blue note program: february 2012

F E B R U A R Y 2 0 1 2 p R o g R A m

W o R L D ’ S F I N E S T J A Z Z C L U B A N D R E S T A U R A N T131 W. 3RD ST. NEW YoRk CITY 212. 475. 8592 WWW.BLUENoTEJAZZ.Com

MONTY ALEXANDERCELEBRATING50 YEARS IN MUSIC50 YEARS OF JAMAICAFEB 20 - MARCH 4

LATE NIGHT GROOVE SERIES

NICOLAY & THE HOT AT NIGHTSFEB 3

ANNEKEIFEB 4

JASON PROVER & HIS ORCHESTRAFEB 10

THE E.J. STRICKLAND PROJECT TRIBUTE TO STEVIE WONDERFEB 11

CHRISETTE MICHELEA TRIBUTE TO THE LEGENDSWITH GUEST ROBERT GLASPERPRODUCED BY JILL NEWMAN PRODUCTIONSJAN 31 - FEB 1

RACHELLE FERRELLFEB 2 - 5

JUILLIARD JAZZ ORCHESTRAFEB 6

ROY HARGROVE BIG BAND WITH SPECIAL GUESTROBERTA GAMBARINIFEB 7 -12

TANKFEB 13

DAVID SANBORNFEB 14 - 19

FEBRUARY CALENDAR

SUNDAY BRUNCH

ALAN FERBER & HIS NYU ENSEMBLEFEB 5

GENE ESS - A THOUSAND SUMMERS FT. NICKI PARROTTFEB 12

TWO SHOWS NIGHTLY: 8PM & 10:30PMLATE NIGHT GROOVE: FRIDAYS & SATURDAYS 12:30AM MIDnIghT

SUNDAY JAZZ BRUNCH 12:30PM & 2:30 PM

THE HARLEM- KINGSTON EXPRESS WITH ERNEST RANGLINFEBRUARY 20; WITH SURPRISE SPECIAL GUESTS &DIANA KING (3/4)MARCH 3 & 4

TRIPLE TREAT REVISITED WITH CHRISTIAN McBRIDE & RUSSELL MALONEFEBRUARY 21 & 22

UPLIFT! WITH DR. LONNIE SMITH (2/23) & PAT MARTINO (2/24)FEBRUARY 23 & 24

IVORY & STEEL: A JAZZ TRIBUTE TO TRINIDAD WITH OTHELLO MOLINEAUX, ETIENNE CHARLES & DESIGNERFEBRUARY 25

A NIGHT AT JILLY’SWITH SP. GUESTS DEE DEE BRIDGEWATER & FREDDY COLEFEBRUARY 26

THE ’76 MONTREUX TRIOFT. JOHN CLAYTON & JEFF HAMILTONFEBRUARY 27 & 28

MONTY MEETS SLY & ROBBIEWITH SHAGGY (3/1)FEBRUARY 29 - MARCH 2

MONTY ALEXANDER 50 YEARS IN MUSIC 50 YEARS OF JAMAICA

RAHJFEB 17

EARTHDRIVERFEB 18

WYLLYS FT. JENNIFER HARTSWICK WITH SPECIAL GUESTSFEB 24

KUNG FUFEB 25

JUILLIARD JAZZ BRUNCHFEB 19

THE DIVA JAZZ TRIOFEB 26

CHRISETTE MICHELE: A TRIBUTE TO THE LEGENDS WITH SPECIAL GUEST ROBERT GLASPER

JAN 31 – FEB 1 8PM & 10:30PM $35 @ TABLE / $20 @ BAR

Roots and embarking on a nationwide head-lining tour with fellow soul singer Raheem DeVaughn. She enjoyed the critical success of her sophomore album Epiphany in 2009. The disc debuted at No. 1 on the Soundscan and Billbord charts, selling 83,000 copies in its first week.

Let Freedom Reign, michele’s latest effort, dropped in 2010. The album is charged throughout, a blissful marriage of fiery spirit and artful musicality. In an age of disposable tracks and thoughtless compositions, this al-bum is the poignant counterpoint. “This mo-ment I’m in the midst of is about doing what-ever it is to bring freedom into your life, to make freedom your reality,” muses michele on her latest project. “Let Freedom Reign is a mandate to the people who are listening, a challenge ... to create freedom and truth in their lives.”

www.jillnewmanproductions.com

Produced by Jill Newman Productions

grammy-winning sensation Chri-sette michele has ascended to R&B royalty in a remarkably brief period of time. Signed to the Island Def Jam music group in 2006, she has since produced three groundbreaking al-bums, all of which show off in grand style her brilliant voice, which she uses to seamlessly weave soul and pop into a truly enchanting blend. She garnered a grammy Award in 2009 and hasn’t looked back, re-leasing her latest album in 2010 and making her Blue Note debut in 2011.

michele has been surrounded by music since she was a small child. This 29-year-old singer, songwriter, and composer has been blessed with an old soul and a deep appre-ciation for the harmonic and stylis-tic foundations of her music, which fuses pop, soul, and R&B together with a touch of jazz. Though already a fan of gospel and classical, it wasn’t until michele was seventeen that she also developed a passion for jazz. “When I was still in high school a teacher introduced me to jazz singer Astrud gilberto, and af-terwards my life was all about jazz,” she remembers.

Those dreams michele put to paper are now in the ears of countless fans. After India.Arie and kem enlisted her as an opening act upon hearing her sing at the Village Underground, she was soon signed to the Def Jam label and released her critically lauded debut I Am in 2007. The disc fetched Michele her first Grammy Award for the song “Be okay.” 2008 found her collaborating with The

RACHELLE FERRELL

FEBRUARY 2 – 5 8PM & 10:30PM $45 @ TABLE / $30 @ BAR

Welcome to My Love (1993, Capitol), Noth-ing Has Ever Felt Like This (1994, Capitol), the 1995 Blue Note re-release of her debut al-bum First Instrument, and Individuality (Can I Be Me?) (2000, Capitol).

However accomplished Ferrell’s studio re-cordings have been, the studio is simply inca-pable of capturing an artistic sprit that refuses to be limited by the constraints of making a record. Hence Ferrell’s latest album Live at Montreux 91-97 (2002), which captures her string of knockout performances at the festi-val, beginning with her debut in 1991.

Back when Ferrell taught with Dizzy gil-lespie for the New Jersey State Council on the Arts, the trumpet legend predicted that Ferrell would become a “major force” in the jazz world. He was right – Ferrell continues to be a potent vocal talent making waves in the pop, jazz, and R&B worlds.

