isthisjazz

[isthisjazz]

Work and Art: Part 2

To help shine a light on the lives of working musicians, I’ve been interviewing peers of mine about their experiences performing, how they balance their lives to make the music happen, and if they see a difference between playing for art’s sake or as a job. 

For this second of three articles I talked to drummer Max Goldman, with whom I’ve had the fortune to share the bandstand with many times. He is not only an incredible player and a great guy, but also does a fantastic job of balancing playing gigs for money while also being relentless about following his artistic path.

How long have you been a full time musician?

Since a little bit after I finished school, around 2007. I was in Brooklyn, practicing a lot during the early part of the day, working some crazy job, then coming home to work on music at night, when Vinny Spirazza, a great New York drummer who was very kind and encouraging to me, had a club date that he was getting tired of it. He had all these great creative gigs and was teaching a lot and didn’t want to have to play music he didn’t like, but knew I was looking for an opportunity to play more, make a living playing, and work during the day less. We got together and he coached me through all the song transitions and I was in that club band for years, up until the recession hit and I got fired for going on tour. One of the reasons I got into music was to travel and play with friends, so when I had an opportunity to go to Europe with an electronic dance music band for three weeks, I couldn’t turn it down. I took the risk and got fired, but it was incredibly worth it because I got to travel around, experience other cultures, and play music. Plus I ended up subbing in with that other band later anyway!

Ever since then I’ve been doing a mixture of playing, touring, teaching, with a few jobs mixed in when times get tough. 

On a typical week, how often are you playing out and with how many different ensembles?

I don’t really have a weekly gig but I usually play a few times during the week, typically two or three, and then I teach three days a week, plus I have young son so balancing in family time is super important. Also finding a way to make time to practice. I still go down to NYC for rehearsals and gigs, like on May 13th I’ll be there to play at Mezzrow, which is the sister club of Smalls. Normally I try to go once a month, so I’m not gone too much.

I’m not sure exactly how many ensembles I play with, they’re normally a lot of different amalgamations of musicians that I end up playing with.

Do you supplement your income in ways other than live performance?

The main way is teaching. Every musician that I knew who was active in New York was doing some teaching, so it was always part of the life. I’ve sat in on a few recordings for like a Degree commercial or a Fischer Price ad, but I’ve never been what you’d consider a session musician, more of a bonus than something I ever relied on. 

Is it hard to balance playing gigs for a paycheck while also playing shows with a focus on the art? Do you not differentiate between them?

I differentiate a bit but ultimately I like playing any gig because I always feel like I can learn something. If it’s a restaurant or if it’s a situation where I’m working with musicians I’m not super excited to play with — which I can say has not happened around here — there’s always something I can be working on or will learn along the way. I can be working on my time, or the feel, or different styles, etc.; every gig can be challenging. If I’m on a really artistic gig I’ll work on trying to really focus in on interacting with the musicians, creating a musical dialogue, and even though the other gigs are a little different, I always try my best and can get something out of all of them. 

It’d be awesome if I were only playing art gigs every night and could make money doing that but that’s just not feasible. Some people can really only do that and just don’t have it in themselves to play something they don’t fully believe in, but I personally can’t turn down work like that. Even if it’s only something I only sort of enjoy, I’ve known people who go to work hating their jobs everyday, so I keep that in mind.

How has life as a full time musician lived up to your expectations and how is it different?

I never had a complete vision of what my life at this age would look like, I was mostly focused on wanting to play a certain way and have a certain kind of confidence and comfort on the instrument. There were these moments where I’d see my teachers and their mastery, and that’s what I would focus on, I wasn’t really thinking about what my livelihood or day to day would look like. I’ve been really fortunate to do a lot of traveling, go overseas, see the US, meet amazing people, and get to play music all over the place and learn so much. There’s been so much that I’ve been very grateful for that I don’t know if I was ever really expecting.

I knew that I wanted to make my living playing and teaching, and feel like I was a good drummer, but outside of that I didn’t really have an idea. Where I grew up in Rochester, NY I’d see my teachers playing small jazz gigs and I thought they were so cool, and played the instrument so beautifully, had so much history and language in their playing, and I wanted to be like that.

What should people looking to get into a music career know?

My teacher, Tony Moreno, said to me once if there’s something else you love to do, then do that because this is really hard. If you work really hard, things will happen, and although you might have to have other jobs and are going to have to hustle, if you love this you’ll figure it out.

You’ll see musicians who literally have to sacrifice everything. They’ll live in an apartment in NYC with five other roommates for their whole lives just for the love of this. If you have a calling to this then great, you should do it, but just know it will be really hard.

Lastly, what do you wish people knew when they see live music?

Just that the energy they give to the performers has a really big impact. When musicians feel like people are engaged with what’s happening, it really ups the performance and gets the musicians playing better. That includes not being on your phone, which can be a bit disheartening to look up and see people staring at their phones, but granted sometimes that’s the artist’s fault for not being prepared to engage the audience. It’s definitely a two way street. The musicians have a responsibility to be prepared so that they can give a compelling performance and draw people in, and need to practice so they are communicating with the audience, but the audience also has to be open to listen to it and engage with the music. 

For more information on Max visit maxgoldmanmusic.com.

Ben Shaw is a local composer, performer, and writer. Find him at benjaminshawmusic.com.

[isthisjazz]

WORK AND ART: PIANIST NICK SANFILLIPO TALKS ABOUT THE LINE BETWEEN ART AND COMMERCE

When you go to a restaurant and see jazz musicians playing standards in the corner, you may think that they’re just there having fun. However, what is consistently overlooked is how many of these musicians are getting paid to play there as part of a full time career in music. Through my own experiences or discussions I’ve had with other musicians I sense that the general public misunderstands the role working musicians play in their lives or that there are even people out there trying to a living in music at a local level.

To help clears things up a bit, I’ll be writing a series of three articles in which I’ll be interviewing a peer of mine about their experience as a performing musician, how they balance their lives to make it happen, and if they see a delineation between playing music for art’s sake or as a job. 

For this first article I talked to pianist Nick Sanfillipo. I’ve known Nick for many years and have always been inspired by his work ethic, his relentless pursuit of his music career, and his attitude about the journey.

How long have you been a full time musician?

I've been a full time musician since I graduated college in 2008. It took a couple years before I could really consider myself "full time" as I was building my name and reputation and making contacts. 

On a typical week, how often are you playing out and with how many different ensembles do you consistently perform with?

"Typical" is a difficult word as a musician as nearly every week is different, especially comparing winter and summer months here in New England. Recently I've been averaging about 5 gigs a week, generally with 3 or 4 different groups. I have a weekly Sunday church gig, a weekly Wednesday jazz gig, Friday and Saturday night with a wedding band that plays clubs in the off season, and all those are fairly steady. In addition to a random fill in or pick up gig on one of the other nights. 

Do you supplement your income in ways other than live performance?

I teach a handful of lessons each week in addition to gigging. Realistically I do any and all aspects of what it is to be a professional musician: teaching, recording, chart writing, accompanying, etc. But performing is the majority of my work. 

How much of your schedule is normally general business, or “wallpaper” gigs versus the ones you play for fun?

Financially, the vast majority of my income is from GB gigs which are usually weddings. We also do a fair amount of clubs in the Boston area in the off season, though I would hardly call it wallpaper in that format. We rock many of the best Boston bars until close and have a good time. I've found I often have just as much fun on these gigs as some of my more musically rewarding gigs. Fun is really what you make of it, I think musically rewarding is probably a better divider for the two gigs. I'd say overall I probably have about 2/3 of my schedule as the "GB" work (a bit more than half). 

What do you see as the difference between playing music as art versus as commerce?

I enjoy what I do, and while I agree music is "art" once you start playing professionally and depend on this craft to pay your bills, it becomes more than just art. We'd all love to think that our music — whether it be original or just whatever song we happen to be playing — will be well received, or even loved, but at the end of the day we all still need to eat, and I've grown ok with the fact that not everyone will like what I do. I think a lot of musicians don't realize that many of the patrons at whatever bar/venue they're playing at, are NOT there for the music. Maybe they like the food, maybe their friend is the bartender, maybe they just randomly walked in because it was the closest place at the time. We as the musician need to remember that as a hired musician our job is to entertain the patrons of the establishment, or at the very least, not to drive them off. Unless of course you're a house hold name and selling out Madison Square Garden, then maybe you can do what you want at your show, but even then you don't want ticket sales to drop. Basically, to sum this up, it's all commerce, and yet, it can all still be art as well. 

Does it bother you to have to play the commerce gigs or do you see it as a necessary part of the job?

It really doesn't bother me. All gigs can be artistic in their own way. You can learn and grow playing anything, even the simplest thing like Mary Had a Little Lamb. Let's say you have to teach this every week to students, you can use the opportunity to strengthen your singing, your ear training, work on making every note sound perfect, work on the left hand (for pianists), work on intonation, phrasing, tonging, etc. There's always things to be taken from any and every situation. To be honest, many of my "GB" gigs are more well received — and in turn I have more fun — than the "fun" and "artistic" gigs because there's more people that want to rock out and party, than sit down and enjoy some artistic jazz. 

