill Mur-ray and Sissy Spacek) with Jan A.P. Kaczmarek, and wrote additional mu-sic for the film.

In 2011, Douglas received the Annual Americana Honors and Awards cov-eted Lifetime Achievement Award for Instrumentalist, a top honor shared in previous years by such luminaries such as Ry Coder, Sam Bush, Larry Campbell, Greg Leisz. n

JERRY DOUGLAS

JUNE 6-9, 8PM & 10:30PM


Adam Deitch’s career crosses genres, playing the role of both producer and drummer. At an early age, Adam was in-spired by hip-hop artists such as Public Enemy and Eric B and Rakim. He has produced records for 50-Cent, Redman and MF Doom and also played drums for Justin Timberlake, Daniel Beding-field, Anthony Hamilton, DJ Quik and Wyclef Jean and the Fugees. Adam has toured the world and recorded as a member of the John Scofield Band, Pretty Lights, the Average White Band,

The Fugees, Wyclef Jean, Meshell Ndegeocello and Lettuce. Deitch also produced and co-wrote two songs for Ledisi’s Turn Me Loose, Derek Trucks and Susan Tedeschi’s Sony debut and produced two tracks for Matisyahu. n

ADAM DEITCH & THE MIDNIGHT MARAUDERS

FRIDAY NIGHT, JUNE 712:30 AM


Ruby Velle & The Soulphonics roots are embedded in the rich sound and history of Georgia soul. Having per-formed countless gigs since 2005, the band has already contributed heavily to the awareness of genuine rhythm and blues music. It’s About Time, their full-length debut album has quickly made waves around the globe, Billboard has ranked the album in the top 30 on the Heatseeker charts. In the US, the lead off single “My Dear” was featured as iTunes’ “single of the week”, sparking a digital soul-grab of 200,000 single

RUBY VELLE & THE SOULPHONICSSATURDAY NIGHT, JUNE 8 12:30AM

downloads, and 1200 full album download sales, landing the album at #4 on the iTunes R&B charts. Jim Farber of The New York Daily News named the album in his much sought-after top ten. n


Originally from Houston, Texas, Mike originally moved to New York City with a scholarship to attend the New School University.

Over the years, he has worked with artists including The Joshua Red-man Elastic Band, Lizz Wright Band, Nicholas Payton Quartet, Me’Shell N’Degeocello, Jason Moran, Terence Blanchard, Robert Glasper, Gretchen Parlato, Aaron Parks, Claudia Acuña, Greg Osby 4, Wynton Marsalis and the Jazz At Lincoln Center Orchestra, Jeff “Tain” Watts, Jeremy Pelt, John Ellis, Myron Walden, Kenny Garret,

MIKE MORENO QUARTETSUNDAY, JUNE 912:30 & 2:30PM$29.50 includes music, brunch & 1 drink

Yosvany Terry, Ralph Bowen, Q-Tip, Robert Glasper and many others.

Recognized as one of the leading voic-es in the Jazz guitar world, Mike has toured extensively and recorded as a leader of his own band, playing his original music to high critical acclaim. n

Steven Feifke is currently a senior at NYU, where he studies Jazz Perfor-mance and Economics. Originally from Lexington, Massachusetts, Steven be-gan playing classical piano at the age of four. At ten, he was drawn to jazz and never looked back. Since moving to New York City, Steven has been af-forded the opportunity to perform with many top musicians at venues around the world. He has played at Dizzy’s Jazz Club at the Lincoln Center with Chris Potter, the Blue Note with Ralph Lalama & Dafnis Prieto and Rockefeller

STEVEN FEIFKE TRIOTUESDAY, JUNE 11, 6:30PM

Center with tenor saxophonist and mu-sical director of Saturday Night Live, Lenny Pickett. Steven was selected as one of twelve semi-finalists to the 2011 International Thelonious Monk Piano Competition held in Washington DC. n

