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September 2011

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September 2011

September 2011

Randy Brecker, trumpeter, composer, is featured in the September 2011 issue of Jazz Inside Magazine. This 64-page edition also features Jazz Inside’s Jazz Education Program Guide in addition to artist interviews with music industry icon Herb Alpert, saxophonist and composer Jimmy Heath, vocalist Jon Hendricks, Howard Johnson, Rabbi Greg Wall, George Brandon and pianist Amina Figarova. There are also performance reviews, CD reviews, articles to delight your jazz palette, and 16 pages of New York jazz activities.

The September 2011 issue of Jazz Inside Magazine (64 pages), available free in print and as a down-loadable digital edition, and designed for jazz lovers worldwide - features trumpeter, composer Randy Brecker. This issue also includes interviews with music industry icon Herb Alpert, saxophonist and composer Jimmy Heath, vocalist Jon Hendricks, Howard Johnson, Rabbi Greg Wall, The Jazz Rabbi, George Brandon and pianist Amina Figarova. This issue also includes the Jazz Education Program Guide. There are also ample CD reviews to delight your jazz palette.



In the interview with Randy Brecker, the trumpeter and composer, who co-founded the Brecker Brothers band with his brother Michael Brecker, has performed and recorded with a who’s who of jazz artists – including Thad Jones, Duke Pearson, Billy Cobham, Joe Henderson, Horace Silver, Art Blakey, Charles Mingus and many others. Randy discusses the kind of inspiration he experienced from the moment he arrived in New York in the mid 1960s. On Charles Mingus, Brecker commented: “[Mingus] just might have been the original fusion guy - because he fused jazz and Bebop with Classical, African, Gospel, and World music.”

Randy also commented on the current reality of the music world for artists. “Unfortunately, I think that the nature of the business is that you’re kind of forced to be your own advocate.”


Herb Alpert, music industry icon, trumpeter, founder of A&M Records and jazz supporter, was interviewed by Ken Weiss. Alpert commented on the peculiar perspective about success that is embraced by a number of jazz artists and jazz market participants: “Once you sell more than one hundred thousand records, the jazz community looks at you like you’re an outsider.”

Alpert continued with a humble take on his own success with a healthy degree of responsibility. “I’m very heavy into helping to keep alive the great American art form and that’s been a real blessing for me. I got caught off guard with all this reward and it’s important to me to help see it get in the right hands.”

Two NEA Jazz Masters and legendary jazz artists, tenor saxophonist and composer Jimmy Heath and vocalist Jon Hendricks will be appearing as the headliners for the Jazz At Lincoln Center opening night concert on September 24.


Saxophonist and composer Jimmy Heath shared the elation he experiences upon hearing music he has written for big band, as it goes from paper to sound. “Then when I hear the breath of life come into that music, man it just makes me beam I’m smiling the whole time I’m there. The music exudes life. That’s what makes it important. Life is music and music is life.”

Jon Hendricks, who was commissioned by Thelonious Monk to write lyrics to a number of his compositions, related a conversation he had with the Baroness, Nica De Koenigswarter. “You know I was out in California one time and Nica [the Baroness Pannonica De Koenigswarter] was out there driving him and his wife around in her Bentley. She said, “Why do you think he likes you so much?” And I said,, “Well, I think it’s because I know him.” She laughed openly and said [Jon impersonating Nica with an affected English accent], “Oh come now, nobody knows him.” I said, “I think I do.” Then she got very serious, and said, “Who is he then?” I said, “He’s a six year old kid.” Her eyes got big and she gasped, and said, “My gosh, you do know him.”


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Howard Johnson, the influential tuba player, was interviewed by Ken Weiss and made an astute observation about a certain “follow the leader” attitude that permeates the jazz world and often displaces a healthy dose of independent thinking: “The problem now with the whole jazz thing is that people have closed the door on what they think is good — and most of what they think is good is what they’re told is good.”


In the interview with pianist Amina Figarova, she shares a perspective that those of us who make music know very well. “Making music - playing, writing - is a very honest business. You can’t hide. You can’t pretend to be a different person. You can’t pretend that you understand certain feelings. The listener will feel it, one way or another.”


George Brandon commented that the influence of musicians possesses far more potential than just that originating with music-making. “I do believe that mystics, some artists and some scientists are the best hope this world has for becoming a lot better place for all of its inhabitants. It’s pretty clear that politicians are not it.”


Performance Reviews by Ken Weiss and Shannon Effinger include coverage of Paul Motian at the Village Vanguard and The Maurice Brown Effect at Jazz Standard.


The CD Reviews section includes coverage of recordings by Terri Lyne Carrington, Yaron Herman, Marco Pignataro, Sonny Rollins, J.C. Stylles, Swingadelic, Larry Vuckovich.


Comprehensive monthly calendar and event listings
for the number one jazz market in the world - New York - span 16 pages.

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Jazz Inside Magazine is published monthly and is also available in print, free at 200 locations around the New York metro area, and by paid subscription for jazz fans.

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