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www.jazzINSIDEMAGAZINE.com
march 2013
Interviews
Hankus Netsky
New England Conservatory
Contemporary Improvisation
40th Anniversary
Demetrius Spaneas
Five Towns College Jazz
Lewis Porter
Joe Sample
Blue Note, Mar. 5-10
Stanley Clarke
Blue Note, Mar. 21-23
Dave Douglas
Jazz Standard, Mar. 28-31
Remembering
Butch Morris
Jon
faddis
Plenty of
CD Reviews
Comprehensive
Directory of NY Club
Concert & Event Listings
Jazz At Lincoln Center
Dizzy & Bird Festival • March 8-9, 2013
The Jazz Music Dashboard — Smart Listening Experiences
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Jazz Inside Magazine
ISSN: 2150-3419 (print) • ISSN 2150-3427 (online)
March 2013 – Volume 4, Number 8
Publisher: Eric Nemeyer
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CONTENTS
CLUBS, CONCERTS, EVENTS
15 Calendar of Events, Concerts,
Festivals and Club
Performances
27 Clubs & Venue Listings
Copyright © Eric Nemeyer
Cover Design by Shelly Rhodes
Cover photo of Jon Faddis by Eric Nemeyer
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30
Around Town
4
FEATURE
Jon Faddis - Dizzy & Bird Festival
at Jazz At Lincoln Center
12
INTERVIEWS
Hankus Netsky — New England
Conservatory, 40th Anniversary
29
32
Lewis Porter (Part 2)
Demetrius Spaneas — Five Towns 34
33
Remembering Butch Morris
NOTEWORTHY PERFORMANCES
43 Joe Sample
Dave Douglas
44 Stanley Clarke
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March 2013 Jazz Inside Magazine www.JazzInsideMagazine.com
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Thursday, March 07, 2013 12:14
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Feature
lost. As far as “Things to Come,” we have a very
good version of that which we played on the
road together; I put together a couple of big
bands for Dizzy...
Jon Faddis
JI: Oh, you’re talking about the United Nation
Orchestra?
Interview by John Barrett
JF: No, this was a big band put together to celebrate his 70th birthday.
JI: So … 1987.
JF: 1987, and we also did it the following year,
in 1988.
JI: Does anything exist of the charts, etc., from
his first big band, from1945?
JF: Well … I don’t know. I haven’t seen it.
JI: That’s actually one of the things that’s frustrating, that a couple of his very important periods, both the time he was arranging for Earl
Hines and this ‘45 big band, appear to be completely gone...
JF: Probably the closest we can get to that is to
have someone transcribe those things from recordings. But unfortunately, sometimes the recording quality during that time period isn’t the
best, fidelity-wise. It becomes a little bit easier
with the RCA recordings in the late ‘Forties, and
then it becomes very good with the State Department big band.
Dizzy & Bird Festival, March 8-9, Jazz At Lincoln Center: The 2012-13 Jazz at Lincoln Center 25th Anniversary Season features six festivals
that reflect on jazz music’s legendary artists and
celebrate the musicians performing today. The
fourth festival in this series of special events is
the Dizzy and Bird Festival, highlighting the
musical genius of Dizzy Gillespie and Charlie
“Bird” Parker.
Celebrating Dizzy Gillespie features the
Jon Faddis Jazz Orchestra of New York &
Quintet, March 8-9, 2013, 8PM in the Rose
Theater. No living trumpet player can claim a
closer relationship to Gillespie than Faddis, who
at 15 years old met Gillespie. Faddis will direct
his current big band through new transcriptions
from Gillespie’s 40s big band and 50s repertoire
and he will also lead a quintet through selected
compositions from Gillespie’s small group recordings. The Jon Faddis Jazz Orchestra of New
York performers include: Jon Faddis (trumpet,
conductor and leader), Lew Soloff, Greg Gisbert, Michael Philip Mossman, Max Darche
(trumpets); Mark Vinci, Steve Wilson, Walt
Weiskopf, Ralph Lalama, Frank Basile
(saxophones); Ted Rosenthal (piano), Todd
Coolman (bass), with special guests Ignacio
Berroa (drums), NEA Jazz Master Jimmy Heath
(tenor saxophone), Pedrito Martinez (congas)
and Steve Turre (trombone and conch shells –
Friday only).
not only yourself but you think of things like Lee
Morgan and [Diz] giving several of the solos in
the 1957 big band to him. Considering that one
thing a jazz musician wants to do most is find his
own voice, what do you do in this circumstance,
where you could find yourself attempting to
imitate Dizzy – is that what you want to do in
these concerts? What would you like to accomplish in this presentation?
Jon Faddis: I would like to celebrate one of my
good friends and heroes, and do justice to his
music.
JI: That is going to be a daunting task considering the breadth of his catalog! I am stunned
about how absolutely willing he was to try different things, going from the straight-up quintet
bebop of the Charlie Parker stuff. I’m not sure if
you’re going to touch that era in this set, but the
fact that the time between “Dizzy Atmosphere”
and “Things to Come” is less than two years
absolutely startles me, and makes me wonder:
what kind of mind can encompass those kind of
changes that quickly?
