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BENNY GREEN TRIO + PETER WASHINGTON & KENNY WASHINGTON

    BENNY GREEN TRIO featuring Peter Washington & Kenny Washington 8p • $20 | 10:30p • $18 bennygreenmusic.com   Benny Green possesses the history of jazz at his fingertips. Combine mastery of keyboard technique with decades of real world experience playing with no one less than the most celebrated artists of the last half century, and it's no wonder Green has been hailed as perhaps the most exciting, hard-swinging, hard-bop, pianist to ever emerge from Art Blakey's Jazz Messengers. In 1993 Oscar Peterson chose Benny as the first recipient of the City of Toronto's Glen Gould International Protégé Prize in Music. That year, Green replaced Gene Harris in Ray Brown's Trio, working with the veteran bass player until 1997. From 1997 on, Benny resumed his freelance career, leading his own trios, accompanying singers like Diana Krall, and concentrating in his solo piano performances. With the release of Green's Blues, Benny returned to his roots and updated the tradition with an exciting solo collection of jazz standards by Fats Waller, Duke Ellington, Erroll Garner and George Gershwin, among others, with his highly personal style. Benny has appeared on a guest performer on over one hundred (!) recordings, from albums with legacy artists such as: Betty Carter Art Blakey & the Jazz Messengers, Freddie Hubbard, Bobby Watson, Milt Jackson, Diana Krall, and he is particularly featured in Ray Brown's trio series of CD's for Telarc In 2011 Benny releases a much-anticipated Trio album, with whom he has recorded with Kenny and Peter Washington, and which serves to remind the world that no contemporary jazz pianist owns the trio format like Benny does. 2011 also marks the premier tour of a long developed project, MONK'S DREAM: 50 YEARS FRESH, billed as 'A Celebration of the Expanding Musical Universe of Bebop'. With MONK'S DREAM, Benny and band pay homage to the legacy and the man that is his first and most significant musical hero, Thelonious Sphere Monk. A perpetual student of the history of Jazz piano, the pianist mentions Erroll Garner, Ahmad Jamal, Phineas Newborn, Bud Powell and Oscar Peterson as some of his main influences. Benny Green's approach to Jazz can be resumed in his own words: "... for myself and a lot of musicians I admire, the main focus is to just swing and have fun, and share those feelings with the audience ... and, if I'm able to convey that, then I feel like I'm doing something positive". Kenny Washington One of the many young hard-bop revivalists to have arrived on the scene in the late '70s and early ‘80s, Washington has been in particular demand by much older musicians, playing with such legendary veterans as Lee Konitz, Betty Carter, Johnny Griffin, Dizzy Gillespie, Clark Terry, and Tommy Flanagan. Born in Brooklyn, Washington studied with the former Dizzy Gillespie drummer Rudy Collins and attended New York's LaGuardia High School for Music & Art. Washington worked with Konitz while still in his teens, recording with the saxophonist's nonet in 1977. He worked with Carter from 1978-9 and Griffin from 1980. A prolific freelancer, Washington has compiled an enormous discography, performing on dozens of sessions by many of jazz's most prominent figures. Kenny Washington has a strong interest in jazz history; he's written liner notes for and/or helped prepare classic jazz re-releases by Art Blakey and Count Basie, among others. He's also taught jazz drumming at the New School in New York City, and worked as an announcer at the New Jersey jazz radio station WBGO. Peter Washington Perhaps the most recorded bassist of his generation, Peter Washington has also played an integral part in two of the most important and highly praised jazz trios of the last 20 years, in addition to a “who's who” roster of jazz artists. Born in Los Angeles, California, in 1964, Washington attended the University of California, Berkeley, where he majored in English Literature and played in both the UC Symphony and the San Francisco Youth Symphony. In 1986, while performing in San Francisco with alto saxophonist John Handy, he was asked by Art Blakey to move to New York and join the seminal Art Blakey's Jazz Messengers. Washington remained with the Jazz Messengers from 1986 to 1989, and during this time was able to establish himself as a ubiquitous, first- call freelance bassist; a position he has occupied to this day. In the early 1990's Washington joined the Tommy Flanagan Trio , called by many “the greatest trio in jazz”, and remained until Flanagan's death, in 2002. For the past ten years he has been a member of the very highly acclaimed Bill Charlap Trio. In addition to these long- term commitments Washington has worked and recorded with an extremely large number of top- tier artists, of all generations. A partial list of those he has recorded and performed “live” with would include Dizzy Gillespie, Benny Golson. Freddie Hubbard, Donald Byrd, Benny Carter, Hank Jones, Milt Jackson, Bobby Hutcherson, Kenny Burrell, Phil Woods, Cedar Walton, Joe Henderson, Ray Bryant, Frank Wess, Clark Terry, Lionel Hampton, Charles McPherson, Jimmy Heath, Percy Heath, Jimmy Cobb, Louis Hayes, the Newport All Stars, the Carnegie Hall Jazz Band, Gerald Wilson,Lou Donaldson, Barry Harris, Lew Tabakin, Sweets Edison, Johnny Griffin, Jackie McLean, Sir Simon Rattle and the Birmingham Symphony, Richard Wyands, Teddy Edwards, Johnny Coles, Frank Morgan, and more... Of the younger generations, Washington has recorded and performed with Mulgrew Miller, Tom Harrell, the Brecker Brothers, Don Grolnick, David Sanchez, Eric Alexander, Benny Green, Javon Jackson, Brian Lynch, David Hazeltine, One For All, Steve Nelson, James Carter, Renee Rosnes, Steve Turre, Regina Carter, Kenny Washington, Grant Stewart, Robin Eubanks, Joe Magnarelli, Geoff Keezer, Billy Drummond, Jeremy Pelt, Ryan Kisor, Walt Weisokopf, and many, many others. Peter Washington has also enjoyed associtions with vocalists as diverse as Andy Bey, Freddie Cole, Karrin Allyson, Chris Conner, Mark Murphy, Georgie Fame, Ernie Andrews, Paula West, Eric Comstock, Anne Hampton Calloway, Marlena Shaw, and Ernestine Anderson. A complete discography would list, as of this writing, over 350 recordings, and is expanded on a weekly and monthly basis. In the scope and breadth of his career thus far, his adaptability, and in his emphasis on creative, supportive, swiging time- playing as well as inventive and intelligent soloing, Washington has been compared to the likes of George Duvivier, Milt Hinton, and Ron Carter.