Rachelle Ferrell is unquestionably one of the most dynamic talents in contemporary jazz and pop music. Very few vocal artists in the indus-try have her potent combination of phrasing, musicianship, and a stun-ning six-octave range that features her signature high-register whistle tone.

Ferrell began singing at a young age and later honed her talents Berklee College of music in Boston. Soon after, she taught several years with Dizzy gillespie for the New Jersey State Council on the Arts.

Beginning in 1975, Ferrell cut her teeth singing backup for patti La-Belle and working with prominent artists like george Duke, Quincy Jones, and george Benson. It took her 15 years to release her debut album First Instrument, but when it finally hit shelves in Japan in 1990, the disc’s all-star cast combined with her unique interpretations of well-known jazz standards to cap-tivate the Japanese jazz community.

Soon after this debut release, Fer-rell’s incredible talent became pow-erfully evident to Blue Note Records head Bruce Lundvall, who first heard Ferrell on a demo tape while driving to the supermarket and signed her shortly thereafter in 1990. So im-pressed was Lundvall with Ferrell’s genre-crossing talents that he signed her to a unique two-label contract that found her cutting both jazz re-cords for Blue Note and urban pop releases for the Capitol label.

The next several years saw Ferrell fulfill her contracts with both her labels by releasing a string of stel-lar jazz and pop albums, includ-ing Rachelle Ferrell (1992, Capitol),

Bowie, eventually performing his famous solo on Bowie’s 1975 recording Young Americans. It was also in 1975 that Sanborn released his first solo album, Taking Off. While Sanborn continued working with other performers such as paul Simon and James Taylor in the coming years, he also continued flexing his considerable muscles as a solo artist, eventually scoring massive popular hits with Hideaway (1980), grammy-winning Voyeur (1981), and Backstreet (1983), the last of which proved to be a major hit in the world of con-temporary jazz. He won his second of six career grammy Awards in 1986 for Double Vision (with Bob James), and in the late 1980s he hosted the classic television program Night Music.

Throughout the ‘90s, ‘00s, and into the present, Sanborn has continued to tour and record, having amassed a wide and enthusiastic fan base around the world. Recent albums like Dreaming Girl (2008), Here & Gone (2008), and Only Every-thing (2010) reflect the essence of an artist at peace with his own sound and development, yet still hungry – eager to explore the possibilities of his instrument and his abilities.

DAVID SANBORN

Hailing from The Netherlands, grammy-nominated music producer and per-former Nicolay is perhaps known as one half of The Foreign Exchange with rapper phonte (of Little Brother). The two met on the okayplayer message boards and quickly struck up a partnership, releasing their critically acclaimed debut album Connected in 2004. The duo’s sopho-more album, Leave It All Behind (2008) culminated in a grammy nomination. Nicolay also boasts a diverse solo cata-

NICOLAY & THE HOT AT NIGHTS

Friday, February 312:30AM $15 @ table / $15 @ bar

At 19 years old, singer and songwriter Annekei moved from her home country, Denmark, to pursue her musical ambi-tions in New York City. Since her arrival in 2002, the young singer has been per-forming venues as varied as Joe’s pub, pianos, The metropolitan Cafe, Rock-wood music Hall, and The Living Room. In 2003, Annekei made it to the finals of the amateur night competition on the TV show Showtime at The Apollo, perform-

ANNEKEI

Saturday, February 4

12:30AM $10 @ table / $10 @ bar

ing her original song “Close Your Eyes.” Two years later, her single “more of Your Love” broke on the club scene in the Uk. In 2006 she signed with a Japanese label and released her self-titled debut album in September the same year. Her second solo album Tsuki dropped the next year, with her third album Touch and subse-quent efforts following shortly thereafter.

L at e N i g h t g r o o v e S e r i e S

logue that includes his album City Lights Vol. 2: Shibuya. Nicolay recently part-nered with Raleigh-based exploratory jazz trio The Hot at Nights to reinterpret eight of the album’s tracks. Nicolay and The Hot at Nights will spend several weeks in early 2012 touring to promote the album, including tonight’s perfor-mance at the Blue Note.


NYU SUNDAY BRUNCH SERIES

Alan Ferber is known internationally as a jazz trombonist, composer, and bandleader. For the last two years, he has been recognized as one of the leading trombonists of his generation in Down-Beat magazine’s International Critics poll and Readers poll. He has released four albums, all of which blur traditional boundaries through an intriguing mix of influences. Ferber’s latest project with his nonet and string orchestra, Chamber Songs (2010), was named one of the best

ALAN FERBER & HIS NYU ENSEMBLE

Sunday, February 512:30pm & 2:30pm

$24.50 includes Show, Brunch & 1 Drink

CDs of 2010 by DownBeat. The stylistic breadth of his music owes in large part to his varied list of collaborators, which includes Charlie Hunter, Sufjan Stevens, the Vanguard Jazz orchestra, Harry Con-nick Jr., peter gabriel, and Lee konitz, among others.

This afternoon, Ferber will perform with an ensemble featuring talented student musicians from NYU’s Jazz Studies department.

HALF NOTE RECORDS NEW RELEASE

FRANCISCO MELA & CUBAN SAFARITREE OF LIFEOn hiS SecOnd releaSe FOr halF nOte, drummer FranciScO mela cOntinueS tO FuSe the rhythmic liFe FOrce OF hiS hOmeland cuba, with the heat-Seeking energy OF mOdern jazz. he iS knOwn aS a muSician’S FavOrite - he iS a member OF JOE LOvANO’S band, uS Five - be-cauSe he bOaStS a paSSiOn and Spirit rarely heard amOng yOung inStru-mentaliStS. mela’S grOup iS named cu-ban SaFari, and it FeatureS Sterling play FrOm pianiSt ELIO vILLAFRANCA, SaxiSt URI GURvICH, guitariSt ben mOnder and Special gueSt ESpERANzA SpALdING.mela’S tender vOcal will SurpriSe all.

AVAILABLE UPSTAIRS IN THE BLUE NOTE GIFT SHOP!

DAVID SANBORN

The Juilliard Jazz orchestra, conducted by James Burton III, features some of the world’s most talented emerging jazz art-ists. Since the big band’s debut at the world famous Blue Note jazz club, the ensemble has performed frequently at the Blue Note and at The Juilliard School in concerts at the peter Jay Sharp The-ater and Alice Tully Hall. Dizzy’s Club Coca-Cola has also featured the big band during week-long performances

JUILLIARd JAzz ORCHESTRA

mOnday, February 68PM & 10:30PM $15 @ table / $10 @ bar

with special guest artists such as kenny Barron, Frank Wess, gerald Wilson, Lew Tabackin, Bobby Watson, Ernie Andrew, Tom Harrell, and Sean Jones. In tonight’s performance, the Juilliard Jazz orches-tra will perform music by American jazz classic composers, including Cole porter, Duke Ellington, and Rogers and Hart. In observation of Valentine’s Day, the big band will also perform selections that celebrate love.