4
4-10
page 2
JF: I do have original charts from that band that
Dizzy gave to me, such as “Whisper Not,” “I
Remember Clifford” – Benny Golson’s arrangements. I have transcriptions of “Dizzy’s Business,” “Cool Breeze,” “Dizzy’s Blues,” “Jordu,”
“Birks’ Works,” things like that.
JI: Excellent. Most of the State Department stuff
I have on him would come from those two albums that Mike Longo put out on the Consolidated Artists label. Norgran, I think, put one out
in 1957 that I have and I can’t remember its
name.
JF: He did World Statesman...
JI: Yes! That’s the one!
JF: Well, Dizzy had a very quick and flexible
mind. You know, a lot of Dizzy’s music from
the1948 big band, I guess 1947 to 1949 – a lot of
that was lost.
JI: I was going to say, you’re supposed to be
using some transcriptions from that period.
Jazz Inside: One thing I really appreciate about
Dizzy would be his generosity in terms of sharing what he knew with various other musicians,
JI: That band I absolutely love, and I’d probably
argue that … how important was that in the developing of Dizzy’s 1957 commercial band,
because I know they used a number of the same
charts. “Doodlin’” showed up in both bands, and
some other things did too. What charts do you
have from the U.S. State Department band?
JF: We’ll be doing some transcriptions I’ve
commissioned because the original music was
JF: He did Dizzy in Greece.
JI: Yes. My apologies for spending so much
time on Dizzy and not on you! One of the things
I notice some musicians say when it comes to
teaching … I remember Bill Evans saying something that he was always worried about when
teaching somebody how to play, that he was
(Continued on page 6)
Tuesday, March 05, 2013 00:57
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Jon Faddis
(Continued from page 4)
unconsciously teaching them his technique when
you want to follow your own voice. How did
Dizzy instruct you, or steer you in the direction
you wanted to go?
JF: Dizzy didn’t really direct me per se. I think
playing with Dizzy ... I was just coming in as a
guest a lot of times ...
JI: There was this 1977 concert in Montreux
where you’re playing with Milt Jackson, Ray
Brown, and all those people, and it absolutely
startles me where you can interject these very
clear, very enunciated, I’d almost call Clifford
Brown-type notes in between some of Dizzy’s
characteristic growls and higher-register slides.
And then I remember seeing another interview
with you that said, one thing that was very important to Dizzy was the high-register attack—
being able to hit the high notes with precision,
which is something that I associate with other
musicians! And it instead goes back to him.
along, he had some totally different ways of
playing. Miles changed the way a lot of younger
musicians played.
‘Sixties with Tony Williams, Ron Carter, Herbie
Hancock , and Wayne Shorter, and prior to
Wayne, George Coleman…
JI: That’s the way it often is. When you’re first
stepping out, you decide to become a musician
or an artist of whatever type because you were
inspired by somebody important in front of you.
And often the temptation is to emulate them as
closely as possible. It’s interesting that while
Miles put himself in an array of different environments and felt he needed to often change his
sound in the context of those environments,
Dizzy did the same thing — I mean changing
himself in different environments – you’ve got
him playing with Machito, or him playing with
that tango orchestra on one of those State Department CD’s on Consolidated Artists ... and
yet the sound is still immediately recognizable.
Dizzy did not feel the need to change himself for
the different environments the way that you
could say that Miles did.
JI: Yes, yes. Love the Coleman version of the
band.
JF: It goes back to Dizzy, Roy Eldridge, and
Louis Armstrong. That’s the lineage of that style
of the jazz trumpet.
JF: I don’t think Miles changed himself. Even
when he was doing some of the later things like
Tutu and Amandla, his style of trumpet playing
and his sound remained the same. It was just the
musicians surrounding him were playing very
differently. Anyway, we are all changing from
moment to moment.
JI: Gracious, Roy Eldridge was extremely important to Dizzy.
JI: That’s actually a very good point; I am not as
familiar with that period of Miles as I should be.
JF: Absolutely! But then when Miles came
JF: When Miles had the great quintet of the
JF: Played a certain way, and then stretched out
a little bit, but it was still Miles’ sound. And you
still hear a couple of notes and say, “That’s
Miles.”
JI: I think that’s one of the things that instantly
points him out. I’ve been going on far too long.
Is there something you’d like to say about the
concerts, and how you are approaching not only
playing, but as far as getting the people together
and … how are you programming it? Are you
attempting to do it in chronological order, or is it
going to be big band and then the small group
stuff?
JF: Definitely not in chronological order. We
have a very good friend, Dylan Canterbury, who
did some transcriptions of some things that haven’t really been heard since they were recorded on
RCA, I think. For example, “Let’s Jump with
Symphony Sid.”
JI: Ooh! I’m not familiar with that one at all!
