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!

The Places We Feel Free / The Tim Horner Ensemble

2011 Miles High Records  www.mileshighrecords.com

Featuring : Tim Horner – All Compositions, Drums, Percussion, Voice & Viola / Jim Ridl – Piano & Electric Piano / John Hart – Guitar / Martin Wind – Bass / Mark Sherman – Vibes / Ron Horton – Trumpet & Flugelhorn / Marc Mommaas – Tenor & Soprano Saxes / Scott Robinson – Tenor Sax

Tracks:

A Room Full of Shoes

Invisible Heroes

Museum Piece

Mountain River Dream

A Precious Soul Fanfare for the Common

Jims

‘Tis

Spirit

Tha Places We Feel Free

Passion Dancer

 

The Places We Feel Free is the debut recording of drummer Tim Horner, out of NYC. Tim is one of New York City’s finest drummers and Jazz musicians. His disc, ‘The Places We Feel Free’ displays Tim’s musicianship as muti-faceted. He is a wonderful performer, composer and ensemble musician. His compositions (like his playing) are rhythmically vibrant. The tunes are melodically sophisticated, brushed with modern 20th century harmonies. You canhear the thoughtfulness behind each composition. The result is a release that unveils modern mainstream music, performed by an experienced group of NYC veterans that will surely excite the listeners, musicians and all who appreciate modern Jazz.

Everyone who participates on this disc has shining moments. It is so nice to hear Scott Robinson on tenor. If you are not familiar with his tenor playing, he unveils a richness of tone, blended with modern, creative touches in his improvisations. On ‘Fanfare for the Common Jims’, written for Robinson, Scott just rips through the form with ease and excitement! He then turns around plays with great sensitivity on ‘Tis’. He and trumpeter, Ron Horton provide Horner with a front-line that swings, combined with oneness of ensemble. Congrads Jims!

I love vibraphonist, Mark Sherman’s contributions. He plays with a rhythmic urgency that caught my attention—as in right away on ‘The Room Full of Shoes’. The opening cut. The unison’s and trades with guitarist John Hart are melodically sparring and enjoyable to listen to. I love how the rhythm section swings so hard—it gives the soloists the cushion and the necessary creative energy to just play ripping solos! Jim Ridl (piano) swings hard on that opening track on piano as well, creating an exciting and enjoyable listen.

 

Tim Horner recording date. The Band

 
The Orsara Jazz Festival Faculty Band

The Orsara Jazz Festival Faculty Band

I had just an amazing week in Orsara Italy from August 2-7. The faculty and band for the festival was Jerry Bergonzi, Jim Rotundi, Mark Sherman, Antonio Ciacca, Lucio Ferrara, John Webber, and Joe Farnsworth. Everyday we taught workshops, private lessons, and ran combos for 100 students at the camp. At night there were concerts, and all night jam sessions, and of course the food as usual in Italy is amazing. We ate incredible meals every night and lots of wine. I am not a huge drinker, but it is impossible to turn down. In fact if you try to say, “no thanks I don’t want any”, people look at you like your nuts. Anyway, I want to say something about each faculty musician individually.

Jerry Bergonzi is a musician, and saxophonist who I personally have looked up for many years. Especially since the death of my colleague Michael Brecker, Jerry is certainly the closest living sax player to Coltrane. Clearly he is deeply influenced by Coltrane, and of course all the great masters on his instrument. He has a deep understanding of the language, a fat fat sound on tenor sax, and the heart of giant. Deeply sensitive, and in touch with all the positive, and negative things happening in the world today. I truly enjoyed bonding with Jerry, and of course sharing the bandstand, and the music with him. He is gentle giant in the music, and his presence made it a very special week for me. It was really an honor, and I look forward to touring with him next year in a quartet setting.

