Photo GallerY
HANK ROBERTS SEXTET ‘SCIENCE OF LOVE’ RECORDING RELEASED ON JULY 26 2021
Hank Roberts Sextet rehearsing at Ibeam in Brooklyn in preparation for our recording, SCIENCE OF LOVE, which will be released on SUNNYSIDE RECORDS on July 26th 2021. Jacob Sacks, Dana Lyn, Vinnie Sperrazza, Mike McGinnis, and Brian Drye.
Hank Roberts Sextet in Oktaven Studios NYC (Vinnie is in a drum booth, and so not pictured here)
ILLUSTRATIONS BY HANK ROBERTS GRAPHIC DESIGN BY CHRSITOPHER DRUKKER
‘SCIENCE OF LOVE’ Sample Segments Reel
Recorded by Ryan Streber and wonderfully mixed by Mathew Saccuccimorano and Luke Bergman. Mastered by Matthew Saccuccimorano.
PLEASE CHECK OUT THE ‘HANK ROBERTS SEXTET’ PAGE ON THIS SITE FOR MORE INFO
Mike and Dava were my roommates in Brooklyn. Lovely people. They are now three, with the addition of their beautiful daughter, Pepper. Mike plays clarinet and soprano saxophone in my sextet. I wrote a significant portion of music for the Sextet album in the basement of this apartment late at night. My sister, Craige, along with Mike and Vinnie helped me to move my Mom’s 80’s Yamaha Clavinova into my room there, where I wrote ‘205’, one of the pieces on SCIENCE OF LOVE.
HANK ROBERTS SEXTET at THE NEW YORK CITY WINTER JAZZ FEST
HANK ROBERTS TRIO ‘CONGERIES OF ETHEREAL PHENOMENON’ RECORDING SESSION
on NEWVELLE RECORDS
with VINNIE SPERRAZZA - DRUMS and JACOB SACKS - PIANO
Marc Urselli (on the left), recording engineer extraordinaire, with Jacob Sacks and me at East Side Sound Studios recording our trio record for Newvelle Records.
Vinnie Sperrazza
CONGERIES OF ETHEREAL PHENOMENON available on LP at NEWVELLE RECORDS
HANK ROBERTS TRIO
‘CONGERIES OF ETHEREAL PHENOMENON’
‘EVIDENCE’ and ‘TRIO 6’
HANK ROBERTS TRIO - JACOB SACKS, HANK ROBERTS, VINNIE SPERRAZA
The second half of this video features some music from our recording session for the LP, CONGERIES OF ETHEREAL PHENOMENA. (The first half features Greg Tardy with Bill Frisell.)
Ben Goldberg, Bill Frisell, Jane Roberts, Carole D’Inverno, our most devoted listeners (and incredibly wonderful people), supporting the Trio (with Jacob and Vinnie) at Ibeam in Brooklyn
BILL FRISELL HARMONY US TOUR 2020
Seattle - Bill Frisell, Petra Haden and Luke Bergman during our sound check. Bill Frisell’s group, HARMONY.
Bill Frisell’s HARMONY in Portland
Claudia Englehardt - Sound at it’s best, and tour managing at it’s best, and very cool person.
Pre-show at The Moore Theatre in Seattle, WA
Mt St Helens March 2020
FRED ARMISEN with BILL and PETRA at the 2020 SKETCH FEST in San Francisco
Nelson-Atkins Museum of Art, Kansas City with Bill Frisell HARMONY
One of the GREATS. I’ve been lucky to have Bill’s friendship since 1975 when we met in Boston and began playing together. Playing music with him is an inspiring and humbling journey that I am extremely grateful for.
Kansas City
Boulder, CO
Blue Note Records released our first album, entitled HARMONY. While we were on tour in Europe they organized this video and recording session as a supplement to the record. I love this song, THERE IN A DREAM that Petra Haden’s father, the incomparable Charlie Haden, wrote with Lyrics by Jesse Harris. Our sound engineer, Claudia Englehardt, mixed the sound for this session.