Lorem ipsum dolor sit amet, consecte-tur adipiscing elit. Etiam convallis mag-na at quam bibendum vitae venenatis neque sollicitudin. Suspendisse blandit pulvinar interdum. Sed sagittis justo a magna tincidunt tempor. Vivamus frin-gilla, turpis vitae dignissim congue, leo sapien sagittis nibh, eu faucibus arcu justo et mauris. Nullam auctor purus odio. Curabitur luctus aliquet libero ac egestas. Integer vehicula massa vitae tortor rutrum ullamcorper vitae ut massa. Aenean et lacus varius nisi viverra laoreet sit amet sed elit. Nullam eget diam nec neque laoreet facilisis. Duis sed felis sed lorem condimentum sollicitudin a vestibulum tortor. Aenean dignissim, eros sed congue consecte-tur, tortor velit lacinia libero, sit amet sagittis eros nib. Lorem ipsum dolor sit amet, consectetur adipiscing elit. Etiam convallis magna at quam biben-dum vitae venenatis neque sollicitudin. Suspendisse blandit pulvinar interdum. Sed sagittis justo a magna tincidunt tempor. Vivamus fringilla, turpis vitae dignissim congue, leo sapien sagittis nibh, eu faucibus arcu justo et mauris. Nullam auctor purus odio. Curabitur luctus aliquet libero ac egestas. Inte-

ger vehicula massa vitae tortor rutrum ullamcorper vitae ut massa. Aenean et lacus varius nisi viverra laoreet sit amet sed elit. Nullam eget diam nec neque laoreet facilisis. Duis sed felis sed lor-em condimentum sollicitudin a vestibu-lum tortor. Aenean dignissim, eros sed congue consectetur, tortor velit lacinia libero, sit amet sagittis eros nib. Lo-rem ipsum dolor sit amet, consectetur adipiscing elit. Etiam convallis magna at quam bibendum vitae venenatis neque sollicitudin. Suspendisse blandit pulvinar interdum. Sed sagittis justo a magna tincidunt tempor. Vivamus frin-gilla, turpis vitae dignissim congue, leo sapien sagittis nibh, eu faucibus arcu justo et mauris. Nullam auctor purus odio. Curabitur luctus aliquet libero ac egestas. Integer vehicula massa vi-tae tortor rutrum ullamcorper vitae ut massa. Aenean et lacus varius nisi vi-verra laoreet sit amet sed elit. Nullam eget diam nec neque laoreet facilisis. Duis sed felis sed lorem condimentum sollicitudin a vestibulum tortor. Aenean dignissim, eros sed congue consecte-tur, tortor velit lacinia libero, sit amet sagittis eros nib. n

TBA

JUNE 10

“UPSTAIRS AT THE

Kenny Werner is a world-class pia-nist and composer. His prolific out-put continues to impact audiences around the world. Born in Brooklyn in 1951 and growing up on Long Island, Werner began playing and perform-ing at a young age, first recording on television at the age of 11. He formed his own trio in 1981 with drummer Tom Rainey and bassist Ratzo Harris. The trio matured for 14 years, wowing au-diences in America and Europe and recording four albums.

The ‘90s saw Werner begin several outstanding musical partnerships. He continues to play duo with Toots Thielemans, the legendary harmonica player. For 20 years he has played with and arranged for Broadway legend Betty Buckley. He has also enjoyed a nearly 40-year friendship and mu-sical collaboration with Joe Lovano, with each recording on several of the other’s projects.

In 2000, Werner formed a new trio with Ari Hoenig on drums and Johannes Weidenmueller on bass. They played together for nearly a decade and re-leased three albums, the last of which, Peace: Live at the Blue Note (2004), began Werner’s fruitful relationship with Half Note Records, the recording arm of the Blue Note Jazz Club.

In 2010, Werner was honored with the Guggenheim Fellowship Award for his seminal work, No Beginning No End (2010). Released on Half Note Records, the album is a musical jour-ney exploring tragedy and loss, death and transition, and the path from one lifetime to the next. Among his other recent releases are Institute of High-er Learning with the Brussels Jazz Orchestra (2011) and Me, Myself & I (2012), a live solo piano recording.

In addition to his work as a performer and composer, Werner is a world-class educator. His groundbreaking book on improvisation, Effortless Mastery (2006), is required reading for all aspiring jazz musicians. He also gives lessons and clinics across the U.S. and is currently an Artist-in-Resi-dence at New York University.