ARRIVE EARLY, EAT DINNER & GET THE BEST SEATS

FEB 16 6:30PM FEB 17 6:30PM

CLEAN VERSION OF OUR LOGO

DIRTY VERSION OF OUR LOGO - USE IF POSSIBLE

Shawn Randall PReSentS

SymPhonicS live

FEB 18 7PMGRace webeR & duv

GReGoRy PoRteR

MAR 16 7:30PM

chickcoRea

APR 5 8PM & 10:30PM

2 ShowS!

Shawn “mR. SymPhonicS live” Randall

Giant SteP PReSentS

RobeRt GlaSPeReXPeRiment

FEB 28 9PM

w/ SPecial GueStS yaSiin bey, chRiSette michele, lalah hathaway & moReProduced by Second Son Productions & Jill newman Productions

19-piece ensemble is a vibrant and ver-satile group, tackling a wide range of material and styles with equal doses of precision and passion. In light of the cur-rent financial climate, one might wonder why Hargrove picked now to assemble a big band for a recording and national tour. “Financially speaking, this [was] probably the worst thing I could ever do,” says Hargrove,” but it [was] some-thing that [needed] to be done, spiritu-ally and musically speaking.”

Hargrove’s big band, which cites the large bands of Dizzy gillespie, Count Basie, Duke Ellington, maynard Fergu-son, and Gerald Wilson as key influ-ences, has already been showcased at the Hollywood Bowl and SummerStage in New York’s Central park. “The small group has been such a big deal for so long in jazz that people forget where the small groups came from,” says Hargrove. “There’s nothing like the feeling you get when you’re hearing your compositions and arrangements played by a wall of sound. I’m just trying to make some mu-sic that’s fun to hear and play.”

Tonight’s performance will feature spe-cial guest Roberta gambarini, a frequent collaborator with Hargrove who also recently enjoyed a grammy nomination for her 2009 album So In Love.

Since his emergence in the late 1980s, trumpet player Roy Hargrove has proved to be an adventurous and wide-ranging artist, proudly immersed in the jazz tra-dition and yet continually striking out for new terrain. Among his groups include the straight-ahead, hard bop Roy Har-grove Quintet and Crisol, an Afro-Cuban ensemble that won a grammy in 1998 for Best Latin Jazz performance with its album Habana. With the funk-oriented RH Factor, Hargrove released the 2003 album Hard Groove, featuring guest appearances by R&B superstars Erykah Badu, Common, and D’Angelo. His last album, 2008’s quintet session Earfood, was featured in dozens of year-end Top 10 lists.

The seeds of Hargrove’s big band were planted in 1995, when he first formed a big band for a New York jazz festival. “The Jazz gallery is for up-and-coming young players,” Hargrove explains. “I go around to jam sessions a lot, sit in with cats, and I think that the new generation doesn’t have a lot of experience playing in sections and playing in big bands. ”

Hargrove’s big band lineup eventually crystallized into the band featured on his latest record, Emergence (2009). The Grammy-nominated disc, his first big band release, marks the realization of a lifelong dream for Hargrove. The album’s

JACK DeJOHNETTE

SUNDAY, JANUARY 8 8PM & 10:30PM $35 @ TABLE / $25 @ BAR

ROY HARGROVE BIG BAND WITH SPECIAL GUEST ROBERTA GAMBARINIFEBRUARY 7 – 12 8PM & 10:30PM $35 @ TABLE / $20 @ BAR

chickcoRea

APR 5 8PM & 10:30PM

2 ShowS!

Giant SteP PReSentS

RobeRt GlaSPeReXPeRiment

FEB 28 9PM

Student Society and Jazz Collective. He also wrote a music column for the Fine print Newspaper. He currently performs with the Hot Sardines, The Recessionals, The Williamsburg Salsa orchestra, the Jp4, and more. In 2011, prover received a masters of music Degree in Jazz per-formance from the Steinhardt School at New York University.

A rising star on the NYC music scene, Ja-son prover already has an impressive re-sume at the age of 24. prover received a Bachelor’s Degree in music performance from the University of Florida, studying under the guidance of Dr. Joyce F. Da-vis. During his time in Florida, he played with a number of ensembles, including his Lower 13th Street Jazz Band and the blues-drenched michael Claytor and Friends. At 22, prover was named Char-ter president of U.F.’s Jazz Appreciation

JASON pROvER & HIS ORCHESTRA

Friday, February 1012:30AM $10 @ table / $10 @ bar


THE E.J. STRICKLANd pROJECT TRIBUTE TO STEvIE WONdER

Saturday, February 1112:30am $10 @ table / $10 @ bar


Drummer, composer, and bandleader E.J. Strickland is most known for his work as a member of the long-lived quartet of Ravi Coltrane and his brother marcus Strickland’s celebrated electric and acoustic quartets and trio. He also leads his own bands, The E.J. Strickland Quintet and The E.J. Strickland project. Strickland’s playing has been described by Thomas Conrad of DownBeat maga-zine as emitting “fields of cumulative en-

ergy, clouds of feather-touch and heavy-handed syncopations, latent with power like an oncoming storm.” His discogra-phy includes over 30 albums, as well as his long-anticipated debut album as a leader, In This Day (Strick muzik, 2009). Tonight Strickland takes the stage at the Blue Note with a talented crew of col-laborators to pay tribute to R&B legend Stevie Wonder, featuring vocalists Char-enee Wade and pauline Jean.



RANDY BRECKERWiTH THE DANiSH RADiO BiG BAND

THE JAZZ BALLAD SONG BOOKTrumpeter Randy Brecker, an emeritus statesman whose life in music spans six decades, forges a career record, exploring the contours of jazz’s Great American Songbook in collaboration with the DR Big Band and the Danish National Chamber Orchestra. With lushly conceived charts penned by jazz’s pre-mier arrangers, including Grammy winner Vince Mendoza, THE JAZZ BALLAD SONG BOOK is both cin-ematic and intimate, reflecting perfectly the scope of Brecker’s contribution to popular music. Evergreens include “Cry Me a River,” “All or Nothing at All,” “Someday My Prince Will Come” and “Skylark.”