HARMONY - March 2020
RUDY ROYSTON FLATBED BUGGY 2019/2020 US/EUROPEAN TOURS
The Phenomenal Rudy Royston
In Colorado with Rudy Royston’s FLATBED BUGGY group
Rudy Royston’s FLATBUG BUGGY in Italy with Gary Versace - Accordion, Peter Slavov - Bass, John Ellis - Reeds, Rudy Royston - Drums/Composer, and Hank Roberts - Cello. Dinner before the last concert of our Euro tour.
Rudy Royston is also an avid photographer. You can go to his website or follow him on Instagram to see some of his photos.
with Rudy Royston and Flatbed Buggy on Rt 1 in Northern California - BIG TREES
BRIAN DRYE’S NEW ALBUM, ‘TRIO LOVE CALL’ with BRIAN DRYE - TROMBONE, CHES SMITH - HAND DRUMS, AND HANK ROBERTS - CELLO
When I moved myself to New York City in the late summer of 2015 for an extended stay, Brian Drye was the first person to offer me a gig, playing with his group, BIZINGUS at Three’s Brewery in Brooklyn. Playing with him and Mike McGinnis was the beginning of me putting together my Sextet.
In my earlier youthful days, I was a trombonist, in addition to being a cellist, and so I have a special place in my heart for the instrument and so understand some of the challenges and unique musical possibilities that it offers. Brian is one of the most dynamic trombone players anywhere, and a wonderful person. He is a part of my Sextet, as well. I’ve performed with Ches Smith when he’s playing drum set on other occasions. He has extensively studied Haitian hand-drumming.
Here’s a clip of Brian promoting his recently released album TRIO LOVE CALL. We’re seen performing in one of my favorite New York venues, The Owl, in Lefferts Gardens Brooklyn.
I think that Brian put together something really great with this record. In addition to fantastic composing from him and the wonderful musicianship exhibited, I love the stark clarity of the textures and the unique combination of timbres created by these instruments together.
In order to highlight something about the spirit of Brian Drye, I can’t resist sharing this photo of him performing with the hit broadway production, HADESTOWN. The show won 8 TONY AWARDS in 2019. Here’s what SLATE.COM said; “IN PRAISE OF THE GREATEST TROMBONE PART IN BROADWAY HISTORY. An oft-overlooked instrument becomes a breakout star of a hit musical.” When Brian hits the stage, there’s a stir in the room.
JEROME CHEATHAM AND HANK ROBERTS
‘playing duo with my long-time friend, bassist-composer Jerome Cheatham. Here we are rehearsing for our online performance in April 2021 for Earth Day Model 2021. We combined my piece, AZUL with his composition, CHEER UP !
TIM BERNE/HANK ROBERTS ‘CAUSE AND REFLECT’ ALBUM
CLAY ANIMATION BY STEFAN ZENIUK
Tim Berne and I recorded a duo album in 1998 titled ‘CAUSE AND REFLECT’. Larry Helmeczy recorded a couple of days of us improvising together at Anabel Taylor Hall on the Cornell University campus in Ithaca. It was released on my friend Jim Spitznagel’s label, LEVEL GREEN. Tim re-released it last year on his new label ‘9 DONKEYS’. Stefan Zeniuk created this clay animation for one of the pieces, ‘TEMPORARY SANITY’.
I met Tim when I moved to NYC in 1977 when we played a session together with Kelvyn Bell. I moved back and forth to the city, and then settled there in 1983 through the rest of the 80s. Tim and I started working again. He had a big influence on my music, and we spent some great years together touring and playing in New York with a bunch of different ensembles, and with a cast of beautifully eccentric musically talented friends. While on tour in Europe, he introduced me to Stefan Winter from JMT Records (later called Winter & Winter), and so effectively helped me to start a career of recording my own projects, in addition to collaborating with him in various ensembles and playing in his groups. We recently played some concerts together in NY, and there are some more being planned for the future, I’m glad to say.