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BENNY GREEN TRIO + PETER WASHINGTON & KENNY WASHINGTON

    BENNY GREEN TRIO featuring Peter Washington & Kenny Washington 8p • $20 | 10:30p • $18 bennygreenmusic.com   Benny Green possesses the history of jazz at his fingertips. Combine mastery of keyboard technique with decades of real world experience playing with no one less than the most celebrated artists of the last half century, and it's no wonder Green has been hailed as perhaps the most exciting, hard-swinging, hard-bop, pianist to ever emerge from Art Blakey's Jazz Messengers. In 1993 Oscar Peterson chose Benny as the first recipient of the City of Toronto's Glen Gould International Protégé Prize in Music. That year, Green replaced Gene Harris in Ray Brown's Trio, working with the veteran bass player until 1997. From 1997 on, Benny resumed his freelance career, leading his own trios, accompanying singers like Diana Krall, and concentrating in his solo piano performances. With the release of Green's Blues, Benny returned to his roots and updated the tradition with an exciting solo collection of jazz standards by Fats Waller, Duke Ellington, Erroll Garner and George Gershwin, among others, with his highly personal style. Benny has appeared on a guest performer on over one hundred (!) recordings, from albums with legacy artists such as: Betty Carter Art Blakey & the Jazz Messengers, Freddie Hubbard, Bobby Watson, Milt Jackson, Diana Krall, and he is particularly featured in Ray Brown's trio series of CD's for Telarc In 2011 Benny releases a much-anticipated Trio album, with whom he has recorded with Kenny and Peter Washington, and which serves to remind the world that no contemporary jazz pianist owns the trio format like Benny does. 2011 also marks the premier tour of a long developed project, MONK'S DREAM: 50 YEARS FRESH, billed as 'A Celebration of the Expanding Musical Universe of Bebop'. With MONK'S DREAM, Benny and band pay homage to the legacy and the man that is his first and most significant musical hero, Thelonious Sphere Monk. A perpetual student of the history of Jazz piano, the pianist mentions Erroll Garner, Ahmad Jamal, Phineas Newborn, Bud Powell and Oscar Peterson as some of his main influences. Benny Green's approach to Jazz can be resumed in his own words: "... for myself and a lot of musicians I admire, the main focus is to just swing and have fun, and share those feelings with the audience ... and, if I'm able to convey that, then I feel like I'm doing something positive". Kenny Washington One of the many young hard-bop revivalists to have arrived on the scene in the late '70s and early ‘80s, Washington has been in particular demand by much older musicians, playing with such legendary veterans as Lee Konitz, Betty Carter, Johnny Griffin, Dizzy Gillespie, Clark Terry, and Tommy Flanagan. Born in Brooklyn, Washington studied with the former Dizzy Gillespie drummer Rudy Collins and attended New York's LaGuardia High School for Music & Art. Washington worked with Konitz while still in his teens, recording with the saxophonist's nonet in 1977. He worked with Carter from 1978-9 and Griffin from 1980. A prolific freelancer, Washington has compiled an enormous discography, performing on dozens of sessions by many of jazz's most prominent figures. Kenny Washington has a strong interest in jazz history; he's written liner notes for and/or helped prepare classic jazz re-releases by Art Blakey and Count Basie, among others. He's also taught jazz drumming at the New School in New York City, and worked as an announcer at the New Jersey jazz radio station WBGO. Peter Washington Perhaps the most recorded bassist of his generation, Peter Washington has also played an integral part in two of the most important and highly praised jazz trios of the last 20 years, in addition to a “who's who” roster of jazz artists. Born in Los Angeles, California, in 1964, Washington attended the University of California, Berkeley, where he majored in English Literature and played in both the UC Symphony and the San Francisco Youth Symphony. In 1986, while performing in San Francisco with alto saxophonist John Handy, he was asked by Art Blakey to move to New York and join the seminal Art Blakey's Jazz Messengers. Washington remained with the Jazz Messengers from 1986 to 1989, and during this time was able to establish himself as a ubiquitous, first- call freelance bassist; a position he has occupied to this day. In the early 1990's Washington joined the Tommy Flanagan Trio , called by many “the greatest trio in jazz”, and remained until Flanagan's death, in 2002. For the past ten years he has been a member of the very highly acclaimed Bill Charlap Trio. In addition to these long- term commitments Washington has worked and recorded with an extremely large number of top- tier artists, of all generations. A partial list of those he has recorded and performed “live” with would include Dizzy Gillespie, Benny Golson. Freddie Hubbard, Donald Byrd, Benny Carter, Hank Jones, Milt Jackson, Bobby Hutcherson, Kenny Burrell, Phil Woods, Cedar Walton, Joe Henderson, Ray Bryant, Frank Wess, Clark Terry, Lionel Hampton, Charles McPherson, Jimmy Heath, Percy Heath, Jimmy Cobb, Louis Hayes, the Newport All Stars, the Carnegie Hall Jazz Band, Gerald Wilson,Lou Donaldson, Barry Harris, Lew Tabakin, Sweets Edison, Johnny Griffin, Jackie McLean, Sir Simon Rattle and the Birmingham Symphony, Richard Wyands, Teddy Edwards, Johnny Coles, Frank Morgan, and more... Of the younger generations, Washington has recorded and performed with Mulgrew Miller, Tom Harrell, the Brecker Brothers, Don Grolnick, David Sanchez, Eric Alexander, Benny Green, Javon Jackson, Brian Lynch, David Hazeltine, One For All, Steve Nelson, James Carter, Renee Rosnes, Steve Turre, Regina Carter, Kenny Washington, Grant Stewart, Robin Eubanks, Joe Magnarelli, Geoff Keezer, Billy Drummond, Jeremy Pelt, Ryan Kisor, Walt Weisokopf, and many, many others. Peter Washington has also enjoyed associtions with vocalists as diverse as Andy Bey, Freddie Cole, Karrin Allyson, Chris Conner, Mark Murphy, Georgie Fame, Ernie Andrews, Paula West, Eric Comstock, Anne Hampton Calloway, Marlena Shaw, and Ernestine Anderson. A complete discography would list, as of this writing, over 350 recordings, and is expanded on a weekly and monthly basis. In the scope and breadth of his career thus far, his adaptability, and in his emphasis on creative, supportive, swiging time- playing as well as inventive and intelligent soloing, Washington has been compared to the likes of George Duvivier, Milt Hinton, and Ron Carter.