For several years now, Werner has toured and recorded in a quintet for-mat, releasing Balloons: Live at the Blue Note on Half Note Records. Tonight, he returns to the Blue Note stage in this format, performing with an all-star quintet featuring guitar-ist Lionel Loueke and saxophonist Miguel Zenon. n

KENNY WERNER QUINTETW/ LIONEL LOUEKE & MIGUEL ZENóN

JUNE 11-13, 8PM & 10:3PM

Jazz pianist McCoy Tyner is widely considered one of the finest and most influential pianists in jazz history. His signature booming left-hand and fleet-ing right created a unique sound that can be heard on his recordings as a sideman with the John Coltrane Quar-tet in the 1960s and on his 80-plus al-bums as a leader. Tyner’s most recent project for McCoy Tyner Music/Half Note Records is his first solo effort in almost a decade titled Solo: Live From San Francisco. The release is the third for his label and features eleven solo vignettes recorded at the Herbst Theater in 2007.

Tyner’s blues based piano style, re-plete with sophisticated chords and an explosively percussive left hand has transcended conventional styles to become one of the most identifi-able sounds in improvised music. His harmonic contributions and dramatic rhythmic devices form the vocabulary of a majority of jazz pianists.

Born in 1938 in Philadelphia, he be-came a part of the fertile jazz and R&B scene of the early ‘50s. His parents imbued him with a love for music from an early age. His mother encouraged him to explore his musical interests through formal training.

At 17 he began a career-changing re-lationship with Miles Davis’ sideman saxophonist John Coltrane. After Col-trane left Davis’ band, Tyner joined Coltrane for the classic album My Fa-vorite Things (1960), and remained at the core of what became one of the most seminal groups in jazz history, The John Coltrane Quartet. The band, which also included drummer Elvin Jones and bassist Jimmy Garrison, had an extraordinary chemistry, fos-tered in part by Tyner’s almost familial relationship with Coltrane.

Tyner has always expanded his vision of the musical landscape and incor-porated new elements, whether from distant continents or diverse musical influences. More recently he has ar-ranged for big bands, employed string arrangements, and even reinterpreted popular music. Today, Tyner has re-leased nearly 80 albums under his name, earned four Grammys and was awarded Jazz Master from the Nation-al Endowment for the Arts in 2002. He continues to leave his mark on genera-tions of improvisers, and yet remains a disarmingly modest and spiritually di-rected man. n

MCCOY TYNER & THE LATIN ALL-STARS

JUNE 14-16, 8PM & 10:30PM

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


Nigel Hall is an honest, humble guard-ian of soul music. When asked about himself, Nigel reflects, “I’m just some-one who lives, eats, drinks music.” This becomes clear as soon as Nigel takes the stage. Whether he is leading his own band, performing solo, or, fronting bands like Soulive and Lettuce, he in-stantly commands the attention of the audience. A Washington D.C. native, Nigel soaked in the sounds of Go-Go, funk and soul. His influences reach far beyond his years; from James Brown

to Donny Hathaway. In 2011, Nigel be-came a 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 producers Eric Krasno and Adam Deitch for Royal Family Records. n

NIGEL HALL



Since DJ Logic’s emergence in the early nineties amidst the Bronx hip-hop scene, the New York City based deejay has been amassing a veritable moun-tain of collaborations including Medes-ki, Martin & Wood, Christian McBride, Vernon Reid, Charlie Hunter, Jack De-Johnette, John Mayer, Ben Harper, Mos Def, and The Roots.

DJ Logic has produced notable projects such as Re-imagination with jazz piano phenomenon Eldar, collaborated with Vernon Reid on a project he co-founded called the Yohimbe Brothers and partic-ipated in a rock band with John Pop-per. Logic’s body of work also includes three highly accomplished solo albums.