JF: That’s a really nice arrangement with trumpet fireworks. That’s what we’re going to do,
and things like “Our Delight,” “Ray’s Idea” –
[Continued on page 8]
6
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page 4
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“The way Dizzy taught was, basically, at the piano. And he would sit, and tell you
‘when you get this chord, look, you have these options …’ but we’re all dealing
with the same notes. What you do with them, now – that’s the key.”
there are a lot of things to choose from. The
difficulty is going to be trying to squeeze all
these things into two sets!
JI: I understand completely! You’ve got a space
in order to put things in, and so much about writing and so much about music often seems to be
to fit ten pounds of material into a five-pound
bag!
some of those names, and while Dizzy doesn’t
have the reputation as far as birthing new stars
the way that Miles or Art Blakey does – there are
just an immense number of prominent people
that came out of those groups! It boggles the
mind, sometimes.
JF: Also different things like “Hot House” and
“Con Alma”; Jimmy does a beautiful version of
“I Waited for You” that we might play during
the small group segment..
JF: He was a great leader, and a lot of great
musicians did pass through those bands; a lot of
younger musicians don’t know that Coltrane
spent time in Dizzy’s big band and small group,
and you get people like Kenny Clarke, Milt
Jackson, John Lewis, Ray Brown. You get people like Miles and Fats Navarro and Benny Bailey and Cecil Payne...
JI: You are very fortunate to have Jimmy Heath
there. He and Yusef Lateef are probably the only
members of that ‘47-to-’49 band still with us, I
think. There may be some others; those are the
ones who come immediately to mind.
JI: Wasn’t Kenny Burrell, one of his first recordings with Dizzy in that 1950 sextet that also
had Coltrane in it? “We Like to Boogie,” and I
can’t remember what the other things on that
date were...
JF: I can’t think of any – Joe Harris and Ray
Brown and John Lewis, Milt Jackson, and
Moody — that stuff was 65 years ago!
JF: From the Dee Gee label. He and Dave Usher
started a record company.
JI: I think that’s a problem that jazz fans sometimes have. We spend so much time combing
over the old recordings and forgetting how long
ago they transpired. I apologize if I ask questions
about something that happened 45 years ago and,
you know, do I act surprised if you can’t recall
immediately?
JF: Well, 45 years ago I was still in school.
From the State Department band, Charli Persip is
still around, Paul West is still around, Phil
Woods...
JI: Another thing I was going to ask: since this is
the Dizzy & Bird Festival, is Jimmy Heath going
to make any attempt during the small group stuff
to emulate the sound of Parker? As far as I
know, none of the saxophonists that Dizzy had
afterwards really made much of an attempt. You
hear a little bit of Bird in John Brown from the
‘48 band, but beyond that, Moody didn’t try to
sound like him, nor did Leo Wright, nor did, I
think, any of the saxophonists that followed Bird
if I remember correctly.
JF: Mr. Heath has had his own sound and his
own style and he’ll be playing on tenor saxophone. The fact that it’s the Dizzy & Bird Festival at Jazz at Lincoln Center: there are going to
be two concerts going on, pretty much simultaneously. I’ll be doing the Dizzy Gillespie part,
and in another theater, Paquito D’Rivera will be
doing the Charlie Parker part. Paquito will be
representing more of Bird’s music from what I
understand.
JI: Heath and Coltrane and Lateef all in that
same band at the same time! You take a look at
8
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page 6
JI: I’ve got just one item on the Dee Gee label;
let’s just say that collecting Dizzy and trying to
find all this stuff can be a task. You’ve taught
musicians as well. How much does the musician
tell you – to what extent are you instructing and
to what extent does the musician tell you what
direction he or she wants to go, and your job is
to get them there?
JF: That’s one of the difficulties in quoteunquote ‘teaching’ jazz. The way Dizzy taught
was, basically, at the piano. And he would sit,
and tell you ‘when you get this chord, look, you
have these options,’ and he would say ‘check
this out,’ and, you know, play this chord and
he’d say ‘check out this scale.’ You can change
the chord but you can use the same scale. Now,
you have options, but we’re all dealing with the
same notes. What you do with them, now –
that’s the key.
JI: Oh, I love that you bring that up. I love
Dizzy’s piano playing; I sort of regret he didn’t
do it more often. He plays on some of the early
Parker sets with Miles on trumpet, and there’s an
episode of Marian McPartland’s Piano Jazz
where most of the time he’s on piano, which I
think is wonderful!
JF: Getting back to that question: that’s what I
try to instill in the student, but I also try to give
him a little more of the history of the music. A
lot of students nowadays, if it’s before Miles,
they haven’t heard it.
know about Louis Armstrong, and it goes on
down the line – if they’re a drummer, they’ve
got to know some Papa Jo Jones’ style.
JI: Absolutely, or Chick Webb...
JF: Kenny Clarke, Chick Webb, or Louis Bellson, Vernel Fournier with Ahmad Jamal; Roy
Haynes is still around...
JI: We are very fortunate that a lot of those
drummers are still with us: Louis Hayes too. Or
Alvin Queen, whom you’ve played with.
JF: I’ve played with all of them; I’ve played
with Haynes, and Louis Hayes.