In what ways has life as a full time musician lived up to your expectations and what are some ways it’s different?

When I was younger I thought I was only going to play the "fun" jazz/funk gigs where I get to stretch out, take solos, and have some fun with the music. Shortly into my career I realized I couldn't support myself just doing that so I branched out and started playing more styles, specifically pop which I had mostly steered away from. But by playing these gigs that pay better it allows me to do the gigs I still really want to do. I've found that I don't mind playing "pop" and by learning how to play that material including the different "parts" in songs, it has strengthened my overall abilities both on the piano and the academic side of music theory as well. 

What’s the one thing people looking to get into a full time music career should know?

You need to be able to take the good with the bad. Not everyone will like what you do, not everyone is at the bar to see you, but as the musician we just have to do our best at all times to put out the highest quality product we can. Don't be afraid to branch out of your comfort zones because the more well rounded of a musician you are, the more you'll work! Learn EVERYTHING and don't be too proud to learn, especially the pop stuff. 

Also, make as many friends as you can, you never know which one will hit it big and take you on the road! 

Lastly, what’s one thing you wish people knew about when they see live music in a public place?

While this whole thing has pretty much been me harping on the fact that the musician is getting paid for a job and therefore needs to cater to venue’s patrons, there is absolutely a line. Patrons should be courteous enough to not come up in the middle of a song and start talking or requesting other songs. I know some people can play and hold a conversation, but I am not one of those people and I think most musicians aren't. It’s tough enough to play an instrument without someone I don’t know telling me about how their friend plays "wicked awesome guitahh” and expecting a response. When I'm on break, I'd love to hear all about it! Or worse, the person who thinks they play and wants to get up and sit in with the band. If I don't know you, and it's not a jam session, I’m almost certainly not going to let you sit in. 

Ben Shaw is a local composer, performer, and writer. Find him at benjaminshawmusic.com.

[isthisjazz]

MOON HOOCH TAKES OVER AT FMH

On April 18th New York City based Moon Hooch dropped by Fete’s Ballroom as part of their co-headlining tour with fellow NYC group Too Many Zooz. The band is a sax and drum trio made up of saxophonists Mike Wilbur and Wenzl McGowen, and drummer James Muschler, who all met and formed the group while studying at the New School. While I had previously seen their performance on NPR’s Tiny Desk Concert a few years back, I didn’t have much of an idea of what their live performance would be like so I was intrigued to see how this trio had evolved from performing acoustically in subways to what they are now. 

Although set began with little fanfare as the crowd was still filing in, within seconds of walking out on stage Moon Hooch launched into what would be a packed onslaught of non-stop music. Their first song was a fairly straight forward house-music styled tune with McGowen providing a solid bass for Wilbur’s melodic lines over Muschler’s locked in pocket. If this was an indication of what the rest of the show was going to be, it would have been a fun night, but you could feel there was another level bubbling up just under the surface. As soon as they dove into the second tune, from then on they where out into another universe. Wilbur began tearing through lines of interweaving harmony while McGowen backed him with deep bass and harmonic overtones that swept through the horn with ease, all happening as Muschler is crushing solid beats and peppering in quick drum fills between saxophone madness.

To be a saxophonist and to watch these guys play, was like watching a course on what having virtuosic command of the horn can get you. Because they made it all sound so effortless, it’s hard to describe just how difficult the techniques they were using were but it is imperative to note the incredible musicianship of this band. Both Wilbur and McGowen were blasting out perfect altissimo (wicked high notes) with beautiful tone right after circular breathing through lightning fast arpeggios up and down the entire range of the instrument, and nailing incredibly fast articulations and multiphonics in between. While there were a few digital effects applied to the various instruments - and a sparingly used Moog synthesizer for a few added   bass lines - most of the effects were a direct result of something each player was doing on the horn. And that’s not to say anything of Muschler who’s rock solid groove and precise playing was a lesson in staying in the pocket.

Moon Hooch played straight through over an hour’s worth of material, transitioning seamlessly through every song, only ebbing at moments to feature each player and give them some space to stand out before launching back in full throttle. I was extremely impressed by the use of  expertly crafted dueling horn lines, the musicianship of the entire band, and the incredible energy they brought to their whole set. 

While unfortunately I wasn’t able to stay to see much of Too Many Zooz, what I did see was just as exhilarating and I hope that next time they come through I’ll be able to see more.

Music at its core is about bringing something out of people, whether it be emotional, physical, or otherwise. The movement generated by the crowd watching Moon Hooch could’ve powered Olneyville for a week. Next time they’re in PVD, be sure to grab tickets and be ready for one hell of a show.

For more information on the band and to listen to their music, visit moonhooch.com.

Happening Around Town:

The John Allmark Jazz Orchestra; first Monday monthly @ The Met (Pawtucket)

Groove Merchants; Mondays @ Fifth Element (Newport)

Jazz Jam; Tuesdays @ Ten Rocks (Pawtucket)

Leland Baker Quartet; Wednesdays @ Acacia Club (Providence)

Jazz At The Parlour; Sundays (jam held every third Sunday) @ The Parlour (Providence)

Modern Sound Series; last Sunday monthly @ Tea In Sahara (Providence)

Is This Jazz?; (Providence) visit isthisjazz.tumblr.com for listings

To add your listing, email isthisjazzri@gmail.com.

Ben Shaw is a local composer, performer, and writer. Find him at benjaminshawmusic.com.

[isthisjazz]

MANN, WE’LL MISS YOU: THE JAZZ COMMUNITY MOURNS THE LOSS OF ONE OF ITS GREATS

In the jazz community around Rhode Island, connections tend to run deep. So when our community bears a loss, it experiences a profound sorrow. Recently, it lost one of it’s most cherished souls, Debra Mann. The outpouring of both grief and love towards her from across the state have been inspiring to see, so it is important that we look back on one of this area’s favorite musicians.

Debra Mann graduated from Berklee College of Music in Boston studying jazz and classical piano, and voice, with such incredible musicians as Charlie Banacos, Hall Crook, and Jeannie LoVetri. She performed around New England for many years as a soloist and as part of many different ensembles, playing jazz clubs, festivals, and concert halls, including Symphony Hall with the Boston Pops. Throughout her career she played with local icons like Greg Abate, Dave Zinno, Dino Govoni, Jay Azzolina, John Lockwood, Marty Richards, Marty Ballou, Dan Moretti, Ed Tomassi, Bob Gullotti, John Allmark, among countless others. She eventually established a set trio, which grew into a quintet, and became her main performing group. Besides performing, she was a revered educator, teaching privately and also as a faculty member at both Brown University and Wheaton College. She was also a member of The Jazz Education Network and The Providence Musicians Union, and recorded for New Bedford’s Whaling City Sound. 

In order to know more about her as a person within that artistic life, I reached out to a mutual friend and long time collaborator of hers, bass player Dave Zinno, to ask him for some insight into she was.

As we began talking about Debra, the first thing Dave said to me was that she was “filled with good will”. He said that more than any musician he has met, she was “super supportive of live music…she would turn up everywhere, across genres. Didn’t matter if it was a folk artist or whatever, her and her husband would come out and support everything. And she always had something good to say, a very optimistic person”. Dave went on to tell me about her influences, her exquisite ability, and her love for the American songbook, Brazilian music, and the music of Antonio Carlos Jobim. Her top influence however, had always been Joni Mitchell, and Dave said that she had for years wanted to do a project that would honor Joni’s music. This lead to her arranging and performing many of Joni’s tunes for several concerts and later manifested into Debra’s phenomenal final album “Full Circle: The Music Of Joni Mitchell”, which was released last year through Whaling City Sound. 

Listening to this gorgeous album, you can hear not only the reverence Debra felt for Joni’s music, but how Debra took up that spirit and imbued each song with her own unique essence. And as Dave put it to me, being that Joni was the spark that began Debra’s musical journey, it’s “poetic that it came out when it did, the whole notion of ‘Full Circle’ is really beautiful”. He also said that even though she respected a wide range of musicians, she “never tried to sing in another voice, unlike so many singers trying to reflect their heroes, she was always trying to follow her own voice...her singing was her greatest gift”.

While it is difficult to sum up an artist’s life, the beauty of musicians is that although we may lose them, we still have their recordings, their songs, and the stories they leave behind with those they shared the bandstand with; including the many beautiful stories Dave shared with me, his voice filled with the same joy she brought into so many lives. 

To end, here are some of Debra’s own words from her song “Lessons of the Heart” off her album, Home: 

“Now it’s time to say goodbye/And greet the dawn with joy not mournful sighs/My heart wants to sing of gladness not of bitterness or sadness/My heart wants to sing a song of loveliness not lonely madness...I’ll make a brand new start/Learning once again the lessons of the heart”.

To listen to Debra’s albums, purchase music, and learn more about her, visit debramann.com. 