2011 GRAmmY AWARD NOmiNEE FOR BEST LARGE JAzz ENSEmBLEBEST iNSTRumENTAL COmpOSiTiON BEST impROviSED JAzz SOLO & BEST iNSTRumENTAL ARRANGEmENT

EAST MEETS WEST SUNDAY BRUNCH SERIES

guitarist gene Ess gained his award-winning musicianship from a very di-verse background. growing up on a U.S. Air Force base in okanawa, Japan, he studied the classical piano and was influenced by the indigenous music of the island, along with the pop and jazz music coming from the clubs on base. He has performed and recorded with Rashied Ali, Al Foster, Ravi Coltrane, Reggie Workman, Santana, Dave Lieb-man, Tigran Hamasyan, Archie Shepp,

GENE ESS – A THOUSANd SUMMERS featuring NICKI pARROTT

Sunday, january 1212:30PM & 2:30PM $24.50 includes Show, Brunch & 1 Drink

Harvie S, Donny mcCaslin, Yamashita Yosuke, and many more wonderful art-ists. This afternoon’s show is a CD release show for Ess’s latest album, A Thousand Summers, which features Nikki parrott on vocals. The album features carefully selected songs from the jazz canon ar-ranged by Ess and Thomson kneeland.

Tank is one of the most recognizable names in modern R&B, known for vivid storytelling and sensual love songs. He’s an icon in the making, with four albums and eight grammy nominations under his belt. He’s also a singer who carries the torch of masters like marvin gaye and Al Green, while redefining R&B for a new decade. For this artist, the secret to his success is simple. He remains true to who he is, as a man and an artist.

Though fans know and love Tank for smash hits like “maybe I Deserve” and “please Don’t go,” they may be surprised to learn that he is also behind such chart-toppers as Rubben Studdard’s “Change me” and omarion’s “o.” What’s more, Tank served as an associate member of the hit-making production team The Un-derdogs, with further credits including the smash soundtrack to the 2006 mu-sical film adaptation of Dreamgirls (in which he also made a cameo).

on his fourth and most recent studio album Now or Never (2010), Tank steps back into the spotlight with an incredibly personal collection that shares both the intensely intimate themes his fans have come to love as well as an entirely new side of himself.

Now or Never maintains a perfect bal-ance between the classic style that made Tank famous and his penchant for col-laboration and experimentation, always pushing the envelope. “The sound of this new album is still the traditional R&B for-mula, but sonically it’s very current,” he says. The first single from the disc, “Sex music,” perfectly illustrates this new sound. The high-energy track lives up to its name with a spacey, shuddering beat that renders the track irresistible for die-hard Tank fans. It’s been an incredible journey since Tank was an undiscovered artist with a dream, penning songs in

the basement of his mother’s maryland home. He has enjoyed remarkable suc-cesses throughout his career, and Now or Never is in many ways the album that brings those successes together. The journey doesn’t end here, though. poised to release his next album Savior in 2012, Tank keeps pushing forward, as always. That’s what his fans have come to expect – and perhaps what they love most.

TANK

MONDAY, FEBRUARY 13 8PM & 10:30PM $35 @ TABLE / $20 @ BAR

Renowned and revered the world over as one of the greatest saxophone play-ers of all time, David Sanborn is an art-ist whose music has inspired countless other musicians while creating a body of work that spans the genres of rock ‘n’ roll, R&B, pop, and jazz.

Sanborn studied music for a year at Northwestern University before transfer-ring to the University of Iowa. By 20, he was married and the proud father of a son named Jonathan, to whom each of Sanborn’s records have been dedicated. Through a connection with phillip Wil-son, another old friend, Sanborn sat in on a recording session with the Butter-field Blues Band. He ended up playing with the band for almost five years.

Those five years with the Butterfield Blues Band saw Sanborn play Wood-stock, among many other classic gigs. The demise of that band only brought him new opportunities, and within a week he was touring with another leg-end – Stevie Wonder. Sanborn played on Wonder’s remarkable Talking Book Lp, rocked briefly with rock ‘n’ roll heroes The Rolling Stones, then toured with David Bowie, eventually performing his famous solo on Bowie’s 1975 recording Young Americans.

It was also in 1975 that Sanborn re-leased his first solo album, Taking Off. While Sanborn continued working with other performers such as paul Simon and James Taylor in the coming years, he also continued flexing his considerable muscles as a solo artist, eventually scor-ing massive popular hits with Hideaway (1980), the grammy-winning album Voyeur (1981), and Backstreet (1983), the last of which proved to be a major hit in the world of contemporary jazz. He won his second of six career gram-my Awards in 1986 for Double Vision

(with Bob James), and in the late 1980s he hosted the classic television program Night Music.

Throughout the ‘90s, ‘00s, and into the present, Sanborn has continued to tour and record, having amassed a wide and enthusiastic fan base around the world. Recent albums like Dreaming Girl (2008), Here & Gone (2008), and Only Everything (2010) reflect the essence of an artist at peace with his own sound and development, yet still hungry – ea-ger to explore the possibilities of his in-strument and his abilities.

DAVID SANBORN TRIO FT. JOEY DeFRANCESCOFEBRUARY 14 - 19 8PM & 10:30PM FEB. 14, 17 & 18: $55 @ TABLE / $35 @ BARFEB. 15, 16 & 19: $45 @ TABLE / $35 @ BAR

For over a decade, New York City-based artist Rahj has brought together talented musicians for exhilarating live perfor-mances. His original music is currently maintaining heavy rotation on Sirius-Xm Radio and other stations around the world, and it has been featured in major motion picture soundtracks, including Love the Hard Way (2001). Along with his band, he specializes in blending and improving popular music of various genres and decades, using a sound that

RAHJ

Friday, February 17

12:30AM $10 @ table / $10 @ bar


is urban, raw, and edgy. Filled with songs about love, loss, and the beautiful es-cape, his powerful stage show gives him a well-earned reputation in the down-town music scene as a “must see” per-former. Tonight’s show will feature new material and choice songs from the al-bums Graffiti Blue (2008) and Burgundy Jonze: “When the Smoke Clears” (2010).

Earthdriver is a high-powered New York City based mother-ship comprised of some of the hottest musicians on the scene. From this diverse collective comes an intense hybrid of funk, rock, soul, hip-hop, drum and bass, world music, and experimental genres. Be-ginning as an organic meeting ground where musicians of all backgrounds were free to explore their own creativ-ity, what has resulted is an uncensored explosion of art and music overflowing

EARTHdRIvER

Friday, February 18

12:30AM $10 @ table / $10 @ bar


with the liberating spirit of harmonious subjectivity. Since Earthdriver is just as much a movement as it is a band, there is a common understanding of the im-portance of free thinking and creativity to the larger struggle in the United States and to peoples’ movements around the world. Earthdriver’s releases include No Slave (2004) and a self-titled disc (2009).