JI: How daunting is it, obviously more as a
young musician, to step in, as you were in the
‘Seventies, as a guest in a group of stars who
didn’t know who you were or didn’t know how
you were going to respond to the situation? Were
they for the most part receptive, or did you get
challenges from some of the musicians to step
yourself up, as it were?
JF: I think because of my relationship with
Dizzy — I started hanging out with Dizzy and
Dizzy would bring me around, or I was playing
with Lionel Hampton or the Thad Jones – Mel
Lewis Orchestra, and the older musicians were
always, and I mean always, supportive. I can
only think of a couple of guys with, you know, a
negative vibe...
JI: You don’t have to mention their names if you
don’t want to!
JF: People like Buddy Tate or Sweets Edison
from Basie’s band, Sy Oliver who was a great
arranger for [Jimmie Lunceford, all of these
great things – they were always supportive.
Buddy Tate, he would call me “Young Blood,”
he would tell me stories about Lester and Billie
Holiday; Sweets would give me advice about
dressing sharp and ‘don’t mess with the taxman,
make sure you pay your taxes,’ general professionalism and things like that.
JI: That’s something that a lot of musicians often forget, that the ‘business’ part of show business is often the more important part. Thank you
for bringing up Buddy Tate, because I absolutely
do not have to tell you that this music is so full
of amazingly talented people that for one reason
or another aren’t remembered in the way they
should be. Jerome Richardson; you could go on
and on. If you look at the trumpeters, Booker
Little is criminally underrated...
JI: Yeah, it might as well be the pre-Cambrian
era.
JF: I have a Jerome Richardson story for you –
we came from the same town of Oakland, California. Jerome is responsible for that sound that
JF: I think to myself: how can a jazz student not
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Jon Faddis
Thad Jones did, that had the soprano lead in the
saxophone section.
JI: He arranged “Groove Merchant,” didn’t he?
JF: No. Jerome wrote it, but Thad arranged it.
The sound of the soprano lead, that’s a result of
Jerome Richardson when he was playing the
clarinet for Thad one night, because he hated the
clarinet! Thad had written this stuff for clarinet,
a la Ellington, but then Jerome picked up the
soprano and – Boom!
JI: I love that! I want to say Jerome plays soprano all the way on one of Milt Jackson’s later
albums, Bags’ Bag, which I’m very fond of. It is
marvelous that you’re in a situation where you
can present this stuff to an audience that wouldn’t have an opportunity to hear it. Are you going
to have a chance, in terms of the amount of time
you have, to do anything with Dizzy’s ventures
ors. Frank Basile on bari.
like “Boy, you’re crazy!”
JI: You should probably stop! With each name
you mention I regret not being there more!
That’s marvelous, and in all those names you
mentioned figures going from the ‘Seventies to
the present. Could you please talk a little bit
about your protégé; do you know if he’s going to
have any solo features here?
JI: Thank you very much for this; I should
probably ask you if there’s other things you’d
like to say or bring up; any last thoughts about
Dizzy or his associates to let people know about
the music and why they should go see you in the
next couple weeks.
JF: Yeah, I’m going to try to feature him. I’m
like Dizzy; I try giving everybody a chance to
play.
JI: That’s one of the things I like about the
United Nation Orchestra: it was very much a
communal effort and you had all these amazing
people who all got their spotlights! It’s amazing
that you had something that large and that broad
a scope, and yet there were no section players
per se; they were all soloists, and it worked! It
startles me sometimes when things like that
work, because you often get told that you can’t
do a big band composed of stars.
“Jerome wrote it, but Thad arranged it. The
sound of the soprano lead, that’s a result of
Jerome Richardson when he was playing the
clarinet for Thad one night, because he hated
the clarinet! had had written this stuff for
clarinet, a la Ellington, but then Jerome
picked up the soprano and – Boom!”
into Afro-Cuban sounds – well, you’ve got Ignacio Berroa there...
JF: I’ve got Ignacio and Pedrito Martinez, to
play the role of Mr. Pozo.
JI: You knew I was going to bring up Chano!
Excellent!
JF: It’s going to be an interesting band; it’s going to be a daunting task, but something that all
the musicians have been looking forward to.
We’re gonna have some fun!
JF: I’ve got some of the greatest musicians in
the world coming to play. I’ve got Ignacio,
Pedrito, and joining them in the rhythm section
Ted Rosenthal and Todd Coolman.
JI: Ooh! Like him immensely!
JF: In the trumpet section we have Lew Soloff
and Greg Gisbert and one of my students/
protégés, Max Darche. Tanya Darby, she’s going
to be there with us, John Fedchock Shannon
Barnett, Conrad Herwig and Doug Purviance on
trombones, and Steve Wilson and Mark Vinci on
altos. Walt Weiskopf and Ralph Lalama on ten-
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page 8
JI: Go right ahead!
JF: I think we’re all going to – I know we’re all
going to show, musically, the love we have for
Dizzy and his music.
JI: That’s what it’s always about!