Happening Around Town:

The John Allmark Jazz Orchestra; first Monday monthly @ The Met (Pawtucket)

Groove Merchants; Mondays @ Fifth Element (Newport)

Jazz Jam; Tuesdays @ Ten Rocks (Pawtucket)

Leland Baker Quartet; Wednesdays @ Acacia Club (Providence)

Jazz At The Parlour; Sundays (jam held every third Sunday) @ The Parlour (Providence)

Modern Sound Series; last Sunday monthly @ Tea In Sahara (Providence)

Is This Jazz?; (Providence) visit isthisjazz.tumblr.com for listings

To add your listing, email isthisjazzri@gmail.com.

Ben Shaw is a local composer, performer, and writer. Find him at benjaminshawmusic.com.

[isthisjazz]

Passion Reverence Transcendence

Back on December 11th the legendary jazz pianist McCoy Tyner turned eighty years old. A few months earlier I had received an album by the trio of pianist Benito Gonzalez, drummer Gerry Gibbs, and bassist Essiet Okon Essiet that was conceived and recorded as a tribute to Tyner’s musical genius and legacy, and released on Whaling City Sound this past April. Unfortunately, I never got around to sitting down with the album and giving it a proper listen, but with Tyner’s 80th birthday having recently passed I figured now would be as good a time as any to dig into this album, “Passion Reverence Transcendence”. 

If anyone was ever going to question how much passion this trio was bringing to this project then any doubt would be furiously extinguished in the first seconds of the opening track “Fly With The Wind”, a McCoy Tyner classic. They come out slinging fire, playing this chart at full tilt. This explosiveness segues well into “Just Feelin’” which imbues Tyner’s chart with a contemporary, slightly fusion sound with the use of the electric bass and the loose half time groove, followed by the heavy swinging “Rotunda” which is a brilliant showcase for the pocket of Gibbs and Okon Essiet. The arrangement and production on the intro to “Festival In Bahia” are a lovely reprieve before launching into another full on sonic boom, this time with some interesting afro-cuban rhythms and  a range of percussion. 

By the time we reach track 5, “Blues On The Corner”, we’re itching for a new feel and the trio delivers with a wonderfully laid-back blues which everyone hangs back without losing any of the momentum they’ve established over the first third of this album. We’re back to full scale on “The Greeting” which is brimming with interesting percussion textures and band-wide explorations right before we settle into a beautiful ballad with “You Taught My Heart To Sing”. One of the highlights of this album for me was “Atlantis” which has a lot of the same elements as many of the other tracks but by this time on the album they seem to have refined all their choices and balance the big production with the bombastic nature of the original Tyner recording. The album rounds out with another hard swinging tune with “Inner Glimpse”, a giant but flowing version of Coltrane’s “Naima”, and three stellar originals by the trio: “Tyner/Trane Express”, “Between Friends”, and “Brazilian Girls”.

Overall, this is an incredibly expansive album that adds a lot of interesting texture to McCoy Tyner’s original charts while not deviating too far from what makes the original material so dynamic. The trio performs excellently together, the solos are spirited, and the interplay is fantastic to listen to; clearly a group who has honed in on a sound they love. I wish at times there were moments where the ensemble pulled back and gave the music a bit more breathing room, but the energy they bring is infectious enough to keep your ears engaged as long as you strap in for the wild, brilliant ride that is this album. The album is available for purchase on iTunes and Amazon, or head over to whalingcitysound.com for more information.

Happening Around Town:

The John Allmark Jazz Orchestra; first Monday monthly @ The Met (Pawtucket)

Is This Jazz?; (Providence) visit isthisjazz.tumblr.com for listings

Groove Merchants; Mondays @ Fifth Element (Newport)

Jazz Jam; Tuesdays @ Ten Rocks (Pawtucket)

Jazz At The Parlour; Sundays (jam held every third Sunday) @ The Parlour (Providence)

Modern Sound Series; last Sunday monthly @ Tea In Sahara (Providence)

Leland Baker Quartet; Wednesdays @ Acacia Club (Providence)

To add your listing email isthisjazzri@gmail.com.

Ben Shaw is a local composer and performer. Find him at ahueofshaw.tumblr.com.

[isthisjazz]

Frank Potenza

Jazz guitarist and recent Rhode Island Music Hall Of Fame inductee Frank Potenza returns to the area to play Chan’s on September 22nd. To prepare for the gig, I asked him a few questions about his music and local ties.

What got you into jazz? 

My father Frank had a record collection that included things like the Mills Brothers, Frank Sinatra, Count Basie, etc. He was an avid music fan who saw all the famous touring big bands when they came to New England. My mother Twin was the quintessential stage mom who loved music and the performing arts with a passion. The first piece of furniture that she had moved into her third floor tenement as a newlywed was an upright piano. She was self-taught and had great ears. She could pick out any song and play it by ear and as kids, we just thought she was a genius. My folks went to great lengths to make it possible for all of their children to study music and perform and I’ll be eternally grateful for their limitless encouragement and support. 

Was guitar always your chosen instrument?

No. I took accordion lessons with Joe Petteruti at Twin City Music while I was in the first and second grade. My sister Norma took guitar lessons with Bob Petteruti at the same time. After she quit taking lessons, the guitar was laying around the house and I started trying to play it by ear. My cousin Jimmy is 11 years older than me and he was already out playing in club bands. He showed me a lot of cool stuff on guitar and got me totally hooked and I never looked back. But I really made the most significant progress during the years I studied with Tony Evangelista. He turned me on to a lot of great guitarists and ultimately got me ready to attend the Berklee College of Music. He was a terrific guy. Many years later I played at Allary (a Providence jazz club that I practically lived in for the last several years I was in town) as a featured soloist with the house trio that included Bob Petteruti on bass, Paul Schmeling on piano, and Artie Cabral on drums. 

What did it mean for you personally to be inducted into the RI Music Hall Of Fame? 

I was deeply touched by the experience and I truly appreciate the recognition. It’s an honor to be included among so many incredible musicians. I had the good fortune to rub elbows with many of the area’s most respected players when I was coming up – Art Pelosi, Dick Johnson, Diamond Centofanti, Hal Crook, Duke Bellaire, Tony and Joe Giorgianni, Paul Phillips, Ted Casher, Red Lennox, and on and on. I learned so much from working with them. They were extremely generous in sharing their time and their knowledge and I have many fond memories of my early years in the Providence music scene.

What has it been like coming back to RI to play?

I love coming home. All of my remaining immediate family members still live in Rhode Island, so it’s food for the soul to be back where I did pretty much everything for the first time. My in-laws live nearby too - and I don’t have to tell you how much I miss the great food here, do I? I gain a few pounds on every visit and I leave with as much as I can carry on my flight!

What’s it like sharing the bandstand with your brother, bassist Joe Potenza?

It’s a joy to make music with Joe, with my youngest brother Jery, and with all of my musician relatives. Being family adds a special closeness for sure and Joe has grown so much as a musician since I left in 1980 that I’m always knocked out with what he brings to the party.

What new musical concepts have you been working on?

I’ve been focusing on playing solo guitar concerts for the past several years. I still play in a number of trio and quartet formats and I’m singing a lot more these days, but my main obsession is to become a better solo guitarist. For me it’s the most challenging thing to do on the instrument.

What can we look forward to hearing at Chan’s?

The night before the Chan’s date I’ll be attending my 50th high school reunion - the Mount Pleasant High School, Class of 1968! That got me thinking about all the music from the years when I was a high school student and I realized that I’ve played and recorded a fair amount of those songs over the years. So, I’ll be doing my arrangements of things like California Dreamin’, Ode to Billie Joe, and a lot of other surprises. I can’t wait!

Visit http://chanseggrollsandjazz.com for tickets and information.

Ben Shaw is a local composer and performer. Find him at ahueofshaw.tumblr.com.

[isthisjazz]

Bebop On The Breeze

Now that we’ve hopefully seen the last of these late summer heat waves we can start turning our attention towards the upcoming cool, Fall jazz festivities. There is always plenty of jazz happening around the state and while this list may not cover everything, or potentially miss out on the gigs that crop after this article’s posting, this rundown should give you a good head start.

Starting off in Newport, we have a good slate of music coming up. Norey’s continues its weekly Thursday night jazz series featuring a rotating cast of ensembles including the Alan Bernstein Jazz Quartet, the John Monllos Quartet, and the Dino Govoni Q’tet. Every week from 10am-1pm the Chris Vaillancourt Trio presents a Sunday Jazz Brunch at the Hotel Viking. Also, The Parlor in Newport is hosting the Swinglane Orchestra every third Wednesday of the month, a great chance to see live a big band in town.

Moving over to Wakefield, The Pumphouse is bringing back its 1st Sunday Jazz Series. The series kicks off on September 9th with Sonic Surfers featuring Dan Moretti on sax, Steve DeConti on guitar, David Zinno on bass, and Marty Richards on drums. Head up further north to Woonsocket and you’ll find plenty of great music at Chan’s. First up on Saturday, September 22 will be the homecoming concert of jazz guitar master, and recent RI Music Hall Of Fame inductee, Frank Potenza with a quartet featuring Paul Bouley on keys, brother Joe Potenza on bass and John Anter on drums. Later in the season on Friday, November 16th will be the Debra Mann Quintet with Dino Govoni on sax/flute, Jay Azzolina on guitar, Dave Zinno on bass and Marty Richards on drums. They’ll be celebrating the release of their latest CD, ”Full Circle”, which features the music of Joni Mitchell.

