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Photo by Vincent Soyez, courtesy of the artist

Photo by Vincent Soyez, courtesy of the artist

For all the talk about jazz musicians who see no boundaries between styles and traditions, saxophonist Jérôme Sabbagh actually follows through in embracing this ideal. Few players can match Sabbagh’s scope as an improviser—he is equally prone to lyricism, muscular virtuosity, and textural abstraction. Last year, Sabbath released The Turn (Sunnyside), an album that showcased his wide-open aesthetic and the empathetic rapport of his working band.

This Thursday, November 12th, Sabbagh returns to The Jazz Gallery with a slightly altered quartet, featuring his longtime sparring partner—guitarist Ben Monder—and a rock-solid rhythm team of bassist Gary Wang and drummer Mark Ferber. In the meantime, check out this really sweet video recorded by the French jazz magazine, Djam.

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Photos courtesy of the artists.

Photos courtesy of the artists.

Henry Threadgill, Vijay Iyer, and Dafnis Prieto require very little introduction. These three composer/improvisers are at the forefront of creative music today, making music that is deeply rooted in many jazz traditions, yet truly boundless in its form.

We at The Jazz Gallery can’t think of a better way to continue our 20th Anniversary celebrations than inviting these three musicians to play together in our space. Though they haven’t performed extensively as a group, they share a deep commitment to experimentation and finding ways to create rich, large-scale structures on the fly. In addition, all three have forged close bonds with the Gallery for well over a decade. Mr. Threadgill first performed at the Gallery back in 2001 with his longtime band Zooid and has returned continually since them, making the Gallery one of his major homes for New York performances. Before Mssrs. Iyer and Prieto were winning MacArthur grants, they were part of the first class of Jazz Gallery Residency Commissions back in 2002 and have been regulars ever since.

Advanced tickets to the 7:30 P.M. set this Friday have already sold out, and the other sets are going fast, so make your reservations for these exciting concerts now! (more…)

Photo courtesy of the artist.

Photo courtesy of the artist.

Here in New York, the talented altosaxophonist Caroline Davis is bringing the history of Chicago jazz to life. She will be bringing her quartet, which also includes Julian Shore on piano, Tamir Shmerling on bass, and Jay Sawyer on drums, to The Gallery next Thursday, November 5th, coinciding with the release of her new album, Doors: Chicago Storylines.

Born in Singapore, Caroline moved to Atlanta, then Texas, and settled for a time in Chicago where she studied music cognition and received a Ph.D. from Northwestern. She became entrenched in the Chicago jazz scene and put together her quartet and got the chance to feature with the great Von Freeman. Caroline moved to New York just two years ago where she’s been getting on the circuit. You can catch her at Fatcat with Billy Kaye every Monday at 12:30am. Jazz Speaks spoke with Caroline over the phone recently about her upcoming album. 

The Jazz Gallery: This show is technically a release show for your new album, Doors: Chicago Storylines. How did you come upon the idea to weave spoken stories through the different compositions on the album?

Caroline Davis: So, for this album I tried to come up with the idea… I just moved here from Chicago two years ago. When I was going to school there at Northwestern as a graduate, we had to come up with our own class to teach. So I taught mine on the history of Chicago jazz and I went through all the time periods that I could find information on starting with Louis Armstrong in the 20’s… Nat King Cole was a big part of the 40’s. But when I got to the 80’s and 90’s there was such a lack of information. So I got as many [jazz] articles  from that time period to show the students but in order to get a better idea I actually invited a bunch of people from that time to talk about where they played, who they played with, and really what the scene was like. It was so cool, the kids were super excited about it. They were like, ‘we should do this for every decade’ but I reminded them we could only get, you know, people who are still alive. If I could get Louis Armstrong I would. I had the idea in 2007 and I really wanted to honor these cool stories and make connections to the people and the history of that time in Chicago so I started to interview these people, which was from 2012-2013 and I wrote all the music then based on these stories, so that’s kind of the long answer about the album.

TJG: Did you try to translate each individual narrative into its own song or did you take everything you heard about the scene over that twenty year span and try to paint that bigger picture?

CD:Well, I have this story. There’s this one area of town on Lincoln Avenue that used to be really populated with clubs in the late 70’s and early 80’s. I heard this theme in my head when I first heard a story from Art Davis, and he’s on a track where he’s walking up and down that street and being able to first go into one club, then he crosses the street and into another club, then down the block to another. So I took that and got this theme, kind of dramatic. And some times it was just certain phrases, like Von Freeman at The New Apartment—I used to go to that jam session every Tuesday night. He would always say this phrase, “Where my horses at?” so I took that and looked at it as a grouping of five notes. So I took the literal phrase and transformed it and looked at it as melodic, where those five syllables became the five-note beat and for the melody too and looped it, more specifically.

TJG: Doors has oral narratives focusing on the Chicago Jazz scene from 1980-2000. What differences or similarities have you noticed between those 2 decades and the following 15 years up until now?

CD: Yeah, there were inherent differences between those times. The people I talked to had connections to an earlier time and previous generation of players. Those older jazz musicians, Johnny Board for one, I felt like they were more connected, you know? Some of them played with guys like Louis Armstrong and it’s so crazy. These guys have these more old school connections to the distant past, which I felt disconnected to. But because I got to talk to these people and connect with them, now I feel more a part of that. Whereas the people in the 90’s were more active, I feel more connected to them personally, like Ted Sirota, the drummer of the band Sabertooth who still play at the Green Mill, one of the most well known jazz clubs in Chicago. I would go to see them on Saturday nights. It’s nice to see the older musicians go through the same stuff I’m going through, to make that connection and see that similarity.

TJG: You’ve stated Von Freeman as one of your main influences. What’s your experience with him?

CD: I think the strongest thing for me about Von was his individuality and how unique he was as a musician. Like, every time I heard a recording or went to see Von, you knew it was him, it couldn’t be anybody else but him. I could pinpoint him on any recording. He had that grit and that dirt that I hear from a lot of tenor players that come out of Chicago. Clifford Jordan, Eddie Harris. Even Johnny Griffin, who was very polished, still had that sound. But Von still had that unique sound but wasn’t polished at all. I would question, you know, what is this sound that he’s playing right now? Then I’d go back and listen to the tapes or my own recordings, there were things I’d never heard before, ways he would improvise, I’d never heard before, maybe Steve Coleman and Greg Warren, definitely influenced by Von. He didn’t really give me much advice personally. He was very encouraging and invited me up to the stage before the jam session would start. He did that with me one time and I thought that was a huge honor, you’re featuring, and to get to play with him is really a once in a lifetime experience. So I wouldn’t say I necessarily got advice, he gave me like, oh, you should work on your timing. It was more watching him, how he interacted with the crowd. Even the way he shook my hand. He would take your hand and massage it sort of – he had such good, supportive vibe.

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