10
JF: All those guys had big band experience, and
some in the Jon Faddis Jazz Orchestra have also
had quite a bit of big band experience. There are
some members in the Vanguard Jazz Orchestra;
a lot of the band members were with me for ten
years at Carnegie Hall, in the Carnegie Hall Jazz
Band. It’s going to be a very experienced band;
it’s going to be a very swinging band. There will
be a lot of energy for the audience. If I can go
back to your first question...
JF: It’s unbelievable to me that it’s been twenty
years since Dizzy passed, in ‘93. You know, I
miss him.
JI: The music misses him as well. It’s not that
we don’t know who he is, but I think sometimes
the reputation he had for being a clown, or for
the visual aspect of his music, the suits or the
upward horn, might have detracted people from
seeing him as a serious musician which he most
definitely was.
JF: It didn’t distract me!
JI: Would love to see you break out the upward
horn for this set, actually!
JF: Uh, oh! There’s a thought!
JI: If you don’t mind my asking about that, the
reason Dizzy played that horn is he thought that
the sound reached his ears better, and you played
it in the ‘77 Montreux show – did you hear a
discernible difference in the sound of the uphorn?
JF: Not as much as I think Dizzy did, but I think
when Dizzy said he could hear himself better,
that was part of it. One of the other things he
said was he got tired of, when he was playing the
straight horn, he’d be in a club, and he’d see
people covering their ears. He also liked the fact
that the horn went up; I personally, when I
played the horn, I didn’t notice that I could hear
myself any better than playing the straight horn.
JI: It may be simply a matter of different musicians, different preferences; I think Sonny Stitt
once said, when somebody asked him about
mouthpieces, “I can tell you what my mouthpiece does in my mouth, but I can’t tell you what
your mouthpiece does in your mouth, or what
my mouthpiece would do in your mouth.” It may
simply be a situation of his ears not being yours.
But then again, who is Dizzy? That’s actually
the whole point of this, to remind people about
what a unique voice he was.
JI: If there is one word I would use to describe
him, it would probably be ‘joy.’ It’s hard for me
to imagine him being angry when he was playing
or anything other than… the thrill of taking out
your horn and being able to do something to
surprise even yourself as you’re surprising the
audience. There is an energy to most of his playing and to yours that you often don’t see in other
musicians; the enthusiasm that led you to play
“All Blues” in the style of Miles, or “Dizzy Atmosphere” on the Hornucopia album.
JF: Dizzy heard that track and he looked at me
“Be courteous to all
but intimate with few, and
let those few be well tried before
you give them your confidence; true
friendship is a plant of slow growth, and
must undergo and withstand the shocks
of adversity before it is entitled
to appellation.”
- George Washington
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Interview
Hankus Netsky
Saxophonist, Clarinetist, Woodwind Player, Composer, Program Chair, New
England Conservatory Contemporary Improvisation Program
Interview by Eric Nemeyer
(Photo, Courtesy New England Conservatory)
Program Chair, Hankus Netsky, who hails from
Philadelphia, discusses the 40th Anniversary of
the New England Conservatory Contemporary
Improvisation program and his own career. For
more information about the series of performances in New York by New England Conservatory faculty and students, see “Around Town” on
page 30.
JI: Talk about the upcoming New England Conservatory 40th Anniversary celebration and the
festivities in New York in March.
HN: The department that I chair at New England
Conservatory is called Contemporary Improvisation, and we train composer, performer, improvisers—which is a tradition I suppose that goes
back to Paganini and Bob Dylan and John Col-
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trane [laughs]. It can take a lot of forms. But the
idea is that today’s creative musicians need to be
conversant with how to instantly compose the
music that they play—whether that be singersongwriters, or improvisers of other types, or
world musicians, or more conceptual musicians.
It doesn't matter really [what style]. It is an umbrella for a lot of things. What we do at New
England Conservatory is give them the skills that
they need. It’s selective, and it’s a selective music community of people come from all around
the world to be a part of it. Then we also give
them how to use conceptual ideas, what kinds of
traditions are out there that they better know
about if they’re going to be 21st Century musicians … experience playing in lots of different
kinds of ensembles. Basically, we prepare them
for contemporary musical careers. Our graduates
range from Don Byron to John Medeski, Sarah
Jarosz is a current student, and she’s on her third
major label folk album at the moment. So, we’ve
had a lot of success with this over the last 40
years. It’s grown quite a bit. I took over in 2008.
Now we have a stable population of about 40
students a year—and we keep it around there. It
goes from Bachelors students to Graduate students, where we have about ten, and we have
Doctoral students.
JI: Since we’ve known each other for decades,
and grew up playing music together, I know you
play saxophone, piano, clarinet, oboe, and have
had your hands on everything from Classical
music to Jazz and much more. I think you were
studying with Bernard Peiffer back then.
HN: No. I didn’t study with Bernard Peiffer,
although I admired him greatly. I think you studied with him.
JI: Actually, I was initially studying improvisation and theory with his bassist, Al Stauffer. I
did however, interview Bernard Peiffer in the
1970s. One of the jazz magazines for which I
was writing, didn’t publish it—so I still have it
and plan to publish it here.