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BENNY GREEN TRIO + PETER WASHINGTON & KENNY WASHINGTON

            BENNY GREEN TRIO featuring Peter Washington & Kenny Washington 8p • $20 | 10:30p • $18 bennygreenmusic.com   Benny Green possesses the history of jazz at his fingertips. Combine mastery of keyboard technique with decades of real world experience playing with no one less than the most celebrated artists of the last half century, and it's no wonder Green has been hailed as perhaps the most exciting, hard-swinging, hard-bop, pianist to ever emerge from Art Blakey's Jazz Messengers. In 1993 Oscar Peterson chose Benny as the first recipient of the City of Toronto's Glen Gould International Protégé Prize in Music. That year, Green replaced Gene Harris in Ray Brown's Trio, working with the veteran bass player until 1997. From 1997 on, Benny resumed his freelance career, leading his own trios, accompanying singers like Diana Krall, and concentrating in his solo piano performances. With the release of Green's Blues, Benny returned to his roots and updated the tradition with an exciting solo collection of jazz standards by Fats Waller, Duke Ellington, Erroll Garner and George Gershwin, among others, with his highly personal style. Benny has appeared on a guest performer on over one hundred (!) recordings, from albums with legacy artists such as: Betty Carter Art Blakey & the Jazz Messengers, Freddie Hubbard, Bobby Watson, Milt Jackson, Diana Krall, and he is particularly featured in Ray Brown's trio series of CD's for Telarc In 2011 Benny releases a much-anticipated Trio album, with whom he has recorded with Kenny and Peter Washington, and which serves to remind the world that no contemporary jazz pianist owns the trio format like Benny does. 2011 also marks the premier tour of a long developed project, MONK'S DREAM: 50 YEARS FRESH, billed as 'A Celebration of the Expanding Musical Universe of Bebop'. With MONK'S DREAM, Benny and band pay homage to the legacy and the man that is his first and most significant musical hero, Thelonious Sphere Monk. A perpetual student of the history of Jazz piano, the pianist mentions Erroll Garner, Ahmad Jamal, Phineas Newborn, Bud Powell and Oscar Peterson as some of his main influences. Benny Green's approach to Jazz can be resumed in his own words: "... for myself and a lot of musicians I admire, the main focus is to just swing and have fun, and share those feelings with the audience ... and, if I'm able to convey that, then I feel like I'm doing something positive". Kenny Washington One of the many young hard-bop revivalists to have arrived on the scene in the late '70s and early ‘80s, Washington has been in particular demand by much older musicians, playing with such legendary veterans as Lee Konitz, Betty Carter, Johnny Griffin, Dizzy Gillespie, Clark Terry, and Tommy Flanagan. Born in Brooklyn, Washington studied with the former Dizzy Gillespie drummer Rudy Collins and attended New York's LaGuardia High School for Music & Art. Washington worked with Konitz while still in his teens, recording with the saxophonist's nonet in 1977. He worked with Carter from 1978-9 and Griffin from 1980. A prolific freelancer, Washington has compiled an enormous discography, performing on dozens of sessions by many of jazz's most prominent figures. Kenny Washington has a strong interest in jazz history; he's written liner notes for and/or helped prepare classic jazz re-releases by Art Blakey and Count Basie, among others. He's also taught jazz drumming at the New School in New York City, and worked as an announcer at the New Jersey jazz radio station WBGO. Peter Washington Perhaps the most recorded bassist of his generation, Peter Washington has also played an integral part in two of the most important and highly praised jazz trios of the last 20 years, in addition to a “who's who” roster of jazz artists. Born in Los Angeles, California, in 1964, Washington attended the University of California, Berkeley, where he majored in English Literature and played in both the UC Symphony and the San Francisco Youth Symphony. In 1986, while performing in San Francisco with alto saxophonist John Handy, he was asked by Art Blakey to move to New York and join the seminal Art Blakey's Jazz Messengers. Washington remained with the Jazz Messengers from 1986 to 1989, and during this time was able to establish himself as a ubiquitous, first- call freelance bassist; a position he has occupied to this day. In the early 1990's Washington joined the Tommy Flanagan Trio , called by many “the greatest trio in jazz”, and remained until Flanagan's death, in 2002. For the past ten years he has been a member of the very highly acclaimed Bill Charlap Trio. In addition to these long- term commitments Washington has worked and recorded with an extremely large number of top- tier artists, of all generations. A partial list of those he has recorded and performed “live” with would include Dizzy Gillespie, Benny Golson. Freddie Hubbard, Donald Byrd, Benny Carter, Hank Jones, Milt Jackson, Bobby Hutcherson, Kenny Burrell, Phil Woods, Cedar Walton, Joe Henderson, Ray Bryant, Frank Wess, Clark Terry, Lionel Hampton, Charles McPherson, Jimmy Heath, Percy Heath, Jimmy Cobb, Louis Hayes, the Newport All Stars, the Carnegie Hall Jazz Band, Gerald Wilson,Lou Donaldson, Barry Harris, Lew Tabakin, Sweets Edison, Johnny Griffin, Jackie McLean, Sir Simon Rattle and the Birmingham Symphony, Richard Wyands, Teddy Edwards, Johnny Coles, Frank Morgan, and more... Of the younger generations, Washington has recorded and performed with Mulgrew Miller, Tom Harrell, the Brecker Brothers, Don Grolnick, David Sanchez, Eric Alexander, Benny Green, Javon Jackson, Brian Lynch, David Hazeltine, One For All, Steve Nelson, James Carter, Renee Rosnes, Steve Turre, Regina Carter, Kenny Washington, Grant Stewart, Robin Eubanks, Joe Magnarelli, Geoff Keezer, Billy Drummond, Jeremy Pelt, Ryan Kisor, Walt Weisokopf, and many, many others. Peter Washington has also enjoyed associtions with vocalists as diverse as Andy Bey, Freddie Cole, Karrin Allyson, Chris Conner, Mark Murphy, Georgie Fame, Ernie Andrews, Paula West, Eric Comstock, Anne Hampton Calloway, Marlena Shaw, and Ernestine Anderson. A complete discography would list, as of this writing, over 350 recordings, and is expanded on a weekly and monthly basis. In the scope and breadth of his career thus far, his adaptability, and in his emphasis on creative, supportive, swiging time- playing as well as inventive and intelligent soloing, Washington has been compared to the likes of George Duvivier, Milt Hinton, and Ron Carter.