Finally we go back down to Providence to catch even more killer music. Askew Restaurant is continuing it’s jazz offerings with Michelle Cruz on September 1st and the Dave Murphy Quartet on September 15th. The Joe Potenza Quartet returns to Backstage Kitchen + Bar at Hotel Providence featuring world class musician, and Cumberland native, Cory Pesaturo. Also, the “Is This Jazz?” series continues its run at AS220 with a couple of fall shows including October 5th with Baba Yaga and the Luna Collective, as well as November 2nd with Pocket Aces, which features local favorite guitarist Eric Hofbauer, and the ITJ Collective. Lastly, The Veterans Memorial Auditorium will be hosting trumpet player and international superstar Chris Botti on October 3rd. According to The Vets’ website, Botti has become the largest-selling American instrumental artist with four #1 jazz albums, as well as multiple Gold, Platinum, and Grammy Awards, including the Grammy for Best Pop Instrumental Album for his recent album Impressions. Visit http://www.thevetsri.com for tickets and details.

Keep a look out for more jazz coming to a venue near you and be sure to support as much local music as you can this Fall concert season!

Happening Around Town:

The John Allmark Jazz Orchestra; first Monday monthly @ The Met (Pawtucket)

Is This Jazz?; first Friday bimonthly @ AS220 (Providence) isthisjazz.tumblr.com 

Groove Merchants; Mondays @ Fifth Element (Newport)

Jazz Jam; Tuesdays @ Ten Rocks (Pawtucket)

Groove E Tuesday; Tuesdays @ Murphy’s Law (Pawtucket)

Jazz At The Parlour; Sundays (jam held every third Sunday) @ The Parlour (Providence)

Modern Sound Series; last Sunday monthly @ Tea In Sahara (Providence)

Leland Baker Quartet; Wednesdays @ Acacia Club (Providence)

To add your listing email isthisjazzri@gmail.com.

Ben Shaw is a local composer and performer. Find him at ahueofshaw.tumblr.com.

[isthisjazz]

Newport Jazz Fest ’18 Review

Although we may be weeks past this year’s Newport Jazz Festival, there is still plenty to reflect on. This year had an amazing variety of music, an explosion of new and returning talent, and featured some of the best performances that I have seen at Newport in my many years of attending. Since there was so much killer music happening at all times over the three days I didn’t get to see every moment of every set, but I tried my hardest to spread out and catch as much as possible.

The festival began on Friday with first timers Sonnymoon who played an interesting mix of beat driven, ambient textured music with tinges of jazz flavoring, all of which I enjoyed but was hoping for a bit more improvisation. Next I headed over to the Fort stage to catch The Diva Orchestra who were ripping through some fiery original compositions, then on to Rudresh Mahanthappa’s Indo-Pak Coalition for another intense set of rhythmic and melodic brilliance. Only caught a few minutes of Cory Henry & The Funk Apostles but really enjoyed the groove, and saw a brief bit of Michel Camilo’s solo piano set who was virtuosic as always. I stayed by the Quad to watch Sangham, which was by far the set of the day. The interplay between drummer Eric Harland, tabla master Zakir Hussain, and Charles Lloyd was exquisite, but it was the brain melting performance of Hussain that held the stage in amazement. I wasn’t able to see a lot of the Marquis Hill Blacktet but what I saw has excited me to seek out more. I ended the day by watching a good chunk of Still Dreaming, who were having an awesome set, but left them to watch R+R=NOW who didn’t leave me very impressed.

Saturday was a day of down pours, but managed to catch a few good sets between showers. Had the fortune to catch a chunk of Roy Hargrove and his killer band blow through some incredible music first thing in the morning, then went to the Storyville stage for the Isaiah J. Thompson Trio who played one the best sets of the day, if not the whole festival. Enjoyed a few tunes from Mary Halvorson’s Code Girl, an excellent and creatively rich ensemble, before escaping under a tent to avoid the torrential rain. Though I remained relatively soaked for the rest of the day, the Louis Cole Big Band Blowout was exactly the set I needed to not only reenergize but remind me of how fun this festival could be. Watched a bit of the excellent Charles Lloyd New Quartet before ending day two with a beautiful solo piano set from John Batiste.

On Sunday I tried to make up the sets lost to rain by running to as many sets as humanly possibly. First I saw the immensely talented Harold López-Nussa Trio and then ran to watch a couple from the terrific Herlin Riley New York-Havana Connection, both ensembles playing with Cuban rhythms and styles that were resonating beautifully throughout the festival. Then it was over to the Harbor to watch a bit of the brilliant Nicole Mitchell’s Dusty Wings before going back to the Fort to watch Artemis who had by far the greatest set of the entire festival. The ensemble was fantastic, hit every insane riff like they had been playing together for 30 years, each solo was incredible…I honestly can’t say enough about how badass that set was. I thoroughly enjoyed the intense groove of Nate Smith + Kinfolk, the swirling beats of Gogo Penguin, and the joy of Charles Lloyd & Friends. Ambrose Akinmusire’s Origami Harvest was good, the Jennifer Hartswick & Nick Cassarino Duo was a lot of fun, as was the James Carter Organ Trio, and of course had to end the day by funking out with George Clinton & Parliament Funkadelic.

While I always wish I could’ve seen more, I am grateful to have witnessed such inspiring music played by so many magnificent artists over such a short period of time, all of it just enough to get me excited for next year’s edition of the Newport Jazz Festival.

Happening Around Town:

The John Allmark Jazz Orchestra; first Monday monthly @ The Met (Pawtucket)

Is This Jazz?; first Friday bimonthly @ AS220 (Providence) isthisjazz.tumblr.com 

Groove Merchants; Mondays @ Fifth Element (Newport)

Jazz Jam; Tuesdays @ Ten Rocks (Pawtucket)

Groove E Tuesday; Tuesdays @ Murphy’s Law (Pawtucket)

Jazz At The Parlour; Sundays (jam held every third Sunday) @ The Parlour (Providence)

Modern Sound Series; last Sunday monthly @ Tea In Sahara (Providence)

Leland Baker Quartet; Wednesdays @ Acacia Club (Providence)

To add your listing email isthisjazzri@gmail.com.

Ben Shaw is a local composer and performer. Find him at ahueofshaw.tumblr.com.

[isthisjazz]

Newport Jazz Fest ’18 Preview

Although we may be weeks past this year’s Newport Jazz Festival, there is still plenty to reflect on. This year had an amazing variety of music, an explosion of new and returning talent, and featured some of the best performances that I have seen at Newport in my many years of attending. Since there was so much killer music happening at all times over the three days I didn’t get to see every moment of every set, but I tried my hardest to spread out and catch as much as possible.

The festival began on Friday with first timers Sonnymoon who played an interesting mix of beat driven, ambient textured music with tinges of jazz flavoring, all of which I enjoyed but was hoping for a bit more improvisation. Next I headed over to the Fort stage to catch The Diva Orchestra who were ripping through some fiery original compositions, then on to Rudresh Mahanthappa’s Indo-Pak Coalition for another intense set of rhythmic and melodic brilliance. Only caught a few minutes of Cory Henry & The Funk Apostles but really enjoyed the groove, and saw a brief bit of Michel Camilo’s solo piano set who was virtuosic as always. I stayed by the Quad to watch Sangham, which was by far the set of the day. The interplay between drummer Eric Harland, tabla master Zakir Hussain, and Charles Lloyd was exquisite, but it was the brain melting performance of Hussain that held the stage in amazement. I wasn’t able to see a lot of the Marquis Hill Blacktet but what I saw has excited me to seek out more. I ended the day by watching a good chunk of Still Dreaming, who were having an awesome set, but left them to watch R+R=NOW who didn’t leave me very impressed.

Saturday was a day of down pours, but managed to catch a few good sets between showers. Had the fortune to catch a chunk of Roy Hargrove and his killer band blow through some incredible music first thing in the morning, then went to the Storyville stage for the Isaiah J. Thompson Trio who played one the best sets of the day, if not the whole festival. Enjoyed a few tunes from Mary Halvorson’s Code Girl, an excellent and creatively rich ensemble, before escaping under a tent to avoid the torrential rain. Though I remained relatively soaked for the rest of the day, the Louis Cole Big Band Blowout was exactly the set I needed to not only reenergize but remind me of how fun this festival could be. Watched a bit of the excellent Charles Lloyd New Quartet before ending day two with a beautiful solo piano set from John Batiste.