(continued on page 13)
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(Hankus Netsky, NEC — Continued from page 12)
HN: Actually around then I wasn’t studying
with anyone.
JI: But, you’ve covered the broadest landscape
of music in your career. Talk about your association with the eclectic faculty with whom you
work.
HN: Just last week I helped curate a concert
with Gunther Schuller, for example, who is still
extremely active. One of my faculty members,
Tanya Kalmanovitch was also in on that. Gunther is close to 90 now, but he is traveling all
over. Right now he is in Spokane, Washington
running his Annual Bach Festival. Last week he
was advising us on a concert where we did everything from Mingus’ “Revelations” to
Schuller’s “Abstractions” to Scott Joplin to Jelly
Roll Morton. We were looking at the third
stream such as it was 40 years ago. Ran [Blake]
also played an incredible set in that concert. The
whole second half was our students doing their
idea of what musical hybridity is now. That included a guy from Russia playing American
prison songs on harmonica with an ensemble …
one guy took on like a Les Baxter style exotica
and there were many others …. and it was fun to
talk about the concert with Gunther. He was
really excited that his vision has been realized at
NEC. As he said in the panel discussion beforehand, when he was thinking about Third Stream
in the 1950s, he was just looking at his own
experience—having been in the world of Classi-
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page 11
cal music and jazz, and not even imagining what
the global musical world would look like now.
But I think he is happy to have lived to have
seen it realized in many ways. Of course, his
thing is whatever it is you’re doing, you can
always get higher level musicians, and there is
always a lot to study and work on, whatever your
goals are. Gunther’s a mentor and Ran [Blake] is
a mentor. Ran is someone who came along a
little after Gunther. He’s approaching 80 himself. He’s a pianist who basically took in all the
music he heard around him, had no boundaries—
so it didn’t matter. He might be listening to Mahalia Jackson one minute and Shostakovich the
next minute and then they got to meet each
other. That was his world. There wasn’t a focus
on labels—like “I’m going to be a jazz musician.” It was more like we see so much of these
days—with musicians saying, “Here’s the music
I know. Take it or leave it. Here’s what it sounds
like.” What’s happened in the last 40 years …
there were so many figures in the world already
from Frank Zappa to Antonio Carlos Jobim to
John Coltrane … who were already doing music
that couldn’t be classified. John Coltrane
smashed lots of boundaries, as had Ornette Coleman and Cecil Taylor. In 1972 people were putting a lot of things under the umbrella called
jazz. Eventually, especially in the 1990s, when
jazz became more conservative, that there was
more of an idea of jazz being a specific genre in
this sort of Wynton Marsalis generation. A lot of
these things that were kind of other improvisational templates … were wondering, “Okay,
where do we put those?” Many festivals began to
change and were no longer just jazz festivals.
They were jazz and international festivals, or
jazz and world music. My own path led me to
push the boundaries. I became very involved in
Jewish music, and traditional Jewish music. So
that made me wonder about what happens when
I use that as a point of departure. Is it still jazz?
It’s my music. The notes don’t know what
[genre] they are. The other thing is the fact that
the music industry is a lot weaker now, in terms
of controlling genres and labels—I think artists
have been out there defining themselves and
defining their music as just what they play. It’s
pretty wide open now. There’s not executives
sitting around saying, “Well I don’t know if we
can put that on the album. It just doesn’t fit the
format.” [laughs]
JI: Well, an overwhelming number of artists are
producing and releasing their own recordings
now—and by necessity—and they don’t have to
adhere to any strictures and structures.
HN: What we’ve done is to try to gather together a faculty of some of the best of these empowered musicians—people like Carla Kihlstedt
with her Tin Hat Trio. That’s today’s Third
Stream. Anthony Coleman—with all of his projects. That’s another one. John Zorn doesn’t
really fit into a category. He’ll be our guest artist
in the fall. Ran Blake is still unclassifiable. My
(continued on page 14)
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(continued from page 13)
AROUND TOWN
3rd ANNUAL CELEBRATION
IN HONOR OF JAMES MOODY A CONCERT TO BENEFIT THE
JAMES MOODY SCHOLARSHIP FOR
NEWARK YOUTH
March 25, 2013, 8PM at The Blue Note
The 3rd Annual James Moody Scholarship
Benefit Concert & Celebration will take place at
The Blue Note, 131 W. 3rd Street, on Monday
March 25, 2013 at 8PM (www.BlueNote.net,
212-475-8592). All proceeds from the concert
will go towards Moody’s foundation, the CFNJ
James Moody Jazz Scholarship Fund for Newark Youth.
The concert features special guest MC,
Robert Klein, along with Andres Boiarsky, tenor
sax; Sharel Cassity, alto & soprano sax; Bill
Charlap, piano; Cyrus Chestnut, piano; Anat
Cohen, flute & clarinet; Todd Coolman, bass;
Paquito D'Rivera, clarinet & musical director;
Greg Gisbert, trumpet; Adam Nussbaum,
drums; Renee Rosnes, piano; Gregory Porter,
vocals; Yotam Silberstein, guitar; Gary Smulyan, baritone sax; Steve Turre, trombone;
Diego Urcola, trumpet.