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JOE MCBRIDE

            8 & 10p | $15 joemcbride.html Not even blindness can stop vocalist/keyboardist Joe McBride. His status as one of today’s most popular contemporary jazz musicians is rooted in a solid foundation of talent. Born in 1963 in Fulton, Missouri, he began playing piano at age four and started singing in high school. As a teenager, McBride contracted a degenerative eye disease and eventually lost his eyesight, but his passion for music was never impaired. He continued his studies at the Missouri School for the Blind and at Webster University in suburban St. Louis. McBride trekked to the sunny shores of San Diego for a while before enrolling at North Texas State University to study jazz and performance. When McBride finally stepped out as a leader in 1992 with “Grace”, his first CD for Heads Up International, a division of Concord Music Group, he quickly became a favorite in the contemporary jazz genre. His next recordings – “A Gift for Tomorrow” (1994), “Keys to Your Heart” (1996) and “Double Take” (1998) – featured some of the giants of contemporary jazz, including Grover Washington Jr., Peter White, Dave Koz, Rick Braun, Larry Carlton, and others. Among McBride’s many credits in 2000 Joe enjoyed a major supporting role in “The Riff”, a feature film about the New Orleans jazz scene (directed by Mark Allen and produced by Bernie Pollack). With the help of his new acoustic trio, McBride adds another significant title to his impressive discography with the July 2009 release of “Lookin’ for a Change”. On his latest Head Up recording he features songs originally written and recorded by a range of pop luminaries, including Gnarls Barkley, Coldplay, John Mayer, Seal and Jill Scott, and reinterprets them via straightahead jazz arrangements. “To be honest, I really wanted to try to reach a different audience with my new album,” McBride says. “I’m all about growth. It’s all about making the old things new. It’s okay to look back for just a moment, but the more important idea is to keep our eyes on the future.”