On Sunday I tried to make up the sets lost to rain by running to as many sets as humanly possibly. First I saw the immensely talented Harold López-Nussa Trio and then ran to watch a couple from the terrific Herlin Riley New York-Havana Connection, both ensembles playing with Cuban rhythms and styles that were resonating beautifully throughout the festival. Then it was over to the Harbor to watch a bit of the brilliant Nicole Mitchell’s Dusty Wings before going back to the Fort to watch Artemis who had by far the greatest set of the entire festival. The ensemble was fantastic, hit every insane riff like they had been playing together for 30 years, each solo was incredible…I honestly can’t say enough about how badass that set was. I thoroughly enjoyed the intense groove of Nate Smith + Kinfolk, the swirling beats of Gogo Penguin, and the joy of Charles Lloyd & Friends. Ambrose Akinmusire’s Origami Harvest was good, the Jennifer Hartswick & Nick Cassarino Duo was a lot of fun, as was the James Carter Organ Trio, and of course had to end the day by funking out with George Clinton & Parliament Funkadelic.

While I always wish I could’ve seen more, I am grateful to have witnessed such inspiring music played by so many magnificent artists over such a short period of time, all of it just enough to get me excited for next year’s edition of the Newport Jazz Festival.

Happening Around Town:

The John Allmark Jazz Orchestra; first Monday monthly @ The Met (Pawtucket)

Is This Jazz?; first Friday bimonthly @ AS220 (Providence) isthisjazz.tumblr.com 

Groove Merchants; Mondays @ Fifth Element (Newport)

Jazz Jam; Tuesdays @ Ten Rocks (Pawtucket)

Groove E Tuesday; Tuesdays @ Murphy’s Law (Pawtucket)

Jazz At The Parlour; Sundays (jam held every third Sunday) @ The Parlour (Providence)

Modern Sound Series; last Sunday monthly @ Tea In Sahara (Providence)

Leland Baker Quartet; Wednesdays @ Acacia Club (Providence)

To add your listing email isthisjazzri@gmail.com.

Ben Shaw is a local composer and performer. Find him at ahueofshaw.tumblr.com.

[isthisjazz]

ITJ at PVDFest

The “Is This Jazz?” concert series has been hosting world class, original jazz around Providence for over six years and is working with PVD Fest to host a showcase of some of the best young, local musicians playing around the city. The set will feature original music performed by saxophonist Leland Baker, pianist Joe Godfrey, drummer Max Goldman, bassist Steve Johnson, percussionist Ryan Kowal, guitarist Phil Mazza, guitarist Mark Medeiros, pianist Nick Sanfillipo, and saxophonist Ben Shaw. 

Head to the Burnside park stage and catch the showcase going from 2pm until 3:30pm.

Visit http://pvdfest.com/ for more information.

If you saw the showcase and are interested in contacting any of the musicians here is a list of their details and where you can find them online:

Nick Sanfillipo: nesanfilippo@gmail.com

Max Goldman: maxhgoldman@hotmail.com, https://maxgoldmanmusic.com

Steve Johnson: sjohnsonbass@yahoo.com

Ben Shaw: 4benshaw@gmail.com, ahueofshaw.tumblr.com

Leland Baker: lelandbaker0@gmail.com, https://soundcloud.com/leland-baker

Phil Mazza: philmaz136@gmail.com, http://www.philmazza.com

Mark Medeiros: markjm129@gmail.com

Ryan Kowal: rkvibes85@gmail.com, http://www.ryankowal.com

Joe Godfrey: jgodfrey83@hotmail.com, www.joegodfreypiano.com

[isthisjazz]

Jazz In The Summer

The time has come once again to collect an assortment of concerts happening around the state and present them here so that those who are interested in seeing live jazz throughout the summer months know where to go and who to listen to. As is my usual approach, I put out the call to my fellow musicians and asked for gigs that I should be aware, and received back quite the response.

On June 1st, First Fridays at The Music Mansion has DavaMikePresents which is a performance/curatorial project created by the artistic duo of dancer and choreographer Davalois Fearon, and composer and multi-instrumentalist Mike McGinnis, who together will be performing “Time to Talk” and “Ängsudden Song Cycle”. Check out http://www.musicmansion.org/first-fridays.html for more information.

Local group Geo Trio led by guitarist George Leonard will be performing at Dusk in Providence on June 15th and Jimmy’s Salon in Newport on August 3rd.

On June 28th the Pump House in Pace Dale welcomes guitarist Dave Schneider and his quartet for some latin jazz and more, with Gian Carlo Buscaglia opening.

Pour Judgement in Newport will feature saxophonist Ben Shaw and his quartet playing contemporary jazz and funk on August 3rd from 10pm-1am.

Guitarist Clay Nordhill brings his Trio every Monday night to the Contemporary Theater Company in Wakefield from 6-8pm.

Askew, a new restaurant and music venue in Providence, is having a night with local group Evening Sky on June 9th. The ensemble is made up of Gino Rosati on guitar, Chris Brooks on pedal steel, Joe Potenza on bass, and Eric Hastings on drums.

Every fourth Sunday from 4-7pm at Nick-A-Nees in Providence catch drummer Max Goldman with Clay Nordhill and bassist Marty Ballou playing a wide array of jazz. 

Tea in Sahara continues its Modern Sound Series on the last Sunday of each month with Bastilla. Follow “modern sounds” on Facebook for more details.

Norey's in Newport continues to host its “World Class Thursdays” which takes place weekly at 7:30 p.m. with no cover at the door. The first Thursday is the Alan Bernstein Quartet, second is the John Monllos Quartet playing funky jazz, third week is the Dino Govoni Q'tet, the fourth is the Cote Jazz Combo, and any fifth Thursday will be the BlueClue Quintet.

The Purple Cat Winery and Brewery in Chepachet hosts Jazz Duos featuring local pianist Tom White playing with a changing cast of other talented musicians. On June 2nd from 1-4pm he will be with Clay Nordhill, June 30th from 1-4pm with bassist Sam Kurzontkowski, and July 8th with Kyle Barboza from 1-4pm as well.

The “Is This Jazz?” series continues its run at AS220 with two shows: June 1st will be Boston-based jazz-folk artist Louis Apollon and local jazz singer/songwriter Jeffrey Velez, then on August 3rd will be Bostonian indie fusion band Porterfield and local group The Leland Baker Quartet. 

Additionally, ITJ is working with PVD Fest to put on a special showcase on Sunday, June 10th. Head to PVD Fest in downtown Providence to watch some of the brightest new talent who are making waves around the city play from 2-3:30pm on the the Burnside Park Stage. Other jazz act performing on the Burnside stage include Kim Trusty, Corine Paul, Rohan Chandler “C3”, and Ryan Kowal’s Broken Shovel

Finally, this wouldn’t be an official summer guide if I didn’t mention the historical Newport Jazz Festival returning to Fort Adams in Newport, RI from August 3rd - 5th, featuring the best of the best in the jazz world. Featuring such musicians as Jon Batiste, Gregory Porter, Pat Metheny, Living Colour, Charles Lloyd, Michel Camilo, and George Clinton & Parliament Funkadelic among many others. Head to http://www.newportjazz.org for tickets and info.

There is always a ton more jazz going on around the state that doesn’t get covered so please keep your eyes and ears out for all the great music happening and be sure to support the world class talent we have right here at home.

Happening Around Town:

The John Allmark Jazz Orchestra; first Monday monthly @ The Met (Pawtucket)

Is This Jazz?; first Friday bimonthly @ AS220 (Providence) isthisjazz.tumblr.com 

Groove Merchants; Mondays @ Fifth Element (Newport)

Jazz Jam; Tuesdays @ Ten Rocks (Pawtucket)

Groove E Tuesday; Tuesdays @ Murphy’s Law (Pawtucket)

Jazz At The Parlour; Sundays (jam held every third Sunday)@ The Parlour (Providence)

Modern Sound Series; last Sunday monthly @ Tea In Sahara (Providence)

Leland Baker Quartet; Wednesdays @ Acacia Club (Providence)

To add your listing email isthisjazzri@gmail.com.

Ben Shaw is a local composer and performer. Find him at ahueofshaw.tumblr.com.

[isthisjazz]

A New Night For Jazz

Whenever a new venue pops up in the area offering a place to go see live jazz it’s important to shine a light on them so they can flourish. So when Scott Abrahamson reached out to me to discuss the new live music offerings at Toti’s in Seekonk, I wanted to know more. Here are some questions I asked and the answers he provided:

What can you tell me about Toti’s? (owner, history, etc.)  

Toti's Grill and Pizzeria Restaurant was founded in 1976 by Panagiotis "Peter" Delis, whose story is that of the American dream. He arrived in the United States from Greece with only $50 in his pocket. Peter worked very hard to earn money as well as his United States citizenship, and eventually saved enough money to open Toti's in Pawtucket, Rhode Island. In 1982, he sold that location (allowing the new owners rights to continue using the Toti's name), and opened a new pizza parlor location on Taunton Avenue in neighboring Seekonk, Massachusetts. During these early years, he and his wife had three children, but then divorced. Ultimately, Peter became the primary parent, and raised the children as a single father while spending long hours running the business. The children were educated in the Seekonk Public Schools. 