KENNY WERNERWiTH THE BRUSSELS JAZZ ORCHESTRA iNSTiTUTE OF HiGHER LEARNiNG

BLUE NOTE SUNDAY BRUNCH SERIES

This afternoon’s performance will fea-ture an ensemble comprised of rising star jazz musicians from the The Juilliard School. The Juilliard music division, re-nowned the world over for the quality of its performance education and its many celebrated alumni musicians, dancers, and actors, offers bachelor and master of music degrees in jazz, as well as an Artist Diploma via the pre-professional Juilliard Institute for Jazz Studies, a col-laboration between Juilliard and Jazz at

JUILLIARd JAzz BRUNCH

Sunday, February 1912:30PM & 2:30PM


Lincoln Center. All together, Juilliard’s program features a curriculum designed to maximize professional opportuni-ties, onstage and academically, with equal opportunity for performance and tailored studio and coursework. The tal-ented young musicians from across the country who are accepted by Juilliard Jazz are taught by some of today’s most active, innovative, and respected jazz musicians.


KENNY WERNERWiTH THE BRUSSELS JAZZ ORCHESTRA iNSTiTUTE OF HiGHER LEARNiNG

Long regarded as one of Europe’s premier big bands - a group that “manifests love,” according to Grammy-winning arranger Maria Schneider - The Brussels Jazz Orchestra has joined hands with Kenny Werner to create a winning tableau vivant of spirited writing and performance. The Institute of Higher Learning features a sumptu-ous 3-part suite, “Cantabile,” that reinforces in a singular way Werner’s place among forward-thinking jazzmen. Textural, rhythmic, evincing cascading swirls of color, it was inspired by and dedicated to Bob Brookmeyer. Led by reedman and group founder Frank Vaganee, the BJO of-fers a perfect canvas for Werner’s painterly ap-proach to composition and arranging.


blue note: You were born in kingston, Jamaica in 1944. What was growing up in kingston like before you moved to the United States?

monty alexander: First of all it was just a beautiful place to grow up. It was lovely – everyone said “Hi” and “good morning” to one another every day, and all I knew was just a land of love, re-ally. We all respected one another, and before Bob (marley) wrote “one Love,” we were experiencing “one Love.” people of different backgrounds were all mellow together. In one family, a cousin was of dark complexion, the other one was of light complexion, and we all got along beautifully. music was a big, big part of our lives, and this was before the advent of reggae and ska. growing up I heard our calypso music. I was just a lucky kid, because I loved music since the age of three or four years old, when I started playing piano. Sometimes I’d go to the movies and hear the music – I hated school, but music saved me. I would go around town and meet all of the musicians, and that’s when I fell in love with jazz. many local guys could play very well and I wanted to be a part of that, so from 12 years old and on, I

would sneak out of school and go be with those musicians, who were 10 or 20 years older than me, and they dug me. They welcomed me, and I felt con-fident. Eventually I was playing in the same recording studios that Bob marley recorded in 10 years later. I was one of the originating pioneers of what became the ska and reggae scene. I came to the United States in 1961, but I was there at the beginning of the whole thing.

bn: Bob marley is still such a strong presence in Jamaican culture, and you have covered much of his music. You were already in the United States when he really put Jamaica on the map.

ma: Jamaica was on the map even when I was in Jamaica because of Harry Belafonte and his songs like “Day o.” It was with his wonderful island songs and his charismatic personality that Ja-maica became known. Tourists wanted to go and enjoy Jamaica and enjoy the beach. When the reggae scene started and the song-writers turned more to-wards expressing reality – not just love songs, because I played on records with a lot of the singers before Bob, singing about how beautiful the romantic affair

interview with monty aleXandeR

was going and such things - we were just grooving in the studio. Well, here comes a man who had such a powerful conviction about things that are really crucial to mankind, humankind. of course, it tilted towards his philosophi-cal beliefs, Rastafarianism. But as he was speaking, everyone except a total dead person had to respond to all of the components that made his music so powerful. It was the delight in the melodies, it was the wickedness of the groove, it was the memorable social implications of someone who would smoke ganja, the ganja experience, and this incredible voice in the wilder-ness, the guy with his hair flowing. But behind all of that was the powerful mes-sage that you’ve got to respect yourself, you’ve got to respect each other, and you’ve got to think beyond your own selfish condition. Bob Marley repre-sents a modern-day version of the great prophets of old because he’s telling humans to look up and be inspired by hope, because the circumstances ain’t very good, you know. What he repre-sented was much more than a great musician who also came from Jamaica. His stuff got to all of us that said, “man, this man is coming from another level.” He was one of many. There were a lot of people out of Jamaica that also wanted to express that we’ve got to love each

other, we’ve got to respect each other, and we’ve got to think about the people in Africa and China and all over the world. It ain’t about materialism, it’s about something bigger and deeper. Burning Spear, Jimmy Cliff – all the people were singing in those terms. So just to put my fingers on the piano and play a Bob marley melody is just the greatest privilege, and that’s what I’m trying to do with all music.

bn: Your latest recording, Harlem-Kingston Express, is nominated for a grammy award for Best Reggae Album this year – how nice is it to be recog-nized by the industry for your work?

ma: First of all it’s very nice to receive a little bit of attention. I play for the joy of playing, and I’m glad I have a chance to make a living doing something I love. I’ve been doing this literally for 50 years. This is my 50th year working in the USA and getting paid for it. All of a sudden you get a notice in your mail saying you got a grammy nomination! I said, “What?!” So you’re pleasantly surprised, and shoot, my wife is really happy because she’s going to buy a beautiful dress and get ready to go to the grammys, so that’s kind of exciting.

bn: Uplift! is another record you released this year on JLp Records, and every song seems to do just that, even the song “Hope,” which is a very deep, almost dark ballad. Somehow that song manages to be very uplifting as well.

ma: Thank you for that - that’s a sense of satisfaction, because that’s what it’s supposed to do. If I paint the picture well, if I tell the story well, meaning if I make my point when I’m playing, that’s just the reaction that I would like to hear, that you got the feeling of uplift. “Hope,” that particular song, is acknowledgement that there is despair, but it doesn’t have to resolve in despair. I’m a foolish, optimistic guy and I like to think there is hope out there, and that’s what the song represents.