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SARAH SCHARBROUGH + special guests BLUE DORIAN

            8 & 10p • $15 sarahtunes.com Throw in a little pop, a little jazz and blues, a little country, and a little gospel, and you begin to describe the eclectic mix that makes up Sarah Scharbrough's piano-driven and soulful sound. Having worked with Grammy-award winning musicians, collaborating and sharing the stage with Bill and Gloria Gaither, Sandi Patty, Kurt Elling, Watermark, Jon McLaughlin, Avalon, Dierks Bentley and a slew of other impressive talents, Sarah’s songs have taken her around the world to jazz festivals, colleges, clubs, conferences, and churches, among other events. The journey started long ago when Sarah began singing and playing in her young childhood. As the daughter of two musicians, (owners of the Jazz Kitchen's building) spending evenings on the piano playing and singing was a common highlight of family time. Building on this foundational love of music, Sarah combines a classical and jazz influence into a soulful mix. Sarah has released 4 albums including "So Many Reasons", "The Least of These", “Draw Me Back”, and, currently, “The Bright Midwinter - A Christmas Meditation.”  She has also released a live concert DVD.  She has been the voice of commercial radio and television jingles ranging from Ford, Dodge, and New Balance to Cedar Point Theme Park and the Indiana Pacers. Her songs will keep you grooving and resonate with your soul. This is what Sarah's music is all about: singing the praises of real life—the life that you can feel down to your toes and the life that surpasses this present reality.               Blue Dorian Jazz Combo bluedorianjazz.com The Blue Dorian Jazz Combo is a piano, bass, and drums trio, and often adds saxophone, guitar, and vocals as requested by clients.  The group plays classic jazz, covering artists like Miles Davis, Duke Ellington, and Sonny Rollins, and vocal tunes include the styles of Frank Sinatra, Tony Bennett, and Michael Buble.

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JOHN SCOFIELD TRIO + STEVE SWALLOW & BILL STEWART

  7p show • $40 (front rows $50) | 9:30p show • $30 (front rows $40) johnscofield.com John Scofield’s guitar work has influenced jazz since the late 70’s and is going strong today. Possessor of a very distinctive sound and stylistic diversity, Scofield is a masterful jazz improviser whose music generally falls somewhere between post-bop, funk edged jazz, and R & B. Born in Ohio and raised in suburban Connecticut, Scofield took up the guitar at age 11, inspired by both rock and blues players. He attended Berklee College of Music in Boston. After a debut recording with Gerry Mulligan and Chet Baker, Scofield was a member of the Billy Cobham-George Duke band for two years. In 1977 he recorded with Charles Mingus, and joined the Gary Burton quartet. He began his international career as a bandleader and recording artist in 1978. From 1982-1985, Scofield toured and recorded with Miles Davis. His Davis stint placed him firmly in the foreground of jazz consciousness as a player and composer. Since that time he has prominently led his own groups in the international Jazz scene, recorded over 30 albums as a leader (many already classics) including collaborations with contemporary favorites like Pat Metheny, Charlie Haden, Eddie Harris, Medeski, Martin & Wood, Bill Frisell, Brad Mehldau, Mavis Staples, Government Mule, Jack DeJohnette, Joe Lovano and Phil Lesh. He’s played and recorded with Tony Williams, Jim Hall, Ron Carter, Herbie Hancock, Joe Henderson, Dave Holland, Terumasa Hino among many jazz legends. Throughout his career Scofield has punctuated his traditional jazz offerings with funk-oriented electric music. All along, the guitarist has kept an open musical mind. A Moment’s Peace A bona fide guitar hero and masterful improviser, John Scofield has covered a wide spectrum of musical styles with rare authority over the last four decades of his celebrated career. From funk and fusion to swinging jazz standards, rockfueled jams, lush orchestral collaborations, earthy blues and old-time gospel music, Scofield has imbued each style with his distinctive six-string voice, earning accolades for his triumphs along the way. On A Moment’s Peace, his followup to 2009’s gospel-drenched Piety Street, Scofield and his all-star crew of pianist/organist Larry Goldings (James Taylor, Norah Jones, Walter Becker), bassist Scott Colley (Jim Hall, Herbie Hancock, Pat Metheny) and drummer Brian Blade (Wayne Shorter, Joni Mitchell, Bob Dylan) luxuriate in ballads associated with such legendary interpreters of song as Billie Holiday, Abbey Lincoln, Nina Simone and John Coltrane. Included in the collection, Scofield’s third outing on EmArcy, are five new originals by the guitar great, along with soulful interpretations of the lyrical Lennon-McCartney number “I Will” and Carla Bley’s serene “Lawns.” “It’s an album of slow, gentle music,” says the perennial poll-winning guitarist. “But at the same time, we didn’t want it to be easy listening. We tried to really play on all the tunes. For me, no matter what kind of music, it’s really important that it be fresh and that we’re really playing something. The creativity, when accompanying or soloing, has to be there.” From sublime renderings of “I Want to Talk About You” and “You Don’t Know What Love Is” to “Gee Baby Ain’t I Good to You” and “I Loves You Porgy,” Scofield fills each of these timeless gems with an uncommonly expressive approach to his instrument while stretching out in the tradition of the great melodic improvisers. And his highly interactive rhythm section, marked by Colley’s formidable presence on bass, Goldings’ thoughtful orchestrations on both piano and organ and Blade’s sensitive, intuitive touch on the kit, helps make all of these tunes come alive in the moment. Scofield has high praise for his valued sidemen on A Moment’s Peace. “Some guys are interactive in kind of a bulldozer way,” he says. “But Scott, Larry and Brian are all able to be supportive of the music while making their personal contributions. There’s a kind of a magic in that.” While this session marks the first time that Scofield and Blade have played together on a recording, it’s a reunion of sorts for the other two band members. Bassist Colley played in the guitarist’s touring group during the early 1990s and keyboardist Goldings has had an ongoing musical relationship with Scofield over the years, having appeared on three of his previous recordings — 1993’s Hand Jive , 1995’s Groove Elation and 2005’s That’s What I Say_– and also being a key member of Trio Beyond, with drummer Jack DeJohnette (documented on 2006’s live _Saudades). Says Scofield, “I see Larry as one of the great orchestrators. That’s what a keyboard player does when they play with a band. And unfortunately, a lot of keyboard players take it in a direction I don’t necessarily want to go. But I just always agree with Larry’s choices. For me, he’s the perfect guy to play with because we cover a lot of the same bases. He likes to play all the same kind of music I do. And whatever project you have, if you bring him in the room he will add so much to it. It’s the same with Brian. All the guys, in their own way, really enhance the music by the choices they make. And as the leader, you want to trust their instincts. I didn’t have to say one word to anybody on any of this music. We just played the songs.” Regarding the relaxed accord that his empathetic crew strikes on A Moment’s Peace, Scofield says, “These guys can play beautifully and unhurried and really capture the mood of a song. To be relaxed but have it be fresh and energetic…that’s the trick. And I tried to keep the music somewhat simple so everybody could just play. When you have personalities like this, you just let them play and the music comes together in its own way.” He adds, “It’s the first time I’ve tried to do anything like this since Quiet,” referring to his 1996 Verve album, which focused on soothing melodies played exclusively acoustic guitar. “And I kept the songs short because I wanted the songs to be the thing. We do solo but the interpretation of the songs is our primary goal.”