About 15 years ago, Peter built his own building next door to his existing location. The new building allowed the business to grow into a full restaurant and bar with ample seating and an expanded menu. Take out service remains a staple as well. Toti's prides itself on serving the freshest, most delicious food at affordable prices within an inviting family atmosphere. The pizzas remain legendary, largely because Peter continues to make the dough fresh from scratch each morning following a secret recipe. Peter continues to work at the restaurant everyday along with his second wife, Samar. His son, Georgios, is a member of the culinary team, and his daughters, Anastasia and Flora, are often found helping out as servers or hostesses.

When did you first think to utilize the space to host live jazz? 

I was actually approached by Georgios (George). As a local, I have been a regular customer of Toti's for years. Sometimes I brought my wife and children for family dinner, and other times my wife and I went alone to have a relaxing date night. The Delis family started to get to know me well. One night, George came and sat with my wife and I, and began asking questions about my music career and business background. He told me that the restaurant had the appropriate licenses to entertain, but, other than a single attempt many years ago, had never really seized on the opportunity to provide live music. George spoke to his father who then sat with me on my next visit. Discussions continued, and last fall Peter announced to me, "I am ready to start live music!"  Based on my recommendations, it was agreed that we would try to make Toti's a venue for jazz.

How long have you all been hosting live music?  

We are still in the infancy stages. It takes a lot of effort to build momentum for a jazz venue. Our premier night was on February 17th, and captured the spirit of Valentine's. The culinary team prepared meal and drink specials, and reservations were accepted, plus there is no cover charge. The house was packed! There was not a single seat left in the restaurant or the bar area. Guests were enjoying the night so much, that they started getting out of their seats and dancing in the aisles! 

Our second night was on St. Patrick's Day. Business was steady, but not as it was on February 17th. But we expected it. That was the weekend following the series of Nor'easters. Most of Seekonk and the surrounding towns were still out of power, and it snowed that night! Still, the guests that came stayed with us, and started dancing again!

April brought a much stronger audience once again, with both new and repeat guests, and renewed our belief in our mission to create a new jazz venue. Peter has committed to monthly performances with the hope that we grow enough to continue and even expand further with different acts by other talent. 

In our previous correspondence you mentioned wanting to fill the void that Bovi’s left behind when it closed. Can you expand on that? 

Any jazz musician or jazz lover will remember Bovi's Tavern just two miles away in East Providence! It was a legendary venue that hosted top talent for decades, and was even the place where vinyl records were cut back in the day. Many may remember the Duke Belaire Jazz Orchestra that was in residence at Bovi's from 1969 to 1999. Duke was actually inducted into the Rhode Island Music Hall of Fame in 2015.  When Duke decided to retire in 1999, the John Allmark Jazz Orchestra followed. Bovi's unexpectedly closed down a few years ago after being in business since 1947. It was "the place" for jazz music in the Greater Providence area. Its closing left a void for performing musicians and jazz lovers alike.

Upon learning that I have been involved in making Toti's a jazz venue, many of my music colleagues have approached me with great enthusiasm. They are looking for a place to perform, have cited the lack of good venues, and are hoping that this continues. They are waiting for my call to invite them to perform at Toti's!

You also mentioned that your own quartet has played there before. What can you tell me about the ensemble? 

To help Peter get started, I formed the DCAF Jazz Quartet to be the original house band for Toti's. Peter Doiron is our drummer, is the percussion instructor at Rick's Musical Instruments, Inc, where I work, and is exceptionally talented. He was trained at both Berklee College of Music and The Boston Conservatory, and played professionally on the road for many years. Add to the lineup Mike Conrad, who earned his degree in both trombone and piano performance at UMass Lowell. I have known Mike since I was a teen, and his keyboard skills are absolutely exceptional. He freelances on both his instruments throughout the region. A former classroom music educator, I too continue to perform professionally as a trumpet player, also playing flugelhorn for the quartet. I am an artist for XO Brass, one of the world's leading instrument manufacturers, and am grateful to my employer, Rick Verfaille of Rick's Musical Instruments for sponsoring the quartet, and helping make our appearances at Toti's possible. Completing our roster in Rene Fontaine, who is one of the most knowledgable and easy going musicians I know. Rene is our bass player, and has decades of professional experience performing in jazz big bands and small groups as well as in classical orchestras. Many may recall Swing City, the band he founded with his late father and renowned saxophonist, Dick Fontaine. 

DCAF has performed standards covering the many decades and styles of jazz. In April, we prepared a salute to the legendary Chuck Mangione. We rehearse regularly for up to three hours per session, adding new charts to our repertoire, solidifying our sound as an ensemble, and ensuring that we are in sync to deliver energizing, entertaining, and memorable performances. We take great pride in what we do.

As it pertains to live music, what is the goal moving forward? 

Hosting live music requires a return on investment. To date, Peter Delis has remained steadfast that he not will implement a cover charge as do other venues. This means he needs to recoup enough sales to cover the associated costs of hosting live music. All of us who are stakeholders in the endeavor are hopeful that the public will seize on Toti's as a jazz venue, and continue to support Totis Grill and Pizzeria Restaurant through their patronage. With increased interest and guest turnout, the goal is to increase the number of performances from once a month to even weekly. This would also allow us to welcome other acts into what we hope will become a regular performance series, which could possibly expand from jazz into other genres. Us guys in DCAF recognize that other acts are needed to keep things fresh, plus we need a break once in a while too! There is also the very strong commitment to see local musicians working. Personally, I believe in the "win-win-win-win" principle. I would like to see Peter and his family win not only because of the investment and risk that they have put into this, but also because of the kindness and trust that they have placed in me personally. (Candidly, they treat me and mine as family.) I would like to see local musicians win because they have a place to showcase their talent and earn a living. Then there are the fans, who I would like to see win because they have a place to go and enjoy music they love with great food, friends and family - a reward for the hard work they do in their daily lives. And then there is the community, which wins because all of the stakeholders contribute to the local economy, thus helping schools, municipal departments, and other services. Idealistic, perhaps, but I believe in working hard to make things a reality. 

To be clear, I work full time in the music industry. I mentioned my business background. Aside from working at Rick's, I have 25 years experience in family operated retail businesses that closed 5 years ago so that my parents could FINALLY retire! Peter seized on this, and I began working for him part time in a sort of consultant position. I believe that the work ethic that I have displayed helped fused the trust he has placed in me for live music. I appreciate the time you are taking for this story, and am hopeful that everyone "wins!" Thank you.

   Toti's Grill and Pizzeria Restaurant is located at 373 Taunton Avenue (Rte. 44) in Seekonk, just two miles from the former Bovi's Tavern, and minutes from downtown Providence. "When you dine at Toti's, your family becomes a part of our family!”. Visit http://www.totisrestaurant.com for more information.

Happening Around Town:

The John Allmark Jazz Orchestra; first Monday monthly @ The Met (Pawtucket)

Is This Jazz?; first Friday bimonthly @ AS220 (Providence) isthisjazz.tumblr.com 

Groove Merchants; Mondays @ Fifth Element (Newport)

Jazz Jam; Tuesdays @ Ten Rocks (Pawtucket)

Groove E Tuesday; Tuesdays @ Murphy’s Law (Pawtucket)

Jazz At The Parlour; Sundays (jam held every third Sunday)@ The Parlour (Providence)

Jeff Platz Quartet’s Modern Sound Series; last Sunday monthly @ Tea In Sahara (Providence)

Leland Baker Quartet; Wednesdays @ Acacia Club (Providence)

To add your listing email isthisjazzri@gmail.com.

Ben Shaw is a local composer and performer. Find him at ahueofshaw.tumblr.com.

[isthisjazz]

Wednesdays at the Acacia Club with Leland Baker

Photo by Erin Smithers

Saxophonist Leland Baker has been making a name for himself around New England over the past several years and has become quite a fixture in the Providence jazz scene. On Wednesday nights he and his quartet of local musicians have been delighting the patrons of the Acacia Club in downtown Providence and have been generating quite the buzz, so I got a hold of Leland and asked him about the growing series.

How did this series begin at the Acacia club?

This series began with Randy Ash, a promoter and sax player based in RI and Florida (during the winter), who developed a series he called Ash’s Wednesdays with the folks at the Acacia Club. He approached me to put together and lead a band that would play the series every week.

How long has it been going?

Since November 5th.

Is there a specific reason, or perceived advantage, for it being on Wednesday?

Well I know that originally Randy was thinking of a name that would catch on and was a play on words. Also, Wednesdays tend to be a good in Providence for people to go out and see music.

What is the makeup of the ensemble and has it remained relatively the same since the series’ inception?

This ensemble is Nick Sanfillipo on keys, Matthew Passeroni on bass, Erick Cifuentes on drums, and myself on saxophone. The ensemble has, for the most part, remained the same since the beginning of the series. On occasion we have a guest artist, usually a vocalist, who will join us.

How has the musical focus or stylistic approach shifted from when you started?

The musical focus has remained the same for the most part. We play a lot of straight ahead/ standards, modern jazz tunes, as well as some funk and neo-soul covers. There are a lot of tunes we play that the audience knows, and a lot that they don’t, so it is always cool to see them learn and dig something new.