You can purchase the album, along with many other interesting recordings on Bandcamp or on Tim’s site, Screwgun Records.
FILIPPO VIGNATO AND HANK ROBERTS RECORDING ‘GHOST DANCE’ on the CAMJazz label
GHOST DANCE - FILIPPO VIGNATO AND HANK ROBERTS
Our recording setup in the wine aging room at LE VIGNO DI ZAMO, with the great STEFANO AMERIO engineering.
GHOST DANCE - duo recording with Filippo Vignato and Hank Roberts
Over the past 5 years I’ve established a friendship and musical collaboration with the fantastic young trombone player, Filippo Vignato, who originates from Thiene, Italy. In June of 2018 Filippo and I traveled to LE VIGNO DI ZAMO, a winery in Italy near Slovenia with unique acoustics. Recording engineer, STEFANO AMERIO, set up in the winery and we recorded an album there, running through takes during the day, and presenting a concert in the evening,(also recorded). The concert was almost cancelled, as someone broke into Filippo’s car and stole a bunch of our gear during our dinner break; thankfully we had our instruments with us. Ultimately, we came up with some great music, despite the unexpected setbacks. This recording came out on the prestigious CAMJazz label based in Rome, with ERMANNO BASSO as producer. As this was a collaborative project between the record company and the winery, we were certainly wined and dined in a most satisfactory way. The concert was also filmed, and so some time later after the recording mix and mastering was done, and on a day off during a PIPE DREAM tour, we put together this video.
Interestingly, there were people in front and behind us at the concert.
GORDON GRDINA’S MARROW
JUNO winner Gordon Gordina’s MARROW in Toronto with Hank Roberts - cello, Gordon Grdina - Oud, Matt Maneri - Viola, and Hamin Honari - Tombak and Daf
Gordon Grdina’s MARROW on stage at the impressive AGA KHAN Museum in Toronto. From left is Gordon Grdina, and next to him a person whose name I don’t know ( As I remember he was associated with AGA KHAN Museum, but at any rate, a nice person and friend of Gordon’s who was enthusiastic about our performance), Matt Maneri, Hank Roberts, and Hamin Honari. Playing with these amazing musicians is one of those ‘honors of a lifetime’. The group has a couple of recordings out on the SONGLINES label.
Gordon Grdina’s THE MARROW Album entitled EJDEHA released in 2018 on the Songlines Label.
Gordon Grdina - Oud, Hank Roberts - Cello, Mark Helias - Bass, Hamin Honari - Tombak, Daf
This piece is called TELESM.
Hamin Honari and Gordon Grdina, my good friends, flying to either California or Vancouver. This is from a different tour than the pictures above. The group included Mark Feldman on violin and Mark Helias on bass. In addition to making some wonderful music, we had a lot of fun, and laughter with this group of individuals.
FINGERLAKES GRASSROOTS FESTIVAL OF MUSIC AND DANCE
The inspiring Keith Secola performing with Ti Ti Chickapea at the 2019 Grassroots Festival of Music and Dance; what an honor and a joy. On stage: Keith Secola - Flute, Richie Stearns - Banjo, Hank Roberts - Cello, and Eric Aceto - Violin
On-stage with DONNA THE BUFFALO for their end-of-the-weekend all-star jam at the Grassroots Festival of Music and Dance 2019. Pictured here: Uniit Carayo, Jeb Puryear, Hank Roberts, Sim Redmond, and Tara Nevins
PIPE DREAM
PIPE DREAM is a group primarily composed of Italian musicians with the addition of me on cello and vocals. This is a picture from one of our first concerts in Thiene, Italy back in 2017. Since then, we have completed a number of tours and festival performances, and have recorded 2 albums (‘Pipe Dream‘ (CamJazz 2018) acclaimed by Italian and international critics and reported as one of the best releases of the year (RaiRadio3, AllAboutJazz and the Giornale della Musica) and ranked #2 on the ‘Album of the Year‘ at the Top Jazz 2018 Critics Pool of historical Italian jazz magazine ‘Musica Jazz’.), and our 2nd release, BLUE ROADS on CamJazz, which was scheduled for release in 2020, but will now be released in 2021 due to covid-19.