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JOHN SCOFIELD TRIO + STEVE SWALLOW & BILL STEWART

            7p show • $40 (front rows $50) | 9:30p show • $30 (front rows $40) johnscofield.com     John Scofield’s guitar work has influenced jazz since the late 70’s and is going strong today. Possessor of a very distinctive sound and stylistic diversity, Scofield is a masterful jazz improviser whose music generally falls somewhere between post-bop, funk edged jazz, and R & B. Born in Ohio and raised in suburban Connecticut, Scofield took up the guitar at age 11, inspired by both rock and blues players. He attended Berklee College of Music in Boston. After a debut recording with Gerry Mulligan and Chet Baker, Scofield was a member of the Billy Cobham-George Duke band for two years. In 1977 he recorded with Charles Mingus, and joined the Gary Burton quartet. He began his international career as a bandleader and recording artist in 1978. From 1982-1985, Scofield toured and recorded with Miles Davis. His Davis stint placed him firmly in the foreground of jazz consciousness as a player and composer. Since that time he has prominently led his own groups in the international Jazz scene, recorded over 30 albums as a leader (many already classics) including collaborations with contemporary favorites like Pat Metheny, Charlie Haden, Eddie Harris, Medeski, Martin & Wood, Bill Frisell, Brad Mehldau, Mavis Staples, Government Mule, Jack DeJohnette, Joe Lovano and Phil Lesh. He’s played and recorded with Tony Williams, Jim Hall, Ron Carter, Herbie Hancock, Joe Henderson, Dave Holland, Terumasa Hino among many jazz legends. Throughout his career Scofield has punctuated his traditional jazz offerings with funk-oriented electric music. All along, the guitarist has kept an open musical mind. A Moment’s Peace A bona fide guitar hero and masterful improviser, John Scofield has covered a wide spectrum of musical styles with rare authority over the last four decades of his celebrated career. From funk and fusion to swinging jazz standards, rockfueled jams, lush orchestral collaborations, earthy blues and old-time gospel music, Scofield has imbued each style with his distinctive six-string voice, earning accolades for his triumphs along the way. On A Moment’s Peace, his followup to 2009’s gospel-drenched Piety Street, Scofield and his all-star crew of pianist/organist Larry Goldings (James Taylor, Norah Jones, Walter Becker), bassist Scott Colley (Jim Hall, Herbie Hancock, Pat Metheny) and drummer Brian Blade (Wayne Shorter, Joni Mitchell, Bob Dylan) luxuriate in ballads associated with such legendary interpreters of song as Billie Holiday, Abbey Lincoln, Nina Simone and John Coltrane. Included in the collection, Scofield’s third outing on EmArcy, are five new originals by the guitar great, along with soulful interpretations of the lyrical Lennon-McCartney number “I Will” and Carla Bley’s serene “Lawns.” “It’s an album of slow, gentle music,” says the perennial poll-winning guitarist. “But at the same time, we didn’t want it to be easy listening. We tried to really play on all the tunes. For me, no matter what kind of music, it’s really important that it be fresh and that we’re really playing something. The creativity, when accompanying or soloing, has to be there.” From sublime renderings of “I Want to Talk About You” and “You Don’t Know What Love Is” to “Gee Baby Ain’t I Good to You” and “I Loves You Porgy,” Scofield fills each of these timeless gems with an uncommonly expressive approach to his instrument while stretching out in the tradition of the great melodic improvisers. And his highly interactive rhythm section, marked by Colley’s formidable presence on bass, Goldings’ thoughtful orchestrations on both piano and organ and Blade’s sensitive, intuitive touch on the kit, helps make all of these tunes come alive in the moment. Scofield has high praise for his valued sidemen on A Moment’s Peace. “Some guys are interactive in kind of a bulldozer way,” he says. “But Scott, Larry and Brian are all able to be supportive of the music while making their personal contributions. There’s a kind of a magic in that.” While this session marks the first time that Scofield and Blade have played together on a recording, it’s a reunion of sorts for the other two band members. Bassist Colley played in the guitarist’s touring group during the early 1990s and keyboardist Goldings has had an ongoing musical relationship with Scofield over the years, having appeared on three of his previous recordings — 1993’s Hand Jive , 1995’s Groove Elation and 2005’s That’s What I Say_– and also being a key member of Trio Beyond, with drummer Jack DeJohnette (documented on 2006’s live _Saudades). Says Scofield, “I see Larry as one of the great orchestrators. That’s what a keyboard player does when they play with a band. And unfortunately, a lot of keyboard players take it in a direction I don’t necessarily want to go. But I just always agree with Larry’s choices. For me, he’s the perfect guy to play with because we cover a lot of the same bases. He likes to play all the same kind of music I do. And whatever project you have, if you bring him in the room he will add so much to it. It’s the same with Brian. All the guys, in their own way, really enhance the music by the choices they make. And as the leader, you want to trust their instincts. I didn’t have to say one word to anybody on any of this music. We just played the songs.” Regarding the relaxed accord that his empathetic crew strikes on A Moment’s Peace, Scofield says, “These guys can play beautifully and unhurried and really capture the mood of a song. To be relaxed but have it be fresh and energetic…that’s the trick. And I tried to keep the music somewhat simple so everybody could just play. When you have personalities like this, you just let them play and the music comes together in its own way.” He adds, “It’s the first time I’ve tried to do anything like this since Quiet,” referring to his 1996 Verve album, which focused on soothing melodies played exclusively acoustic guitar. “And I kept the songs short because I wanted the songs to be the thing. We do solo but the interpretation of the songs is our primary goal.”

