About This Event
Doors Open:3:00 PM
Show Time:4:00 PM
a Verna Gillis/ SOUNDSCAPE Production
Musical Director Ivan Rubenstein-Gillis
**The proceeds from ticket sales will go towards assisting Roswell Rudd & his medical expenses**
TABLE SEATING POLICY
Table seating for all seated shows is reserved exclusively for ticket holders who purchase “Table Seating” tickets. By purchasing a “Table Seating” ticket you agree to also purchase a minimum of two food and/or beverage items per person. Table seating is first come, first seated. Please arrive early for the best choice of available seats. Seating begins when doors open. Tables are communal so you may be seated with other patrons. We do not take table reservations.
A standing room area is available by the bar for all guests who purchase “Standing Room” tickets. Food and beverage can be purchased at the bar but there is no minimum purchase required in this area.
All tickets sales are final. No refund or credits.
PHOTO CREDIT: Alex Troesch
Bebop was probably the worst thing ever to happen to the trombone. While the blockish rhythms and rough-hewn sonorities of early jazz were tailor-made for — and in part, defined by — the infinitely flexible instrument, the technical requirements of modern jazz just about put it out of business. Over the years, a number of very fine players (J.J. Johnson and Frank Rosolino being, arguably, the foremost among them) managed to adapt the instrument to the exigencies of bop. In the process, however, they were usually forced to sacrifice the peculiar tonal expressivity that sets the trombone apart from other jazz instruments.
It wasn’t really until the advent of free jazz that trombonists reclaimed the slides, smears, growls, and groans that had virtually disappeared from the current of jazz’s development for some 20-plus years. It’s no coincidence that free jazz’s most acclaimed trombonist, Roswell Rudd, mostly bypassed bop altogether, going straight from being a tailgate trombonist in a Dixieland band to co-founding the ultra avant-garde New York Art Quartet, with very few stops in between. Rudd exploited the trombone’s natural proclivities to the fullest. In his hands, the horn became less a note-playing machine than a kind of human-powered analog synthesizer. Rudd didn’t try to mimic a language, bebop, that was spoken most naturally by players of keyed instruments.
Instead, he jumped wholeheartedly into free jazz — a type of music more concerned with exploring sound for its own sake — a style for which he and his instrument were exceedingly well-equipped.
Rudd’s first instrument was the French horn, which he studied from the age of 11. His father was an amateur drummer who introduced his son to jazz. In his teens, Rudd began teaching himself to play the trombone; Woody Herman’s star trombonist, Bill Harris, was a particular favorite. He played Dixieland, while he attended Yale, with a band called Eli’s Chosen Six. From 1960-1962 he worked with legendary pianist Herbie Nichols, who became something of a mentor to Rudd. From 1961-1963, Rudd played in a band with soprano saxophonist Steve Lacy and drummer Dennis Charles. The band would later be informally known as the School Days Quartet, after the 1963 Emanem album of that name. The group’s repertoire consisted entirely of Thelonious Monk tunes.
In 1962, he joined trumpeter Bill Dixon’s free jazz group, who also included tenor saxophonist Archie Shepp and drummer Charles. In 1964, he founded and co-led the New York Art Quartet (with saxophonist John Tchicai) and participated in the October Revolution in Jazz, an early free jazz festival organized by Bill Dixon and held in a New York City cafй. Rudd spent the latter half of the ’60s playing in Archie Shepp’s band, Charlie Haden’s Liberation Music Orchestra, and a group led by saxophonist Gato Barbieri. In 1968, he formed the Primordial Quartet (with saxophonists Lee Konitz and Robin Kenyatta, and pianist/vibist Karl Berger). The group disbanded in 1970. Rudd’s compositions for the Jazz Composer’s Orchestra were recorded in 1973 on the album Numatik Swing Band (JCOA).
Although Rudd recorded occasionally in the ’70s and ’80s (notably under Lacy’s leadership), he gradually became less visible, as matters of economic survival took precedence over creative concerns. He worked a variety of non-musical jobs and spent time teaching at the college level. After being denied tenure at the University of Maine in Augusta, Rudd moved to the Catskill region of New York state, where he worked steadily in a hotel resort band.
The mid-’90s found him busy musically once again. Albums on the C.I.M.P. label, under his own name and as a sideman, helped reestablish him as a jazz player. In 2000, Rudd and Lacy reunited to record (with Lacy’s regular rhythm section, bassist Jean-Jacques Avenel and drummer John Betsch, and vocalist Irene Aebi) Monk’s Dream for the Verve label; the band also toured in support of the album. At the turn of the millennium, Rudd performed with some frequency in Europe and New York, regaining his reputation as the father of free jazz trombone.
