On The Queen Mary ll with James Burton Jr, Xavier Davis, Jason Stewart, and myself.

Sorry I have not blogged in a while, as I sort of got loaded down with the summer activities. Basically I was 3 times to Europe for concerts since the last tour with Lenny White and Bob Franceschini.

From June 18-22 I had the privilege of teaching at The Juilliard summer jazz camp in Atlanta. I was selected to substitute for Carl Allen teaching drums at the camp, and of course playing on the final concert with the faculty. Many of you don’t know this , but I play a lot of drums as I studied with Elvin Jones as a youngster, and was and still am into Philly Joe Jones, Max Roach, Roy Haynes and all the there great jazz master drummers. So teaching and playing in Atlanta brought back many memories of playing with Kenny Kirkland and Rodney Jones when growing up. The camp was great as we taught many talented aspiring high school jazz players. On Friday night final day of camp the students performed in their combos, and the faculty band performed. What treat to play a concert with Ben Wolfe on bass, Frank Kimbrough, Miles Ozaki, Joe Magnarelli, Marc Vinci, and James Burton jr. I had a wonderful time. One of the highlights of the camp as well for me was Joe Magnarelli and I plunge for 45 minutes everyday during a free period we had. What ball jamming with Mags, trumpet and drums. It was wide open and free and left me with that great feeling of freedom in the music.

I returned to New York on June 23rd and had 4 days home before I departed for Europe. I flew to Napoli and spent 4 5 days there playing festivals. One of the festivals I did was the Marigliano Jazz Festival near Napoli Italy. I did several events at that festival. I played one night with the Craig Hartley Trio with Craig on piano, Carlo De Rosa on bass, and Curtis Florian on drums. A great trio. I had a great playing with these cats. They swing their asses off. Next day I rehearsed with the Antonio Ciacca Big Band, and then did my 2-hour workshop on “Language Skills Fro Jazz Improvisation”. The next night I performed as a guest artist with that big band for the final concert of the festival.

Next day I flew back to New York. It was good to get back to NYC as I had a few gigs and spent 3 weeks with my family, which was great. One of the gigs in New York was a tribute to Bobby Hutcherson at Birdland NYC. This event was sponsored by WBGO and I played with George Cables, Buster Williams, and Victor Lewis. Accompanied by 3 other vibes players Steve Nelson, Warren Wolfe, and Jay Hoggard. We played all Bobby Hutcherson tunes. It was a great night with an all star rhythm section. Then on August 3rd I departed on another Juilliard School event. I performed on the Queen Mary ll cruise ship for a week as it gave me a trans-Atlantic ride to Europe which was my destination for some more jazz festivals.

On the cruise I had a great time playing drums and vibes with James Burton Jr., Xavier Davis, and Jason Stewart. On this setting I did a really interesting thing that I really have never done before. I played drums and vibes. So I would start every tune on drums and when the bass player was soloing I would fade away from the drums and move to the vibes and then take a solo with piano and bass only for a while. Then when finished I would subtly move back tot the drums and finish out the tune. The crowds loved it, and it was a new experience for me as well. Usually it is one or the other. Not both.

After arriving in Southampton the car transported us all to Heathrow airport in London and everyone went their own ways. I went on to Italy where I had a few gigs. One of them was the Isbani Jazz Festival near Salerno. It was a great night of music and I sold lots of CD’s.

Anyway after a few hits in Italy I returned home. Easier said than done as the car my manager sent for me to drive the 2.5 hour drive to Rome was 4o minutes late and then when we finally got on the road we had a flat tire that the driver could not change, and I subsequently missed my flight from Rom-London where I needed to catch my return flight that the Queen Mary 2 had provided. Anyway it cost my manager 434 euro to get me on the last flight out of Pescara Airport, which was 30 km from where the car broke down. Pretty much one of those act of god nightmares we all go through sometimes. Either way I arrived safely home after many hours traveling, but really exhausted. I am off the planes until my California tour and residency on Oct 4th, and then off to Europe again in November with my new band with Bob Franceschini, and Adam Nussbaum called. (THEM)

All in all a great summer with great music. For now it is back to Juilliard Jazz and my other teaching gigs at New Jersey City University and The New York Jazz Workshop.