PaRt 1: the Full monty 50 yeaRS in muSicthe haRlem-kinGSton eXPReSS with eRneSt RanGlinFEBRUARY 20 8pm & 10:30pm $35 @ table / $20 @ bar

The first night here will feature my Harlem-kingston Express. Us musicians are kind of kooky, and I thought, wait a minute, my life is like a train, going in between places with different kinds of music. When you give an idea to people, or an explanation about what’s going on, it helps the message. In my case, when (February) 20th comes and I say Harlem-kingston Express with my longtime bud-dy, one of the greatest guitar players in the world Ernest Ranglin, it’s like we’re leaving the station. So the train is leaving the station where I come from, kingston, Jamaica, and I’m heading for that great land of opportunity, America. Not only did opportunities come in America, but incredible gifts came to me in circum-stance, especially in the music world. I never had any idea that I could make a career in music when we moved here. February 20 is the train leaving the sta-tion from the roots of my love of music.

tRiPle tReat ReviSited: monty with chRiStian mcbRide & RuSSell maloneFEBRUARY 21 & 22 8pm & 10:30pm $35 @ table / $20 @ bar

It’s all inter-connected and the common thread is my own personal experience. one of the greatest days of my life, even though I was having wonderful experi-ences playing as a musician in New York, playing in these great clubs and meeting all of these musicians, [was meeting] one of my heroes in music, the great Ray

Brown. I met Ray and we became very close, musically and personally. one of the things we did was make music in a little trio which ended up being called Triple Treat. on the album covers we had scoops of ice cream because we used to love to go and have ice cream together – a lot of guys had beer, or this or that – we had ice cream! We were a swin-gin’ little combo that was a reflection of the incredible Nat king Cole trio. Ray and Herb had this incredible chemistry. Once, I was a guest on the Merv Griffin show in the late ‘70s, and Ray and Herb were playing, and there was a hard-to-describe simpatico and enthusiasm about playing together – I just jumped on board. We had a ball together, made several albums, toured quite a bit in Eu-rope, Japan and the US, and it went on for quite a few years. We even played at the Blue Note, in the early years, and in those days they would assign tables to artists, and I’ll never forget the night they had us sign a medallion in the middle of the table. There’s a table here at the club that says Triple Treat on it – we gotta find it! Both Ray and Herb have gone – we say “have gone ahead” – and I’m enjoy-ing their memory. In fact, I played on Ray Brown’s last record with Russell malone, who will be joining me. Christian mc-Bride, who is one of the most amazing musicians in the world and definitely one of Ray’s favorite protégés, is all that Ray was about, and I think we will make a fantastic trio. That’s what Triple Treat Revisited is all about.

uPliFt!: monty & the uPliFt tRio with SPecial GueStS dR. lonnie Smith (2/23) & Pat maRtino (2/24)FEBRUARY 23 & 24 8pm & 10:30pm $40 @ table / $25 @ bar

Uplift! Is the name that I came up with on a recording which has been enjoy-

monty SPeakS: the ShowS

ing such a wonderful acceptance this last year. When I come to play with my choice favorite musicians, Hassan Shakur and Herlin Riley, who are on the record, I believe that I get uplifted. When I’m playing, I can’t explain it, it’s like magic, some kind of mysterious thing. It’s just the incredible joy of mak-ing music and being a musician. What I find happening is that all of us share an experience, this wonderful sensation that is translated to an audience that is ready to receive it. So Uplift! is just a way to say we’re going to uplift, and if there’s anyone who is a great uplifter it’s Dr. Lonnie Smith, who goes back with me to the 1960s. Lonnie and I played in those same clubs in Detroit and Chi-

cago, when he was with george Benson, before Benson had all of those incredi-ble hits. We’ve jammed a bunch of times as piano and organ – unusual – and the dust got kicked up, and everyone was happy! pat martino is a very special gui-tar player…pat is one of those people that is coming from another source. He’s the hero of heroes to everyone who knows, and we share mutual admiration. We did some stuff quite a few years ago in pitts-burgh, and we had a ball. I thought, ev-eryone loves pat martino, so it would be perfect. Uplift, pat martino – yes, we’re going to have a great hookup, and I’m very much looking forward to that one.

ivoRy & Steel: a JaZZ tRibute to tRinidadwith othello molineauX, etienne chaRleS & deSiGneRFebRuaRy 25 8pm & 10:30pm $35 @ table / $20 @ bar

For the tribute to Trinidad, the amazing steel pan player will be here, who was one of the pioneers in the jazz world back in the ‘60s and ‘70s with Jaco pastorius named othello molineaux, a Trinidadian. In addition to othello, who joined my steel band tour that recorded on Concord, it just so happens, we have the same bass player Hassan Shakur, as well as Bobby Thomas, who is a Weather

Report alumnus. The only people that are different are the drummer Herlin Ri-ley and the trumpeter Etienne Charles. About four years ago I had the incred-ible pleasure of presenting the music of Trinidad in a show called Lords of the West Indies in the Allen Room at Lincoln Center. Etienne…was just masterful all the way through. He arranged every-thing from jazz to his roots of Trinidad. I love what he’s doing with his Trinida-dian music…hooking it up with his jazz concepts. He’s really incredible, an old soul. I’m also going to invite a great Trinidadian singer named Designer. We hope the Trinidadians will show up that night, and we will honor them most wonderfully.

a niGht at Jilly’Swith SPecial GueStS dee dee bRidGewateR & FReddy coleFebRuaRy 26 8pm & 10:30pm $40 @ table / $25 @ bar

For this show we will have two of to-day’s masters of the way song is sung in the most beautiful way. Freddy is the keeper of the flame – the songbook – and he and I have been friends and mu-sicians together for forty years. Dee Dee is one of the greats and I’ve appreciated her talents and personality since the ‘60s. Wow, we sound like old people, but we’re not! We’re young people, still doing it! Jilly’s was an atmosphere and a place where mr. Frank Sinatra, among others, would be sitting in the back of the room. I would play a lot of the time and they would come sit in and sing. It was a freewheeling atmosphere of the way it used to be when music was that way. I could not have two greater artists to join me and have some fun that night.

