Spiritual motivation


Martin Gjakonovski, Lenny White, Mark Sherman, Bob Franceschini

Last night we played our second concert of the tour at “Pizza Express” in London’s Soho section. The music is growing as we dig in more and more. We did have an unfortunate problem at the airport in Cologne as we checked in for our flight. Martin Gjakonovski has been living in Germany for 20 years, but he has a Croatian passport as that is his birthplace. Well because Croatia is not part of the European Commission it is a real problem for him to enter London wither a special visa. My manger, and tour manager for this tour got the work permits for us all, but Martin’s visa had to be treated very carefully because of this problem. Well we got to the check in counter, and they would not give Martin his boarding pass, as something slipped by in the processing, or the airline did not know what they were doing regarding this matter. They said because his visa, and work permit were not stapled to his passport, he would not be permitted to board the plane in Cologne, as they would just send him back to Germany when he arrived in London. As I said in my last blog about the Germany gig, the stress level can really rise when situations like this occur, and it sure did. We were freaking out, and the airline is not in the business of making it easy for the passengers. We were flying on Easy Jet airlines, which really ought to be titled “Difficult Jet”. Of course if that was the name, nobody would buy tickets, so they lie and call it Easy Jet. Subsequently Martin was unable to come to London and make this concert. We arrived at the hotel in London 3 hours before the sound check after a very stressful check in, and I had to sort out a bass player for the gig. It was real drag as Martin has had the music for months and after the first gig he was deep in the music and the band was bonding. Anyway we got bass player named Arnie Somogyi. He did a great job and we made it through the concert ok. Actually it was really burning on the second set. It got to that comfortable place that we need it to be. The club is great, they treated us very well, especially as they understood what we had just gone through. These types of problems can happen, and I have learned over the years on the road that you must remain calm, and not allow it to raise your stress level too much, but it is very tough to control sometimes. I was quite aggravated with this problem, and of course Martin I am sure was devastated that he could not make the second concert. Anyway we made it through alright, but I must add that since the world trade center was bombed the world has really changed for the worse. Traveling is just become so stressful. When they search me sometimes I get the feeling that they are going to stick their hands down my pants. It is really annoying, and an invasion of privacy. The world has really changed!!

Beautiful Italia

Featuring Lenny White, Bob Franceschini, and Martin Gjakonovski

We arrives safely in Cologne Germany on April 11th for our first concert at Altes Pfandhaus, which is the premier jazz room in Cologne Germany. Maybe the only jazz club there. Anyway it is a very cool venue with a circular stage with seating all around the band. While speaking to the audience I tried to sort of turn in circles to reach everyone, but after a while I just gave up that concept, and just looked one way. Anyway it was our first gig and the music began to take shape nicely. Our sets consisted of original compositions by Bob, Lenny, and myself. In addition we played a few standards. Hot House by Tadd Dameron, and Celia by Bud Powell. Really at this point in my career I feel this tremendous need to pay tribute to the jazz masters who have created the bebop foundation for the music we play. Although I have over one hundred original compositions I always play at least one or two tunes by Charlie Parker, Dizzy Gillespie, Bud Powell, or John Coltrane. For me it is correct to present the music in this fashion. Without these guys there would not be the music we live to play. They really innovated, and changed the way we all interpret the harmony. Bob Franceschini and I grew up together. I have known Bob for over 40 years as we attended Music and Art high School together in New York City, so it is such a treat for me to join with Bob on this tour. We have not played together in a while so it has just been amazing to reunite for this music. Bob is one of the fines saxophonists in the world. For me he is ranked in the top ten along with Mike Brecker, Joe Lovano, and Jerry Bergonzi. He is truly in that class. I remember when Bob and I were in high school how we were both Bird, and Coltrane freaks listening constantly to all of the records at high volume. We used to play the records without volume on 10. If there were an 11 on the volume control we would have used it. The short story is Bob flat out is a master of the art of improvisation. He has all the elements you need to play music. Great technique, a warm gigantic sound, and tons of bebop and post bop language to draw from. Just incredible! About a year ago the record producer David Chesky put a CD together for Lenny, Jamey Hadad, and myself to do which entailed creating music with a drums and percussion trio. Lenny and I had a ball together on this recording and spoke of doing some other stuff together, so I finally got the opportunity to put this tour together. Sharing the bandstand with Lenny White has been just a true honor and privilege for me. I was watching Lenny play with Chic Corea, and Return To Forever when I was 14 years old. Totally admiring that band, and Lenny is just an incredible natural musician. He plays the music with a vengeance, and a big smile. Incredible chops, and musicality. In addition he has brought some great tunes to the table for this band. One called “L’s Bop” (Lenny’s Bop) which is a true bebop line on the A section, and a bridge which opens up into some just lush, beautiful chords that are spelled with the harmony of jazz standards. It is very fast, and difficult to execute, but when we get it right it is just a burner. The other tune Lenny has contributed is a tune titled “Wolfbane” which has a middle eastern flavor to it mixed with a strong post bop set up. Kind of like a snake charmers dance with a jazz flavor. It also has some really cool rhythmic hits, which create a great rhythmic structure for the musician to work the language on. Lenny has an amazing ear. He uses no music for all the originals, and just learns everything by ear so fast. I have never seen any drummer learn music this way so quickly, and efficiently. It is really old school in a way, but he makes it work in today’s music perfectly. I am so used to handing the drummer a lead sheet to use. Especially on the first reading, but Lenny uses no music, and gets it right very quickly. He has just amazing ears, and experience in the music having played with the who’s who in jazz for many years. In addition he is a 4-time Grammy winner. A true legend in the music! Adam Nussbaum, and Daryl Hall recommended Martin Gjakonovski to me for this tour. Martin with great musical precision, and he has clearly done his homework. His intonation is first rate, and he has a great feel, and has integrated beautifully into this 4tet. It is a pleasure to have him on the bandstand, and on the road. Really when putting a tour together like this you have to always of course consider the abilities of the musicians, but in addition to the music you really need to consider the personalities of the players. You will travel and spend a lot of time together in some really stressful situations. Traveling these days has become so difficult with security searches, and delays, and all sorts of problems that can occur. So it is vital to select a group of musicians that not only play the music to the highest level, but can also enjoy being together. Otherwise you have some real problematic situations, which just can turn the entire tour into a drag. This time I really selected a great group of musicians who get along on and off the bandstand. Off to London for the next concert.

