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Pros – flexible job where you are your own boss. Ability to grow business with some help from company. If you get lucky and receive some accounts you can do well. Once established the job really can be fun where you are seeing people you know and like and selling them products they like using.
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Advice to Senior Management – Help new employees to stay with the company with a longer base and some new accounts. The ramp up is a killer.
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Mike LeDonne: Where There's Smoke
" The moment you want to get to is where all the influences are just kind of flowing, and then it's you. That's the thing. "
LeDonne is especially happy with his long tenure at the club. "It's an extraordinary thing to have a steady gig like that and then to see people still coming out in droves to listen. And now the word is out all over the worldpeople know Tuesday night is organ night at Smoke. They come to New York just to see it. They come right off the plane from Europe and go right to Smoke." Not only does the club draw crowds of fans, but great elder statesmen of jazz such as Lou Donaldson, Frank Wess and George Coleman often drop by and sometimes sit in with LeDonne. "I'm so proud of that," he says. "If I can attract people like that, I must be doing something right."
Born in Bridgeport, Connecticut in 1956, LeDonne grew up in his parents' music shop; his father, Mickey, was a jazz guitarist who also sang in the style of Nat "King" Cole. After earning his degree at the New England Conservatory, the keyboardist settled in New York City in the late '70s, and he's been based there ever since.
His experience spans an impressively wide range of jazz styles from traditional swing to modern post-bop. Very early in his career, he was a member of the Widespread Depression Orchestra, playing classic charts of the swing era, and before long, he was playing with Benny Goodman. In the early '80s, he was the house pianist at Jimmy Ryan's, a mainstay of New York's traditional jazz scene at the time, and he went on to work with the Art Farmer-Clifford Jordan Quintet in addition to playing with Dizzy Gillespie, Stanley Turrentine and Sonny Rollins, among many others. His 11-year stint with Milt Jackson is especially notableLeDonne ultimately served as the musical director of the vibraphonist's working bandas is his long association with Benny Golson. He appears on the saxophonist's New Time, New 'Tet (Concord, 2009) album and three other Golson CDs. Under his own name, LeDonne has recorded 14 albums with featured personnel including Ron Carter, Joshua Redman and Lewis Nash, in addition to his colleagues at Smoke, together known as The Groover Quartet, comprising Eric Alexander, Peter Bernstein, and Joe Farnsworth.
All About Jazz: Your 12-year organ gig at Smoke must set some kind of record.
Mike LeDonne: Smoke is my home in New York. I love Smoke. That's where you hear guys still going for it and playing real jazz music all the time. They allow swing. They allow the blues. They love all of it there, and you can't find that kind of variety in a lot of places these days. Everybody's trying to move the music forward, and so we're getting away from what are the true, deep roots of the musicthe blues and the African-American traditionwhich, to me, is a sin. I always say it's good to go forward, but we need to go up, too. You go forward, and you can fall off a cliff. You need to bring the music up and stay true to its roots. That is huge in my mind, in my heart and in what I play. I'm going for that feeling at the heart of the music, because I know that feeling from playing with the guys I've played with and from listening to the music all my life. That's what got me into itthe feeling. I didn't know what they were doing. I didn't know what Wynton Kelly was playing. But I knew that feeling was giving me something that I wanted to be able to give someone else.
Smoke is a place where I've been able to develop my organ style for 12 years now. You know, I've been playing organ since I was 1410, really, but I got a Hammond B3 when I was 14. My father owned a music store. So I've been playing it all this time, but I always kept it in the background. I really didn't want to change my vibe with it by getting out and being all serious with it. I didn't want to get in the arena and be in competition with the other guys out there, but when I played at Smoke, they just threw me in the ring. It was supposed to be a four-week engagement, and it turned into 12 years.
And I don't just do the Tuesday-night organ gigI do weekends there, too, sometimes, and get involved in the other music they present there. It's all real jazz, and it's the kind of jazz where people walk in and say, "I didn't know this was jazz." They're surprised because it feels so good. They might have been to one of the other big-name clubs around town and felt like they were in church on Sunday. At Smoke, you can really have fun. And you can talk, too. Sometimes it might be a little too much for my taste, but I don't want to take that away. I like people to enjoy themselves. That's what jazz was. I'm sure when Charlie Parker was playing, they didn't go around shushing people. People were quiet because he was just playing so much stuff.
AAJ: Can you tell us a little bit about the guys in the band: Eric Alexander, Peter Bernstein and Joe Farnsworth?
ML: Peter, Joe and Eric and I were playing together long before Smoke. They're all about 10 years younger than me. I met them when I was playing around already, and they were just kids going to school, really. Then we started playing togetherit must be 20 years ago. And we're great pals. We've been through all this stuff together, been all over the world together. We've had our kids during the Smoke gig. We've grown old together. It's like an old married couple, kind of. We fight, and we make up and all that kind of stuff. But Peter is my favorite guitarist, and Joe's my favorite drummer, and Eric is my favorite saxophonist. And that's not to put anyone else down. That's just me. So, it was very lucky for me to have my favorite guys in my group and with me all the time.
AAJ: Does Eric Alexander's experience with Charles Earland mean a lot, working in the organ context?
ML: Of course, because not only did that make him know what to do, but it's so nice to have someone who loves that kind of music. You have to have that. I've had a lot of people ask me to do the gigand they're great playersbut I can tell when they don't really love this kind of stuff. It's not really their favorite thing, but they want a gig, and they want to make the money, and that's cool, too. But it's so much better when somebody's really in love with this kind of thing and just knows what to do. Eric can do anything, but what I love about him is not only is he modernwith his own conception and his own harmonic devices and allbut he also has a lot of Stanley Turrentine, Gene Ammons, Dexter Gordon in him. And, of course, George Coleman is a huge influence on him, and George is so soulful. He comes up there all the time. Not only is he an innovator, but he's so soulful and great. He's my buddy. And Lou Donaldson comes up all the time. Frank Wess was in there last night. And so it's become like a scene. . . . I mean, if I can attract people like that, something's got to be going right. You can criticize itit's not perfect, you know. But, hey, if those guys like it, it's got to be pretty good.
AAJ: Where else have you been playing lately outside of New York?
ML: Well, I've done the Detroit Jazz Festival a couple of years in a row, the Chicago Jazz Festival, some other festivals in the Midwesta lot of the jazz festivals all around. It's all part of what I doand I've been doing it for 35 years, now. I go to Europe regularlyItaly and Germany. I have a trip to Germany in September, just going to go there by myself this time. That's a new thing; usually I bring my own group, but there are some musicians based there who want me to come and play with them, so I'll go try it.
AAJ: You have some recent recordings out Keep the Faith (Savant, 2011), and there's a great new record you're on with Eric Alexander and Vincent Herring as co-leaders, Friendly Fire (High Note, 2012). On Keep the Faith, you have a number of original compositions.
ML: Well, it's all stuff that I come up with at Smoke. I have that luxury of trying things out there. I write every day. I love writing as much I do playing, really. So I write stuff every day, and a lot of it just goes in the delete box. But I'll get something that I think is pretty cool, and I'll bring it in and try it, and then it still may go in the delete box if people don't like it. The tunes on the record are tried and true, what I call "hits."
The tune "Keep the Faith" itself is by Charlie Earland. I wrote a tune for Big John Patton on there, called "Big John," which is sort of in memory of him and his style. I wrote a tune for my daughter, Mary, on there, called "Waiting for You," which is what we're always doing, waiting for her to do something. "Scratching" is an old one. I recorded that on Criss Cross a long time ago. Harold Mabern's been hearing it for years, and he just realized it's written over "Just in Time" changes about two weeks ago. Peter Bernstein quoted "Just in Time" in it, and he said, "Hey, all this time I've been listening to it, I didn't realize it was 'Just in Time.'"
"Burner's Idea" is for Charlie Earland. It's a little lick that I heard him play once, and I just made a tune out of it. And that's what I do. I just try and come up with something that fits the group and is not too hard, because we never rehearse. We have never rehearsed. We play every week, but still, you bring in something to read on the gig and it's a packed houseyou can't stop and describe how there's a hit on the and of four here, or you have to watch for a key change there, or whatever. It's got to all just lay out and play itself, be that kind of tune. In a way, it's limiting what I can do, but it's been a good limitation because it's made me think simpler and come up with stuff that actually sounds like songs and stuff that is still interesting and challenging to play.
AAJ: The Groover is another outstanding recent recordingkind of similar to Keep the Faith.
ML: I would say Keep the Faith is part two of The Groover. The Groover was such a hit. It was like a number-one hit for monthstons of airplay on jazz radio. And I got lots of gigs off of it; I got festivals, all kinds of people calling me from it. It was really an explosive thing. So I thought, "OK, well, people like itdo it again." And then I did Keep the Faith, and I got nominated as top keyboardist for 2012 by the Jazz Journalists Association, and I won the DownBeat critic's poll as "rising star" on organ. I guess I'm an old star but not a falling star. I'd rather be rising. But, hey, I'll take whatever I can get. It doesn't really mean a whole lot to me, really, because it seems so strange to see Melvin Rhine's name at the bottom of the "rising star" poll, for example. Nonetheless, it's recognition; that's all it issomebody saying, "We like what you're doing." And that's not bad. I never used to get these kinds of accolades. I've never been the guy in the polls at all. But lately, people are writing articlesDownBeat recently, for one. This is all new ground for me. I've always been the underground guy who everybody likes but the general public doesn't know that well. Not a household name.