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BECKY ARCHIBALD & FRIENDS

            7-10p | $10 about Becky... Award-winning composer, pianist and recording artist, Becky Archibald will perform all new music from her soon-to-be-released Monteton Jazz Songbooks, inspired from her residency at the Dordogne Jazz Summer School in France.  She will be joined by her talented friends from the Indianapolis jazz community:  Jim Farrelly/saxophone, P.J. Yinger/trumpet, Jack Helsley/bass and Gene Markiewicz/drums. “The need to express the musical fire that burns in the mind of pianist / composer Becky Archibald is relentless … — Chuck Workman, Indianapolis NUVO Becky Archibald is an award-winning pianist, composer, recording artist, and educator.  Spanning solo piano to chamber music to jazz, Becky’s music has taken her far – from Carnegie Hall’s Weill Recital Hall (solo debut, 2006) to a California house concert playing Frank Sinatra’s piano, to the Dordogne Jazz Summer School (DJSS) in Monteton, France (composer-in-residence since 2009.) An Anderson, Indiana native, and a graduate of Anderson University, Becky received her Masters in Piano Performance from California State University at Long Beach. Her life took a new direction when she wrote a piano piece for her mom’s birthday in 1997—her first composition, Searching. Since then, Archibald written over 200 compositions, and has released 5 piano CDs – Searching (1999) The Long Ride Home (2001) The Light at the End of the Blues (2003) The Christmas One (2005) and Mood Swing (2007.)  Scott Yanow, L.A. Jazz Scene, describes Mood Swing as “consistently intriguing.”  Just Plain Folks, an international organization of independent musicians, selected The Long Ride Home as “Best Solo Instrumental Album” in their 2002 CD awards.  And The Christmas One received a “Recording of Exceptional Merit” award in 2006 from Wisconsin Public Radio, WRST-FM.  Becky’s music has been placed on cable and network television in the U.S., Canada, Finland, Croatia and Japan, and on radio stations around the country and overseas.  “Her music unfolds like I expect a good story to unfold,” says Bob Boilen, creator of NPR’s All Songs Considered. Another surprising turn in Becky’s career happened a few years ago . . . in France. Through a 2008 Creative Renewal Fellowship from the Arts Council of Indianapolis, Becky fulfilled a dream of immersing herself in jazz studies at the Dordogne Jazz Summer School in Monteton, France, where she wrote and premiered her first chart, “Midnight at Monteton.”  Returning home to Indiana with new ideas, chords to explore and memories of the French countryside, Archibald dove into a flurry of writing.  Becky is now in the process of recording a jazz CD, and with support from the Indiana Arts Commission, has published three jazz songbooks of her French-inspired music – “Midnight at Monteton”, “Monteton Blues” and “Once is Not Enough.”  In France, Archibald has had the opportunity to perform her music with top players from the UK jazz scene, including Quentin Collins, Nic France, Jonathan Bratoeff, Dorian Lockett and Mornington Lockett. Jonathan Bratoeff, jazz guitarist/composer from France, and teacher at DJSS says, "Becky's tunes have a very melodic, almost natural feel to them, great fun to play as well!  She uses all the harmonic and rhythmic palette of a modern composer and you can hear a wide range of influences in her music." Becky has many friends to thank for bringing her jazz tunes to life here in Indianapolis:  The Farrelly/Markiewicz Quartet (Jim Farrelly, Gene Markiewicz , Sandy Williams, Jesse Wittman) Dean Franke, P.J. Yinger, Ju-Fang Liu, Mark Ortwein, Kenny Phelps, Ty Stover, Jack Helsley, Dave Murray, Steve Dokken, Kevin Kaiser, David Bellman, Rob Dixon, Pharez Whitted, Greg Artry, Brandon Meeks, Tom Petersen, Dave Hampton, Greg Gegogeine, John Newby, and Gordon Brooks, as well as the Anderson University Jazz-tet, led by Mark Murray, and the Anderson University Jazz Ensemble, led by John Huntoon. Becky received the Outstanding Music Alumni Award from Anderson University in 2009, and began teaching there in 2010 as professor of composition. For more information, please visit www.beckyarchibald.com.