DJ LOGICSATURDAY NIGHT, JUNE 15 12:30AM

With a growing catalogue of recordings uder his belt, DJ Logic’s supreme mu-sicianship and catholic tastes will allow him to journey wherever an infectious groove may take him. n

ARRIVE EARLY, EAT DINNER & GET THE BEST SEATS

JUN 9

sUN

O’Riley’s liszt: CLEAN VERSION OF OUR LOGO

DIRTY VERSION OF OUR LOGO - USE IF POSSIBLE

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sat tamia

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black logo on white background

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thUbrENdaN JamEs

JUN 29satGarland JeffreyS

70th birthday party with spEcial gUEsts

JUN 14fri

sUsaNa baca

ARRIVE EARLY, EAT DINNER & GET THE BEST SEATS

aUg 2

fri

maRcus milleR

williE NilE

JUN 26

wEd williE NilE

JUN 11tUE

saUl williamsprEsENts aN EvENiNg of spokEN wordopENEr: JENNah bEll

alicia hall moraN & the motown project

JUN 21fri

THOM CHACON

JUN 16

sUN

JESSE RUBEN

prodUcEd by Jill NEwmaN prodUctioNs

pROduced By Jill newman pROductiOns

pROduced By Jill newman pROductiOns


A rising star on Barcelona’s jazz scene, Italian-born bassist Giulia Val-le immersed herself in the European classical tradition at the Liceo Con-servatory, but honed her jazz chops in New York City studying with Scott Colley and Ben Street. She’s forged close ties with other masters such as Jason Lindner, Jeff Williams, Gerald Cleaver, and John McNeil. She made her debut as a leader with Colorista (Fresh Sound New Talent), a star-tlingly beautiful session that captured her cosmopolitan vision of jazz laced

GIULIA VALLE QUINTETSUNDAY, JUNE 1612:30 & 2:30PM$29.50 includes music, brunch & 1 drink

with Spanish, Brazilian, and Argentine influences. The healthy bonds linking Barcelona and New York City continue to invigorate her music, while she’s re-leased a string of excellent sessions for FSNT showcasing her bass work and emotionally nuanced compositions. n

Boston area native, tenor saxophonist Casey Berman continues to rise in the ranks of the New York scene. Casey has always been immersed in the arts. In high school Casey went to the Rivers School Conservatory program, which afforded him opportunities to work with professors from Berklee School of Music and New England Conservatory.

Casey currently resides in New York and studies Jazz Performance at NYU. He has played at the Blue Note, the Jazz Gallery, the Regattabar and Diz-

CASEY BERMAN TRIOTUESDAY, MAY 17, 6:30PM

zy’s Club Coca Cola and has worked closely with many of NYU’s faculty members, including Dave Pietro, Ralph Alessi, Joe Lovano, and Mark Turner. Casey leads his own trio with his broth-er Elliot Berman on bass and Evan Hughes on drums. n

Mystical yet fiery, passionately ro-mantic yet supremely cool – you hear those first few notes from that instantly recognizable tenor, and know you’re in the unique musical world of Gato Barbieri. His career has covered virtually the entire jazz landscape, from free jazz with trum-peter Don Cherry and avant-garde in the mid-’60s, to film scoring and his ultimate embrace of Latin music throughout the ’70s and ’80s. Barbieri began playing tenor saxophone with his own band in the late ’50s and moved to Rome with his Italian-born first wife Michelle in 1962, where he began collabo-rating with Cherry. The two recorded albums for Blue Note: Complete Commu-nion (1965) and Symphony for Improvisers (1966), both of which are consid-ered classics of free group improvisation. He also col-laborated with Steve Lacy, Abdullah Ibrahim, Charlie Haden, Carla Bley and the Jazz Composer’s Orches-tra, Stanley Clarke, Airto Moreira, Chico O’Farrell, and Lonnie Liston Smith during this period.

Barbieri recorded a handful of al-bums on the Flying Dutchman label in the early ’70s and then signed with Impulse, where he recorded his clas-sic Chapter Series: Latin America (1973), Hasta Siempre (1973), Viva Emiliano Zapata (1974), and Alive in New York (1975). While at Impulse, he also composed the Grammy-winning score for the film Last Tango in Paris (1972) – an achievement he parlayed into success as a film composer, scoring international films over the years in Europe, South America, and

the U.S. By the mid-’70s, Barbieri’s coarse, wailing tone began to mellow, a change evident on his ’70s A&M re-cordings. However, early ’80s dates like the Live Gato … Para Los Amigos (1984) saw the saxophonist reclaim a more intense, rock-influenced South American sound.