Another new album I did is called Up a Step (Cellar Live, 2012), recorded at a club I play in Vancouver, called The Cellar. The gentleman who owns it is a very good tenor saxophonist named Cory Weeds. It's his record. We did a live record with him and Oliver Gannon, Jesse CahillCanadian musicians. We also did a little tour. And I'm going to be going up there again to make a live piano trio record in December. And I'll probably do another organ record for Joe Fields, on Savant in the fall.
The trio record will be with Joe Farnsworth and John Webber. It's great because I've never been able to record with them as a trio, and that's been my working trio for years. So I've finally got someone to record us. I've always had to have a big name involved for my other trio recordsmy last one had Ron Carter on it. It's not that I'm against thatI'd just love to do one with my working trio, so, I'm just doing it.
AAJ: Another gig you've done in recent years in New York that not many people know about is playing solo piano in Bryant Park mid-day for a week in the summer. Harold Mabern paid you a visit this year one day, right?
ML: Harold Mabern is awesome. He's my great friend. We talk on the phone all the time, and he's super supportive. Not only is he a monster musician, but he's a beautiful human being. And it's just a joy to be around this guy. He got up and introduced me to the crowd. I finished my set and just waved goodbye. And he stopped me, and he got up and said, "Wait a minute, Mike. I'm going to say, because you're too humble to say it, this is Mike LeDonne!" And he just went off and gave this whole rap about me and told them I played at Smoke and other stuff. That's Harold Mabern, man. He's a beautiful guy. But, see, he can give it up to people because he's so great. When you're great, you can give it up, and say, "Well, you're great. I love your playing." And that's when it really means something.
AAJ: Does playing that gig in Bryant Park give you any ideas about recording a solo piano album?
ML: It does make me think about it. I'd feel a lot better about doing it now than I ever did before. I used to play set arrangements for my solo piano gigs, and then I just felt like it trapped me. I was playing those same tunes the same way. And then I just thought, "To hell with all that." I was just sitting here on that funny little piano in the park, and I was thinking, "Why do all that? Just play!" Also, I think, in my own playing, I've always been trying to open it up. I don't want to get boxed into any one thing. That's called growth, and that's what I want to do for the rest of my life. I push for that. I focus on that. I'm not looking to reinvent the wheel but just to get better and find myself more and feel more comfortable in what I'm doing, more secure and solid. All these thingsI feel like it's happening. I can feel it.
I can feel the difference from when I used to play my solo piano gigs years ago. My favorite guy was Hank Jones, and I knew all his arrangements. I used to try and play just like Hank Jones, and it was a great learning experience. But then I thought, "How long can you just sit there and play like Hank Jones?" And then I went through a phase where loved Cedar Walton, and I knew his solo piano material. I'd play all his repertoire because I just loved it. It was fun to try and do, and I just didn't feel secure enough about myself yetabout me just playing me. I think that's typical for a lot of musicians. Then I got into McCoy Tyner and Phineas Newborn, and those guys really opened me up. At one point, I was almost starting to think my little McCoyisms were taking over.
I get to this point where I'm really into somebodyI was into Wynton Kelly first. It would be like three years of just him. I mean, I listened to other people. I always listened to Herbie Hancock and all of the guys who are greatBill Evans and whoever. But Wynton was the one who really lit my fire. So it was three years of finding every record that he was on, listening to every solo that he did, just trying to sound like himI couldn't, but if I could, I would've sounded just like him because I just loved him so much. And that's basically my style. I get one guy I latch on to and just go for it, for years, until I really get into the depth, into the inside stuff.
AAJ: But your playing has such a personal sound.
ML: I hope so. I'm glad to hear you say that, because you always wonder. I still listen to everybody, and sometimes I feel like one guy might be overshadowing. The moment you want to get to is where all the influences are just kind of flowing, and then it's you. That's the thing.
Now, let's face it, there hasn't really been an innovator, I don't think, since Herbie and McCoy and a couple of othersnot a real innovator where after they're here, everyone tries to sound like them. Maybe it'll happen again, and if it does, it'll be out of some natural set of circumstances. It's not going to be through anyone trying to innovate. What I think you do as a jazz musician is you just learn as much as you can about everybody, and you copy the greats, and then, the way you put it together, that's you.
AAJ: You didn't mention Oscar Peterson.
ML: He was an innovator, because so many guys tried to sound like himgrew out of him, like Monty Alexander and guys who I hear all the time that try and sound like Oscar. There's a whole Oscar cult. But I never particularly tried to sound like him. Oscar goes way back, and he's a top master. He had his own thing completely. He really came more out of Nat Cole than Art Tatum. Everybody mentions the Tatum thing, but he really was a Nat Cole guy. And Nat Cole was another guy who was an innovator that nobody talks about. Earl Hines was another top innovator. There's a similarity between Earl Hines and McCoy with how free they are. Earl Hines was the first McCoy, to me. He's that free in his thinking. He had no limits, no boundaries whatsoever. He'd just be exploding, and it was all just coming out all the time. He's the first pianist I ever heard like that. Art Tatum was influenced by him. You've got to be pretty mean to influence Art Tatum. And Erroll Garner was influenced by him. EverybodyNat Cole, too. Then you've got Bud Powell; he changed everything. And he's obviously an innovator.
But I say there are innovators, and then there are language changers two different things. A lot of guys innovate certain things. Bill Evans innovated some things, but basically, when you get down to it, he was a bebop pianist. Herbie innovated a lot of things, but to memaybe not today, but when he was with Miles, at the time he made his huge impacteven though he was expanding the harmony and rhythms of it, he was still playing bebop, basically, playing that language.
But when McCoy Tyner came up with his thing, and you hear "Passion Dance," and you hear the languagetotally different. Nothing like it ever existed before. And that's a language changer. And then, after that, Herbie was influenced by him, Chick Corea, Keith Jarrett everybody had to be influenced by him because he changed everything. There's not many of real language changers, when you look at the history. There's just a handful. There are guys who come up with stuff of their own that people try to imitate, and that's innovation, too. There are all kinds of innovation, but I'm always most impressed by the guys who change the language. Where do they come from? They change everything. How does that happen? I have no idea. I think it's a whole set of circumstances. With McCoy, he was with 'Trane. It was a special time, that era, and, boom, it happened.
AAJ: Is this something that you strive for at all yourselfto change the language?
ML: Everyone thinks about it. But I don't really strive for it. If it happened someday, I would be floored. In fact, though, I don't think you even know it when you're doing it. I knew a guy who played with Bird. He used to play with me on 54th Street when I played at Jimmy Ryan's. His name was Ted Sturgis, a bass player. He played with Charlie Parker in his very first group on 52nd Street with Dizzywith Bird and Diz. He's the guy that Bird wrote the tune "Mohawk" for. Ted is Mohawk because he had Indian blood in him. He used to tell me how, when Bird and Diz and he were playing, they'd read all this news in the music publications, like, "These guys are changing everything. The bebop language is all new. It's never going to be the same." Bird and Diz were, like, "What? Who are they? Because we're just playing." They didn't try to do anything new. They just played, and it happened, and they were just playing their stuff. And then, suddenly, it was like everyone was saying, "Oh, my God! The messiah has come!" But they didn't think about it that way at all. Now John Coltrane, he really was searching, but I think he was just practicing and getting better and getting ideas. That's how it happens. You can't set out and say, "Yes, it's very important to change the language. I'm going to do it." You can't do that. And you don't have to. But if you get better and better, who knows? It might happen.
AAJ: Can you tell us a little about your work with Benny Golson, Milt Jackson, and the other masters you played with, coming up?
ML: I had been a sideman for many, many years. I was so lucky in those early years. When I came here to New York in the late '70s, there were so many masters still around, and I got to work with a lot of them. The Art Farmer-Clifford Jordan Quintet, Sonny Rollins, even Benny Goodman, way back, when I was about 25. I worked with a lot of traditional jazz guys like Ruby Braff and Vic Dickenson, and then I moved on to Milt Jackson, Art Farmer, and played with Bobby Hutcherson.
So I've done a wide spectrum of playing, and I'm probably one of very few in my age group who's covered such a wide of a spectrum of styles. I knew about all the swing stuff and Benny Goodman from my experience with the Widespread Depression Orchestra. It was a perfect school for all thatI learned all the tunes. I knew how Teddy Wilson played, Earl Hines and Hank Jones. I knew how to bridge the gap between bebop and swing so that I could play me with him and not tick Benny off. The swing guys then didn't like Bird, really. They didn't like Bud Powell. If you sat down and played like Bud Powell, you'd be done. The job would be over. So I had to lean different ways, and that's what you learn as a sidemanhow to lean into this and lean into that to make the leader happy and do the right thing for the gig, because it's not about you, it's about himif you want to keep the gig.
When I came here, no one my age had a record deal, except for Scott Hamilton, the tenor player. I recorded with him, and I played with him quite a bit. He was my buddy, and he played a little more traditional than I would have liked to have been playing at the time, but I knew how to lean into his thing, too. That's how I kept that gig. Ruby Braff was good friends with Scott and Warren VacheI played with all those guys from what I call the "trad" scene. All through that, though, I was always into a wider variety of stuff than they were, although Warren is very open minded.
Back in those days, I'd be going to these gigs with these guys but listening to Miles Davis' In Person at the Blackhawk (Columbia, 1961)one of my favorite records, with Wynton Kelly, Jimmy Cobb, and Paul Chambers. I'd just be dreaming, thinking "Oh man, I wish I was doing this tonight, but OK, whatever. I'll do this gig."