Jim Rotundi is trumpet player that I certainly knew of as he has a huge reputation as a great player, but I had never really worked with him on the bandstand. It was great to meet him and play quartet with him on a separate concert in Foggia Italy sponsored by the festival. Jim is a humble, yet powerful player with incredible technique, and sound. And of course his language, and solo concept comes straight from the heart. I consider him one of the best trumpet players in the world. In addition he is a great guy, who clearly cared about the students, and bonding with all the musicians. A great guy to have on the bandstand, or on the road. Currently he is a professor of trumpet in Graz Austria, where he has relocated, and surely is bringing his genius to that program.

Antonio Ciacca is a truly fine pianist, arranger, and composer, and it was because of Antonio’s recommendation that I was chosen as a teacher, and performer at the Orsara Jazz Festival. I am quite grateful for this. Heavily influenced by all the bebop piano masters like Bud Powell, Sonny Clarke, Tommy Flanagan, Red Garland, Oscar Peterson etc. Antonio and his wife Giusy have for many years been on the forefront of the jazz world as they together have a jazz booking agency call C-Jam productions, and have promoted many huge jazz concerts, and tours with the likes of Elvin Jones and the Jazz Machine, and many others. Because of Antonio’s extensive knowledge of the music history, and business, he was chosen by Wynton Marsalis to be the director of programming for Jazz At Lincoln Center in New York City for the last 5 years. He is also on the Juilliard faculty with me, where he teaches the business of music. These days however Antonio is all about playing as he has stepped up to performing, and composing full-time. On Saturday August 6th the faculty band of the Orsara Jazz Festival played a work Antonio wrote specifically for the festival, entitled “The Orsara Suite”, in which each musician was featured in a movement. A well-calculated work with great purpose that gave each of us many solos on all the movements, but between each movement each one of us had an extended solo feature. We rehearsed it several times during the week, culminating with a kick ass performance, and recording of the Suite on the Saturday night concert on the big stage. It was mobbed with maybe 1500-2000 people as we ripped through this piece. Antonio used a composing technique that we all often apply, in which he takes well-known tunes like “Woody And You”, or “Like Sonny”, and changes the melody, and or chord changes a bit, and turns it into his own version. It is quite effective, and of course we all had a ball playing this extended suite. It has been my great pleasure to work with, and befriend Antonio since I recently met him at the beginning of last school year at The Juilliard School. He is a fine musician.

Lucio Ferrara guitarist, and director of the Orsara festival has only recently become one of my colleagues. He is a fine guitarist, influenced heavily by guitar master Wes Montgomery, and truly plays as if he loves the music deeply. On Friday night August 5th Jim Rotundi, and myself were driven about 30 minutes away from Orsara to the city of Foggia, where we played quartet with Luca Santaniello, and Joe La Piore, two fine Italian jazz players currently living in New York. Lucio played trio with Luca, and Joe before Jim, and I did our quartet segment of the evening’s festivities. I loved the deeply rooted bebop approach that Lucio takes towards the music. Much like my close friend and colleague Rodney Jones who also comes out of Wes Montgomery, and Kenny Burrell. What better place to come from as a jazz guitarist today. As a director Lucio did an incredible job managing, and administrating the day to day activities of the festival, as his cell phone never stopped ringing, as with 100 students, and the faculty he had to constantly deal with many issues that had nothing to do with playing the music, but when it was time to play Lucio really sounded great. A crisp clear sound, with great command of the jazz language.

John Webber is clearly one of the finest bass players around having performed with just about every big name in the business. I know him from his work the great tenor saxophonist Eric Alexander. I really enjoyed hanging with John as he has a great sense of humor, and many great stories of his experiences having played with Benny Golson, George Coleman, Cecil Payne, Pharaoh Sanders Jon Hendriks, and list of jazz masters that goes on and on. He plays immaculately in tune with a great feel that sends the message of authentic jazz. Flat out a fun guy to have around. His playing made me feel very comfortable which I see as the goal of any musician. When you walk into a playing situation make those around you feel comfortable. John quietly does a great job of just that.

