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Wining Spins By George Kanzler



FedchickThe Big Apple continues as a hub for big bands, notwithstanding the close of the Big Band Era generations ago and the demise of Manhattan’s famous ballrooms by the turn of the 20th century. The tradition remains strong, currently manifested in the weekly gig of a host of big bands taking their cue from the now half-century long (Village) Vanguard Jazz Orchestra. The VJO pioneered a modern, Big Apple big band style inspiring many groups that followed. One of them is trombonist John Fedchock’s quarter-century-old New York Big Band. Rejuvenating an older, more swing and mid-20th century style (e.g. Count Basie, Buddy Rich, Woody Herman, Duke Ellington) is a more recent entry in the local big band roster, alto saxophonist Eyal Vilner’s Big Band. Their latest albums comprise this Winning Spins.

Like It Is, John Fedchock New York Big Band (MAMA Records), is split between Fedchock originals and jazz and pop standards, at five each. But Fedchock’s take on standards isn’t exactly standard. “You and the Night and the Music,” at a fast clip, is presented in an intricate, tricky run through contrasting, overlapping passages, just glancing at the familiar theme. Then, after a round of riff and shout supported solos, the melody returns punctuated by drum breaks.

There’s whimsy in his chart of Ellington’s “Just Squeeze Me,” Scott Robinson’s baritone sax stating the theme, interspersed with frenetic bursts from the ensemble. Of the other standards, “Never Let Me Go” is the leader’s ballad feature, his satiny trombone lines supported by billowing clouds from the group; “For Heaven’s Sake” is a ballad feature for Barry Ries’ flugelhorn.

Afro-Latin percussionist Bobby Sanabria appears on three tracks, including a tropically brisk take on Cedar Walton’s “Ojos de Rojo” with pianist Allen Farnham doing his best Eddie Palmieri impression. Sanabria also adds the “funky cha-cha” element to Fedchock’s boogaloo “Like It Is,” and beguiling bolero beats to “Havana,” the Cuban feel enhanced by Mark Vinci’s flute.

Other originals include an impressionistic “Hair of the Dog,” ranging from dreamy to perky; a Wayne Shorter inspired “Just Sayin’” with notable solos from the leader and soprano saxophonist Charles Pillow and, climactically, “Ten Thirty 30,” written for a Clifford Brown symposium (Brown’s birthday is 10/30/30) and consisting of thematic material from Brown’s music. It’s a challenging piece with tempo shifts and engaging solos from trumpeter Scott Wendholt, the leader, and tenor saxophonist Rich Perry.


John Fedchock New York Big Band unveils music from the new CD at the Blue Note, Aug. 10.


Coming next Eyal Vilner Big Band


Ben Allison: Being Yourself By Seton Hawkins

Ben-AllisonThis month, the master bassist and composer Ben Allison will celebrate the 30th anniversary of his arrival in New York City with a multi-night run at Birdland. As he prepares for the gig, Allison will do something that has been a running theme in his storied career: he’s going to try something new.

“About ten years ago, I stopped using piano in my band and started using guitar instead,” Allison explains, a nod to his current ensemble’s line-up of guitarist Steve Cardenas, drummer Rudy Royston and trumpeter Jeremy Pelt. “Previous incarnations of my band had Frank Kimbrough on piano, and this gig brings Frank back. It’s the first time I’ve done a line-up like this with piano and guitar and I’m quite excited to see what we do.”

To be sure, the spirit of adventure and risk-taking is a hallmark of Allison’s music. In the three decades since his arrival in New York, Allison has established himself as a superlative bassist, an extraordinary composer, an innovative thinker in the music industry and a tireless advocate for creative musicians. Continually reimagining his older projects while also tackling new and exciting music, Allison has amassed an impressive discography of highly acclaimed albums, most closely associated with Palmetto Records. However on his latest, 2013’s The Stars Look Very Different Today, Allison took an additional risk, breaking his string of recordings with Palmetto and self-releasing on his own imprint, Sonic Camera Records.

“Musicians who are mid-career, like me, end up taking stock and see what’s working, what’s not, and where we’d like to go,” Allison explains. “I don’t make decisions lightly, so I thought long and hard and decided to try releasing my own music. I have always been a DIY person and, on my earlier albums, was very involved in the production, mixing, mastering and marketing of the projects. I got to learn so much with each release. So I was excited when I released my own album because I got the chance to put into practice everything I had absorbed in the past 15 years.” Indeed, the risk paid off as the CD returned a profit, enjoyed widespread critical accolades and received extensive, enthusiastic radio support.