Fast forward to May, 2012, and Smoke has a Miles Davis tribute, and there I am playing with Jimmy Cobb and not Paul Chambers but John Webber, who sounds very much like him, and Eric Alexander, Jeremy Pelt and Vincent Herring, and we're doing all the stuff from the Blackhawk, from Someday My Prince Will Come (Columbia, 1961) and Kind of Blue (Columbia, 1959). And there I was, doing it. All that dreaming and wishing, and my dream came totally true. It felt just the same, and I was just beaming the entire timeone of those gigs where all day long, I couldn't wait to get back and do it again. We did four nights. It was justevery night, every set was just incredible. Jimmy Cobb sounds just as great as he ever did. He's 83. And he has it all. He has the whole package, still: soloing, swinging, accompanying. Comping with him is just a joy, because I know Wynton Kelly inside and out. And that was his man. I've played with Jimmy before, many times. But that was special for me. That was a very special thing. So it just goes to show sometimes dreams can come true.
Playing with Milt Jackson was another dream come true, because I used to go see him all the time. He was a genius. Nobody could play vibes like him before or since. And his was my favorite group: Ray Brown, Billy Higgins, Cedar Walton and Milt Jackson.
Good lord, man, those guys were so great. There wouldn't ever be a moment where you were looking at your watch and thinking about what you had to do tomorrow. You were just beaming ear to ear listening to that music, and you couldn't wait for the break to be over, you wanted another and moregive me more! When they played the Village Vanguard, I went every nightnot one night, every night. I couldn't resist.
When he called me to play the gig, he didn't really know who I was. James Williams gave him my name; he was my buddy, and I miss him. Cedar was the regular pianist in the group, and James Williams would sub for him. But a gig came up that neither Cedar or James could make, and James gave Milt Jackson my name because he knew how much I loved Bags [Jackson's nickname]. Bob Cranshaw, who was playing bass with him by then, knew me, too. Bags asked him who this guy Mike LeDonne was, and Bob said, "You know that guy. He's always sitting in the corner seat in the Vanguard when we play there, every night. The guy with the beard!" So, when I went to play with Bags the first time in Philadelphia, I knew all the tunes. I just sat right in and knew what to do. But at the time, I thought I did terribly. Cedar was my biggest influence then. I didn't want to hear anybody but Cedar. And here I was, trying to fill Cedar's shoes. I was so scared. I got through the gig, but I didn't know what to think. You know, Bags is a quiet guy. He's not a very demonstrative guy, and I was so in awe of him I could hardly talk to him. So, the gig came to the close at the end of the night, and I was actually walking over to him to shake his hand and apologize. And I was in the middle of saying, "I'm sorry," and he grabbed me and gave me a big hug and said, "I got you now! Beautiful!" And that was it. I stayed with him for 11 years.
Eventually, Cedar stopped doing it, and James got very busy, so I started subbing more and more, and eventually I wound up on that gig and being musical directorpicking all the tunes, writing arrangements. He was doing my tunes! And we became like family. I'd call him up and talk about anything, go hang with him out at his house. He was truly my buddy. We'd go on the road together. He'd bring pies. He was a baker; he used to bake piessweet potato pie or pineapple pie, which I never had before, and other kinds, too. We'd be going to Japan, and we'd have three or four pies circulating in business class, giving everybody a piecestewardesses, too. That's what it was like with Bags. It was just a party. He never said one word to me like, "I don't like the way you're doing this," or "I don't like the way you're doing that." Never. Just do your thing, and do it to the fullest.
It was the same with Benny Golson. He never said one thing to me. He's the one who really allowed me to expand my voice, because he wanted that. He wanted you to push, to go to the next level. He was so encouraging to me. I have all these letters from him that he's sent me. He'll send me a present in the mail out of nowhere. He wrote a tune for my daughter. It's called "Little Mary," and it's on my Groover record. He sent it to me one day just out of the blue. I got a FedEx. I had no idea what it was. I pulled it outhere's an original Benny Golson composition written for my daughter, and it's great. And I played through it, and I said, "Oh, my God! I've got to record this right away." What an honor, manthe guy who wrote "I Remember Clifford" and "Whisper Not." He wrote "Little Mary," and now it's in his book. And so my daughter has that for the rest of her life. It's like Duke Ellington writing a song for your daughter. He's a very supportive guy, and he really loves it when you move on to something else. And there's no pressure for it, but he's listening like a hawk.
AAJ: Getting back to the organ, in your discography you made a record with Michael Hashim in 1991 along with Peter Bernstein, Blue Streak (Stash). It was kind of a forerunner of your organ work.
ML: It was. It might have been my first organ record. Peter was on that and Kenny Washington on drums. Mike and I were together in my very first group that came to New York, the Widespread Depression Orchestra. We did all that Count Basie and Earl Hines material, and it was a great education to be in that group. Mike was sort of the spokesman for the group, and I knew him in Boston, too. We met when I was in school way back there in the '70s. He was going to Berklee, and I was going to New England Conservatory. So we go way, way back. He knew that I played organ. He used to come to my house sometimes when I went home to see my family, and we'd play together with me on organ. So it was natural when he wanted to do an organ record to have me do it, because he knew I could play. Whereas, my record company at that time didn't want me to do an organ record. They were afraid I was going to confuse people, and maybe they were right. I don't know, but if I had, it might have been a whole 'nother thing, because I would've hit the scene before Joey DeFrancesco or before Larry Goldings. I love both those guys. They're exceptional players, but I'm older than both of them by about a good ten years. I might've been the first guy doing it. That might have beenwho knowssomething for me. But at that time, my record company was just trying to put me over as a pianist. I was mainly playing the piano, known on the piano and getting gigs on piano.
The first guy who heard me play organ and really gave me a professional gig was Percy France, who was a tenor player who used to play with Bill Doggett and Jimmy Smith- - great tenor player, local Harlem guy who heard me play and brought me in to play with him every Wednesday at Showman's, which is in Harlem, with Joe Dukes, who is one of the great organ drummers of all time. We did that for three years, every Wednesday, and that's where I really cut my teeth, learning and trying to get it together. He was so sweet to me, always. That was the early '80s. And that's when I bought another organ. It was after I sat in at a gig Jack McDuff was playing in Harlem, and a friend of mine, Jim Snidero was in his band. Jim told me to come up there and play the organto sit in on Jack's gig. I said, "Are you crazy? Jack McDuff's one of the greatest in the world. I'm not going to go." He said, "Come on. Just give it a shot. It'll be fun. Jack's not going to care." So I went, and Joe Dukes was playing drums then. It was like a kind of a sextet with some horns and stuff, and Dave Stryker was playing guitar. I sat in, and I played one tune. And then Jack came over to me and said, "Man, you know what? You sound good on organ. You should be an organ player." And I said, "Wow, man, yeah!" So I went and bought an organ, almost the next day. I called my folks. I said, "OK. I need your help." I found one for two grand. They paid for it, and I put it in my apartment here, and the rest is history. I just kept going with it. Otherwise, who knows? I might've never done it.
At Smoke, I lent them my organ for the first year, because they weren't sure about how it was going to go over, and then they finally bought one. And it's been going for 12 years. It still gets packed. . . . A steady organ gig for 12 years in this day and age? I think if we look back at it later on, it's going to be seen as a piece of New York history. It's like the Vanguard Orchestra at the Village Vanguard. I'm not saying that we're making history, but just doing that gig is a piece of New York history.
strong>AAJ: You've talked about guys who have influenced you, and you've influenced a lot of people yourself on a professional level and through teaching.
ML: I was at Juilliard for four years, and for about the last 15 years or so I've been teaching at an all-day Saturday program for high-school students at the New Jersey Performing Arts Center in Newark. Teaching can be a lot of work. It's not something I want to be a major focus in my life, but doing NJPAC and working with a few private students is nice for me. I love NJPAC because it's teenagers. It's hard on the college level because then it's already kind of late in the game. The kids at the high-school level are much sweeter. They'll do what you say, especially when they hear you play and they hear your name on the radio. They're, like, "Hey, maybe we should pay attention to this guy." I've had so many great experiences there. They can be difficult sometimes, but also you're getting them from square one. They're coming in as a blank slate. You can really take them and mold them. I'm able to shape their styles, to teach them what I wish somebody taught me at their age. That's why I do it. Sometimes, it's true, they think they know everything already, but I don't play any games with these kids. And, inevitably, within a year or twoI've seen it over and overthey come back after the summer and all of a sudden, bam! They're doing it. They know the language. They're playing, and then they're on the road. I see they're heading off to music school, and I say to myself, "I had something to do with that." And they're all out here now. David Zaks, Alex Collins, Brandon Wright, Benny Reid, these are all guys that are out in the scene actively playing. Evan Shermana drummer in the ensemble I teachhe's going to Juilliard, and he's playing great.
AAJ: Speaking of teachers, you haven't yet mentioned Jaki Byardyou studied with him at New England Conservatory.