On plane Germany-London

 

With Herbie Hancock

With Herbie Hancock

With Benny Golson

With Benny Golson

With Carl Allen

With Carl Allen

With Lenny White

With Lenny White

I am so proud to be a graduate, and on the faculty of The Juilliard School. Last night at school there was an incredible evening of celebration for Ron Carter as he has turned 75 years old, and a new Juilliard scholarship was launched in his honor. Fifty thousand dollars awarded yearly to a deserving student in the program. With Danny Glover as the MC for the evening, the program  packed Lincoln Center’s Alice Tully Hall. Just a great presentation of  many of Ron’s tunes arranged by the students, and performed with the guest jazz masters. There were also performances by the Ron Carter nonet, and the Juilliard Jazz Orchestra performing selections from Ron’s big band recording. A who’s who of jazz history was there to support this event. It was a ball to hang with many of my colleagues from the faculty, as well as the legendary guests that performed with the students on the concert. What a great opportunity for the Juilliard jazz students to play with, Hubert Laws, Benny Golson, Herbie Hancock, Buster Williams, Russell Malone, Ron Carter, Carl Allen, and Lewis Nash.

When I was at Juilliard I was playing in the orchestra with the likes of Sexton Ehrling, James Conlon, Zubin Mehta, George Solti, Leonard Bernstein and others. They had no jazz program at Juilliard when I attended. Wynton Marsalis and I used to just jammed in the hallways to find somewhere to play. What a program. What a night. Just amazing!

file://localhost/Users/marksherman/Desktop/Cadence_Sherman.pdf

 http://www.youtube.com/watch?v=61engPoZg1c

AT The AES show in NYC

On my recent California tour I had the good fortune of  getting offered to record at The Apogee Electronics recording studios. Apogee is known for their high end A-D converters, and microphone pre amps. They are globally recognized as the number one digital audio solution. Anyway it was the first recording where the Mic pre amos from the new unit called the Symphony IO were used. ANyway it is the best recording I have done to date. Sonically it is out of this world. Musically the same. Bill Cunliffe, Charles Ruggiero, and John Chiodini are the 3 of LA’s finest players that helped me live the dream of recording some of my favorite tunes growing up in music. Tunes by the great jazz masters Charlie Parker, Bud Powell, Dizzy Gillespie,  John Coltrane etc. These musicians brought the music to life in an organ trio setting. The result is  greater than I ever expected. Apogee used my tracks to demonstrate the sonic brilliance, and warmth of the Symphony IO with the attached video, and audio at the recent Audio Engineering Societies show in New York City this weekend. Anyway it is a true honor to be an Apogee artist, and to have recorded at the Apogee studio (Berkeley Street Studios) in LA last week.

