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.

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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.

Ron Horton, (Trumpet and Flugelhorn), plays with a richness of ‘sound’ on this recording. He plays with a big and full ‘sound’. His ‘pitch’ and ‘time’ are very good. On a ‘Precious Soul’ and ‘Tis’, his ensemble, and inventive solo’s are a welcome addition to this music.

Guitarist, John Hart on guitar is superb throughout. His electric playing flows, and he is well versed harmonically. I might note–not all electric players can turn the corner and play convincingly on a nylon classical guitar.  His training and experience are well noted. On Horner’s, ‘Passion Dancer’, his execution of Flamenco style is fluid and musical!

The disc is also programmed very well, with an assortment of time feels and variations of ensemble. The compositions also display beautiful variation. For example, listening to ‘The Places We Feel Free’, (dedicated to bassist, Bob Bowen), (a ¾ metered tune), ‘Places’ features nice open harmonies as it features a section for bassist Martin Wind to improvise. His solo is set up nicely by guitarist, Hart and vibraphonist, Sherman as their unison melody leads to the conversation with Wind. It is beautifully done. Sherman is great once again and Tim’s cymbal work is superb!

Horner not only writes in an assortment of time feels, he plays each style with the up-most capability. He is one of our modern masters when it comes knowing what the music needs from the rhythm section. His contributions are played with passion and conviction! His time feels so good. It makes you want to play if you’re a musician. It makes you want to move if you’re a listener. He is a superb musician!

You will listen to this disc multiple times, I can promise you if you are a lover of creative mainstream Jazz. Tim’s debut is not successful on one level, but on many levels. He has waited to release a musical statement, which clearly demonstrates his great understanding of the Jazz idiom! Congrads Jims!!

Tim Horner recording date. The Band


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.

 

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!

Mark,Lenny,Jammey

Today I played a recording date for Chesky Records in a church in Brooklyn. It was David Chesky’s idea to put Lennie White, Jamey Haddad, and myself together for a recording with all percussion instruments, and drums. It was quite an experience. Lennie White whose playing I have admired since I first saw him with Chic Corea, and “Return To Forever” many years ago, was really great to work with. Additionally Jamey Haddad was also incredible to work with. We played together years ago on Howard Shore’s film score for the movie “The Score”. Jamey is a master world percussionist. My set up was the classical percussion mixed with some groove percussion, as well as playing the vibes which is what most know me for these days. Lennie played what Lennie always does, and that is to play the drums with great feeling, and expertise. The session was recorded with the audio file technique that has made Chesky Records the label it is today. In front of our set-ups was two heads of dummies(pictured below, which contained one microphone in each ear, used to achieve perfect surround sound in a headphone mix, and then there was one super duper microphone in the middle. The music was totally improvised, and created in real time using themes for each piece. Themes like Tranquility, Peace, Battle, War, Water. We used these different moods and words to define the direction of the music. Pretty amazing stuff came out of it, as we were all able to bond beautifully and create something different. This was a far cry from any session I have done in my life. Much different than the jazz sessions I have been doing as of late, but lots of fun. I admire Dave Chesky for stepping out of the ordinary formats, and trying something quite a bit different!

Mark's Percussion set up

MARK ON LENNY WHITE'S DRUMS

Mark Sherman+David CheskyDummy microphones

Play back and Iphoning

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


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