After years of limited musical activ-ity due to the passing of his first wife

(also his closest musical confidant and manager) and his own triple by-pass surgery, Barbieri returned stron-ger than ever with the 1997 Columbia offering Que Pasa, the fourth-high-est-selling contemporary jazz album of that year. Since that reemergence, he has continued to release albums, including The Shadow of the Cat (2002), which won Billboard’s presti-gious 2003 Latin Jazz Album of the Year award and garnered a Grammy nomination, and New York Meeting (2010). n

GATO BARBIERI

JUNE 17, 8PM & 10:30PM

“

Veteran guitar grandmaster JOHN McLAUGHLIN has earned a place in the top echelon of the six-string pan-theon.

His virtuosity has been on display in a number of divergent settings through-out his celebrated career, beginning in the early 1960s as the electric gui-tarist for Georgie Fame’s rocking Blue Flames. From there he covered a wide swath of musical territory. In the late ‘60s and early ‘70s, he explored

electric guitar jazz-rock fusion with Tony Williams’s Lifetime and Miles Da-vis’ Bitches Brew, On the Corner and Live at the Cellar Door bands. (It was through McLaughlin’s tenure with Miles that he got to work with Chick Corea.)

The veteran guitar aficionado cele-brates his 70th birthday year with the announcement of Now Here This (Ab-stract Logix) as he ups-the-ante even further with greater fire, finesse and freewheeling interplay with his latest group, The 4th Dimension.

McLaughlin’s musical influences car-ry over to many of the musical elite also declaring him to be “the best guitarist alive,” as Jeff Beck mused in 2010. In 2003, McLaughlin was ranked 49th in Rolling Stone maga-zine list of the “100 Greatest Guitar-ists of All Time” and in the summer of 2007, McLaughlin performed at Eric Clapton’s Crossroads Guitar Festival in Bridgeview, Illinois. Chick Corea re-marked to DownBeat Magazine that “…what John McLaughlin did with the

electric guitar set the world on its ear. No one ever heard an electric guitar played like that before, and it certainly inspired me. John’s band, more than my experi-ence with Miles, led me to want to turn the volume up and write music that was more dramatic and made your hair stand on end.”

McLaughlin’s latest creative venture with The 4th Dimension reflects a slight, yet significant, alteration of the dynamic, spe-cifically the recruit-

ment of powerhouse Indian drummer Ranjit Barot. Cameroon-born/Paris-resident bassist Etienne M’Bappe and keyboardist/drummer Gary Husband. This 8-track set of McLaughlin origi-nals, recorded at Studio 26 in Antibes, France, testifies to the guitarist’s de-cades-long fascination with Indian music, through his effortless virtuos-ity, and relentless lyricism, even when the guitarist is shredding at near-light speed. As John himself simply states, “Now Here This is the culmination of my life’s work till now.” n

JUNE 18-20, 8PM & 10:30PM

JOHN MCLAUGHLIN & THE 4TH DIMENSION

UPSTAIRS AT THE

“

Saxophonist Sadao Watanabe’s pri-mary influences are Charlier Parker and Gary McFarland. His recordings are a mix of Brazilian fusion and clas-sic bebop.

He joined Toshiko Akiyoshi’s quartet in 1953. He took over the band in 1956 when Toshiko left to study at Berklee. In 1962 Watanabe followed suit to Berklee. He spent 3 years in the US

and made his mark working with Gary McFarland and Chico Hamilton.

Through the decades, he has be-come one of the strongest musical influences in Japan. He has played at the Newport and Montreux Jazz Festivals as well as performances in Africa and Bombay. He was the first Japanese jazz musician to receive a National Award in Japan. n

JUNE 21-23, 8PM & 10:30PM

SADAO WATANABE“


Los Angeles-based award-winning singer Dessy Di Lauro delivers a unique flavor of original music she labels as Neo-Ragtime, with a live show incorpo-rating elements from the ‘’Speak Easy Era’’. Miss Di Lauro is backed by her stellar band and horn section led by her musical director/pianist Ric’key Pageot who has been on two world tours with Madonna since 2008.