14
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page 12
Assistant Chair in the department is Eden MacAdam-Somer—who sings, plays violin in pretty
much any style I could imagine—
improvisational or otherwise … better than anyone I could imagine … and dances while she
plays. She is an incredible force who I think the
musical world will be very excited about when
she really gets out there. She just earned her
DMA from our program.
blues, and this guy is playing over all the bar
lines … what’s going on here?” I remember
figuring that out as a teenager and being incredibly excited. My family were club date musicians. If they had any say in what I listened to, it
was just that I had better know all the tunes in all
the keys. But it was really everything in the
world around. Sun Ra was living in Philadelphia
at the time. Remember? He would bring his band
over to Vernon Park.
JI: New England Conservatory has long had a
reputation for being open to explore the gamut of
music and improvisational possibilities. Could
you talk about that?
JI: Yeah, I remember … and seeing musicians
like Roland Kirk at Cedarbrook Mall or 30th
Street Station.
HN: I think the fact that Gunther Schuller was
the President of New England Conservatory
from 1967 to 1977 is quite crucial. He was not
your typical conservatory President. When you
were at Eastman, you had Howard Hansen, and a
Contemporary Media department led by Ray
Wright who was one of the most brilliant arrangers and film-scorers. He could lead any ensemble
and make it sound fantastic. New England Conservatory had a different approach. When Gunther Schuller started his jazz program at NEC, he
was looking for creative forces in music. NEC is
where Cecil Taylor graduated from. I remember
Cecil Taylor coming up and getting an honorary
Doctorate when I was a student. Cecil represents
a very important kind of force in American music. In fact, it was Gunther Schuller who gave
the very first thumbs up review, back in the
1950s, of Cecil Taylor’s first album. While others were saying, “What is this guy doing?” Schuller, with his background in Contemporary
European music, and a background in jazz– an
he could listen to it and was say, “Wait a minute,
this is a guy who has taken everything in. This is
a guy who knows about Stravinsky.” The truth
was that he did. He went to the Boston Symphony every week. The jazz critics didn’t know
what to say: “It doesn't swing.” [laughs]
JI: You were exploring a broad range of music
early on. I remember a weekend function when
we were teenagers, and you brought along for
the listening session, Coltrane In Seattle and his
album Sun Ship—two of his most exploratory
recordings. I was instead listening more to Charlie Earland’s Black Talk, Miles Davis At The
Blackhawk and Oscar Peterson The Trio and The
Sounds of The Trio at that time. Of course, I
realize your two brothers were making music
and your grandfather was a musician. How did
you get to those Coltrane albums and open form
music that early?
HN: Well, the people who knew about music
and didn’t have the blinders on were the art students—and my brother was an art student. So
my brother Ron who is still a jazz critic, as you
know, was always looking. He was the one who
told me about John Coltrane. I was probably
thirteen. I already bought his album Live At The
Village Vanguard, and I was trying to figure out
what “Chasin The Trane” was. And then one day
I was listening to it and I decided to count out all
the choruses and I realized, “Hey, they’re not
playing free. The whole thing is just twelve-bar
HN: He would be at 30th Street Station, sit
down on a bench and record people walking by
all day. It was an interesting time. There were
other inspiring musicians—like Bernard [Peiffer]
who was also in another category … like the
secret child of Ravel and Bud Powell. I was
playing in various orchestras. Sid Rothstein was
another mentor. John Mack was a veteran of the
Stan Kenton band—and led the All City Jazz
Band … which Stanley Clarke was in. It was
funny … in the hallway there all these great
young players waiting to audition and play your
Neil Hefti charts or whatever … but in the hallway everyone was teaching each other Kool and
The Gang tunes. [laughs] I also went to Lighthouse Camp—which was a fantastic gathering
place for musicians—and really empowering.
Any fantasy you had about music, you could
realize at Lighthouse Camp. I also had a chance
to conduct and write arrangements for the
Marching Band and Jazz Band in high school.
So there was a lot of opportunity. I remember
getting this book Vibrations by David Amram,
which was about Gunther Schuller and about a
world where there were no walls between the
music. I remember going to see Dave’s concert
at the Jewish Y downtown—when he brought
together all of his worlds—Chamber Music,
Latin Music and Jazz. And I said, “Oh. Okay.
That’s kind of what I want to do.” So I had in
my mind to go to New England Conservatory
where things were open in that way. And, you
know, Gunther assembled his faculty with people like Jaki Byard and George Russell. They
were not known as teachers. They were known
as major, major creative figures in the music.
The idea of bringing them to a school meant that
instead of being out on the road—we were the
ones who they were going to do their music
with. [laughs] So that produced a laboratory that
was very different than any of the other music
schools.
For information on the schedule of performances
in New York in celebration of the 40th Anniversary of New England Conservatory, see the
“Around Town” section on page 30 of this issue.