Played drums and vibes on the QE ll. WHat a ball!

James Burton Jr, Jason Stewart, Xavier Davis, mark Sherman on the Queen Mary ll

Bobby Huterson Tribute at Birdland in NYC with George Cables, Buster Williams, Victor Lewis, and 3 other vibes players. Warren Wolfe, Steve Nelson, and Joy Hoggard.

Marigliano Jazz Festival Napoli italy

 

 

Isbani Jazz festival view

Isbani Jazz Festival

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!

Mark Sherman Quintet with Jerry Bergonzi @ The Kitano Jazz NYC

What an inspiring weekend of music at The Kitano jazz room in NYC with my band of 8 years with Tim Horner, Allen Farnham, and Dean Johnson. Jerry Bergonzi was a guest with us this weekend. In addition Jerry stayed at my house for the weekend so we played a lot of music at home, and at the club at night. He is flat out an incredible musician, and certainly one of the top 5 saxophone geniuses alive today. His playing is so fluid, and his language is so deeply rooted. It was a truly motivating to play and hang with him for 3 days. In addition he is just a great cat full of love, and music. Many colleagues, and friends came out to see us, as we tore up tunes like Quasimodo, Hot House, and many originals, and re-harmonized standards. It was a fantastic weekend.

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

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 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

Rodney Jones

Rodney Jones

I am currently on tour throughout Russia, and Southeast Asia with my quartet. On a flight today from Shenyang China to Guangzhou China I nearly cried as I listened to Rodney Jones’s CD entitled “Dreams And Stories”. This CD was recorded in the eighties featuring the late genius of Kenny Kirkland, Marc Johnson (from the Bill Evans trio), and Jeff Watts (from Wynton Marsalis Group). Of course at the time this was recorded none of these musicians had joined any of those groups yet. Their careers were just beginning to take off. Rodney had played with Dizzy Gillespie’s band at age 20 which of course gave great credibility to his career. Kenny Kirkland had his first big gig with Michael Urbaniak, and Jeff Watts of course was Wynton Marsalis’s drummer of choice from the first LP Wynton did for George Butler at CBS records. That relationship eventually led to me doing a solo LP for George Butler as well. At that time I remember Wynton coming up to me at the Juilliard school one day asking me who he could get to play piano on his record. He had just come to New York, and did not know all the young players. I recommended Kenny Kirkland to him, and that began relationship that I am sure changed Wynton’s life. I recommended Kenny because he was the best young pianist in New York, and my close friend as well. Rodney, Kenny, Cecil McBee Jr. and I had a band together that jammed regularly at the seminary next to Manhattan School Of Music, and also played local gigs in New York. I was playing drums in those days. Anyway Kenny, Rodney, and myself used to spend countless hours transcribing McCoy Tyner solos, Herbie Hancock solos, George Benson solos, as this was the passion, and these were the heroes in the music that led us to where we are today. Unfortunately Kenny is no longer with us, so when listening today to “Dreams And Stories”, which was released on High Note records after many years sitting on the shelf, I was brought to tears. I miss Kenny, and Rodney Jones continues to be one of my best friends in the world, and has helped my career take off over the years. Because of Rodney I was in the rhythm section for CD’s with Lena Horne, Tony Bennett, Ruth Brown, Gloria Lynn, as well as on the Rosie O’Donnell show as a keyboard player, and of course on 3 or 4 of Rodney’s solo CD’s. It has truly been a privilege to be close to Rodney, and be involved in his music. His deeply rooted love, and knowledge of our art form has had a tremendous influence on me through the years, and his deep spirituality has led me down the right path to enlightenment. I owe Rodney Jones a lot, and deeply value his friendship. He is truly one of the finest guitarist, composer, arranger producer, and educators on this planet. In addition his spiritual beliefs, and influence have had a profound effect on my life.  I think next to King George (George Benson), Rodney is the best. His vast array of harmonic language, and understanding of all styles has made him #1 in my mind as a producer. He can literally produce any type of music.  He knows just about every standard ever written, and can play, and or arrange them with a unique style that speaks of his life, and the music of today.  As a sideman Rodney has played with everyone from Queen Latifah to Dizzy Gillespie, and Dr. Lonnie Smith. He is certainly one of the most sought out guitarists in the world. These days Rodney is professor of guitar at the Juilliard Jazz program, where he is passing on his vast knowledge to the young up and coming guitarist in that program, which has quickly become one of the finest jazz programs in the US under the direction of the great drummer, and educator Carl Allen.  If you are a musician and you do not know who Rodney Jones is, then you are clearly living in a bubble separated from what is really happening in music. And to Rodney as a friend, and colleague for 40 years I say, “I love you, and thanks for the music. Knowing you has made me a better person, changed my life, and of course thanks for the music”!