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FRANK PUZZULLO CD RELEASE PARTY

7-10p | $12 frankpuzzullo.com Featuring Frank Puzzullo on piano, Mark Buselli on trumpet, Andy Fusco on saxophone, Bob Bowman on bass, and Joel Spencer on drums. “Puzzullo's album is keeping the flame alive with his cooking take-no-prisoners quintet... Buselli's playing is relaxed and flowing, and Fusco's alto sax complements Puzzullo's hard, swinging bebop lines. Bob Bowman's bass and Joel Spencer's drums have driving swing and bop accents that propel the quintet to a high level. Opening track "You Do" is a freewheeling bebop romp that sets the tone for the whole record. Puzzullo's solo shows his reflective and sensitive side on the ballad ‘Spring is Here’.” -Chuck Workman, NUVO about Frank... Frank Puzzullo is a jazz pianist, composer and jazz educator. His most recent album was recorded in 2011, and consisted of original compositions by Frank. Puzzullo, a native of Syracuse, NY, was a youth when upstate New York was a hot bed for jazz. After high school, he played semi-pro baseball for the St. Louis Cardinals’ farm team, and worked in the off season as a pianist accompanying the big name entertainment that came to Syracuse. He worked with Chuck Mangione, Woody Herman and Buddy Rich, then went on to complete undergraduate and master’s degrees in music education from Murray State University in Kentucky. In the 1970s he headed to New Orleans where he was pianist with the Al Belletto Band, performing regularly at the Playboy Club. He also performed with Al Hirt and recorded with Pete Fountain. Loyola University in New Orleans asked Puzzullo to head its jazz department, where he developed its Jazz Study Major. He then went to the University of Wisconsin Milwaukee and developed its Jazz Study Major. For 23 years, Puzzullo appeared in the New Orleans Jazz Festival and headlined various jazz festivals. Some of the artists he has performed with include Ira Sullivan, John Faddis, and Dizzy Gillespie. He also performed with Al Hirt at the New Orleans World’s Fair. In the last decade he has performed with artists such as Chuck Mangione, Red Holloway, James Moody, James Spaulding, Bob Mintzer, Marvin Stamn, Alex Sipiagin, Bob Sheppard, Billy Drummond, and Rufus Reid. From 1982 to 2011 Puzzullo was Associate Professor of Music Education (Jazz Studies) at Ball State University in Muncie, IN. He developed the school's jazz minor. He also developed an “Art of Jazz” Series where numerous artist are presented in concert.

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FRANK PUZZULLO CD RELEASE PARTY

7-10p | $12 frankpuzzullo.com Featuring Frank Puzzullo on piano, Mark Buselli on trumpet, Andy Fusco on saxophone, Bob Bowman on bass, and Joel Spencer on drums. “Puzzullo's album is keeping the flame alive with his cooking take-no-prisoners quintet... Buselli's playing is relaxed and flowing, and Fusco's alto sax complements Puzzullo's hard, swinging bebop lines. Bob Bowman's bass and Joel Spencer's drums have driving swing and bop accents that propel the quintet to a high level. Opening track "You Do" is a freewheeling bebop romp that sets the tone for the whole record. Puzzullo's solo shows his reflective and sensitive side on the ballad ‘Spring is Here’.” -Chuck Workman, NUVO about Frank... Frank Puzzullo is a jazz pianist, composer and jazz educator. His most recent album was recorded in 2011, and consisted of original compositions by Frank. Puzzullo, a native of Syracuse, NY, was a youth when upstate New York was a hot bed for jazz. After high school, he played semi-pro baseball for the St. Louis Cardinals’ farm team, and worked in the off season as a pianist accompanying the big name entertainment that came to Syracuse. He worked with Chuck Mangione, Woody Herman and Buddy Rich, then went on to complete undergraduate and master’s degrees in music education from Murray State University in Kentucky. In the 1970s he headed to New Orleans where he was pianist with the Al Belletto Band, performing regularly at the Playboy Club. He also performed with Al Hirt and recorded with Pete Fountain. Loyola University in New Orleans asked Puzzullo to head its jazz department, where he developed its Jazz Study Major. He then went to the University of Wisconsin Milwaukee and developed its Jazz Study Major. For 23 years, Puzzullo appeared in the New Orleans Jazz Festival and headlined various jazz festivals. Some of the artists he has performed with include Ira Sullivan, John Faddis, and Dizzy Gillespie. He also performed with Al Hirt at the New Orleans World’s Fair. In the last decade he has performed with artists such as Chuck Mangione, Red Holloway, James Moody, James Spaulding, Bob Mintzer, Marvin Stamn, Alex Sipiagin, Bob Sheppard, Billy Drummond, and Rufus Reid. From 1982 to 2011 Puzzullo was Associate Professor of Music Education (Jazz Studies) at Ball State University in Muncie, IN. He developed the school's jazz minor. He also developed an “Art of Jazz” Series where numerous artist are presented in concert.