Dessy Di Lauro released her sophomore full-length album, This Is Neo-Ragtime in February. Her single/music video, ‘

Jump ‘N’ Jivin’ was quickly selected by ESPN to be featured throughout the na-tional TV broadcast of the 2013 NCAA women’s basketball Final Four champi-onships.

Don’t miss this opportunity to catch this rising star, Dessy Di Lauro, live tonight for our annual Blue Note Jazz Festival.

For more biographical information, please visit DessyDiLauro.com. n

DESSY DI LAUROFRIDAY NIGHT, JUNE 2112:30 AM


Spokinn Movement is the next live band the hip-hop world has been waiting for. Spokinn Movement has recorded one full-length album, “60-Minute Spin Cy-cle” on their own label, Chocolate Ma-rauder Records. Spokinn Movement has also brought their outstanding live show to the UK with great success, as well as playing classic venues at home in the USA like the world famous Blue Note and Webster Hall.

The creativity of these four musicians will make timeless changes to the face of music. They draw from the strong heritage of hip-hop while looking off

SPOKINN MOVEMENTSATURDAY NIGHT, JUNE 22 12:30AM

into the future. Spokinn Movement is a revolution in hip-hop, prepared to make things right in a music that may have lost its way. n

Striking, bold, organic, and beautiful. Those words describe Maya Azucena’s voice, her music, and her message. On CRY LOVE her impressive talent unfolds over eleven tracks. An anthem for justice, the title track constitutes the album’s core concept. Her desire to in-spire and empower listeners saturates the edgy groove of “Warriors” and the sanguine sway of “Near”. “The Half” is a harrowing take propelled by rock icon Vernon Reid. She invited reggae leg-end and Billboard #1 artist iNi Kamoze aboard on “My Back’s Not Up Against The Wall” while the glistening, acoustic qualities of “Belong To The Sun” furnish another standout cut. The songs are all unified by a remarkable depth and stunning musicality.

HALF NOTE RECORDS NEW RELEASE


Born and raised in Atlanta, Georgia, Joe moved to New York in the fall of 2007 to study music at New York Uni-versity.

Since then, he has headlined at ven-ues all over the city including the Blue Note, the Iridium & Dizzy’s Club Coca-Cola. He and his trio have performed multiple times at the Blue Note as an opening act for heroes of his including Les McCann and Ramsey Lewis. Joe’s recent release Give Me The Simple Life, features greats James Cammack, Herlin Riley & the legendary Houston Person.

JOE ALTERMAN TRIOW/ HOUSTON PERSONSUNDAY, JUNE 2312:30 & 2:30PM$29.50 includes music, brunch & 1 drink


In a recent Wall Street Journal feature story on Alterman, NEA Jazz Master Nat Hentoff remarked, “Talk about the joy of jazz!...It’s a pleasure to hear this music…You’ve got it!” n

UPSTAIRS AT THE

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It has been 20 years since The Grey-boy Allstars—frequenters of the scene surrounding the `70s soul-and-funk-spinning DJ Greyboy—formed in San Diego, with their producer and label owner as a namesake. The band’s 1995 debut, West Coast Boogaloo, has influenced countless other artists and groups, and the Allstars’ early work to-gether launched, for each member, a unique kind of prolific and highly suc-cessful solo career.

As a result, the The Greyboy Allstars have managed to come together only once every few years—releasing only three studio albums to date—although the joy of writing and recording as a group has motivated them to continue to reunite when they have time. Knowl-edge Room Recordings releases their first studio album in six years, Inland Emperor, on April 16.

Inland Emperor features original band members Karl Denson (horns and vo-cals), Robert Walter (keyboards), Elgin Park (aka Michael Andrews, guitars and vocals) and Chris Stillwell (bass), along with Aaron Redfield (drums), who has played with the group in re-cent years, and a guest appearance by John Bigham, of Soul Of John Black, on “Bitch Inside Me.”

The Greyboy Allstars’ last release was What Happened to Television (2007), which earned substantial criti-cal praise. The Los Angeles Times wrote, “The [music of] this talented collective feels so cozy and organic you never want to leave its inviting groove.”

Legendary tenor saxophonist Hous-ton Person has performed with the likes of Cedar Walton, Etta Jones, Horace Silver, and Gene Ammons and has recorded over 50 albums as a leader.