How have you seen this series grow over the course of its run?

The staff and Grand master of the place have been so hospitable towards us and the audience that there are not enough words to express my gratitude. They have developed a great menu of soul food that changes every week, as well as created a great ambience and environment for live music.

Are there any particular moments - audience reactions, songs you played, funny anecdotes -  that stand out in your mind from one of the past shows?

We’ve had some great nights at Acacia that it’s hard to recall a single one. I guess one that pops into my head is when we had a completely packed house and I was able to witness the joy and fun both the audience and my band were having. The vibe and sense of community was energetic and inspiring for me.

What are some new things you’re looking to do with this series? New ideas, expanded ensemble, programming changes, etc.

I’m looking forwarded to warmer weather and moving the series to the outside stage Acacia club has in the back. Also, just hoping to see the audience numbers continually grow.  

Catch the Leland Baker Quartet at the Acacia Club (883 Eddy Street, Providence) every Wednesday night. To get more information on where Leland is playing next, you can join his mailing list at http://bit.ly/lelandbaker.

Happening Around Town:

The John Allmark Jazz Orchestra; first Monday monthly @ The Met (Pawtucket) Is This Jazz?; first Friday bimonthly @ AS220 (Providence) isthisjazz.tumblr.com Groove Merchants; Mondays @ Fifth Element (Newport) Jazz Jam; Tuesdays @ Ten Rocks (Pawtucket) Groove E Tuesday; Tuesdays @ Murphy’s Law (Pawtucket) Jazz At The Parlour; Sundays (jam held every third Sunday)@ The Parlour (Providence) Jeff Platz Quartet’s Modern Sound Series; last Sunday monthly @ Tea In Sahara (Providence) Leland Baker Quartet; Wednesdays @ Acacia Club (Providence)

To add your listing email isthisjazzri@gmail.com.

Ben Shaw is a local composer and performer. Find him at ahueofshaw.tumblr.com.

[isthisjazz]

A Night Of Gershwin

On Thursday, February 22nd the Veterans Memorial Auditorium was host to a rousing performance by The Gershwin Big Band, an ensemble dedicated entirely to the music of the late, great American composer George Gershwin. This well-attended event was presented as part of FirstWorks’ Artistic Icons Series and gave a captivated audience a glimpse at some of the most well-known and loved repertoire in the American Song Book. Being a lover of jazz and of the breadth of Gershwin’s music I was naturally intrigued by what this night would hold.

I’d quickly like to reiterate the opening sentiments from FirstWorks’ Executive Artistic Director Kathleen Pletcher, Providence mayor Jorge Elorza, and two students who benefit from programs run by FW who all spoke before the show began about the importance of not only this organization and the work they’re doing, but also of the arts as connecting the community. The incredible work this organization does for the city of Providence should not be understated and I would implore you to go to http://first-works.org to see all they have planned and to lend support.

Once the opening festivities — which included spectacular performances by the RI Philharmonic Music School’s Jazz Sextet and Providence Swings — concluded, the band came out with a bang playing a hot swinging version of “I Got Rhythm”, one of Gershwin’s most well known and important songs in the jazz lexicon. Next, lead singer and band leader Michael Andrew took the stage to formally welcome the crowd and to kick off the evening’s largely vocal repertoire. After a couple tunes and some chuckle-inducing one-liners, Mr. Andrew brought up Michelle Amato to sing a couple solo numbers before returning to the stage to trade off musical numbers and for a few well done duets between the two singers. In the set list were a mix of familiar favorites such as “Summertime” and “Let’s Call The Whole Thing Off”, unknown gems like “Little Jazz Bird” and “Slap That Bass”, and even a rendition of Gershwin’s famous orchestral work “Rhapsody In Blue”, all of which were arranged by band members specifically for this ensemble. The band was hot, the crowd was loving it, and it was an atmosphere of joy that filled the concert hall that evening as the horns wailed out from their seats and the rhythm section kept a tight pocket for Andrew and Amato to dance over. Overall it was a grand performance of masterworks from one of our nation’s finest composers. 

Being that this column is a means to report and comment on the jazz culture in Rhode Island, I would like to levy one small criticism about the night. While I did enjoy much of the music and the performance of all those involved, at the same time it all felt a little too “safe”. There was a good energy in the band and all the solos where very good, but it seemed a bit too polished and exact in a way that the best jazz often tends not to be, which is not to say that the best jazz is sloppy, but that there’s a dynamism and electricity inherent in ripping jazz that didn’t seem to be there. To use crooners as an example, I think of it like Dean Martin vs Frank Sinatra. People like Dino — hell, I love his stuff too — he sits back in the pocket and delivers a good performance with all the notes on point; it’s nice and comfortable. But when you listen to Frank, he’s in your face, putting fire into each note, and on the ballads he’s on the edge of sobbing into the microphone. It’s bombastic, and wavering on unhinged at times, but it’s undeniably electric. 

However, art should be judged on the merits by which it presents itself and in that way the band did exactly what it came do and entertained the people who were looking for an evening such as the one they got to see. The Gershwin Big Band presented an expertly executed array of exquisite music, and it was a pleasure to hear.

Happening Around Town:

The John Allmark Jazz Orchestra; first Monday monthly @ The Met (Pawtucket) Is This Jazz?; first Friday bimonthly @ AS220 (Providence) isthisjazz.tumblr.com Allary At Arias; Sundays @ Arias Lounge (Providence) Groove Merchants; Mondays @ Fifth Element (Newport) Jazz Jam;Tuesdays @ Ten Rocks (Pawtucket) Groove E Tuesday;Tuesdays @ Murphy’s Law (Pawtucket) Parlour Jazz Jam; third Sunday monthly @ The Parlour (Providence) Jeff Platz Quartet’s Modern Sound Series; last Sunday monthly @ Tea In Sahara (Providence) Leland Baker Quartet; Wednesdays @ Acacia Club (Providence)

To add your listing email isthisjazzri@gmail.com.

Ben Shaw is a local composer and performer. Find him at ahueofshaw.tumblr.com or on Twitter @ahueofshaw.

[isthisjazz]

My Funny Valentine

Richard Rogers and Lorenz Hart

In previous articles we’ve explored the concept of a “jazz standard” and have tried to define the parameters under which a song could garner that designation. Many that have earned this distinction have faded from popular memory and been usurped by newer charts, but a select few continue to be played throughout the years, never losing their luster and sounding as current as the day they were composed. In the spirit of the upcoming romantically themed holiday we’ll take a brief look at one such standard: My Funny Valentine.

Written by Richard Rogers and Lorenz Hart for the musical Babes In Arms, this song made its debut on April 14, 1937 at the Schubert Theatre in New York City. In the play a character named Billie Smith sings the song to Valentine "Val" LaMar, needling him about some of his faults but by the end clarifying that these are all the things she loves him for and would never wish him to change. The show ran for 289 performances, and while there were other hits to come out of this production nothing has had an impact equal to that of My Funny Valentine. 

Compositionally, the piece is one of the most versatile in the Great American Songbook. The basic harmonic structure remains relatively static throughout the 36 bar form, settling mostly around concert C minor with a brief departure into Eb, the relative major key. This opens up the form to a wide range of interpretations, allowing musicians to add in interesting colors like passing chords or re-harmonizations. This space also allows musicians to play with the feel of the piece by performing it as a ballad, a contemporary style groove, or by changing the time signature all together and unlocking an even larger set of rhythmic possibilities. With a mostly diatonic, linear melody that only goes to a minor third past the octave it sits nicely within the performable range of most people  — let alone professional singers — and also makes for easy transposition into any key for various instruments.

While the notes and chords are an important part of its universality, the lyrics deserve just as much of the credit in establishing this as an essential part of our musical heritage and culture. While we now know that the phrase “my funny Valentine” pertains to a specific individual, Val LaMar, over the years the term “valentine” has been re-contextualized to apply to any person we designate as “a valentine” which is traditionally — although not exclusively — meant as the one that we love most. Additionally, as we grow to love someone and learn more about them we eventually are faced with their faults and deficiencies, but it is through that love that we accept these traits. Even in its brevity — most versions only contain 12 lines of lyric — the song arrives at, and ultimately works through, this essential conundrum faced in any relationship. This is exemplified when our protagonist sings “is your figure less than greek, is your mouth a little weak, when you open it to speak are you smart? But don't change a hair for me, not if you care for me. Stay little valentine, stay”.

These characteristics make for a song that can be shaped to suit whatever adaptation the arrangers and performers need or desire, letting the chart flex and evolve with the changing musical world, as it has in the estimated 1300+ recordings that have been made in its 80 years. There are many notable versions but the artist who is possibly most credited with the song’s lasting importance is trumpet player Chet Baker who sang a version on his 1954 album “Chet Baker Sings” which set a new tone for the how the piece would be performed vocally. He returned to it in 1959 as part of Gerry Mulligan’s quartet, a recording which would be added to the Library of Congress's National Recording Registry for its "cultural, artistic and/or historical significance to American society and the nation’s audio legacy”. 