ML: Well, he was my first great teacher at college. He was a huge influence on me. He could just do anythinga genius. One of the greatest pianists of all time and a beautiful guy, full of love and life and warmth, and a party-time guy. Every lesson with him was a party. He would just play, and I would play. We had two pianos, and I'd stop him and say, "What's that?" And he'd show me voicings and whatever. I'd go and hang with him after our lessons. What a joy that I got to be around that guy. He helped me out when I came here to New York; he set me up with things, like letting me sub for him at the New School, where he also taught, and also at the Hartt Music School in Connecticut. I was just devastated when he got killed. He was murdered. Somebody came to his house and shot him right there, out in Queensterrible disaster, a tragedy. He was still playing so great and had many, many years left in him.
AAJ: Can you talk about your first record as a leader, 'Bout Time (Criss Cross, 1988)?
ML: Well, that first record was something. Everybody was trying to get a record date with Gerry Teekens in those days. His was the main label that was recording young artists, Criss Cross. Kenny Washington and a pianist named Michael Weiss actually got me the date. Gerry was listening to some other records I made as a sideman, but he wasn't convinced. Michael and Kenny said, "No, you've got to hear him live." They brought him to my gig and that was it; then he gave me the date. Tom Harrell was on it and Dennis Erwin on bass, and that was Gary Smulyan's first record date, I think.
We recorded it at Rudy Van Gelder's studio, and I had never been to Rudy's before. He still had the old piano, and he still was recording like the old days. I put those headphones on. I was so nervousI mean, I could barely keep my composure. But once I heard that piano in the headphones, it all went away. One of the guys was an hour late, and that made me more nervous. But once we hit the first tune, it was like magic, man. Just everything fell into place. The band sounded fantastic right in the headphones. Usually headphones bother me. But the sound in the headphones was like the sound in all my favorite records. Like, "Wow! Is this me? Oh, my God! I sound pretty good," you know?
AAJ: Some people have been critical about his piano or the way that he recorded it.
ML: That he makes everybody sound similar. I don't agree. I can tell everybody apart when I listen. It's rhythm that separates everybody, really, and that sound that he gotit is similar, but Hank Jones got a different sound out of it than Thelonious Monk did. And Tommy Flanagan sounded differently on it than Cedar did. And McCoy sounded differently on it. To me, for each one of them, it's their classic sound. When I think of their records, I think of the sound they had with Rudy. Really, that sound is probably my favorite piano sound. I mean, it's got warmth, but there's also a bite to it. And he recorded it really loud so that it almost distorts. I love that sound. It's got this really warm, bluesy, soulful thing built right into it. It is a special instrumentan old Steinway B, made in a time when they had different felt than they use now. So it actually did sound different, and it sounded magnificent. Hank Jones wanted to buy that piano from him his whole life.
AAJ: Well, maybe you've got to find something like that for your solo piano record.
ML: I would love to. It's a great sound. It's a bit different now. Rudy had to change the hammers, and he doesn't record exactly the same way. But it's a great sound. I might be too intimidated to record solo on that piano after hearing that sound on all the great solo records I've heard.
AAJ: Can you talk a little bit about how you approach the piano overall and how you got to the point you're at now technically?
ML: Well, a lot goes into it. First of all, the piano is an orchestra. So you have to orchestrate. And you're a big band, too. So you've got the flutes, you've got the saxophones, you've got the trombones, you've got the bassist. You've got everything. The pianist, the trumpet playereverybody's there. But you have to hear those things and let them all come out. You can't just sit there and only play pianothat's all there is to it.
The main thing that I keep working on is relaxing. I studied with a guy, Nick Rodriguez, who taught a technique that I use. He called it "relaxation technique." He was a brilliant guy. He didn't play jazz at all, but he changed my life. I went to the New England Conservatory; I went to Manhattan School of Music Prep and everything, and I studied with great classical teachers. No one taught me the basic nuts and bolts of technique like this guy. And he did it in such a down-to-earth, easy-to-understand way. All of a sudden, everything just clicked. Nick was a pianist, but not a jazz musician. He loved jazz. He loved Phineas Newborn. But he was really a classical pianist and a theoreticianthat's what he called himself. He was a character. He used to have a studio in the same place Barry Harris's studio was, at Charles Colin Studios, back in the day. His studio was a few doors away, and he and Barry knew each other; he loved Barry. He could come up with some jazz-like arrangements of tunes, but he couldn't really improvise. But he was a top-notch musician. He said, "When you relax, the music just comes out." And that is the truth. That's the truth, simple as it can be. When you relax, music comes out.
When you're playing, you can't get all caught up in thinking too much, trying to focus on something you've practiced and trying to fit it into what you're doing. You try that, and you're just going to have a problem. You're setting up a scenario for failure, right there. I know. I used to do it all the time. I'd be sitting there practicing something and listening to thingsthinking, "I want to sound like that"and you just can't do it. But when you relax and get all of that clutter out of the way, stuff starts coming out you didn't even know you could play. It comes from somewhere else in your brain.
There's a great book about the brain and music, Musicophilia, by Oliver Sacks. It's a study of the brain and how music affects it not only by playing music but also just listening to it. What they found through many case studies and from X-rays and CAT scans of the brain was that the part of the brain that rests between the two lobes, that lets those two sides communicatethat gets developed specifically and in a special way through music. Music doesn't register in just one part of the brain. It takes place all over the brain. It's not like speech, where there's a speech centeror emotion, or other activities in the brain. Music takes place all over. The brain is firing all over the place, even when you're just listening to it. But when you're studying it and practicing it and playing it, it's really going. They've found that that part of the brain is actually larger and more developed in people who play music and listen to music. Music does that to the brain. Nothing else does, really. Well, I don't know about nothing else, but this guy proved that music does. It's amazing, when you think about it. Music is something we all really need; it's not something you can live without. You actually need it if you want to develop your brain all the way. You want to get smarter, listen to music.
The brain is just so unknown; there's so much uncharted territory there. I know this from my daughter, Mary, too. She had many problems when she was born. She's disabled, and yet her brain is developing in a different way, but it's developing. She could hardly walk for the first five years of her life, but now she can swim like a fish. She can get right in the pool, and we don't need to be with her; we don't need to give her a floatation device; she just does it. Where'd that come from? There are all these freaky things about the brain. And one very freaky thing about the brain with music is you've got to get out of its way, which is hard to do. We're all so inhibited and all over-thinking everything that it's hard to shut all that clutter down and get the music out. But that's what you're hearing when you hear Coltrane. That's what you're hearing when you hear McCoy Tyner.
That's what genius is, I think. It's just getting all that out of the way and letting that brain, some part of it, just explode. Let it out. I remember reading something McCoy said. Now, he's a very spiritual guy, and he was saying that when he plays, he just tries to let the creator flow through him and get out of the way and just let it out. Whatever it is, if it's terrible or if it's great, just let it out. Let it be. And that has had a big influence on my thinking. I thought, "Yeah, forget all these arrangements and all this crazy stufftrying to play this, trying to play thatand just play. It takes a long time to get there with jazz music, because there's so much studying to do, there's so much theory you have to know, there's so much history to know. There are so many things you've got to embed in your brain just to get going; it's an awesome task right there.
AAJ: And physically?
ML: Physically, the technical demands are just the same as classical music. I know, because I've played both. But in jazz, you're composing spontaneously. Now, it's really something else to memorize music, like classical players do. That's another thing. That's another part of the brain. 'Trane said if they put a transcription of a solo of his in front of him to read, he just couldn't do it. But look what he could do when he improvised. There are different strengths and weaknesses in everybody. But, technically, you have to have everything at your command in jazz to get the music out. You've got to be on the top technical level and the top thinking level to be a great jazz musician.
Selected Discography
Eric Alexander & Vincent Herring, Friendly Fire: Live at Smoke (High Note, 2012)
Gary Smulyan, Smul's Paradise (Capri, 2012)
Mike LeDonne, Keep the Faith (Savant, 2011)
Mike LeDonne, The Groover (Savant, 2010)
Benny Golson, New Time, New 'Tet (Concord, 2009)
Wycliffe Gordon, Boss Bones (Criss Cross, 2008)
Chris Flory, For You (Arbors, 2008)
Mike LeDonne, FiveLive (Savant, 2008)
Mike LeDonne, On Fire (Savant, 2006)
Mike LeDonne, Night Song (Savant, 2006)
Eric Alexander, Gentle Ballads (Venus, 2005)
Joe Locke, Rev-elation (Sharp Nine, 2005)
Benny Golson, Terminal 1 (Concord, 2004)
Mike LeDonne, Smokin' Out Loud (High Note, 2004)
Gary Smulyan, The Real Deal (Reservior, 2003)
Mike LeDonne, Then and Now (Double Time Jazz, 2000)
Mike LeDonne, To Each His Own (Double Time Jazz, 1998)
Benny Golson, Remembering Clifford (Milestone, 1998)
Milt Jackson, Sa Va Bella (For Lady Legends) (Warner Bros., 1997)
Mike LeDonne, Waltz for an Urbanite (Criss Cross, 1996)
Mike LeDonne, Soulmates (Criss Cross, 1993)
Mike LeDonne, Common Ground (Criss Cross, 1990)
Mike LeDonne, The Feeling of Jazz (Criss Cross, 1990)
Mike LeDonne, 'Bout Time (Criss Cross, 1988)
Photo Credits
Pages 1, 4: Salvatore Corso
Page 2: Michael Wartell
Page 3: Herb Scher
Page 5: C. Andrew Hovan
Page 6: Dan Codazzi
Page 7: Giorgio Ricci
Page 8: Courtesy of Mike LeDonne


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Related links
Five matches into the new Aviva Premiership season, Worcester Warriors are seven points adrift at the bottom and in trouble.