Legendary alto and soprano saxo-phonist Gary Bartz has played with Miles Davis, Gene Ammons, Donald Byrd, Charles Mingus, Max Roach, Woody Shaw and many more. He currently works frequently with Mc-Coy Tyner and also teaches at the Oberlin Conservatory of Music.

Saxophonist James Carter has per-formed, either live or in the studio, with the Lincoln Center Jazz Orches-tra, the late Julius Hemphill, Ron-ald Shannon Jackson, the Charles Mingus Big Band, soprano Kathleen Battle, Aretha Franklin, David Murray, the Art Ensemble of Chicago, Ginger Baker, Sonny Rollins, and many oth-ers. n

JUNE 24-26, 8PM & 10:30PM

THE GREYBOY ALLSTARSW/ GUESTS HOUSTON PERSON (24TH), JAMES CARTER (25TH) & GARY BARTZ (26TH)

UPSTAIRS AT THE

“

UPSTAIRS AT THE “

Roy Haynes is the pulse of legendary jazz. For over 50 years Roy Haynes has influenced and innovated, shap-ing some of the greatest recordings in jazz while his joyous drumming with the legends of the genre altered the very fabric and direction of jazz impro-visation.

Louis Armstrong. Lester Young. Char-lie Parker. Thelonius Monk. Sarah Vaughn. Miles Davis. John Coltrane. Dizzy Gillespie. Bud Powell. Ella Fitzgerald. Stan Getz. Chick Corea.

Pat Metheny. The list goes on and on as does Roy’s unflagging energy and marvelous invention.

With his latest group of 20-something cohorts, Roy sends his “Hard Swing” to a timeless place. Haynes elevates the performances of his FOUNTAIN OF YOUTH BAND matching fire stroke for fire stroke, thrill for thrill, a tremendous give and take between the generations fueled by masterful musicianship and youthful abandon. n

JUNE 27-29, 8PM & 10:30PM

ROY HAYNESPRODUCED BY JILL NEWMAN PRODUCTIONS


Founder, writer and drummer of Soulive for over 15 years, Alan Evans proudly presents his newest creation the Alan Evans Trio; an inspiring and fresh or-gan trio lineup. Enlisting the support of Danny Mayer on guitar (On the Spot Trio), and Beau Sasser (Melvin Sparks, Akashic Record) the trio’s sound proves hard driving and groovin’ with dark funky rhythms and blues lick solos. The trio shares an energetic on-stage chemistry, a love for album recording, and taking their music out on the road. Armed with an abundance of newly inspired songs, Alan is taking the band on tour across

the US, Japan and Europe in support of their debut album Drop Hop, released in April 2012, and now available via iTunes and on vinyl. n

ALAN EVANS TRIO(LEGENDARY DRUMMER OF SOULIVE)



Marcus Strickland’s desire to preach above and beyond the jazz choir is rooted in his affinity toward a multitude of musical styles. Strickland’s musical palette had been vast long before his professional endeavors. He has col-laborated with Wynton Marsalis, Tom Harrell, and Dave Douglas, but Strick-land’s longest and most impression-able working relationships include two of the most influential drummers ever to play the instrument: Roy Haynes and Jeff “Tain” Watts. Strickland was still attending college when jazz mas-ter Roy Haynes asked him to join his Fountain of Youth band. Strickland held

MARCUS STRICKLAND’S TWI-LIFESATURDAY NIGHT, JUNE 29 12:30AM

the tenor spot for five years before join-ing Watts. “As long as you’re honest, I think nobody can mess with that. I think that’s essential to being an artist... to be yourself.” n


KENNY WERNERWiTH THE BRUSSELS JAZZ ORCHESTRA iNSTiTUTE OF HiGHER LEARNiNG

Bassist/composer Ben Allison is one of a few band leaders working in jazz today who has developed his own in-stantly identifiable sound.

Recent performance highlights include Carnegie Hall (New York City), Teatro Manzoni (Milan, Italy), Central Park’s SummerStage (New York City), Au-ditório Ibirapuera (Sao Paulo, Brazil), The Capitol Theater (Salt Lake City, NV) and Queen Elizabeth Hall (London, England).