I love working with this group of dedicated and inspiring musicians. We focus intensely on our efforts to create interesting music, and then we eat a lot of good food, and enjoy the hang.
From the left: Pasquale Mirra - Vibraphone, Zeno De Rossi - Drums, Hank Roberts - Cello and Vocals, Giorgio Pacorig - Piano and Fender Rhodes Piano, Filippo Vignato - Trombone
If you want to know more about the group, you can check out the website, http://www.pipedream-music.com.
Here is Pipe Dream playing our drummer Zeno De Rossi’s compositIon,
‘SAM’ (from our first album) at the Teatro Asioli in Correggio, Italy
Pipe Dream in Concert at Jazz in Provincia - Urbania, Italy. Unfortunately, Zeno is not visible in this photo, playing drums behind my amp.
PIPE DREAM AT THE VENICE JAZZ FESTIVAL 2019
When we arrived in Venice with PIPE DREAM, we were picked up via boat and shuttled to La Fenice where we performed as a part of the Venice Jazz Festival. Zeno De Rossi taking in the sites. There is no shortage of beautiful buildings as one traverses the canals. The way that this city was built and the whole aura surrounding it is truly amazing.
Here is the smaller opera room where we performed at TEATRO LA FENICE (the Phoenix - as in the ‘Phoenix Rising From The Ashes’). At the end of the 18th century there were 7 opera houses in Venice. One of them burned down in 1771. In it’s place La Fenice was built. It burned down in 1836, and was rebuilt and inaugurated in 1837. It burned down again in 1996, was rebuilt and inaugurated in 2003; truly a phoenix rising from the ashes of fire and water, and perhaps on a certain level symbolizing the regenerative resilience and uniqueness of the the Venetian communities throughout history. Magic happens in Venice. I returned a few days later and spent 4 more days conducting a workshop. After my time in this city, and with the addition of getting a feeling for how life goes there from the locals, I sense a kind of individual character or almost sovereign social-political framework in Venice relative to the mainland in Italy; another world.
The idea of the Phoenix Rising From The Ashes is a myth that I think a lot of us can relate to in our personal lives.
After the concert we loaded our gear down to the dock and and while waiting for a boat to pick us up to go to a restaurant, over the quiet lapping of water I heard a Gondolier singing ‘O Sole Mio’ echoing through the stone-lined canal waterways. ‘Kind of touristy, but to my ears, perfect.
TIME OFF IN THIENE
When we had gaps in the tour, our Home base was in Filippo’s original hometown Thiene at his parents house where our gracious hosts Paolo and Valentina Vignato (2nd and 3rd from the left) housed and fed me, and sometimes the whole band. They never let me miss a meal. On the right is Manuela Cracco and Filippo Vignato. ‘Love these folks. Good times.
Paolo and Valetina Vignato with Macchia (Spot, in English)… Family !
HANK ROBERTS IMPROVISATION WORKSHOP IN VENICE
I returned to Venice after a day off in Thiene in order to conduct a three day improvisation workshop/concert as a part of the VENICE JAZZ FESTIVAL. It was hot in the room where we worked, filled with very interesting musicians. Relative to the heat, I couldn’t help but reflect on the Phoenix rising from the ashes idea, as well as the concept of being reborn out of the hot sweat lodge. Filippo was there to help, partly for translations, as well as musically. We all created some dynamic music together, and organized a program of music to present in a concert at the famous Santa Maria della Pietà church, sometimes called the ‘famous Vivaldi church’, where he taught (starting in 1709) and performed many of his original works. I believe that to this day, once a week a concert is held at the church featuring Vivaldi’s music, keeping the historical perspective and spirit alive.