No set of problems this early in the season are so great that the trouble is unrectifiable. Worcester are five matches and five losses in, but 17 Premiership games remain this season. Fortunes in this league peak and fall through mid-season lulls and bursts of form, but the key component is confidence. As things stand after Round Five, Worcester appear to have none.
Dean Ryan was unrestrained in assessing his team's shortcomings in the wake of their latest defeat. Taking out newly-promoted Newcastle at home was a must-win game for the Warriors after losing their first four fixtures, but they were 10-0 down after as many minutes. Such a hapless start against the Falcons, a relegation rival, on their own turf is unacceptable.
"We are not a side that is full of confidence. We have lost five games this season. We are not going to pretend that we are brimful of confidence after five losses, but we have got to work our way through it," he said.
Confidence is everything in the Premiership and although Ryan's blunt assessment that his team "cannot buy a win" afterwards will hardly spur morale, he is right.
The decision to opt for a number of five-metre scrums with Newcastle defending for their lives sapped energy and time for the hosts until the clock had run out. At 11-16, had Worcester perhaps kicked one of those penalties to draw within three points and then had an easier route to a win, their fortunes might have changed.
It is in those situations that the Warriors truly need to live up to their name. This is not an inexperienced squad; Jonathan Thomas is the new captain after arriving from the Ospreys and the likes of David Lemi, Paul Hodgson, Euan Murray and Chris Jones know this league and know it well.
Where Worcester have come unstuck is with an unhealthily high turnover in their squad during the off-season. Just as consistency has resulted in success for Leicester, Saracens and Harlequins, a revolving door has caused issues for Sale, London Irish and the Warriors over recent years. There is no coincidence.
14 players have arrived at Sixways, with the Argentinian trio of Leonardo Senatore, Agustin Creevy and Mariano Galarza on their way following the conclusion of The Rugby Championship. 16 have left.
Patching a new squad together under new management is an unforgiving task, but the desire to become a genuine Premiership force is now nearly a decade old and the highest Worcester have finished, with a relegation also happening in that time, is eighth in 2006.
Worcester have been punching at the glass ceiling for so long that now the shards are beginning to fall in on them.
More immediately, they must absolutely settle on a consistent matchday squad, along with making sure they have a kicker who can save them when it counts.
Fly-halves Andy Goode and Joe Carlisle have been traded out for Ignacio Mieres and Paul Warwick.
Tries have never come in large shipments at Sixways and last season Goode accounted for 224 of Worcester's 422 points - 53 per cent.
Mieres has been largely accurate thus far in his Worcester career but his missed kicks cost his team in the 18-20 home defeat to Irish. Take away that component in a league where the narrowest of margins can become seismic and the losses will mount up.
Ryan has a massive task on his hands because the longer Worcester go on without that first win, the deeper their morale will slump.
Their next batch of matches include trips to Exeter and Sale, along with hosting Bath and Northampton. There are no easy games in this league and on current form Worcester will be underdogs for each one of those contests.
Sale in many ways are an example of where Worcester need to go next. It took the Sharks until November to pick up their first win last season, after seven consecutive losses. It took them another four matches until their next win came along, but from February they only lost three of their nine remaining games.
Success builds confidence and vice-versa, but right now Worcester have neither in their locker. That first win cannot come soon enough or they will be going down in May.
by Ben Coles


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Screenings in LA 10/16 and 10/30
If you're in the Los Angeles area, you have two chances this month to combined screenings of 'The Guild' and 'Dr. Horrible's Sing Along Blog.'
On Friday, October 16 at 8pm at the Egyptian Theatre in Hollywood, 6712 Hollywood Boulevard. Location and more info on the American Cinematheque website (they're the non-profit org that programs the Egyptian). Tickets are $10 and available online via Fandango.
Part of season 2 of 'The Guild' will be screened. Confirmed cast in attendance are Vincent Caso, Felicia Day, Amy Okuda and Sandeep Parikh. The folks at American Cinematheque are working on arranging a panel/Q&A with Guild and Dr. Horrible cast/creators, details to come.
On Friday, October 30 at 8pm, Whedonopolis presents the 2nd Annual Halloween Charity Screening of Dr. Horrible's Sing-Along Blog and The Guild. Details on Whedonopolis.com – tickets are $20 and the event benefits Kids Need to Read.


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In fairness, negotiations have been hush-hush, so we really don't know where the sides are. But the outward signs are not optimistic.
How Forte stacks up
To determine how NFL teams evaluate Forte, I asked four front office men to rank the top running backs. For purposes of salary slotting, teams often will place players in tiers.
A "blue" player is a difference maker. A "red-plus" player is a notch below a difference maker and a notch higher than above average.
Here are the blue running backs:
1. Adrian Peterson, Vikings: He clearly is the best, assuming he can come back from his torn ACL.
2. Chris Johnson, Titans: He needs to have a bounce back season to stay in this category.
3. Arian Foster, Texans: This power runner gives the Texans an identity and is a new entrant into the elite category.
Here are the red-plus running backs:
5. Maurice Jones-Drew, Jaguars: "He has been doing it forever behind a so-so offensive line," an AFC front office man said.
6. Ray Rice, Ravens: Rice's all around-game elevates his value.
7. Forte: 7. An NFC personnel man pointed out if career numbers alone defined Forte, he might not compare favorably to some of the top backs. But he also pointed out he does a lot for the Bears.
Said another front office man: "Forte can do everything. That's why I like him. He doesn't have any weaknesses. You wish he were more physical at times and played more to his size (6 feet 2, 220 pounds), but he's very athletic and so well rounded."
8. LeSean McCoy, Eagles: "He's more elusive than Forte, a better space player and he gives you more big plays," a personnel director said. "He is electric. Forte doesn't create on his own as much. But he has more size and power. Both have good vision, good hands. McCoy is faster and scares you more in the open field. It's a tossup between them as to who you rather would have."
9. Frank Gore, 49ers: He has a career rushing average of 4.7 yards, and he is a fine receiver.
10. Steven Jackson, Rams: He has had seven straight 1,000 yard rushing seasons, playing for mostly bad teams, but is "descending," at 29 in July according to one personnel director.
11. Marshawn Lynch, Seahawks: He has a nice combination of power and burst, and can attack a defense inside or outside.


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The Holt Leadership Award for Residents and Fellows
The Holt Leadership Award is awarded annually to the Resident or Fellow-in-Training who best exemplifies the attributes of a young leader—honesty, integrity, fairness, advocacy, and enthusiasm. The Award recognizes exemplary efforts on behalf of the Section for Residents and Fellows-in-Training of the AAO-HNS/F for the promotion of the missions and goals of the association.
Distinguished Award for Humanitarian Service
The President presents this award at the Opening Ceremony to an Academy member who is widely recognized for a consistent, stable character distinguished by honesty, zeal for truth, integrity, love and devotion to humanity and a self-giving spirit. The awardee is an outstanding example and model to emulate for a life dedicated to a nobler, more righteous, and more productive way to live as an individual on this earth.
Jerome C. Goldstein, MD, Public Service Award
The Jerome C. Goldstein, MD, Public Service Award recognizes members for commitment and achievement in service, either to the public or to other organizations, when such service promises to improve patient welfare. The awardee will be honored during the annual meeting Opening Ceremony.
Presidential Citations
Presidential Citations recognize individuals selected by the president for their outstanding contributions and dedication to the Academy and Foundation.
BOG Practitioner Excellence Award
The BOG Practitioner Excellence Award recognizes the prototypical clinical otolaryngologist one wishes to emulate.
WIO Helen F. Krause, MD Trailblazer Award
The Women in Otolaryngology (WIO) Section is pleased to request applications for the Dr. Helen F. Krause Trailblazer Award. This award recognizes an individual who through scholarship, advocacy, leadership, and/or mentorship has furthered the interests of women in the field of otolaryngology.
Adam T. Ross, MD, Leadership Excellence Grant
The honor of the Adam T. Ross, MD, Leadership Excellence Grant is bestowed annually to a resident leadership grant recipient who has exhibited strong leadership commitment to the Academy throughout his or her residency. Members of the Sections for Residents and Fellows-in-Training (SRF) select this individual during their spring meeting.
Arnold P. Gold Foundation Humanism in Medicine Award
In collaboration with the Council of Medical Specialty Societies, the Arnold P. Gold Foundation has chosen the American Academy of Otolaryngology—Head and Neck Surgery (AAO-HNS) to administer the Gold Foundation Humanism in Medicine Award, conferred on a practicing otolaryngologist who exemplifies compassionate, patient-centered care. A panel of members of the AAO-HNS Foundation's Humanitarian Efforts Committee selects an awardee for ratification by the Board of Directors.
AAO-HNS/F Model Committee Award
The Model Committee Award recognizes committees that contribute in ways that lead to the overall success of the AAO-HNS/F mission: empowering otolaryngologist—head and neck surgeons to deliver the best patient care. Model committees have a passion for the AAO-HNS/F's visions and for accomplishing the activities outlines in the AAO-HNS/F strategic plan.
Receive many benefits to help you in your professional pursuits: shape the future of the specialty, manage the business side of your practice more smoothly, and more.
Do you enjoy travel or have a yearning to help others? If so, why not volunteer for humanitarian efforts?
The Academy recognizes the extensive meritorious service of medical professionals' teaching, research, and leadership within the specialty.