Ben performed his Carnegie Hall debut as a leader in February 2012.

BEN ALLISON TRIOSUNDAY, JUNE 3012:30 & 2:30PM$29.50 includes music, brunch & 1 drink


Ben has performed and collaborated with a stylistically wide variety of art-ists including oudist Ara Dinkjian, kora player Mamadou Diabate, saxophon-ists Lee Konitz and Joe Lovano, leg-endary performance artist Joey Arias, tap dancers Jimmy Slide and Gregory Hines and US Poet Laureate Robert Pinsky. n


KENNY WERNERWiTH THE BRUSSELS JAZZ ORCHESTRA iNSTiTUTE OF HiGHER LEARNiNG

Long regarded as one of Europe’s premier big bands - a group that “manifests love,” ac-cording to Grammy-winning arranger Maria Schneider - The Brussels Jazz Orchestra has joined hands with Kenny Werner to create a winning tableau vivant of spirited writing and performance. The Institute of Higher Learn-ing features a sumptuous 3-part suite, “Can-tabile,” that reinforces in a singular way Wer-ner’s place among forward-thinking jazzmen. Textural, rhythmic, evincing cascading swirls of color, it was inspired by and dedicated to Bob Brookmeyer. Led by reedman and group founder Frank Vaganee, the BJO offers a per-fect canvas for Werner’s painterly approach to composition and arranging.


UPSTAIRS AT THE “

After a twenty two year absence from recording Andy Bey returned with four albums that have become a perma-nent part of the musical landscape. The 2005 Grammy Nominated Ameri-can Song is a delicious celebration

of one of America’s great gifts to the music world: The American Song-book. On his new release Ain’t Nec-essarily So Bey brings the energy of live performance to compositions by the gods of American Songwriting. Insiders have always known about Andy Bey. Given his limited output of studio recordings, live performances were the source of Bey’s reputation as singer. Aretha Franklin reminisces about the nights when Andy and The Bey Sisters worked the Village in New York: “Soon as I finished my gig I’d run over to hear them. Andy never got the recognition he deserved . . . jazz origi-nals . . . brilliant and precious.” Like the playground legend who never made it to the NBA, Andy Bey was almost consigned to the fading murmurs of those who caught him in Paris in ‘59, or Birdland in the mid ‘60s. There are few left who remember when Lena, Nina and Carmen crowded into Har-lem’s Shalimar to hear Bey light it up. That tantalizing footage of Andy Bey

and his sisters delighting a crowd of Parisian partygoers in the Chet Baker documentary Let’s Get Lost, gives us a clue of the years of brilliance that were never committed to vinyl. One can only imagine what we’ve missed. But, we have been blessed with four re-cords that have changed how we think of Jazz vocals. Decades intervened between those after hours below the radar sessions and the 1996 record-ings presented on Ain’t Necessarily So. But the vivid performances haven’t dimmed. Like so many before him, Brit-ish vocalist Jamie Cullum described what it’s like to fall under Bey’s spell: “Andy Bey was at Ronnie Scott’s and I saw him six nights in a row. I got into a huge amount of debt going to see Andy Bey. What I love about him is that he creates an atmosphere. As soon as he opens his mouth, you’re transported to another place.”

A recording of standards has become the default option for artists in search of an audience or a late career boost. A new cadre of singers has been anoint-ed keepers of the Songbook flame. But as The New Yorker observed, the proof is in the listening: “The “jazz vocal sec-tion of your record store is probably dominated by young white singers , but Andy Bey an African-American veteran has made this year’s record to beat.” Andy Bey’s live performance, on Ain’t Necessarily So makes the point that the best performers raise the standards by drawing more from a song than the obvious. At 67 Andy Bey is one of the last major performers with a personal connection to the era. But he refuses to be bound by precedent. He invests these eight songs with an accumula-tion of musical sensibilities that make them sound as if they were born yes-terday. The songs may be standards, but the interpretations are by no means routine. As People magazine confirmed “American song has met an American

JUNE 30, 8PM & 10:30PM

ANDY BEY - SOLOPRODUCED BY JILL NEWMAN PRODUCTIONS

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