Joe Farnsworth is a drummer deeply rooted in the tradition of jazz. As a drummer myself having studied with Elvin Jones as a youngster, I am always in touch with what the drummer along side of me is doing. If I can swing harder than the drummer on the bandstand, then it is the wrong guy. Joe is absolutely the right guy, super experienced having played with many of the same jazz masters that John Webber has played with in Eric Alexander, George Coleman, Junior Cook, Johnny Griffin, Pharaoh Sanders, and the list goes on. Actually the two of them are truly a great combination. They fit together stylistically like a glove. Joe sounds to me as if you mixed Art Blakey, Philly Joe Jones, and Elvin Jones all together. He clearly loves to play as do all of us, but when you mix the three drummers styles together that I just mentioned you get magic. Joe is an original player that creates that authentic sound of jazz. A fun guy who deeply loves the music. He is just a ball to play and hang with.

Saturday morning before the big concert I did a solo vibraphone concert in an unbelievably beautiful 1000-year-old church in Orsara. The acoustics, and the physical setting were enough to make one see god. I played solo versions of “Along Came Betty”, “My One And Only Love”, “Celia”, and one of my originals entitled “Solitude”. I felt it was a very spiritual and motivating performance for me as 50-70 people showed and listened very eagerly to what I brought musically.

I look forward to returning to the Orsara Jazz Festival and jazz camp for years to come. It was an incredibly motivating, and rewarding musical week.

Jerry Bergonzi

Jim Rotundi

Mark Sherman

Antonio Ciacca

Lucio Ferrara

John Webber

Joe Farnsworth

Jerry Bergonzi and Mark Sherman

Great concert in Fara In Sabina just 40 km north of Roma. Wow way up high in the mountain above Roma with the most amazing view. I was a guest artist with the Antonio Ciacca trio. We played Antonio’s well calculated re-harmonizations of standards and a few normal standards like “Bolivia” by Cedar Walton. Antonio opened up trio with his bass player and drummer from Italy of many years, Nicola Muresu from Sardinia, and the drummer Nicola Angelucci. They were really relaxed, swinging players. It all swung real hard from the opening standard “You’re My Everything” until the final Antonio Ciacca composition Lago’s Blues, a straight eighth tune that any great player could dig into. I had visions of what my colleague and friend the late Michael Brecker might have done to this tune. He would have torn it up, as it combines and F vamp, and F blues. I had a blast playing it. The great a show with Antonio Ciacca is it is packed with music that is deeply rooted in the jazz tradition, filled with standards, blues, and rhythm changes, as well as Antonio speaks before the tunes about the history of the music. He is so knowledgable about jazz. There is a lot info music history information behind each description of the tunes. I can see why Jazz At Lincoln Center, and Wynton Marsalis chose Antonio as the director of programming. A position Antonio held for the last 5 years. So each show is filled with the great performances, and the music history. Something I myself could incorporate more of in my own shows as a leader.

After the concert we slept in a Monestery that looked to be thousands of years old. Just a spooky, maze of rooms that I guess the nuns, and priests from the church stayed in. Really an amazing looking place. All in all a great night.

Antonio Ciacca Quartet

I played a really nice concert as guest artist with pianist/composer Antonio Ciacca and his 4tet last night. in Lanciano Italy as part of  Estate Musicale Frentana 2011. We played many of Antonio’s compositions, and a few standards as well. Antonio is a fine writer, who takes already known songs, and song forms and makes them his own, by re-harmonizing, and re-arranging them. A very effective technique that many of us jazz musicians do. The musicians in the band played really well. Saxophonist Paulo Recchia, bassist Giuseppe Bassi, and drummer Francesco Ciniglio all swung really hard for the entire concert with Antonio, and I. It was a pleasure to work with them all for the first time. Those first time playing experiences are really the ones I love, as it reaffirms how the music is a universal language, and you can get on the stage with musicians you don’t know, never played with, did not rehearse with, can barely speak with because of the language barrier, and the magic can happen. It is what makes me excited about music. It is was what is so motivating about playing jazz. In the classical world there are always many rehearsals before a concert. In the jazz world, if you have good players, you need not even rehearse sometimes, and the music can just evolve. it is a beautiful thing. I love what I do. I wouldn’t trade it for anything in the world. Thursday the 21rst of July I will do the Farro Sabina Jazz Festival near Rome, with Antonio and a completely different rhythm section. I am sure this will a similar or even more powerful experience. Can’t wait!!