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SOUTHS LOGAN v IPSWICH
Saturday, March 28 @ Meakin Park 2pm * Live On ABC TV
LAST year
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YES CERTIFIED with the following products:
Operating Systems:
Product Description
The Intel Entry Server S3000AH is a monolithic printed circuit board with features that is designed to support the entry server market. There are 3 different SKUs with this boards, S3000AHLX, S3000AH(LC), S3000AHV.
Tested Configuration:
Config Notes
Adapters and Drivers
The term YES CERTIFIED applies only to the exact configuration documented in this bulletin. Components including LAN adapters, host bus adapters and other individually YES CERTIFIED components may be exchanged for other YES CERTIFIED components. For more information on swapping YES CERTIFIED components, please access the following web page:
For more information regarding the specific test configuration, please contact:
Intel Corporation
2111 Ne 25th S
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text:
Billing & Account Support
EasyPay FAQs
Last Updated: Fri, 06 May 2011 > Related Articles
Learn how EasyPay makes managing your monthly statement simple.
EasyPay is an automatic and recurring payment program that allows customers to pay their Cox bill each month automatically using a bank account or credit card.
While EasyPay is an automatic and recurring payment program, View/Pay Bill is used for one-time payments and is neither automated nor recurring. You must login to pay your bill each time you wish to pay via the View/Pay Bill method.
A valid bank account or credit card.
Learn how to sign up for EasyPay by viewing the article on how to Make Recurring Payments Online Through EasyPay.
You can find your 16 digit Cox account number in the upper right corner of your Cox Bill Statement.
If you have already set up a password, you can also log in to View/Pay Bill to find your account number on the first page after logging in.
EasyPay is a free service.
A record of the transaction will appear on your monthly statement from Cox, as well as on your monthly bank account statement or credit card statement.
For billing questions, you may visit www.cox.com/service for responses to Frequently Asked Questions, to email us your question, or to find the phone number to speak with a Cox customer care representative.
Yes. You may stop participating in the EasyPay Program at any time by speaking with a Cox customer care representative.
Yes. If you feel you have not been charged correctly, simply notify Cox Communications and your bank or credit card company of the items in dispute.
If you change your bank or your credit card company, you can provide the updated information quickly and efficiently by visiting www.cox.com/easypay. You simply check the "Renew" box and enter the updated Bank or Credit Card information.
If your credit card is about to expire, you will receive a notice from Cox reminding you to provide the updated card information via www.cox.com.
As long as you provide this information prior to the month the card expires, your monthly bill will continue to be paid via EasyPay.
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- Go to Cox.com and click on View/Pay Bill.
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Restaurant Reservations - Free • Instant • Confirmed
The Modern - Dining Room
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The Modern - Dining Room
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Reviews ›
9 W. 53rd Street
New York, NY 10019
Midtown West
Getting there ›
$50 and over
See Menu ›
More Details ›
The Modern - Dining Room Details
Dining Style:
Fine Dining
(212) 333-1220
Hours of Operation:
Lunch: Monday–Friday, 12:00 p.m. – 2:00 p.m.
Dinner: Monday – Saturday, 5:00 p.m. – 10:30 p.m.
Closed Sunday
Payment Options:
AMEX, Diners Club, Discover, JCB, MasterCard, Visa
French, American
Executive Chef:
Abram Bissell
Dress Code:
Business Casual
Accepts Walk-Ins:
Additional Details:
Banquet/Private Rooms, Bar/Lounge, Full Bar, Non-Smoking Area, Non-Smoking Restaurant, Private Room, Smoking Area, View, Wheelchair Access, Wine
Private Party Facilities:
Private dining at The Modern consists of one magnificent room which overlooks The Museum's Abby Aldrich Rockefeller Sculpture Garden through floor to ceiling windows. The space can accommodate up to 64 guests for sit down functions and up to 80 guests for receptions.
Private Party Contact:
Special Events (212) 408-6611
Getting there
Cross Street:
Between 5th and 6th Avenues
Public Lot
Parking Details:
There is street parking, as well as a public car park across the street from The Modern.
A word from The Modern - Dining Room
The Dining Room at The Modern occupies a stunning space overlooking MoMA's Sculpture Garden. Dinner options include an eight-course Tasting Menu or a $108 four-course prix fixe menu with diverse options for each course, while lunch offers a $62 three-course menu. The restaurant also boasts an award-
winning wine program as well as a carefully curated list of cocktails, beer and spirits. The Modern's Dining Room accepts reservations 28 days in advance. The restaurant also includes the vibrant and lively Bar Room (reservations encouraged), and a Bar & Lounge area that welcomes guests on a walk-in basis.
Foodspotting photos
See all photos >
Awards voted by OpenTable diners
Diners' Choice Winner
Diner Reviews
All dishes above average. But
atmosphere noisy but serve air condition too high too chilly. Like cheap tavern. "
Dined on 4/17/2014
Elegantly arranged and wonderful
food full of taste. We loved your wonderful kind of bread and the different kind of butter. We live in Denmark and was given a gift card by our son, who visited you a couple of years ago."
Dined on 4/14/2014
The food is presented like art.
The service was impeccable and the setting cannot be beat. "
Dined on 4/15/2014
This restaurant has a sleek modern
look -from the style of the napkin rings to the design of the bread bowls and water pitchers. The food was amazing as well. It is a Michelin 1 star and definitely deserves its rating or better. I've dined in three stars that were no better than the Modern. The food was delicious with intriguing mixtures of taste and texture, the dishes were beautifully presented on the plate -each worthy of a picture. Not a single wrong note and a chocolate trolley at the end. Who could ask for more?"
Dined on 4/14/2014
Every bite is a culinary elegant
adventure! The tastes are sublime - the lightest and smallest raviolis I have every encountered - and the service absolutely perfect. Servers are knowledgeable; appear at the moment of need seemingly via mental telepathy. The sommelier knows her stuff! She picked suggestions for us that were less expensive than we had for ourselves!! The servings were perfectly sized. We will be back! Though we may have to wait until our wallet replenishes a bit."
Dined on 4/10/2014
I could not say enough about this
restaurant. The food was excellent. The presentation was excellent and the service."
Dined on 4/3/2014
My wife and I had dinner in the
dining room, this restaurant is excellent for special occasion, Anniversaries, Birthdays or just a special night out on the town. The food is very good, we had the tasting pix 4 which was a cold appetizer, hot appetizer, main dish and dessert. The Olive crusted lamb was amazing. the peekytoe crab and black bass Gratinee appetizers were also excellent. The plates are very small but at the end of the meal my wife and I were surprisingly full. The service is very good and the staff was very knowledgeable and pleasant."
Dined on 4/8/2014
The lunch we enjoyed w/ clients at
The Modern was lovely. The room was crowded, but not so noisy we couldn't hear each other, and I really enjoyed the table. The food was excellent and the presentation was really well done, but frankly it was very pricey for the amount of food on the plate."
Dined on 3/31/2014
A perfect way to end the evening
after being mesmerised by the art exhibitions at the MoMA. Staff were extremely helpful and friendly - what a pleasant experience. Food were thoughtfully prepared and flavoursome. A quiet and romantic ambience, perfect for a date night. An outstanding experience."
Dined on 3/28/2014
Food was very good, service
attentive although a bit rushed. Lovely setting - ask for a table by the window. Met expectations and would recommend ... but nothing that exceeded expectations, such as the little extra touches you sometimes get with a MIchelin-starred restaurant."
Dined on 3/28/2014
Twice the price of Nougatine Jean
Georges Prix Fixe and half the taste"
Dined on 4/4/2014
Our reservation was at 6:45 so we
able to view the MOMA sculpture from out window table just as I had asked. Our waiter was interesting and helpful in assisting us in our selections for each of our four courses. My cocktail was exactly as ordered and the food was amazing. We were too full to eat the extra treats at the end of the meal so they were boxed for us and ready when we picked up our coats. We will be back."
Dined on 3/22/2014
Really wonderful food, and great
setting. Love the menu."
Dined on 12/19/2013
If you can, get them to seat you
by the window so you can look out at the sculpture garden and savor every flavor while enjoying the beauty. This is a prix fixe menu, but well worth it and one of the pleasures is that you know the damage well before the check comes. You can either have the 3 or 4 course meal whichever your wallet will allow. The food is wonderful, the room is beautiful and the sense of quiet and peace priceless."
Dined on 4/2/2014
The food was outstanding, the
setting beautiful, and the staff were very attentive and helpful with our needs!"
Dined on 3/29/2014
The food is tasty, good
presentation and the service is excellent."
Dined on 3/26/2014
Great food presented as an art
form and served in the ambience of MoMA.... a truly unique dining experience even in NYC."
Dined on 3/26/2014
A lovely assortment of flavor
options presented in a space highlighted by the art in the garden."
Dined on 3/26/2014
Excellent dining experience, all
around. Food and service were both excellent."
Dined on 3/25/2014
We had a lovely pre theatre dinner
at Modern. The restaurant is gorgeous- high ceilings, beautiful flowers and of course the view into the sculpture garden is to die for. I started with the foie gras balls and they were rich, creamy and I was surprised at how big the portion was. My husband got the shrimp 3 ways- it was incredible. Next a diver scallop and seared foie gras which melted in my mouth. Beef came out a little cool but I appreciated the coarse sea salt atop. My husband enjoyed the squab. Could have skipped dessert, not much to report there. The chocolate tray was a nice touch. My only complaint is that the adjacent bar and restaurant is so loud, wish there was a divider between that room and the modern."
