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Harris, 58, acknowledges that eclecticism has been both a blessing and a curse. You do it all. The tune program includes four self-penned songs, each distinct in style and connotation.

His mother, a trained concert pianist, listened to classical music and Eckstine records around their BedfordStuyvesant house.

He has a craft. He knows how to rope, how to break a horse. I direct the band where to go. I have a skill in moving my audience.

But inside the auditorium, things were heating up quickly as the member Spanish Harlem Orchestra SHO took the stage. Its mission is to keep this music alive, but SHO is not merely a repertory orchestra: Hernandez and other band members contribute newly minted but classic-sounding salsa tunes to each album.

Nor is the Bronx native just a classicist. He gets musicians of the absolutely highest level. We do things at a high caliber; we use the best studio, and I pay the musicians well.

Ultimately, when I walk away from the studio, the one criterion that I have is that I must absolutely love the music.

They fly through unison lines, swoop through trades, exchange blistering runs, converse like old buddies.

The Stern-Johnson team is a virtuoso-meets-virtuoso collaboration that spans the rock-jazz divide. DownBeat sat down with Stern and Johnson during a supper break in a lounge outside the Gibson studio to talk about their rare alchemy.

Onstage and off, these two cheer each other on, championing what the other is conjuring up. A few days later, as Stern and Johnson sit backstage prior to a Nov.

And the high-voltage Stern-Johnson guitar summit delivers with aplomb. DownBeat: When did you become aware of each other?

Of course, everyone was listening to him then. But I was aware of him from ages before. I went to a gig he played at B.

You were playing a white Strat through a Yamaha amp, and it was just great. MS: Miles had a hookup with Yamaha, so you had to use their equipment.

I used two amps back then. Afterward I went backstage and said hello to Mike. It was a cool gig. It was a fusion band that was definitely Hendrix-influenced.

MS: Miles wanted it that way because he loved Hendrix. They were going to play together, but then Jimi died.

That would have been a beautiful hookup. Miles loved the guitar, and I was interested in playing the blues and rock.

I also loved Wes, so I sneaked in some octaves and bebop. So how did you two start collaborating? MS: I went to see Eric live for that first time early in , and it was smoking.

It was then that I knew something was going to happen with the two of us. I saw him again, went backstage and said I wanted him to be on my [] album Big Neighborhood.

EJ: I said, sounds cool. MS: Eric worked out some beautiful voicings. We started in the studio first by playing these really soft duo pieces.

Eric rocks like crazy, but at core he has strong lyricism. How did the Blue Note show in come about? EJ: They asked us to share a night, with each of our bands.

MS: At the time, they were trying to open up the room more. When they asked me about Eric, I said that would certainly open it up. So before we played at the Blue Note, we went to the Regatta Bar in Boston to work on performing together.

And it worked beautifully. No one complained about the volume. That got us ready for the Blue Note. How did you decide on your repertoire?

EJ: We got together and naturally rearranged them just by playing, which is nice. We left the tunes open until the last second.

How did the Blue Note shows lead to this new studio album? EJ: After the Blue Note, we were offered more gigs.

We were compatible as players. He was rock and I was jazz. But we both shared a core that was musical.

What is that? MS: I was into jazz way before going to Berklee. My mom had a lot of jazz records like Miles and [Dave] Brubeck. But I wanted to play jazz, which was like learning a very difficult language.

I wanted to get to the point where it was fun and fluid. I also listened to Danny Gatton and Roy Buchanan. Eric is bringing me back into that world because of the way he learned.

EJ: I mainly got into rock, but always liked other styles where I would pilfer things into my own music. I keep the door open, staying dilated to see what I can learn.

I was listening on the sidelines, but by proxy some of that filtered into my playing. But rock is still my center point.

Was there a level of discomfort in working together, given your guitar backgrounds? EJ: You always want to put yourself into uncomfortable situations.

It pushes you. It makes you grow. It inspires me. And with the band, the counterpoint is so inspiring to me. Everyone is playing off each other.

MS: I feel the same. You guys seem to be conversing with and complementing each other. But guitar summits can take on other scenarios, like getting in dueling matches.

Did that happen? MS: Not just guitarists, but everybody. But it needs to be like this [puts his hands together so the fingers can move freely].

We make plenty of room for each other to do our own things, but done in the context of the composition. We often start off soft and build.