John Chiodini

John Chiodini

Charles Ruggiero

Bill Cunliffe

Time To Practice, And Write

I have one week until I depart for Napoli, and then Germany for festivals in the north. I reside for the next week in my house in Colledimezzo Italy. My vibes are set up in the garage of my father in law here, and I will practice, and write for one week. It is rare in my life when I have this much down time to practice, and write, and relax a bit. When I was attending The Juilliard School in my college years I used to practice, or shed as we musicians say for 6 hours a day. It always amazes me how even at my age of 54 years old, I still have the desire to practice my craft. To perfect the many diminished, and altered patterns, and scales. To search for new ideas, and possibilities, as well as to simply write a few new tunes, and learn new tunes that I still don’t know. The motivation in the music is for life, and I expect to play until I literally drop. Hopefully that is a long time from now.

The art of jazz improvisation is a continuous quest. It never seems to get old, and the constant searching for new stuff to play on the vast amount of standards, blues, and rhythm changes written by all the music masters. Of course these days I work a lot out of the Nicolai Slonimsky book titled “Thesaurus Of Scales And Melodic Patterns”. This book was Coltrane’s handbook. It has a huge amount of information in which he dissects the octave into multiple parts. The “Sesquiquadritone  section is the division of the octave into 4 parts, and gives you many different diminished patterns, and scales that are all applicable in the jazz genre, and the classical genre as a composer. So I practice a lot from this book , and learn the different scales, and patterns in all keys, but of course I try to live by the advice I give to my many students, and that is, “Practice does not make perfect”. PERFECT PRACTICE MAKES PERFECT”!!!  Practice everything slowly and correct. Not fast and wrong.

Fast and wrong 1000 times will give you no results. Slow and perfect  10 or 20 times will give you major results!

Mark Sherman

I was hit by a taxi cab while crossing 42nd street, and 6th avenue in New York City on April 22nd. I suffered a nasty head shot with a bad hematoma, concussion, and 25 stitches,  2 broken fingers, a broken shoulder in 2 places, and a terrible cut down to the bone on my left thumb. Actually I am lucky to be alive. It is a humbling experience to be walking across the street, and then to wake up from being knocked out to a stranger holding your head saying, “don’t move, your head is bleeding really badly”. Anyway I have healed up pretty well since the accident except for my left hand which is still messed up. I can play, but I feel I am still working at 60%.

Last week was the first week I worked in 8 weeks as a jazz player playing vibes. The great Italian pianist, Antonio Ciacca a big figure in the jazz world, was kind enough to give me 6 nights at The Setai Hotel “Bar on Fifth” on 36th street and 5th avenue in New York.  I played trio and quartet with various different drummers, and bass players. Antonio played with me to make it a quartet for 3 of the nights, and the bass players were David Wong(Roy Haynes band, and Jimmy Heath), Martin Wind, and Mike Karn who is as good a saxophonist as a bass player. A super talent he is!! The drummers were Pete Van Nostrand (Kenny Barron band, Jimmy Heath band) for 5 nights , and Quincy Davis for 1 night.  The music was rewarding, motivating, and spiritual all the way through. These players are all at the top of their game, and we just ripped through many standards, blues, and rhythm changes all week. I am truly grateful to Antonio Ciacca for this opportunity to come back playing strong. I play 3 sets a night for 6 nights which allowed me to test my stamina, and of course have a great time playing, which I live for. Of course after each night I was on ice like an athlete, and in physical therapy in the mornings. I was really hurting, and swollen after each night, but the music keeps me going, and I am grateful to still be here to play. It is like being an athlete without the 15 million dollars a year, whirlpools, massage and 24/7 physical maintenance. Not easy. Thanks to Antonio Ciacca for a great week!