Master Class

Master Class
Tim Horner lectures about music

Tim Horner lectures about music

Working with Professor Hui Yu

Working with Professor Hui Yu

Talking about musical cooperation

Talking about musical cooperation

We had another nice Master class and concert at Shenyang Normal University for the music department there. The Dean of the music department is Professor Hui Yu. He is a doctorate of Ethnomusicology from Wesleyan University in the US. He lived in the US for 16 years, and spoke English better than anyone we have come across in the other venues. This made it quite easy for us to communicate throughout the afternoon and evening.

At the beginning we were told that the students were mainly classically trained, and that they would be shy when it came to asking questions. Actually once we got going there were many questions from the students. After the first was asked, they all began to open up, which of course helps us, as we want them to participate. One of the best questions asked was, “How do you reach musical cooperation on a piece of music”? I found this to be a great opportunity to demonstrate just how we as professionals get together to rehearse original music.

I started by acting as if I was making a phone call to Jim Ridl.” Hi Jim. Do you want to come over to my house and work through some new music?” Jim says YES! Then to Tom Dicarlo the same question, and to Tim Horner the same question. SO we get together, and Jim pulls out his new tune “Sun On My Hands”, which is dedicated to his father who was a farmer in North Dakota, and had very dark hands from working outside for many years.

I spoke of how after 35 years of practicing the language skills need for negotiation the chord changes, and harmonic language used in jazz improvisation, it was very easy for us to knock out a performance of any song right on the fly, as the cooperation, and conversation takes shape on its own when the musician are of a high level. I spoke of how Jim might play the first A section of the melody, and then I would play the 2nd A section, then Jim would play the B section, and perhaps I would answer with the last A section. Then Jim might solo on one A section, then I would solo on the 2nd A section, and we would join together at the B section, and complete the tune with a great moving, emotional performance. That emotion and spirit in the music can happen in my house. It does not have to be in a concert situation. Anyway this really demonstrated the mutual cooperation between musicians in jazz performance. It really sent the message to the students.

Then the professor of clarinet named Zhao’ Jie’ came running up on stage very excited about this piece of music he wanted to play with us. His music was written in the key of B flat for clarinet, and Jim had a piano part with no chord changes at all in C. Tom on the bass had no chart at all, and Tim on drums had nothing either. I had to transpose the B flat melody down one step. Within 5 minutes we came up with a good plan to make this work for the clarinet professor. I set it up with a little vamp, and away we all went. It was really good, and Jim, Tom, Tim and myself made something happen. The magic of jazz improvisation.

Afterwards Tim Horner took the microphone and mentioned how this unexpected jam session with the clarinet professor was a perfect example of how us musicians must always be using our ears to negotiate the music. For example Tom Dicarlo, and Tim Horner had no music at all, and Jim Ridl, and myself were using music with no harmonic definitions (chord changes). So listening and using the ears are vital in this situation.

Afterwards the trombone professor Zhou Gang who was the first to ask a question in the master class came up on stage with us, and jammed on an F blues. We all had a lot of fun, and I felt we really reached the students.

Afterwards we were hosted to a beautiful traditional lunch, and then a short rest, and a concert performance, which went well as usual. Many pictures, and autographs were taken as normal with all performances we have done. Another triumph for this band!

Zhao Jie' jams with the quartet

Zhao Jie' jams with the quartet

Setting up the jam with trombone professor Zhou Gang

Jamming with Trombone professor Zhou Gang