Eric has a huge sound and plays great chords. So, you pick up from each other. MS: Fuck, yeah. During the recording sessions, were there any surprises, any epiphanies?

MS: A lot. Eric surprises me with his sound and musicality. He played his heart out. He complements the whole picture, plus he produced the album.

He did a great job mixing with the very good sound engineer he picked, Kelly Donnelly. I dig this.

We were thinking of doing short vignettes in between some of the songs, but what Leni did was perfect. EJ: What surprised me was that we came into the studio to rehearse first, but we just started to play and began recording immediately.

We recorded many of the tunes in one take. We were feeling it, so throw it out and be pleasantly surprised by all the serendipity.

We played in the pulse of the moment. Over and over, playing songs hundreds of times. So, this album has been a very therapeutic project for me.

Actually, the album I recorded before this was a live set. That was the turning point. You can sit in a studio forever and never yield a soulful record.

MS: You listen like crazy and respond. You can have the rhythm section come in and play it pretty safe and then you come in and do your own thing.

You may get rough edges, but I think that can be beautiful in its own right. EJ: Wes Montgomery is one of my favorite all-time great guitar players.

He played incredible solos and such lyrical melodies. The sound is what made me want to play guitar. At some point, you let it go and let it happen.

Mike, why did you revisit four of your songs from your past albums? Eric, what about your originals? Mike helped me rearrange the tune so it could be more concise and open.

EJ: I was trying to find a high-energy rocking tune that everybody could just play on. It was all about complete spontaneity where we could trade and play stuff just in the moment that had a dialog with what the next person was going to play.

The textures were changing all the way through. But all four of us were right there together. We had already recorded a couple of tunes and then came to this.

So we decided to not solo over this but make sounds like Bitches Brew with all these colors. It was fun and Eric was doing all kinds of things.

We did two or three takes. EJ: We used one whole line from one take and grafted in a couple of weird sound effects.

It was just too cool not to have. But in this case, we were doing the minimum of gluing things in.

EJ: I just glued the licks. And it all lined up in the same time. MS: To make it sound seamless. In the studio you can tend to overwork pieces instead of under-working.

We used what you could do in a studio minimally so we could keep the essence and not fix everything. MS: So we played it live, and I started singing it, but I only knew the first verse, so Eric took over to do the second.

EJ: This song really resonates with the crowd. They love it. People may not know anything about music, but really they know an incredible amount about music because they know what touches them.

They may not have a clue [technically], but they know a lot more than I do. Damn, they hear it immediately. This is the nature of restlessly creative spirits like Laswell.

Technologies label. But since their four days of recording together in the spring of and his subsequent twoand-a-half months of post-production work at his Orange Music Sound Studios in West Orange, New Jersey, Laswell engaged in a whirlwind of activities that took him around the world.

Baker on the life of mercurial drummer Ginger Baker to work on a documentary about the spiritual and trance aspects of Gnawa music. This profoundly deep and remarkably authentic world music recording from Morocco paired tenor sax great and free-jazz icon Pharoah Sanders with master Gnawa singer Maleem Mahmoud Ghania and a whole crew of Gnawa musicians on guembri a traditional low-tuned, threestring instrument , handclaps, chanting and various percussion.

Sanders sounded particularly inspired in the setting, which was essentially derived from a trance music healing ceremony, and the resulting disc was one for the ages.

Now Laswell wants to return to Morocco with Sanders, who recently turned I want to take Pharoah directly right back to the source.

They do sacrifices and stuff. We arranged for him and his three brothers Abdellah, Boubker and Moktar to come and record with Pharoah.

On top of all that, he somehow found time to work on several remix projects for the likes of Zorn Psychmagia , Dinmachine Dance To Reason and Twinscapes Twinscapes.

Always moving forward, ever the sonic adventurer. And he had run into Jon Batiste up in Harlem. So we all kind of knew Jay and he suggested getting us together and recording music that he would use for a film he was working on.

He was really impressive. Jon had such a great vibe, and his positivity was infectious. I liked him and his music right off the bat, and we ended up jamming there in the church.

We had this immediate musical telepathy that was really refreshing and fun. There was this church that was up the street from the Jazz Museum office, and it was a program that I basically led for the last three years called Jazz Is Now.

It was something that we would do in the community where we would invite people from Harlem to come in and experience jazz. Chad came by one week just to check it out because he had heard about what we were doing there, and he ended up playing that day, too.