I will blog it after the concert.

 

The great videographer Vincent Ruiz has compiled clips of the individual interviews from our DVD release and posted them on you tube. It’s great to hear the guys speak about music. The complete DVD is available at www.markshermanmusic.com.

http://www.youtube.com/watch?v=i_Z4RjEBPKo BAND

http://www.youtube.com/watch?v=zBmewPw8U4E MARK SHERMAN

http://www.youtube.com/watch?v=VRbTkfgqVHw JOE MAGNARELLI

http://www.youtube.com/watch?v=TdEPuDBHFuM TIM HORNER

http://www.youtube.com/watch?v=QqpoSf-0bIM DEAN JOHNSON

http://www.youtube.com/watch?v=v-_ANyPp8ko ALLEN FARNHAM

I was recently appointed to the Juilliard Jazz Faculty under the direction the wonderful drummer and educator Carl Allen.It is my biggest educational appointment ever, and as an alumni I am excited, and thrilled!

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.

Bow at end

Bow at end

Smile Drum Solo

Smile Drum Solo

After a really great Master Class at the Ayala Museum in Manila we walked over to the Green Belt Park venue, where we were to have our final concert of the tour. At the ambassador’s residence, and at this stage was a great drum set provided by a local drummer named Andy. They were old Gretsch Drums with a small 18″marching and style bass drum. It was really an interesting sounding set. Tim Horner plays the hell out of anything, but I know Tim was happy to see this drum kit for the last few days of the tour. Anyway we set up, and played a beautiful concert in the park for maybe 2-300 people.

Each night we played, the music got more and more locked into enlightenment stage. Where everything is so comfortable. The solos had just gotten so amazing throughout. Jim Ridl is a monster improviser. He has many styles under his belt, and twentieth century classical to mix into it. He has clearly done some score reading. Then of course add the emotional build up of arriving at the last concert of say 30 events. It was an intense evening of music. We all four just flat out gave everything to the music we could. Tim Horner played one of the best constructed solos I have ever witnessed on the intro to Jim Ridl’s “Smile Said The Drum” dedicated to Elvin Jones and his intense smile. The solo was a really true tribute to Elvin. Tim implied it all in his purposeful way of negotiating life, and the music itself. What an intense  night for us all as we laid it all out that night. Last concert of the tour.

It was sweltering hot outside that night. And it was humid. Not like China, but the lights onstage made it really hot. I lost a lot of water. On this tour we have all lost a lot of water. We sweated like mad on most gigs. I thought I would have lost weight, but they just kept feeding us, and feeding us. Sometimes 4 hours between meals we would have to go to a host dinner. Breakfast was free all the way through as we had some really amazingly luxurious breakfast buffets in the top shelf hotels we were put in. The Asian cuisine is very thorough. When they put out a buffet, it is intense. Anyway there was no losing weight. You are on the road, and somehow you get this feeling you need to “Eat For Your Life”! It does get tough out on the road sometimes.

Concert done. Lots of thanks, photos, and interviews afterwards. Another exciting day finished. A lot of work done. A lot of music put out there!

Greenbelt Park Manila

Greenbelt Park Manila

Pictures at the end

Pictures at the end

Leaving Guilin

Leaving Guilin

Tim fights the humidity

Tim fights the humidity

Our hosts in Guangzhou, and Guilin were incredible. It was kind of sad to leave Dan Walcott, Raymond, and Linfei as we departed China. We had a special time with them, as that tour of the river was just thrilling. They were so helpful, and accommodating through our stay in southern China. What I liked about Dan Walcott was he was fun, and engaging, but very business like as well. He took care of business.  As we waited at the check in counter as someone was in front of us with 25 passports in his hand trying to check in a group without them waiting in the line. It became obvious that it would be impossible for the check in counter to do that, as there was a huge line behind us. So I set a pick in front of the counter as Raymond negotiated us through getting rid of this group and sending them to there own counter for check in. Anyway Raymond was talking to the check in person, and I was setting a pick so nobody else would slap any luggage down on the belt. We checked in and all was fine. I won’t miss the humidity in China. I felt as if we were soaked the entire 10 days in China. Above the picture of Tim Horner fighting the humidity says it all.