’76 montReuX tRioFeatuRinG John clayton & JeFF hamiltonFebRuaRy 27 & 28 8pm & 10:30pm $40 @ table / $30 @ bar

1976 was the year that our recording in montreux was made, and I’m call-ing this the ’76 Trio because that was a recording that is constantly being spo-ken about. In fact, the recording was re-released a few years ago by Univer-sal Records. It was such an event for montreux, but certainly for me, John and Jeff because we raised up a ruckus that night, we swung so hard. But that was just a typical evening in the adven-tures of that trio. There was something happening and you can’t explain it. Why do sparks fly the way they do? But this was not esoteric – this was just some hard swingin’ jazz music that harked

backed to some of my influences – The modern Jazz Quartet, oscar peterson, Ahmad Jamal…I mean, we had such a unit there, it felt like The Count Basie or-chestra. John being a master of the bass, a protégé of Ray Brown swingin’ wise, but he took it to another area because he studied classically, and his virtuoso arco style is like a human being crying, it’s so beautiful. His very dearest friend, Jeff Hamilton, who he brought – and Jeff was an all-around great drummer – while the three of us were together, there was a great development. I can’t explain it to this day, but we had something go-ing that was mystically extraordinary. When we play together it’s just like the old days.

PaRt 2: a one love celebRation 50 yeaRS oF Jamaica

monty meetS Sly & Robbiewith ShaGGy (3/1 only)FebRuaRy 29 – maRch 2 8pm & 10:30pm $45 @ table / $30 @ bar

A wonderful thing happened a few months ago courtesy of the Blue Note Tokyo. I was contacted and it was the fulfillment of an idea and a dream I had years ago. I was in Jamaica and I told Sly Dunbar, who is the guru for anyone who loves that music, and said, “man it would be a great thing if me and you, if we could hook up with Ernie and go play here, play here,”… just light-heart-ed, and I tucked it away. To think some good-thinking gentleman over there in Japan had the idea to invite all of us to come together! We went and played for five days at the Blue Note Tokyo and The Cotton Club and had a whale of a time! The club was jam-packed and every note we played was like back home again. It made it easier to invite Sly and Robbie and they both said absolutely, and they don’t come to New York much unless

they’re with grace Jones or mick Jagger or someone like that. They’re going to come, and for me, they are at the top of the heap of what Jamaica is in terms of music and the impact on the world.

the haRlem-kinGSton eXPReSS with SPecial GueStS& diana kinG (3/4 only)maRch 3 & 4 8pm & 10:30pm $35 @ table / $20 @ bar

We begin that next series of evenings where I take the train, the Harlem-kingston Express back to kingston. my philosophy is it’s all good. The thing that happens that I do, which I do fairly well, is gather people together of good report. First of all, the musical abilities have to be what they are, and one man who is a specialist in that particular idiom comes together with another musician who does a totally different thing, but because of their good will towards each other, it comes together so that these dif-ferent influences can say “We’re a team. We’re all a part of the one Love Train Ride, monty’s the conductor, the piano is the engine,” and that was really my

dream. I started doing this fifteen, twenty years ago. I recorded live in montreux a record called Yard Movement with an out-and-out reggae rhythm section with Ernest Ranglin as my guest that eventu-ally led to the Bob marley Record. It’s all very serendipitous. one day I just woke up and had an idea, and the Uplift! thing happened with John Lee, an old friend, and then the Harlem-kingston thing happened with motema. All of a sud-den – why? Because it had some kind of substance that I think our music listeners who love what they love when they love it, grabbed it and said, “play that again!”

bn: What are you most looking forward to during your two-week residency?

I’m (hoping) that each night is like I dream it to be…which is some guys getting together sharing their apprecia-tion for each other…coming out in that particular experience, and the people having an uplifting experience. That the words gets out to everybody who can come and experience this with me and my friends. Come celebrate life with me as I celebrate 50 years of being a musi-cian and having a great time doing it!

Bowie, eventually performing his famous solo on Bowie’s 1975 recording Young Americans. It was also in 1975 that Sanborn released his first solo album, Taking Off. While Sanborn continued working with other performers such as paul Simon and James Taylor in the coming years, he also continued flexing his considerable muscles as a solo artist, eventually scoring massive popular hits with Hideaway (1980), grammy-winning Voyeur (1981), and Backstreet (1983), the last of which proved to be a major hit in the world of con-temporary jazz. He won his second of six career grammy Awards in 1986 for Double Vision (with Bob James), and in the late 1980s he hosted the classic television program Night Music.

Throughout the ‘90s, ‘00s, and into the present, Sanborn has continued to tour and record, having amassed a wide and enthusiastic fan base around the world. Recent albums like Dreaming Girl (2008), Here & Gone (2008), and Only Every-thing (2010) reflect the essence of an artist at peace with his own sound and development, yet still hungry – eager to explore the possibilities of his instrument and his abilities.

DAVID SANBORN

Departing from their nu disco venture The New York Hustler Ensemble, Wyllys and Jennifer Hartswick have combined their talents to explore the vast world of jazz. Focusing on shorter pieces and more bombastic improvisation, this duo will take you deep into acid jazz, fusion, downtempo, and eclectic electronica to weave a sonic tapestry before your eyes. DJ and turntablist Wyllys is well on his way to joining the ranks of the electronic touring elite. Having debuted his band The New York Hustler Ensemble to great

WYLLYS FT. JENNIFER HARTSWICK WITH SpECIAL GUESTS

Friday, February 24 12:30AM $15 @ table / $15 @ bar

Whether you’re a jazzer, jammer, funk-ster, or progger, all the critics agree that kung Fu delivers! Forming out of a monday night jam session in late 2009, this jazz, funk, and fusion quintet has hit the ground running and shows no signs of slowing down. The band’s tal-ent is pure and has been able to ride the line between Headhunters-era Herbie Hancock and Jaco pastorius’s Weather Report while incorporating some of the

KUNG FU

Saturday, February 25

12:30AM $15 @ table / $15 @ bar

progressive jazz-rock of the mahavishnu orchestra. This band brings it hard - so much so that in its first six months it earned major sets at gathering of The Vibes, Camp Barefoot, The Big Up, Strange Creek, and more. The members of kung Fu have played and/or recorded with The Allman Brothers, John Scofield, Bill Evans, Jazz is Dead, Umphrey’s mc-gee, and many more.


acclaim in 2010, this man is the origi-nal party monster. Trumpet player and vocalist Jennifer Hartswick is one of the most exciting performers in music today. She inspires audiences all over the world with her powerful voice and command-ing trumpet playing.


Striking, bold, organic, and beautiful. Those words describe Maya Azucena’s voice, her music, and her message. On CRY LOVE her impressive talent unfolds over eleven tracks. An anthem for justice, the title track constitutes the album’s core concept. Her desire to in-spire and empower listeners saturates the edgy groove of “Warriors” and the sanguine sway of “Near”. “The Half” is a harrowing take propelled by rock icon Vernon Reid. She invited reggae leg-end and Billboard #1 artist iNi Kamoze aboard on “My Back’s Not Up Against The Wall” while the glistening, acoustic qualities of “Belong To The Sun” furnish another standout cut. The songs are all unified by a remarkable depth and stun-ning musicality.