“It was difficult, but I’m in the black, which for a record label is often not the case,” he notes. “We made it into the top five on the radio, which isn’t bad considering that it was me and an intern doing the radio promotion!”

The self-driven record release and its success also resonate strongly with an earlier venture of Allison’s: The Jazz Composers Collective. Established in 1992 as a collaborative project between Allison, Michael Blake, Ron Horton, Kimbrough and Ted Nash, the Collective ran for 13 seasons, premiered over 300 new works, took up residencies throughout the world and brought more than 250 musicians on as collaborating artists. Enabling Allison to create new music on his own terms, the collective proved a crucial and formative experience. “It really helped me to find my style as a bandleader as well as my personal voice as a composer,” he remembers. “And ultimately that’s the goal: to find your voice and to be yourself.”

This DIY road may have been challenging, but its reward has been tremendous for Allison and has helped to define his career. With 11 albums to his name, not to mention a massive array of composer credits, Allison has ensured his ability to create music he loves on his terms: “The musicians on my records are my friends. We put this music together ourselves and when we show up in, say, Canton IL and half the crowd knows our tunes and are calling out to request titles, it’s gratifying. It’s a harder road, yes, but the joy is immense.”

As he prepares for the Birdland gig and considers uniting his recent and older projects through the enhanced ensemble, Allison is excited. “The whole point of what we do is to play live,” he says. “We love playing and I feel more strongly than ever how important it is for all of us to gather in a room to make music and listen to music. That feeling cannot be beat.”

Ben Allison performs with Jeremy Pelt, Steve Cardenas, Frank Kimbrough and Rudy Royston at Birdland Aug. 11-15.

Stay tuned to learn more about the revival of Erroll Garner by Geri Allen


Another Reason to Celebrate by Elzy kolb

Form, function, flexibility

Deanna-WitkowskiPianist/singer/composer Deanna Witkowski loves arranging, and draws from influences and inspirations ranging from folk songs to 19th-century hymns to jazz standards to classical works. “I experiment with re-harmonizing, changing the rhythmic structure of the tunes, just imagining stuff in different ways.”

In 2010, the bicentennial of the birth of the composer Frederic Chopin, Witkowski started thinking of doing a project that would take an improvisational look at some of his works, with the goal of “going with different styles of music and having it feel like it’s all one.” The result is her recently released solo CD, Raindrops: Improvisations with Chopin (Tilapia). “Some of the arrangements came more easily than others; the forms are different.” The concept for a well-known piece Witkowski first studied in sixth grade was one of the easy ones, while others took more trial and error. “I jump in and try things quickly, then decide what I like and what I want to change. There’s a lot of improvisation on the recording—a ton of improvisation.

“It’s sad that so many classical musicians and other types of musicians are not taught how to improvise. They’re tied to the page and don’t know where to start. Church musicians, for example, have to be able to improvise—there are lots of times when you have to fill space or provide some kind of music—but that’s something they’re rarely taught.” With that in mind, the pianist has started writing a monthly column on improvisation, “Stepping Off the Page,” for the blog PianoAddict.com. Witkowski aims for the column to be accessible to a full spectrum of readers, from non-players to professional musicians. “The idea is, you don’t have to be a musician—improvising is like learning a language. Beginning players can improvise, as well as more advanced players.”

During her solo piano midday gig in Bryant Park, Aug. 3-7 and an early evening appearance at the Signature Theatre Café on Aug. 7, Witkowski will delve into compositions from her new CD as well as material she’s working on and tunes she rarely gets a chance to play. On most solo gigs, Witkowski doesn’t prepare a detailed set list. But the casual atmosphere in the park makes her strive for more structure, so she often maps out the entire set. “People come up and talk to me while I’m playing and in between tunes. In that situation, I can’t be thinking about what’s next.” That’s not to say the song list is set in stone: This is her 11th year of playing the Piano in Bryant series and Witkowski remembers occasions like the afternoon it started to sprinkle and she switched her focus to songs to suit the weather, such as “Here’s that Rainy Day.” Material from Raindrops would be a natural under the circumstances!

Best of both worlds

Singer/guitarist Diane Hubka has been based in Los Angeles for the past decade, but there are still certain things she misses about New York, her home for 20 years pre-California. “It’s a very stimulating city; I was very productive when I lived there. The pace of the city is so inspiring. And it was great to meet and study with people who were so influential to me,” including Howard Alden, Anne Marie Moss, Harold Danko, Sheila Jordan, Mark Murphy, Connie Crothers and Jay Clayton.