We arrived in Manila and were greeted by the team from the Embassy. In the van riding to the hotel I mentioned to Jomar Ascano that there was someone on you tube who had posted multiple videos of a song I wrote called “Changes In My Life”, and it had gotten 750,000 hits. Jomar said, how does that song go again? Can you sing it? I began to sing one line, and Jomar knew the remaining lyrics of the song. I could not believe he knew them. Well the group told me that “Changes In My Life” had been sort of a hit in Manila, and all the Philippines. It was on my 1986 CBS release featuring the late Johnny Kemp singing it. Apparently there was a singer named Jed Madela who had covered it. Anyway it turned out that Jed Madela, and management and the record company were all invited to the evening show, which was to be at the ambassador’s residence.

So the day started and we had a master class at the Santo Tomas Conservatory that was really nice. There were music teachers, and students attending. Everything was great. We had wonderful audience participation, as they were truly moved by our performance of 4 tunes. We started out every master class with some great performances of the various originals that we have. Anyway great, intelligent questions were asked, and answered, and afterwards we greeted everyone, and had a host lunch. There was a guy named Butch who is on the faculty of the music department at the school. This guy was so moved by the entire event, that he was crying. He had big large tears in his eyes when he told me how great it was to have this level of music at their school. He was so passionate about music, that I was moved by his being moved.  “Hi to Butch from Mark” if you see this.

A good start for the Philippines. We then continued on to a radio interview at Crossroads, which is the top music station in Manila. Again when I arrived I was presented with the question, “Didn’t you write “Changes In My Life” ? I said yes, and they continued to tell me what a hit it was in the Philippines, and it was covered by not only Jed Madela, but also by another female artist which I have not found yet. Slowly I got the picture, and began to realize that I was owed some money, as I had not seen any mechanical royalties for this “hit” they were telling me about. Also I had not received that I knew of anything from radio play. The interview went fine. We spoke about music, and all pertinent things regarding the band, and we got out of there. It was hot. Back to hotel for a little 2 hour rest.

Later that night we went to the Ambassador’s residence. Wow what a nice place to live Ambassador Harry Thomas has. We were introduced, and we played 3 or 4 tunes, and then opened it up for a jam session, and some of Manila’s finest singers, and instrumentalist came up to sit in with us. We had some great food, and drink, and met many people from the embassy, press agents, and other invited guests. I also met the people from Jed Madella’s management, as well as his record company and we exchanged cards. I again was told how successful Jed’s recording was, and that it sold around 50,000 units. Eventually after our return from Bacolod on Monday night, I had a very successful meeting with the president of Universal records, as well as Jed and his agents, along with several officials from the State department and the Optical Media Board. We ironed out all the publishing issues regarding my hit tune “Changes In My Life”. It seems they had not obtained a license from the correct place. I informed them where to get the license, and everything is being straightened out. Everything turned out fine. I am still in shock over the fact that my tune was so popular in The Philippines. An interesting turn of events upon our arrival in Manila.

Quartet with Ambassador Harry Thomas

Quartet with Ambassador Harry Thomas

Sandra sitting in with the band

Sandra sitting in with the band

Soaked on the first tune

Soaked on the first tune

Jim speaks about music at Master class

Jim speaks about music at Master classusic

Mark talking about grips

Mark talking about grips

Tim joking at The Ayala Museum Masterclass

Tim joking at The Ayala Museum Masterclass

Embassy briefing upon arrival

Embassy briefing upon arrival