— Chris Kelsey (via Sunnyside Records)
Keyboard master John Medeski thrives on the unpredictable, a trait that has kept his work with the trailblazing trio Medeski Martin & Wood (MMW) fresh and surprising for more than twenty years. With A Different Time, his first solo piano project, Medeski once again takes his sound in a completely unexpected direction – unexpected even to him…
read more at johnmedeski.com/
Steven Bernstein is a trumpeter/slide trumpeter, bandleader, arranger, and composer who lives outside of musical convention. He has released four critically acclaimed CDs; Diaspora Soul, Diaspora Blues (featuring the Sam Rivers trio), Diaspora Hollywood, and Diaspora Suite. All four are on John Zorn’s Tzadik label.
His band Sex Mob has been together since 1995 touring the world, winning numerous awards, and has had their music featured on MTV, Saturday Night Live and NPR. Sexotica, recorded for Thirsty Ear’s Blue series, was nominated for a Grammy in 2006. Their most recent CD, Sex Mob meets Medeski was recorded live at the Willisau Jazz Festival.
His nine-piece ensemble, the Millennial Territory Orchestra, has released two CDs, MTO Vol 1 and We Are MTO. Their upcoming CD, MTO Plays Sly, features Bernie Worrell, Vernon Reid, Antony, Martha Wainwright, Dean Bowman, Sandra St. Victor and Shilpa Ray, and is slated for a September 2011 release. MTO was formed in 1999 for a series of Midnight shows at Tonic, and spent a year and a half long residency at the Jazz Standard. Bernstein also arranged and co-produced Baby Loves Jazz, featuring vocalists Sharon Jones and Babi Floyd, along with keyboard master John Medeski. The CD is available on Verve records.
Bernstein was the musical director for I’m Your Man, a documentary on Leonard Cohen that focuses on a tribute concert held at the Sydney Opera house, released by Lions Gate films in spring 2006. He was the musical director for the live sequences in the 2009 Bill Withers documentary Still Bill. Other DVD releases include Solos, originally a Canadian Television program featuring solo performances by musicians including Andrew Hill, Joe Lovano, and John Scofield, as well as Lou Reed’s Berlin (directed by Julian Schnabel) and Levon Helm Ramble at The Ryman. Bernstein was also the subject of a feature entitled “Creative Spaces” on NPR’s “All Things Considered,” and was interviewed by Terry Gross on NPR in 2002.
Since November 2004 Bernstein has been a member of the Levon Helm band, playing at the Midnight Rambles in Levon’s home in Woodstock. Bernstein wrote horn arrangements for Levon Helm’s Grammy winning 2009 recording Electric Dirt, as well as Bill Frissel’s Grammy winning 2004 recording Unspeakable. Other arranging credits include Lou Reed, Rufus Wainwright, Marianne Faithfull, Elton John, and Marvin Pontiac.
In 1992, musical iconoclast Hal Willner produced the eponymous debut CD by Spanish Fly, a cooperative trio with Bernstein, slide guitarist Dave Tronzo and tubaist Marcus Rojas, and they have been collaborating ever since.
Read more at stevenbernstein.net
BOB DOROUGH, born in Arkansas and “raised” in Texas, immediately fell in love with music upon joining the Plainview Texas High School Band. He served three years in a Special Services Army Band Unit, gaining much professional experience as arranger, clarinetist, saxophonist, pianist, and entertainer (1943-45).
After earning a Bachelor Of Music degree at the University of North Texas (1949), he made a bee-line for New York City where he took classes at Columbia University and immersed himself in the volatile jazz scene then taking place there -the BeBop revolution.
In 1952 he turned his back on the academic scene to devote himself to jazz performance, specializing in piano/vocals. After years of accompanying, conducting, arranging, and playing, he made his first recording as a leader (1956) for the Bethlehem label….DEVIL MAY CARE, having written the title tune three years earlier.
He is known as “the only singer to record with Miles Davis”. While this may not be 100% true, he did record two vocals with Davis, in 1962, “Nothing Like You” and “Blue Xmas,” both of which he composed. Davis also recorded an instrumental version of Bob’s classic song, “Devil May Care,” that same year.