The Quartet

Well we set off on tour for our first stop in Oldenburg Germany to perform at Jazz Club Alluvium on Feb 23rd. A nice venue run by a singer named Al Yasha Anderson. She is originally from Brooklyn New York, and now residing in Oldenburg. The concert was a nice start to our 6 concerts in Germany, and Switzerland. We are preparing new music for a recording in Switzerland on February 26+27 live at Chorus Jazz Club. We have been playing all new music by Tim Horner, Allen Farnham, and myself. Some very challenging stuff. On morning of the 24th we drove to Rostock Germany where we played for the second time at Upsprung, which is a nice little club in Rostock in the northeast of Germany. The music grows each night as we pour our hearts and souls deep into what we love to do. Next day we drove to Schwann Germany where we played at this really fantastic little place called Kulterschanke, run and owned by Sylva Tkotsch. We met Sylva last year when we performed in Rostock, and she absolutely insisted we come to perform at her venue this year. It was a great concert as it was completely acoustic with no microphones anywhere. A little stage which put us very close to each other. It felt great on the stage, as I could hear really well, and the usual monitor systems that these clubs have were not there to ruin the sound onstage. It was like playing in our living room. The music really took off that night. Before the concert, as the audience filed into the club, I noticed there were many older folks coming in as well as a younger crowd, so I felt that it would nice to give them a standard tune to start the set. We did that and then continued with our original music as we prepare for the recording on the 26-27th. Much to my surprise they were very enthusiastic about the original music. They really ate it up. We sold many CD’s and it ended as a great night.

Now comes the tough leg of the tour. We departed at 6am on the 26th, drove 2hours to Hamburg airport. Unloaded, returned the car, checked in, and took our flight to Zurich. We need to be in the Geneva area, but the flights from Hamburg to Geneva were so expensive I chose to go to Zurich as we had 85-euro flights. Upon arriving at Zurich we caught a train to Lausanne to arrive for the concert/live recording at Chorus Jazz Club. We got to the hotel at 4:40pm. Rested I hour and went to the sound check. Ate dinner and hit at 9pm. 2 burning sets to a packed club. This club has become our home away from home. We are so well received in Switzerland in general, but it is our 5th year playing at Chorus, and the same faces, and friends keep coming. Sold a load of CD’s and even though we were totally exhausted from the trip that day, and no sleep, we played our asses off. This band is incredible. For me it is a dream come true to work the music to this level, and simply to be on the stage performing at this level at this point in my life. I have dreamed of this path since I was 13 years old, when I first heard Elvin Jones play live at The Village Vanguard. I actually broke in tears during rehearsal of a ballad that Tim Horner wrote titled “I Wish I Knew You”, as I became over whelmed with the beauty of the music, and the gratitude I have for these musicians, the music, my family, thinking of lost friends, and the difficulties of life. Another song we play is a beautiful waltz dedicated to the bass player Bob Bowen who was tragically run over by a truck while riding his bike in New York. The song is titled “The Place I Feel Free”, composed by Tim Horner as well. It refers to Bob’s stories of his life, as he spoke to Tim, and said how the one place he feels free is when he is riding his bike, as the day-to-day problems of life disappear when riding. How sad, and ironic he was killed in that place he felt so free! Life is so fragile out here for us all, and we must continue to be grateful for what we have. I miss my family when on the road, but my road family keeps me moving, and I am very grateful for the music. It makes me feel free, alive, and continuously motivated to, play better today than I did yesterday!! Second night of recording at Chorus tonight. Can’t wait to hear it when finished!

Mark Sherman in Rostock

Allen Farnham

Dean Johnson

Tim Horner

Blues For Yokohama mp3

I’m listening for the first time to pianist/composer Eddie Mendenhall’s CD that I played on .We recorded it a while back when I was on a west coast tour of concerts and workshops. Eddie is a really fine writer and all around musician. The CD features Eddie on piano with John Schifflet(Bass), Akira Tana(Drums), and myself on vibes. It is some of my best playing recorded to date. It will be released on Miles High Records on February 15th 2011. Check the sample above!

The Quartet

The Quartet

It’s been two weeks since my return to the US from the month long Rhythm Road/US State Department tour of Russia, and Asia. It has been quite an emotional adjustment since on the  tour we were treated as if we were diplomats from the United States. Driving in embassy limos. Being wined and dined constantly, and of course the 50-100 people who mobbed us after concerts and master classes to get a picture or an autograph, or to just talk about music. Most importantly I miss the day to day music. We played over 30 events, Everyday was another bit of magic from the music. We drove the music to higher levels. That is what happens when you do many consecutive events. My dream since I was 13 years old has been to do just that. Back in New York it has been a small adjustment from playing concerts, and master classes daily, to more occasional opportunities to do this. I miss the daily hang with the band as well. We all bonded like family. I am looking forward to Europe upcoming in the fall, Australia in the spring, and back to teaching in the university, and conservatory I work in. Hats off to the band of Tim Horner, Jim Ridl, and Tom Dicarlo for the completion of that month in Asia. We all worked our butts off, but the music made it all worth while.

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