Dined on 3/22/2014
We had lunch at here on a Thursday
and the restaurant was packed. What an amazing experience! The food, service, attention to detail and the view of the sculpture garden made this an unforgettable experience. We cannot wait to go back!"
Dined on 3/13/2014
Went to the Modern for a friend's
birthday and had a great time. We had the prix fixe dinner --- amazing flavors in the food, beautifully presented by an attentive 4 person wait staff. My favorite dishes were the gnocchi (2nd course) and lamb (main). In addition to dessert we were spoiled with hand made treats from the dessert cart. The java foam was to die for! To top it off the pastry chef gave each of us a box of coconut tea financiers to take home with us. Had a wonderful gourmet dining experience and would definitely return."
Dined on 3/13/2014
The service, food, decor,
everything was excellent. Spent an arm and a leg, but was it worth it. Be prepared to spend, but enjoy every minute."
Dined on 3/13/2014
Food was good but not
extraordinary. Unmemorable. Desserts bland. Wait staff everywhere. Excellent cocktails and wine."
Dined on 3/12/2014
HE is the secret ! May Bissel be
as spectacular as Kreuther Why fly to Europe ?"
Dined on 3/7/2014
We had dinner at the Modern on
Friday evening. Two of us split the chicken dish which was okay but not great. Interesting preparation but the result is only so so. Other dishes again good but not great. It seems to me that the food is less interesting today than it was a couple of years ago. Could be that others have gotten better but whatever the case the restaurant should spruce up their food offerings. It is too elegant a restaurant to have only good food."
Dined on 3/7/2014
The food we got was excellent,
even though the wrong entree was brought out to my friend. They were very apologetic for the mistake and offered us a free extra dessert which was nice. Was a nice atmosphere, and also they didn't crowd you in like some of the other places do."
Dined on 3/6/2014
For special occasion expensive
this is a great expierence of good food, good service and good taste, all together would be impossibe not ot cost, so be prepered to pay more then 300 dollares with a cheap wine."
Dined on 3/3/2014
Dinner at The Modern is a great
special evening. The food is creative, delicious at every turn, and the service is excellent without being intrusive. The wine list is not to be trifled with -- there are few options under $100, and most are over $200 -- so you can expect that with wine and tip you will spend $300/head or thereabouts. But, as a special treat The Modern is great fun."
Dined on 3/5/2014
I came after an opening at the
Museum. Service could not have been more cordial and professional, without being stuffy or overly formal. The decor was beautiful, the presentation outstanding and the 4 course meal was very memorable. All around a great dining experience for special nights out."
Dined on 3/3/2014
We were a couple and no
course,from the 3 each of us ordered tasted good. If only they add all the style in the flavors..."
Dined on 2/26/2014
...the coffee is below par for
this well-deserved highly rated venue. We are regular diners here and would love to end our meal with some rich, robust coffee. At recent visits it has been most disappointing."
Dined on 2/28/2014
No changes to the menu yet, but
the changing of the guard int the kitchen has resulted in a dramatic improvement. Even the service in the dining room has improved and is back to the high standards one would expect."
Dined on 2/28/2014
The setting is delightful--the
service was impeccable--and the food (all 4 courses + numerous small plate additions which kept honing our pleasure) was truly memorable."
Dined on 2/22/2014
This is superb dining experience.
From the florals to the plates everything is exquisite"
Dined on 2/22/2014
This was what we expect when we
want to dine out: 1. High quality meals that we cannot prepare at home, 2. Pleasant ambiance - not crowded, not noisy, large enough table, beautiful view, 3. Knowledgable, caring, and not aggressive service, 4. No rush, 5. Variety of chef's treats throughout the evening."
Dined on 2/20/2014
Outstanding food and wine list.
Some may not like the small portions but we found it to right sized for modern living. Service was good and very efficient once they paid attention. Sommellier was slow off the mark until he realized we were buying a serious bottle of wine. A little arrogant. Perfect for a special occasions or anytime you want outstanding food. Not inexpensive but worth it. Great active bar scene which is also more casual. Great views over the MOMA garden of outside art."
Dined on 2/20/2014
Everything about the evening was
delightful...excellent menu, great service...great evening."
Dined on 2/15/2014
Could not recommend more highly.
Our first time at the Modern was wonderful but second time around was even better. Each course of the tasting menu was fantastic with no low points or unmemorable dishes. They even allowed a substitution which was very gracious. Foie Gras / scallop, langoustine/clam tartare, sturgeon/sauerkraut tart and duck breast were my favorite courses. Sommelier picked out a great and very reasonably priced wine. Service was excellent all around and we left happy and full after a 3 hour dinner. Will be going back for a special occasion."
Dined on 2/15/2014
We had a delicious lunch. Cutting
edge while not being totally off the wall. The presentation was perfect for the MOMA. I usually don't take pictures of my plate but this was special. Goat milk butter to accompany the bread was yummy. Vibrant color and taste of sorbet."
Dined on 2/13/2014
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text:
Outlaw thinks it has a the full-featured but affordable home theater surround processor for you. The new Model 975 is the company's latest offering, and it does indeed offer a good-looking assortment of performance options.
For starters, the 975 does audio processing for all the important formats including Dolby TrueHD, DTS-Master Audio, plus Pro Logic IIz and DTS Neo:6. Flexible bass management comes in the form of Quad crossover settings from 40Hz to 200Hz with 12dB/octave (2nd order) high-pass and 24dB/octave (4th order) low-lass slopes.
The unit does 1080p scaling, includes four 3D-ready HDMI inputs, four digital audio inputs, the standard analog inputs, AM/FM radio tuner and configurable 7.1 audio output with surround back or front height options.
There don't appear to be any wireless connectivity options such as Bluetooth or AirPlay, online music services or IP control option.
The Model 975 is available online only for $549.
Follow Electronic House on Facebook and Twitter.
Sony is serious about high-resolution audio, but not necessarily at high prices.
Elan g! smart home system combines home theater and control for free-agent offensive lineman.
One of these outdoor subwoofers help put the boom into your backyard music.


text:
T.I. – Wonderful Life Lyrics
[Intro: Akon]
1, 2, 3 - ooh yea
Ooh oh-oh...
I hope you don't mind, I hope you don't mind
That I put down in words... how won-der-ful life is
Hey Tip, lemme holla at ya...
Making yo momma proud, looking in yo daughter's eyes
Kickin it with your sons, trippin, never realize
How good you got it, been so wrapped up in yo losses
You couldn't see the profits, could've been in the projects
Instead releasing projects just poppin when niggas floppin
So you went back to prison TIP, it could've been a coffin
Now since we talkin, you been trippin ever since I died
Appreciate you missin me but G, you still alive
I'm lookin down at you, and sendin smiles to you
I check the record now, oh tell Tamika hi will you
Told you she would get you, that's good cuz shorty proud wit you
Kids getting big, seen King riding a bicycle
See Niq Niq drive a car, see Bubba big as you
I see Domani rappin, and he's spittin too
Little Deyjah beautiful, and Major supercool
My life is over with dawg, your life is good to you
[Hook: Akon]
And you can tell everybody, this is your song
And you can tell everybody, this is your song
I hope you don't mind, I hope you don't mind
That I put down in words... how won-der-ful life is
Sit down, son...
And listen to me son, and pay attention to me
Seems like I'm the only one that you would listen to
I never knew the time that I ain't get to spend with you
Would ever result in you making yourself miserable
You gotta let it go, it's painful, I already know
The past is the past, just learn from the grown
So you got crystal wit you? And your sister Precious too
I'm proud of you, did better than I expected you to
Although I knew you was special when you was smaller
That's why I was so much harder on you, knew you were smarter
Not much convo to offer, I wasn't much of a talker
Great to see you doin better than me, even as a father
Taking care of yo mama, overcoming the drama
Your life is wonderful son, don't let em take it from you
Keep living it to the fullest, treasure it, it's a blessing
Be thankful for all this beauty, when it's over with forget it
What up, Phil? So good to hear from you, we missing you (f'real)
Remembering all of our conversations, daily reminiscing you
The good the day they low, could tell they don't know who to listen to
Today I watch Jeanette like she was my own and that could missing you
I swear it's so unfair that I'm right here and you up there
I miss you so much now to the point I call your name but you not there
Now I can't rest and I can't do shit off my mind, I'm so upset
It wasn't your time to beat me there, broke my heart to see you dead
Shot with bullets that were meant for me, familiy's never forgiving me
I know, but all I could do was follow your memory
But pops I thank you so much for leaving, I had to grow up
Slanging crack on the corner ain't quite the future you wanted for me
Was it? And this pain I feel it never goes away
Does it? This load I carry get no lighter
I grew up all on my own with a broken heart and a broken home
Taught me everything I've known, owe you everything I own
I must admit you raised a warrior, my life could be a story book
Hope you proud of me, didn't graduate from college but
Thanks for listening to me, so long I had this bottled up
Til we meet in person let's keep speaking through my verses for life
This is your song...
Edit song description to add:
- Historical context: what album the song's on, how popular it was
- An explanation of the song's overall story (example: "In this song, Eminem corresponds with a crazed fan who ends up...")