In 1971 he received a commission to “set the multiplication tables to music.” This led to a small industry, being the beginning of ABC-TV’s SCHOOLHOUSE ROCK, Saturday morning cartoons that entertained and instructed unsuspecting children during the years 1973-1985. The impact of this media exposure was unpredictably immense. The show came back for another five years in the 90′s and is now enjoying its 30th anniversary with a DVD edition of the entire, five-subject series, for which Dorough worked as the Musical Director.
In 1995 he signed a contract with the prestigious jazz label -Blue Note Records – and has done three CDs for them (“Right On My Way Home,” “Too Much Coffee Man” and “Who‘s On First”).
Now residing in Pennsylvania, he has received honors from that state (the Governor’s Artist of the Year Award) and from his native state (the Arkansas Jazz Hall of Fame.) In 2002 his trio was chosen to represent the State Department and Kennedy Center, as an Ambassador of Jazz and Blues. The one-month tour saw them play some 22 workshops and concerts in thirteen cities in six different countries.
Currently recording on Arbors, Candid and his own label, Bob Dorough continues to perform, often for children too, in Jazz Clubs and Schools, wherever he can.
A world class guitar hero, a Grammy-nominated songwriter and composer, an international recording artist with over 20 acclaimed solo albums to date, and a soundtrack composer for film and television, GARY LUCAS is on the move in 2013.
Gary starts the year with a bang headlining the famed Paradiso in Amsterdam Feb. 17th with “The World of Captain Beefheart”, a gala concert featuring the 60 piece Metropole Orchestra and legendary Nona Hendryx. The show will go out live on producer Co de Kloet’s national Dutch Radio 6 program “Co Live”, and will be filmed for broadcast later this year. In Oct. 2013 Gary is coming to BAM’s new Fisher Space in Brooklyn for two nights with the expanded concert version of his celebrated album of 30’s Chinese pop, “The Edge of Heaven”. Featuring Gary, his band, and two female vocalists from Shanghai, the project received standing ovations in June 2011 at both the 64th Holland Festival in Amsterdam and the Nijmegen MusicMeeting.
In 2012 Gary was profiled in the New York Times, the Wall Street Journal, and the International Herald Tribune to coincide with the release of his supergroup Gods and Monsters’ studio album “The Ordeal of Civility” (Knitting Factory), produced by Jerry Harrison which is receiving rave reviews—4 Stars in MOJO and named one of the Best of the Year in Rock’s Backpages. He released a vinyl only album in the Czech Republic “Gary Lucas Plays Bohemian Classics” (Faust Records) featuring his solo acoustic arrangements of Dvorak and other Czech classical composers. Last year he embarked on a European solo tour selling out Liverpool’s Philharmonic Hall two nights in a row with his Captain Beefheart Symposium, performing his live score for Spanish “Dracula” at the annual music festival of Bilbao Spain, recording with Bryan Ferry in London, performing solo in Portugal where he was profiled on the cover of two national newspapers, and finishing in Paris where he was profiled in the French left paper Politis. That year Gary performed at the Grammy Museum in LA as part of their “Great Guitar” Series which further bolstered his credentials as “one of the best and most original guitarists in America” (Rolling Stone). Gary was also dubbed “one of the world’s greatest guitar players” by HITS Magazine.
Gary just wrapped recording the debut album of his psychedelic dance music project Wild Rumpus with his partner Colleen “Cosmo” Murphy, and their latest 12 inch vinyl single “Cloudhopping” sold-out its first pressing in one week. He recently premiered his new live solo guitar score for Luis Bunuel’s “El Angel Exterminador” at the 33rd Havana Film Festival and rocked the 48th New York Film Festival with the US premiere of his Spanish “Dracula” project performing his original solo guitar score live to accompany a screening of the legendary 1931 film.
In the last few years, Gary Lucas made successful performing debuts in China, Cuba, the Canary Islands, Colombia, Brazil, Costa Rica and Mexico alongside his usual non-stop touring in Europe and North America, and is coming to BAM’s new Fisher Space in Brooklyn in Oct. 2013 for two nights with the expanded concert version of his celebrated album of 30′s Chinese pop, “The Edge of Heaven”. Featuring Gary, his band, and two female vocalists from Shanghai, the project received standing ovations in June 2011 at both the 64th Holland Festival in Amsterdam and the Nijmegen MusicMeeting. His recent album, “Rishte” (Harmonia Mundi), a blues/raga collaboration with Indian vocalist Najma Akhtar, made #4 on the World Music Charts Europe and the pair garnered a 5 star review in The Financial Times for their live show and an ovation at WOMAD Los Palmas. He released his first ever coloured vinyl single “Music for the Eden Project” on 5nakefork Records last year to acclaim which has been used as the soundtrack for UK visual artist Paul McGowan’s installation at the Eden Project in Cornwall.