So that was the birth of The Process. It was a precursor to the spontaneous jam session that occurred in the studio with me and Chad and Bill.

I want to get Jon and a bass player and go into Electric Ladyland and record something real loose and spontaneous. Just everybody put your ears on and play off each other and take notes out of the air and see what happens.

But it might be really great. But I was vague about who the bass player would be. What about him? I listened to them play together, and I thought there was potential for something.

The next session was just me with Chad, without the piano, back at my place. And then on the third and fourth days, we played trio at my studio.

Then I started working with edits and treating the drums and moving things around. I redid a lot of bass stuff. Then I brought Jon Batiste in for maybe 10 days of doing different overdubs on different keyboards.

It was a process from the beginning. How are we going to finish this? And leave it to Bill to come up with those sounds. And the way that he put it together, it made it sound like a worked-out part, where a lot of the musical sections change with the drum patterns that change.

So, at times it sounds sort of drumled, which I think is cool. Leave it to Bill to build a whole song off of a drum break. It was a pleasure and an honor to work with him, and it led to other things.

And he wants to play some more. Unfortunately, I moved back to California. My cousin was in The Meters for a while.

My uncle was also in The Meters for a while. But to think about it that way is what he was getting at. Repeating jazz history has never interested him much.

The album will be released by ACT on Feb. That should be your next album. Bird Calls was recorded the next week in New York. This was the same room where Mahanthappa had spent many late nights listening deeply to Bird, sparking his imagination.

A lot of other people have an opposite sort of trajectory. Bird has always been an inspiration. I liken it to Picasso painting a woman and moving the eye, and it looks like something completely different and unique.

I see a lot of what I do as being Charlie Parker with the eye moved. I played him all the stuff I was listening to.

I go back to Bird, too. I go back to Coltrane also. But Charlie Parker was the real impetus for me to even pursue this music.

Did all that precede Bird for you? It did precede Bird. That was inspirational in a different way. That was music that really made me want to practice and be a good saxophonist.

A lot of that music was like what I was hearing on the radio: It was funky, it had a backbeat, it was familiar in that way.

When I put [one of his albums] on the stereo, it was just me and him in that room together. And I still feel like that. So, you had been thinking about this new project for years.

What made you decide that now is the time to do it? A combination of things. I wanted to feel that energy again. Last year, the theme was Birdland and Bird, and he wanted three alto players to each present what Bird means to them.

It was me and T. And we all did very different things. People are right. George Wein had asked me about playing Newport.

I thought it was going to be great: I was going to save all of this money, I was going to have fun in the Caribbean.

And within a couple of weeks, I just hated it. It was terrible on many levels. Obviously the music was terrible, but the lifestyle was terrible, too.

There was serious alcoholism and substance abuse. Then to compound the issue, I developed this problem in my arm that made it very painful to play, so then I just had to leave.

I lasted about six weeks. So I went back to Colorado completely, utterly depressed. The turning point was when I started to play again.

I went to this hotel in Boulder where they always had jazz on Friday afternoons. So I sat in and played a couple of tunes.

That was such a positive shot in the arm for me. Matt Mitchell was someone I really wanted to play with.

We had a weird connection, because he had subbed in an art-prog-rock band that my Colorado saxophone teacher [Mark Harris] plays in.

They ended up doing a little tour of Europe or something. How about you play with another horn player? How come you never do that?

I do sometimes, but maybe not in ways that you would like. What do you think about trying to evoke that Bird and Diz frontline?

You sound great. What do you think about being part of this project? He had most of the music memorized at the first rehearsal, so then it was more about how we connect, and how he connects with the band.

Explain how you approached the Bird songs that you chose. What was your working method? I first went to Bird tunes that I really liked and played through them.

And then there were obviously solos, little bits of solos, that I thought were remarkable. When you brought the finished tunes to the guys in the band, what was their reaction?

Yeah, that one got stuck in my head, too. I just love that tune. It has this very funny, rhythmic twist. You can almost hear the downbeat in two different places because of this bizarre syncopation of the melody.

I can see why everyone loves playing it so much. That was very much connected to my son, because when he was a little younger, he used to make this very intense, focused face.

What else? Do you anticipate reactions one way or the other to Bird Calls? But my roots as a jazz saxophonist are coming from Charlie Parker.

It was coming from Chicago. Having hung out on the Chicago jazz scene for a long time, he had his own ideas, which came also from the whole thing around Steve Coleman.