- The sample used for the beat — use WhoSampled.com and wikipedia as references


text:
India's largest shopping mall opens in Kochi, Kerala
Billed as one of Asia's biggest shopping malls, the Lulu Shopping Mall was opened to public on 10th March. Built at a cost of over AED 1.25 billion, the mall is spread over 2.5 million square feet of space and is owned by EMKE group of United Arab Emirates (UAE) businessman M.A. Yousuf Ali, who hails from Kerala. The mall has nine theatres, 16 pairs of escalators, elevators and travelators. There is a 3,500-seat multi-cuisine food court and parking for 3,000 cars.
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text:
Cornell AD Andy Noel: "Oh, Those Blogs!
by, 01-28-2010 at 03:55 PM (7268 Views)
In this new world of reporting news-as-it-happens, there are bound to be some rumors and leads that prove to not be true. But responding somewhat to "the blogosphere", Cornell AD Andy Noel came pretty close to blaming them for [URL="http://www.pressconnects.com/article/20100127/SPORTS03/1270368"]getting the facts wrong[/URL]:
[QUOTE]"That was all incorrect. There was no (situation where the) offer (for new head football coach Kent Austin) was turned down and then we sweetened the pot. That did not happen. [B][I]I'll also tell you the number of the blogs had us interviewing at least five people that we never even spoke to. Honestly. They're very good coaches and nothing against those individuals, but we had to select down to our top group of five or six and those individuals weren't in it. But I don't know. Some of those blogs...[/I][/B],"
-- Cornell athletics director Andy Noel, on rumors that Austin initially turned down the Cornell job.[/QUOTE]
In a head coaching search that takes more than a month - and one of the final head Division I head coaching vacancies to be filled (Bucknell's was [URL="http://www.collegesportingnews.com/entry.php?25-Reports-Say-Joe-Susan-Is-The-Next-Bucknell-Head-Football-Coach"]filled just a day later[/URL]) - there are bound to be a few false starts. (Heck, even I reported the rumor that [B]Bill Lazor[/B] [URL="http://www.collegesportingnews.com/entry.php?7-Cornell-Head-Coaching-Search-and-Chaos-Theory"]might be under consideration[/URL], based on an article in Cornell's student paper.) But Andy Noel was really taking aim at a popular website for head coaching rumors - [URL="http://www.footballscoop.com/?cat=24"]footballscoop.com[/URL] - that used the actual words "Cornell may have sweetened the deal for a coach they interviewed early on".
However they got Mr. Austin as head football coach, by all accounts they seem to [URL="http://www.pressconnects.com/article/20100127/SPORTS03/1270368"]positively elated with their choice[/URL]:
[QUOTE]"This is a guy ... that can coach anywhere," Noel said. "And we're just fortunate. I'm a bit surprised that we're this fortunate to land a coach with his credentials, but I'm happy about it.
"I think, right now, this is by far the strongest coaching staff, across the board, that we've had since 1974 when I arrived," he said, long after most of the audience had departed. "People like (sprint football coach) Terry Cullen, who've been here longer, say this is the best that they've ever seen. You look across the board; we just have some phenomenal coaches, and I believe that we need a coach like Kent to go from traditionally in the middle of the league ... to the top."[/QUOTE]
Heard from the press conference, from a member of the press that may have been looking at the Cornell position with a bit of skepticism (since the Big Red hadn't won even a share of the Ivy League title since 1990), Austin [URL="http://www.pressconnects.com/article/20100127/SPORTS03/1270367/New+Cornell+football+coach+++I+didn+t+come+here+to+lose+"]had the right answer[/URL]:
[QUOTE]"I didn't come here to lose," he said. "And if I didn't think we could win, I wouldn't be here. I promise you that."[/QUOTE]
And [URL="http://www.pressconnects.com/article/20100127/SPORTS03/1270367/New+Cornell+football+coach+++I+didn+t+come+here+to+lose+"]one more interesting note on this hire[/URL]:
[QUOTE]Austin can partially thank former Brentwood Academy (Tenn.) high school teammate Mike MacIntyre for the Cornell coaching job. MacIntyre was the defensive coordinator at Duke University before being hired as San Jose State University's head coach on Dec. 17. On Dec. 23, former Cornell coach Jim Knowles resigned to become the defensive coordinator at Duke, thus paving the way for Austin's hiring.[/QUOTE]
You know who else can thank Mr. MacIntyre? Joe Susan, Bucknell's new head football coach, because one of the assistants that MacIntyre hired was no other than former Bucknell head football coach Tim Landis.
You know you can thank Cornell AD Andy Noel, too? Former Richmond head football coach Mike London (now at FBS Virginia). A day after Noel hired Austin, Lazor [URL="http://www.philly.com/philly/wires/ap/sports/colleges/20100128_ap_seahawksqbcoachhiredatvirginia.html"]accepted a position at Virginia as quarterbacks coach under London[/URL]. (If that doesn't make you believe in chaos theory, nothing will.)


text:
Spruce, Colorado Blue Picea pungens
A magnificent sight of silver blue-green spruce. Rated one of the most popular evergreens. It grows well while young and matures at 50-75'; 10'-20' spread in the landscape, up to 135' and 35' spread in the wild. (zones 2-7)
Try this tree in your yard:


text:
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- Simplificator GmbH Zurich, Switzerland
- Simply Excited Inverness, United Kingdom
- Singlebrook Technology, Inc. Ithaca, NY, United States
- Sinuous Christchurch, New Zealand
- Sirius Innovations Incorporated Richmond, BC, Canada
- Site5 Denver, CO, United States
- Sitespark Interactive Madison, Wisconsin, United States
- Siyelo Cape Town, South Africa
- Skyblaze Fermo (AP), Italy
- Slamdot, Inc. Knoxville, TN, United States
- Slantwise Design Minneapolis, MN, United States
- Slide Rule Labs Utah, United States
- Small Spark Brisbane, Australia
- SmarTek21 Kirkland, WA 98034, United States
- SmartLogic Solutions Baltimore, United States
- SmashTank Apps, LLC Scottsdale, United States
- smokeclouds New York, NY, United States
- Snooty Monkey, LLC Chapel Hill, NC, United States
- Social Cubix Maryland, United States
- Social Media Home (Social Applications Development) Edmond, Oklahoma, United States
- SocialSmart S, Brazil
- Sodel Solutions Navi Mumbai, India
- Softec Ventures Limited Lahore, Pakistan
- SoftLayer Dallas, TX, United States
- SoftServe Lviv, Ukraine
- Softweb Solutions Chicago, United States
- Softwhisper SL Coru, Spain
- SOGILIS Grenoble, France
- SolidStack Charlotte, NC, United States
- Solutionwise Consulting, Inc Ottawa, Ontario, Canada
- Somebox LLC Brooklyn, United States
- somewhere in... dhaka, Bangladesh
- SoundCloud Ltd. Berlin, Germany
- Sourcebits Technologies Bangalore, India
- space150 Minneapolis, MN, United States
- Spacemonkey Labs, LLC New York, United States
- Span Six Software, Inc. Toronto, Ontario, Canada
- SPAN Systems Bangalore, India
- Spark59 Cincinnati, Ohio, United States
- SpeedyRails.com Ottawa, Canada
- Sphere Technologies Bras, Brazil
- Spheric Technologies Moncton, NB, Canada
- Spike Insights Limited Hamilton, New Zealand
- SpikeyByte Burnley, United Kingdom
- Splendeo Innovacion Madrid, Spain
- Sports Composite DE, Inc. Los Angeles, United States
- SpotAJob Copenhagen, Denmark
- Springy Web Ltd Northamptonshire, United Kingdom
- Spritle Software Private Limited Chennai, India
- SproutBox Bloomington, Indiana, United States
- Square63
- Srijan Technologies New Delhi, India
- Stac Leeds, United Kingdom
- stakr GbR Berlin, Germany
- StartAhead bvba Antwerp, Belgium
- STARTUPS India, India
- STATIM Web Development Danville, CA, United States
- Steelpixel, LLC Cincinnati, Ohio, United States
- Stellarise London, United Kingdom
- StrataGem Denver, Co, United States
- Stratpoint Technologies, Inc. Makati, Philippines
- Studio HB Lyon, France
- Studio Melipone Paris, France
- Studiocast, LLC. California, United States
- Style Design International surat, India
- Subsis Copenhagen, Denmark
- Substance Lab Kolding, Denmark
- Suit My Mind SPRL Brussels, Belgium
- Sumeru Software Solutions Private Limited Bangalore, India
- Sumo Coders Gentbrugge, Belgium
- SUNY Office of Library and Information Services Albany, NY, United States
- Superblock Crystal Lake, Illinois, United States
- SuperSaaS Amsterdam, Netherlands
- Sura Systems Private Limited Chennai, India
- Surgeworks LLC Salt Lake City, Utah, United States
- Susuh GmbH Berlin, Germany
- Sweet Development, LLC Sacramento, CA, United States
- Sympact Technologies Brooklyn NY, United States
- Synap Software, LLC Denver, CO, United States
- Synbioz Lille, France
- Synechron Technologies Pvt Ltd Pune, India
- System46 Hamburg, Germany
- Taoweb S, Brazil
- Tarantell Oslo, Norway
- Tavaton Brisbane, Australia
- TeHospedo Porto Alegre / RS, Brazil
- Tempest Security Intelligence Recife/PE, Brazil
- TEMPL La Plata, Buenos Aires, Argentina, Argentina
- Tempobrain Z, Switzerland
- Tengu Software Development Wuxi, China
- TensorMap Charlotte, NC, United States
- Terra Firma Design & Consulting Newport, Oregon, United States
- Terralien, Inc. Raleigh, NC, United States
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