I implore you to listen to these recordings, and hope you share them with your own “funny valentine”.

Happening Around Town:

The John Allmark Jazz Orchestra; first Monday monthly @ The Met (Pawtucket) Is This Jazz?; first Friday bimonthly @ AS220 (Providence) isthisjazz.tumblr.com Allary At Arias; Sundays @ Arias Lounge (Providence) Groove Merchants; Mondays @ Fifth Element (Newport) Jazz Jam;Tuesdays @ Ten Rocks (Pawtucket) Groove E Tuesday;Tuesdays @ Murphy’s Law (Pawtucket) Parlour Jazz Jam; third Sunday monthly @ The Parlour (Providence) Jeff Platz Quartet’s Modern Sound Series; last Sunday monthly @ Tea In Sahara (Providence) Leland Baker Quartet; Wednesdays @ Acacia Club (Providence)

To add your listing email isthisjazzri@gmail.com.

Ben Shaw is a local composer and performer. Find him at ahueofshaw.tumblr.com.

[isthisjazz]

Thankful for another great season!

As we draw to a close: It is important to reflect on all the incredible music that we had the chance to witness, the lessons that we learned on our personal journeys with the music, and look forward to the last remaining shows before we switch to a new year. We have only one more gig to round out the 2017 season so we hope you join us as we bid farewell to our fifth season and welcome in our sixth!

On December 1st we’ll be closing out the 2017 ITJ season with style! Local composer and musician Ben Shaw has been an active cultivator of the local jazz scene for the last few years mainly through his “Is This Jazz?” concert series. He is using that experience to gather some of the finest players around the PVD scene to collaborate for a special large ensemble performance. Joining him will be saxophonist Dave Murphy, guitarist Mark Medeiros, percussionist Ryan Kowal, bass player Joe Grilli, and drummer Ben Dicke. Together they will be performing arrangements of original material written by the various members of the group. With the level of musicianship and compositional talent in this group, this set is sure to be one to remember. Following the set we will open the stage up for an open jam were we will be playing and improvising over tunes from the “RI Book” that ITJ has been putting together over the past few years. All who wish to play are encouraged to perform and to bring new charts to play and add to the collection. If you’re bringing a chart, please include three concert, a Bb, and an Eb version. The night kicks off at 9:30pm with cover being a mere $10 that goes to support these superb artists. That is all for now. See you all at AS220, and be sure to watch your inbox for more news and updates!

[isthisjazz]

Lionel Loueke

A couple of weeks ago I had the opportunity to speak with guitarist Lionel Loueke prior to his performance with the Chick Corea and Steve Gadd Band at the VETs. I wasn’t able to get out the interview before their gig but the conversation we had still reveals a lot about the group and his individual process, which makes it invaluable reading for jazz and guitar fans alike. Below is the full transcribed interview.

How long have you been playing with Chick Corea and Steve Gadd?

Not too long, we did the recording in January and the first gig was in Tokyo in August at the Blue Note. The tour really started that week. We got together about a week for the recording but that’s about it.

So this group dynamic has really formed just from the studio sessions and playing on stage together?

Yeah, well Chick knew that we would be touring so he put the band together with Gadd so right after the recording we could plan for touring and that started end of August. But you know we’ve been hitting it hard and will be going until the end of November.

In terms of tunes for this band, did you all come with them as individuals and all bring in different charts or write them as a group? Or did Steve and Chick walk in with tunes ready to go?

Basically Chick comes in with his tunes, and we play his tunes. There’s one song on the CD that came out from a jam I had with him so we kind of co-wrote that one, but otherwise they are all his compositions.

I wasn’t sure since I know that all of you are fantastic composers and arrangers on your own. I like the idea of coming up with the tune off the jam with Chick, especially with how adept both of you are as improvisors I’m sure you can lock onto an ostinato and find something from that vamp.

Yeah it just happened naturally. We workshopped together for two days just jamming and we recorded everything as we played. He basically used the melody we had and came up with nice harmonies.

With this band having a sax player in Steve Wilson and the right hand Chick Corea has and his melodic virtuosity, how is it to balance the melodic playing you’re doing with the harmonic?

It works fine because there’s no restriction with the harmony or how far one wants to go in or out of the structure as long as the form stays the same for everyone. Everyone is listening so carefully, and in my opinion that’s the sign of any great musician. We give room to each other to stretch out and do our thing so there are no boundaries which is a good thing.

Especially with the players, you guys can really stretch and go into some unique areas, but then I’m sure that with everyone having such big ears the listening that’s going on is next level. Besides just that particular dynamic, even though I know this has been a limited run, is there anything that you’ve learned so far that surprised you and has given you a new perspective on the music as it develops?

It’s not like I’m hearing something completely different than I’ve been hearing before in other bands, it just sounds like a band that has been around for a long time. Chick and Gadd have been playing since the seventies so there is a foundation based on that. Then Carlitos (Del Puerto, bass) has been playing with Chick the last four years and Steve Wilson has been with him for a long time too so I’m pretty much the only one who is new. I’m not working in the territory where everything is new since there’s a history here and everyone is listening for the interaction. One thing that is important here is that Chick is an excellent composer, player, and arranger. So when he arranges a tune he knows exactly what he wanted from day one so it’s just about getting it better and better. We come to these different arrangements or dynamics based but it all works because he knows what he’s hearing. Again, in terms of interaction there’s lots of room for everyone to play around and connect so everyone is just listening carefully to make the music right and find what the music needs.

I can only imagine coming into that foundation. To hear you all lock in is going to be really great.

Yeah, its good! (laughs)

Everyone has such unique voices in that ensemble that just listening to how you all evolve within the interactions is what I’m particularly interested in. I have one more question for you which is sort of a bit “inside baseball”. What sort of new concept are you working on? Is it some sort of new discovery you’ve made with the language of jazz, maybe a new lick you heard, or even a new guitar specific technique. What has been the focus of your practice right now?

I have a few things that I go to from period to period. Right now my focus is on my right hand technique. I don’t choose to play with a pick because what I’ve been hearing off that has been coming better and better, but it requires a much different technique. Mine is different from classical technique since I’m not holding the guitar like them or angled like them. Plus I’m always switching between acoustic and electric which is a different mechanic but I want to play both the same way and sound right. Right now I’m touring on electric so I’m working on that but when I move back to acoustic I focus on that, but that’s just technique. Then you have to go with what you’re hearing, because right now I’m not able to play what I’m hearing so it means I have to go back in on that and the technique together.

In terms of concepts, I’m always looking for new territory either melodically or harmonically. I listen a lot to classical music, contemporary classical music, Bartok, Stravinsky. I listen to the development of movements, how I can apply it in my playing. Instead of throwing many ideas in, just focus on one and try to make sense out of it. Then when it comes to harmony I go to back to the scores and look at the voicing, what chord is that, and apply it to the guitar. I’m always trying to go far from guitar technique to tell you the truth because it’ll always come back to me in a way and my thing is to not sound like guitar even if i’m holding a guitar.

Have you listened to Scriabin at all? Some of his piano stuff is *WHOA*. It’s hard, tough, but great. That whole Russian school with him, Shostakovich, like you said Stravinsky…

Yeah, absolutely, I check them all out. Music today, especially for me, is to look outside of the box. To learn something new and bring it to what I do. When it comes to jazz I very rarely listen to guitar, I focus on piano or saxophone, any instrument that has different type of phrasing that I can incorporate. That’s just one side, then I have the whole African side of traditional instruments that I listen a lot to and try to get the sound close on guitar, all the mutes technique, all that. I have a lot that I switch to from period to period.

Yeah man, it keeps it all fresh. There’s so much to hear and discover. It’s thrilling to hear that you just keep listening to new things and the diverse nature of those sources.

Yeah, it is very important to me.

Well, thanks so much for your time, I’m really looking forward to hearing you all play! You guys are going to play some burning stuff.

Yeah, we’re doing great man. I’m learning from everybody, stealing from everyone in the best way! Listening to Chick’s right hand as you mentioned, his phrasing; all things I’ve thought about but it is best to get from the source. I’m in school. (laughs)

Happening Around Town:

The John Allmark Jazz Orchestra; first Monday monthly @ The Met (Pawtucket) Is This Jazz?; first Friday bimonthly @ AS220 (Providence) isthisjazz.tumblr.com Allary At Arias; Sundays @ Arias Lounge (Providence) Groove Merchants; Mondays @ Fifth Element (Newport) Jazz Jam;Tuesdays @ Ten Rocks (Pawtucket) Groove E Tuesday;Tuesdays @ Murphy’s Law (Pawtucket) Parlour Jazz Jam; third Sunday monthly @ The Parlour (Providence) Jeff Platz Quartet’s Modern Sound Series; last Sunday monthly @ Tea In Sahara (Providence)

To add your listing email isthisjazzri@gmail.com.

Ben Shaw is a local composer and performer. Find him at ahueofshaw.tumblr.com or on Twitter @ahueofshaw.