I remember playing a lot of real jazzman standards with him on these gigs, even though he was already writing a lot of original material.

He also became familiar with Indian music, so of course he started implementing that in his music, too. But for the first time the idea around which it is done is the personality of Charlie Parker, who really belongs to the story of jazz.

So that makes [Bird Calls] a little different. Throughout the album, the performers prioritize warmth, tranquility and restraint while imbuing melodies and solos with the lyrical sentiments at the heart of the original music.

Delfeayo plays a Bach Stradivarius 42 series large-bore trombone, giving his tone a rounder, less direct sound.

But adults sometimes overlook the impact of events like the fight between the characters in his text.

Jazz, Delfeayo posits, is supposed to be about human connection and warmth. To support that claim, he points to early examples of musicians and audiences who moved the music forward together, never losing sight of the emotion and community connection at work in the art form.

If you go back, even with Bird and Dizzy, they were dancing. That got taken away. They sanitized it.

The time was right to record something more intimate, and to include his dad. Delfeayo has become a prolific bandleader.

Shortly after Thanksgiving, he announced plans to take UJO into the studio. In the meantime, his father is slated to accompany him on the road, beginning in February.

When discussing the origins of those projects, the patriarch gracefully sidesteps the issue of sibling rivalry. Then they hit the studio and made the album.

So I just called him. I knew it was going to be done correctly and be kind of wide open. But he vehemently denies that being a Marsalis has given him an advantage, business-wise, other than teaching him to prepare well for arguing any given position.

For his latest project, Delfeayo added creative writing to the social commentary that has often shaped his approach to liner notes.

I wanted each of them to go in whatever direction they needed. And by it being my band, it would have had the effect of squelching some ideas that the siblings wanted to do.

At the time that it would have been necessary to start a band with them, they were still in the process of growing up.

He told the packed house that although recording the CD had been a great experience, the photo shoot for the album art was even better.

DB eading through our annual Jazz Venue Guide is like taking a virtual journey around the globe. This guide can help jazz lovers find great live music, no matter where their travels take them.

On the following pages, the listings are organized by geographic region. The portrait of Duke Ellington still hangs at Kuumbwa.

Beverly, MA chiantibeverly. Lilypad Cambridge St. Cambridge, MA lilypadinman. Trumpets, which opened in , features jazz five nights a week.

Boston, MA scullersjazz. Boston, MA wallyscafe. New York, NY 55bar. Birdland W. New York, NY birdlandjazz.

Blue Note W. Third St. New York, NY bluenote. New York, NY corneliastreetcafe. Regattabar 24 Main St.

Madison, NJ shanghaijazz. Cambridge, MA regattabarjazz. This charming Greenwich Village cafe presents great lesserknown musicians like Matt Pavolka and trumpeter David Smith for a modest cover.

The cheap late-night sessions are a great end to the evening. Fat Cat 75 Christopher St. New York, NY fatcatmusic.

Eclectic booking is the name of the game during the rest of the week. Jazz Standard E. New York, NY jazzstandard.

Friday and Saturday, touring artists perform three sets nightly. Le Poisson Rouge Bleecker St. New York, NY lepoissonrouge. The club is in the same building that once housed the Village Gate.

Mezzrow W. New York, NY mezzrow. The booking here leans toward duets and solo piano performances. National artists are booked six nights a week.

Deer Head Inn W. New York, NY smallsjazzclub. Smoke 5 Main St. Delaware Water Gap, PA deerheadinn. EE Metropolitan St. Pittsburgh, PA mcgjazz.

Bethesda, MD bethesdabluesjazz. New York, NY thestonenyc. The Village Vanguard 7th Ave. New York, NY villagevanguard.

During the fall of , jazz booking leaned toward ghost swing bands. Blues Alley Wisconsin Ave. Washington, D. Roy Ayers is booked for Feb.

Bohemian Caverns 11th Street N. It has a storied history, but stays current by booking superlative jazz talent.

Founded in , this spot attracts major headliners and provides a platform for D. And yes, it looks like a cavern.

Philadelphia, PA chrisjazzcafe. The club worked, he said, but the attraction of Midtown and its association with the original Birdland was strong.

So, after 10 years uptown, he pulled up stakes and moved to 44th Street near Eighth Avenue, and never looked back.

Now approaching the 20th anniversary of that move, the club remains among the handful of rooms with a reputation as big as the great names in the business.

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