The quantity, quality and accessibility of the music here is another plus. “The jazz scene is so great in New York; it’s so nice to be able to go to more than one thing in one night.” Hubka discussed strategies for squeezing in several sets, such as starting out at the 55 Bar (“That’s always interesting, great music.”), then going around the corner to the Village Vanguard (“The history of that place, and the quality of the bands.”), before checking out another club or two within walking distance.

Hubka also has fond memories of Jazz at Kitano and enjoyed hearing friends and colleagues play at the original upstairs venue. She’s looking forward to checking out the newer, larger space when she makes her Jazz at Kitano debut Aug. 13 with pianist Mark Soskin, bassist Dean Johnson and drummer Tim Horner. In addition to material from her recent recording, West Coast Strings (SSJ), expect to hear “not so standard standards,” Hubka says.

“There are so many great songs no one does. I enjoy lesser-known songs, things written by members of the band and people I know.” And she’ll add some familiar favorites to the mix. “It can be too much work for non-musicians to go through a night of tunes they haven’t heard before. People often request things like ‘Moon River,’ songs they know and love.”

Though she praises the Big Apple, Hubka is more than content living in LA. She cites performing opportunities such as a recent series of outdoor concerts singing a Sinatra medley with an 80-piece symphonic wind band. She also gives high marks to California’s rich guitar scene, as evidenced by West Coast Strings, featuring contributions from eight other guitarists, including Mimi Fox, John Pisano and Anthony Wilson.

Hubka hopes to resume formal music study soon. “I haven’t had private lessons in a while, but it’s something I want to do my whole life. Whatever I study on an instrument helps my singing, it all goes into the same ear-training bank,” she explains. “I strive to be like the Shirley Horn of guitar. She was such a fantastic piano player. She would use such gorgeous, lush voicings behind her singing and swing the hell out of everything. That’s something to work toward.”

And a final West Coast plus: “I think I’m going to live longer from living here; New York is very stressful: stimulating, but stressful. And it’s lovely to have sunny, warm weather all the time.”




Many sides, many sounds

Sarah-CharlesOn her new CD, Inner Dialogue (MusiqHaus), singer/composer Sarah Elizabeth Charles delves into a variety of influences. “I’m pushing boundaries on this record. I hope it will spark a dialogue as to what jazz is or what it can be.”

From the music’s earliest history, jazz composers have been inspired by the popular music of their era and Charles readily acknowledges she’s following in that tradition. In addition to jazz studies, “Growing up in the ’80s and ’90s, Michael Jackson, Jill Scott, Stevie Wonder, Erykah Badu were all on my radar. It would be hard for any musician my age to say they could totally lock that out.”

Charles’ Haitian heritage and music she heard while volunteering there also sparked her creativity. She has traveled to Haiti three times in recent years, creating a music education program with the charity Rise2Shine. “I’m training teachers in basic musical principles they can incorporate into their curriculum,” she explains. “They work with very young students, four- and five-year-olds, and the capacity of some of those kids is enormous. I can’t wait to see how this will impact them over time.”

In spite of the range of influences, she has no doubts about what category the new album fits in. “There’s way too much jazz in there for it not to be jazz,” Charles says. “It’s a jazz record from jazz musicians—improvising musicians―tapping into other worlds and melding genres.” The singer has kept her S.E. Charles Quartet together for five years, a rare feat in current jazz circles. However, there are additional musicians who substitute regularly for core quartet members when they have conflicting commitments. “There are nine members of the quartet community who have played the repertoire as often as the original members. Everyone is so busy working and that’s what we all need to push this music forward.”

The S.E. Charles Quartet performing at the Blue Note July 25 is likely to be a mix of regulars and regular subs, focusing on tunes from Inner Dialogue and possibly some new compositions. For Charles, hearing what each musician brings to the music is part of the fun and excitement. She points out that the group has been playing the Inner Dialogue material for more than a year. “Over time, it has taken on a different form. We’re open to experimentation; we’ve pushed it, and new life has been breathed into the music. It’s fun to re-explore, rediscover, notice some little nuanced part and develop it.”

Charles also plays the Jazz Gallery on July 24 with E.J. Strickland’s Transient Beings; Ravi Coltrane is set to be a special guest on the gig.