Dubbed “The Thinking Man’s Guitar Hero” by The New Yorker, “The world’s most popular avant-rock guitarist” by The Independent (UK), “One of the 100 Greatest Living Guitarists” (Classic Rock), “Legendary Leftfield guitarist” by The Guardian (UK), “Guitarist of 1000 Ideas” by The New York Times, “a true axe God” by Melody Maker, and “One of the five best guitarists in the world” by the national Czech newspaper Lidove Noviny, the British world music magazine fRoots recently described Gary Lucas as “without question, the most innovative and challenging guitarist playing today.” Rolling Stone’s David Fricke wrote: “Gary Lucas is one of the best and most original guitarists in America…a modern guitar miracle.” Best-selling author/producer Dan Levitin (“This Is Your Brain On Music”) recently cited Gary as “the greatest living electric guitarist”.
Gary Lucas tours the world relentlessly both solo and with several different ensembles, including his longtime band Gods and Monsters, whose ranks once included the late singer Jeff Buckley. Gary co-wrote two of Jeff Buckley’s most famous hits, “Grace” and “Mojo Pin”, which opened Jeff’s double platinum Sony album “Grace”, which MOJO magazine named the #1 Modern Classic Rock Album. Their early collaborations can also be heard on the Jeff Buckley and Gary Lucas album “Songs to No One”, which charted internationally with worldwide sales approaching 100,000. Other notable Lucas albums include his recently reissued 2001 album “The Edge of Heaven”, an album of Gary’s lush arrangements of 30’s Chinese pop songs, which made #1 on the World Music charts and received rave reviews around the world. To date he has released over 20 acclaimed albums in multiple genres, and performed in over 40 countries.
Gary Lucas makes his home in NYC.
“One of the best and most original guitarists in America…a modern guitar miracle” –Rolling Stone
“The Thinking Man’s Guitarist…an A-List musician” –The New Yorker
Richard Hammond is an electric and acoustic bassist, composer, producer and author based in New York City. Born in Dargaville, New Zealand, he moved to Auckland at age 18 and quickly became one of the most in-demand bassists, performing and recording with New Zealand’s top artists. Moving to Boston at age 22, he earned a Bachelor’s Degree in Performance on Acoustic Bass, and went on to attend Manhattan School of Music, where he earned a Master’s Degree in Jazz/Commercial music.
Equally versatile on acoustic and electric bass, and across a broad range of musical genres, he has performed with an array of artists including Carlos Santana, Gavin DeGraw, Danny Kortchmar, Bob Moses, Louis Bellson, Luciana Souza and Mose Allison. Currently touring with Joan Osborne, Richard has also toured as bassist with Erasure, The East Village Opera Company, Angelique Kidjo, Jonatha Brooke, Dar Williams, Marshall Crenshaw, Chiara Civello, Shannon McNally, and Jim Campilongo.
He maintains a busy recording schedule, working with artists such as Raul Midon, Nellie MacKay, and Marion Raven, and legendary producers Arif Mardin, Neil Dorfsman, Kevin Killen, and Rob Fraboni. He has also recorded on several major motion picture soundtracks including: Rumor Has It, Paramount’s The Marc Pease Experience, Disney’s Enchanted, and Ridley Scott’s, American Gangster.
Richard has also worked as composer/producer on several national advertising campaigns, and regularly co-writes with several songwriting teams. In addition to being co-author of “Teach Yourself Visually Bass Guitar”, he has also worked as an instructor for the National Guitar Workshop and as a clinician for Berklee College of Music.
To date, drummer Aaron Comess, a founding member of the Grammy nominated, ten million plus album selling band Spin Doctors, has played on, written on and/or produced over two hundred albums with an acclaimed and diverse roster of artists such as, Joan Osborne, Bilal, Rachael Yamagata, New York Electric Piano, Isaac Hayes, James Maddock, Marc Cohn and Chris Whitley to name a few.
In command, infectious, energetic and strong, Fay Victor hypnotizes audiences, whether singing a blues, sculpting a free piece, reinventing a Herbie Nichols tune with her own lyrics, or effortlessly improvising over the harmonies of a jazz standard or her own material. Victor’s lyrics speak of universal themes in story-driven ways, running the full gamut of human emotion in an original mix of traditional song forms and free improvisation – or “FreeSong” – that has become Victor’s trademark approach to improvised vocal music. The trademark transcends Victor’s own original music to include her valued contribution to esteemed ensembles featuring her unique vocal abilities, so unique in fact, that the ensembles Victor are now featured in, rarely, if ever, have vocalists in them.