BLUE NOTE SUNDAY BRUNCH SERIES

Sherrie maricle, Noriko Ueda, and To-moko ohno are the heartbeat of The DIVA Jazz orchestra and Five play. As The DIVA Jazz Trio, they take their mul-tiple musical powers to extraordinary new levels of swing, sophistication, and originality. The group’s repertoire is comprised of innovative arrangements of classic and contemporary standards, as well as original music composed by the band members. The DIVA Jazz Trio

EAST MEETS WEST SUNdAY BRUNCHTHE dIvA JAzz TRIO

Sunday, February 2612:30PM & 2:30PM


was officially born in 2005 and has per-formed at many of the world’s most pres-tigious concert halls, music festivals, jazz clubs, and universities, including Carn-egie Hall, The kennedy Center, Lincoln Center, and major venues throughout the world. The group’s premiere record-ing, Never, Never Land, was released in 2009 on Arbors Records.

SEASONAL FRUIT & SORBET 12 add Limoncello Meletti 9 NEW YORK CHEESECAKE 8 add Tia Maria 10 RED VELVET CAKE 8 add Baileys 10 TIRAMISU 8 add Grand Marnier 11CINNAMON APPLE STRUDEL 8 add Amaretto Luxardo 9 WARM LEMON TARTE 8 add Drambuie 10 CHOCOLATE & VANILLA TARTUFO 8 add Frangelico 10 FLOURLESS CHOCOLATE CAKE 8 add Dow’s 20-year 14 ICE CREAM 6 add Kahlua 10 SORBET OF THE DAY 6 add Prosecco 10

DESSERTS

Sherry, Dry Sack 9 Sherry, Harvey’s Bristol Cream 9 Port, Dow’s Tawny 20-year 14Royal Tokaji Aszu “Red Label” 21 Riesling Icewine, Inniskillin 18/92 Vidal Gold Icewine, Inniskillin 100 Cab Franc Icewine, Inniskillin 130 Sauternes, Chateau Les Justices 52

DESSERT WINES BOURBON

Basil Hayden 12Booker’s 12 Knob Creek 12Rowan’s Creek 12 Whistle Pig 13 Woodford Reserve 14AH Hirsch 16yr 21

Courvoisier 11Hennessy VS 11 Hennessy VSOP 14Hennessy Black 14 Hennessy XO 36Remy Martin VSOP 18Remy Martin XO 36Martell VS 11Martell Cordon Bleu VSOP 25Navan Vanilla Cognac 11Tesseron XO – 1990 Avg 15Poli Grappa Moscato 15

BRANDY & COGNAC

Glenlivet 12 year 12 Glenfiddich 12 year 12Macallan 12 year 12Talisker 10 year 12 Glenmorangie Quinta Ruban 13 Oban 14 year 14 Dahlwinnie 15 year 15Lagavulin 16 year 16Mackillop’s 1989 Scapa 34Deanston 30 year 40Scott’s 1984 Caol Ila 52 Scott’s 1971 Glenlivet 58

SINGLE MALT SCOTCH LIQUEURS

Amaretto Luxardo 9Baileys Irish Cream 10B & B 11Chambord 10Cointreau 11 Drambuie 10 Fernet Branca 10 Frangelico 10 Grand Marnier 11Kahlua 10Lillet 10Limoncello Meletti 9 Nocino Walnut Liqueur 10 Poli Miele Honey Liqueur 12Sambuca Meletti 10Tia Maria 10 Zirbenz Stone Pine Liqueur 9

DIGESTIFS


MANHATTANRedemption rye whiskey,Carpano Antico sweet vermouth

NEGRONIDH Krahn gin, Campari,Carpano Antico sweet vermouth

VESPER MARTINITanqueray gin, Belvedere unfiltered vodka, and Lillet with a lemon twist

FRENCH MARTINIKetel One vodka, Chambord& pineapple juice

HENNESSY SIDECARHennessy Cognac with GrandMarnier and fresh lemon juice

BLUE NOTE MARTINIcitrus vodka, blue curocao, lime juice

“MANTECA” MARTINIBrinley Gold coconut rum, coconut-cream & pineapple juice

ITALIAN CHOCOLATE MARTINIMeletti Chocolate liqueur & Stolivanilla vodka

APPLE MARTINIHangar One & apple schnapps

COSMOPOLITANAbsolut Citron, Triple Sec,cranberry & lime juice

METROPOLITANAbsolut Kurant with Triple Sec,cranberry & lime juice

MARGARITA MARTINILuna Seuño reposado tequila,agave, fresh lime & splashorange juice

MARTINIS $13

ELDERFLOWER FIZZDH Krahn gin, elderflowerliqueur, fresh lemon

RUBY RYERedemption rye whiskey, grapefruit juice, Chambord

CAIPIRINHAMuddled limes, sugar andBeija Brazilian cachaca

BELLINIProsecco & white peach puree

PCPUNCHHangar One pear vodka, Brinleycoconut rum, pineapple juice

MAI TAIBacardi light rum, Meyers darkrum, almond liqueur, Triple Sec,Pineapple juice, splash sour mix

BRANDY ALEXANDERBrandy, crème de cacao & cream

CUBA LIBREFerrand Grande Reserve Plantation Rum (5-year), Coke & freshly muddled lime

TOASTED ALMONDAmaretto, coffee liqueur & cream

MIXED DRINKS $12

IRISH COFFEEIrish whiskey & coffee

NUTTY IRISHMANBailey’s Irish Cream, Frangelico & coffee

BRAVE BULLTequila, Kahlua & coffee

SWISS COFFEEPeppermint Schnapps, crème de cacao & coffee

SPANISH COFFEETia Maria & coffee

MOCA ALMONDGodiva dark chocolate, amaretto, coffee

WARM DRINKS $10

IMPORTED - $8Sapporo, Amstel Light,Corona, Heineken, Guinness,Stella Artois, Bass Ale

DOMESTIC - $8Brooklyn Lager, Budweiser,Bud Light

BELGIAN-STYLE ALE - $14Brother Thelonious Abbey Ale (750 ml)

NON-ALCOHOLIC - $6Buckler

REPUBLIC OF TEA ICED TEAS - $7Pomegranate Green Iced TeaRepublic Darjeeling Black Iced TeaGinger Peach Decaf Black Iced Tea

BEER AND TEAS

Blue Note Drink Menu

blue note program: february 2012

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