On the last day of the workshop we loaded our gear into a boat and made our way to the church to set up, soundcheck and perform. As we loaded into the church, I noticed an elderly gentleman dressed very properly with a seemingly serious continence who appeared to be an important part of the church. if I understand correctly, it turns out that one of his jobs was/is as an archivist of works that Vivaldi composed for performances at the church. I wondered how he might feel about some of the music that we had planned for the evening, some of it inspired from relatively more abstract improvisational sensibilities.
I felt that we had a great concert. We organized the music in a dynamic way, and it seemed that all of the participants had a chance to express themselves relative to the areas where they wanted to grow. As we prepared to leave, Filippo told me that the archivist wanted to speak with me. As I approached him, he grabbed and held onto both of my hands telling me (Filippo interpreting) how much he enjoyed the concert. Perhaps in response to the abstract nature of some of the improvisations, he told me that Vivaldi’s music was considered ‘scandalous’ when it was originally performed in the church. That made my night, and happily dismantled any preconceptions that I might have imagined about this person. Regardless how it sounded, the music was successful in terms of the collective experience of sharing, collaborating and putting it all together, expanding our concepts and tools for humanity, music and improvisation.
I can happily say that I will always have a fond connection with Venice.
BILL FRISELL’S HARMONY BLUE NOTE RECORDING SESSION
Bill Frisell HARMONY recording at FLORA STUDIO in Portland, OR. Bill Frisell, Petra Haden, Luke Bergman, and Hank Roberts. Lee Townsend producing, and Tucker Martine engineering. Monica Frisell was there taking photos of us.
Lee Townsend, shown above with glasses and my arm around him, is a part of Bill’s management team, and has also been the producer for Bill’s records (and many other musicians, as well) since 1988 when we recorded our ‘LOOKOUT FOR HOPE’ ECM album. It’s great to have his big ears, and compassionate perspectives on the music when we record; he’s on of the best I’ve worked with. Also of great importance connected with this session and with everything that Bill does with his music is the other driving force in Bill’s management team, Phyllis Oyama, pictured above (she and Lee are married). The challenges of negotiating the world of profession music and touring is greatly heightened by these kind folks who are Family. They are always with us in spirit when we travel and perform.
I’ve had the good fortunate to work in a few of Bill’s projects with Tucker Martine, a fantastic engineer and musician. He is the owner and engineer at FLORA STUDIO (seen above with a beard). There is a good reason why he is so highly respected among musicians.
SOLO CONERT AT THE BASILICA OF SAN GAUDENZIO FOR THE NOVARA JAZZ FESTIVAL
Summer 2019
CORRADO BELDI, the head of the NOVARA JAZZ FESTIVAL, introducing me before my solo concert in the incredible CUPOLA of the BASILICA of SAN GAUDENZIO in Novara, Italy. The church is located at the highest point in the city. It was built between 1577 and 1690. The cupola dome was completed in 1887, and is 121 meters high from the floor to the highest point. The series of Domes rising 121 meters above where I was playing created a one-of-a-kind sound, and so was a great place for a solo cello concert. During the time that it was built, it was an especially daring piece of architecture given its construction wholly in load-bearing brick and its masterly incorporation into a pre-existing building. The dome was added in 1887 as an accessory to the main body of the church.
It was an amazing place to play. Using lots of space in my playing at times, yielded interesting results, as sounds can last a long time after they are created, reverberating and bouncing up through the dome and back to the floor. I’m thankful for experiences like this, and for the kind hospitality that Corrado and the Festival offered.
Black and white photos of inside the church were taken by RossettiⓒPhocus
Photo by RossettiⓒPhocus
INGRID LAUBROCK - TOM RAINEY - HANK ROBERTS CANADIAN TOUR SEPTEMBER 2019
BILL FRISELL’S HARMONY 2019 EUROPEAN TOUR