Since forming in 1975, Grammy winners BeauSoleil have claimed their undisputed role as the most esteemed Cajun group in music. BeauSoleil avec Michael Doucet take the rich Cajun traditions of Louisiana and artfully blend elements of zydeco, New Orleans jazz, Tex-Mex, country, blues and more into a satisfying musical recipe. From The Grand Ole Opry to Newport Folk, from concert hall to dance floor, the music of BeauSoleil continues to captivate audiences the world over.
Guitarist Rolf Sturm has performed with and/or appeared on CDs with Tony Trischka, Loudon Wainwright, Anthony Braxton, David Johansen, Billy Martin, Bob Mintzer, Glen Velez, Maggie Roche, Jorma Kaukonen, Dave Douglas, Ike Willis, Eddy Arnold, Pat Boone (!?!), Giora Feidman, and members of the Grateful Dead. He is a member of “Tomas Ulrich’s Cargo Cult”, the silent movie/live music band: “4FiveVI” and he co-leads the NYC trio “Tricycle”. Rolf is also a member of the “Strike Anywhere Performance Ensemble” and the “Walter Thompson Orchestra”.
Rolf has toured North America and Europe, performing at the World Expo 2000 in Hannover, Germany, at Lincoln Center and Town Hall in NYC, and at the Kennedy Center in Washington, DC. He has performed at dozens of jazz, folk and jam band festivals, on soundtracks for both film and television and his music has been featured on NPR’s “All Songs Considered”. Rolf’s latest solo release on the Water Street Music label is entitled “Balance” (Four Stars in the Feb. 2011 issue of DownBeat Magazine).
Born in New York City, Ivan grew up in small-town New Jersey and upstate New York. He played piano by ear as a child and began putting together lyrics and chord patterns when he was nine. Ivan taught himself guitar a few years later and became consumed with writing songs in high school. Since then he has written hundreds of songs and instrumental pieces, composed scores for dance and theater, recorded a number of CDs and played with great musicians in many styles. But his first love remains the folk-rock singer-songwriter tradition.
Ivan has performed at venues all around the northeast since the mid-1990s: concerts, recitals, festivals, dance, comedy and theatrical events, city parks, bars, hotels, cafes, bed & breakfasts, restaurants, fundraisers, rallies, protests, parades, bar and bat mitzvahs, summer camps, schools, churches, synagogues, radio stations, train stations, weddings and parties.
In addition to his folk-rock wanderings, Ivan has played in several “world music” ensembles (with trombone great Roswell Rudd, Fode Sissoko and others), and has accompanied a wide range of performers on guitar, piano, drums, bass, mandolin and vocals. He has also taught numerous classes in rock, folk and blues history and performance, as well as guitar and songwriting lessons to dozens of students of all ages and levels.
Organized labor, united with its community allies, is an irrepressible social force. This is the message of the New York City Labor Chorus. The Chorus, with 75 members representing over 20 local unions and District Councils, was founded in 1991 for the purpose of bringing the message of workers’ history and struggles for social and economic justice through song to people everywhere.
The Chorus has a national and international reputation as the premier multi-cultural and multi-generational labor chorus in the United States. It is a powerful cultural tool in the arsenal of workers. Wherever the struggle for people’s rights is being waged, the Chorus will be there.
We stand ready to perform on picket lines, at union conventions, union rallies and shop steward meetings, as well as at community events, churches, colleges, and schools.
Our repertoire represents the great legacy of U.S. labor music. The repertoire includes songs of labor struggles, protest, and social significance. It also includes a rich diversity of music from the cultures of all working people: songs in the gospel, jazz, classical and folk traditions.
In 1997, we travelled throughout Sweden. We were hosted by two Swedish unions, LO, a union of several million blue collar workers, and SAS, the Scandinavian Workers Song Association. The Chorus performed at a five day festival in Uddevalla, along with thousands of chorus members from throughout Scandinavia. The Chorus also sang at Carnegie Hall in 1998 as part of a Tribute to Paul Robeson; in 1992 at Lincoln Center’s Damrosch Park at the Roots of American Music festival, and is featured on the 1998 Peter, Paul and Mary album, “Around the Campfire.” Other performances include the 1992 Democratic Party National Convention, South Africa Solidarity Day and the International Workers Memorial Day at the United Nations, and annual performances in New York City’s Labor Day Parade.