Visit New England Conservatory online at:
www.necmusic.edu/
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Calendar of Events
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NEW YORK CITY
 Fri 3/1, 3/8, 3/15, 3/22, 3/29: Lauren Henderson Trio at Millesime, 7:00 PM. 92 Madison Avenue. 212-889-7100.
 Fri 3/1, 3/8, 3/15, 3/22, 3/29: Birdland Big Band at Birdland, 5:00
PM. 315 West 44th Street.
 Fri 3/1, 3/8, 3/15, 3/22, 3/29: Bemelmans’ Bar, Hotel Carlyle.
Rob Mosci at 5:30 PM; Chris Gillespie Trio at 9:30 PM. 35 East
76th Street. 212-744-1600. www.thecarlyle.com
 Fri 3/1, 3/8, 3/15, 3/22, 3/29: Arthur’s Tavern. Eri Yamamoto at
7:00 PM; Sweet Georgia Brown with Off the Hook at 10:00 PM.
57 Grove Street. 212-675-6879. www.arthurstavernnyc.com
 Fri 3/1 – Sat 3/2: Woody Allen and the Eddy Davis New Orleans
Jazz Band at Cafe Carlyle, 8:45 PM. 35 East 76th Street. 212744-1600. www.thecarlyle.com
 Fri 3/1 – Sat 3/2: Lew Soloff at Knickerbocker Bar and Grill,
9:30 PM. 33 University Place.
 Fri 3/1 – Sat 3/2: Gary Peacock Trio with Marc Copland and
Joey Baron at Birdland, 8:30 and 11:00 PM. 315 West 44th St
 Fri 3/1 Battle of the Boroughs: Queens at The Greene Space,
7:00 PM. Artists include Nicole Zuraitis. 44 Charlton Street. 646829-4000. www.thegreenespace.org
 Fri 3/1 Manhattan School of Music Jazz Orchestra with special
guest Dave Liebman performing Miles Davis’ Miles Ahead at
Borden Auditorium, Manhattan School of Music, 7:30 PM. (Pre-
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concert lecture at Miller Recital Hall, 6:00 PM.) 120 Claremont
Avenue. 212-749-2802. www.msmnyc.edu
Fri 3/1 Junior Mance Trio at The Metropolitan Room, 11:30 PM.
34 West 22nd Street. 212-206-0440.
Sat 3/2, 3/9, 3/16, 3/23, 3/30: Arthur’s Tavern. Eri Yamamoto
Trio at 7:00 PM; Alyson Williams with Arthur’s House Band at
10:00 PM. 57 Grove Street. 212-675-6879.
Sat 3/2, 3/9, 3/16, 3/23, 3/30: Dandy Wellington and His Band at
Hotel Chantelle, 12:00 noon. 92 Ludlow Street. 212-254-9100.
www.hotelchantelle.com
Sat 3/2, 3/9, 3/16, 3/23, 3/30: Marianni at Zinc Bar, 9:30 PM,
11:00 PM, and 12:30 AM. 82 West 3rd Street (bet. Thompson and
Sullivan Streets.) 212-477-9462. www.zincbar.com
Sat 3/2, 3/9, 3/16, 3/23, 3/20: Mal Stein at Cupping Room Cafe,
9:00 PM.359 West Broadway. 212-925-2898.
www.cuppingroomcafe.com
Sat 3/2, 3/9, 3/16, 3/23, 3/30: The Adventures of Maya the Bee:
A Jazz Puppet Show Composed by Nancy Harrow and Arranged by Roland Hanna at Culture Project Theater, 10:30 AM.
49 Bleecker Street, Suite 602. 212-925-1806.
www.cultureproject.org
Sat 3/2, 3/9, 3/16, 3/23, 3/30: Bemelmans’ Bar, Hotel Carlyle.
Rob Mosci at 5:30 PM; Chris Gillespie Trio at 9:30 PM. 35 East
76th Street. 212-744-1600. www.thecarlyle.com
Sat 3/2, 3/9, 3/16, 3/23: Saint Peter’s Church. New York Jazz
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Academy: Big Band Workshop at 10:00 AM; Vocal Jazz Workshop at 12:00 noon. 619 Lexington Avenue at 54th Street. 212935-2200. www.saintpeters.org
Sat 3/2, 3/9, 3/16, 3/23, 3/30: Zeb’s. Cobi Narita Presents Jazz
Movies – Vocalists and Tap Dancers. Film Screening at 1:00
PM. (Titles TBA); Vocal and Tap Dance Jam Session featuring
The Frank Owens Singers at 3:00 PM. Second Floor, 223 West
28th Street. 212-695-8081. www.zebulonsoundandlight.com
Sat 3/2, 3/9, 3/16, 3/23, 3/30: Avalon Jazz Quartet at Matisse,
8:00 PM. 924 Second Avenue at 49th Street. 212-546-9300.
www.matissenyc.com
Sat 3/2, 3/9, 3/16, 3/23, 3/30: Peter Sparacino at Harlem Tavern,
12:00 noon. 2153 Frederick Douglass Boulevard (at 116th Street.)
212-866.4500. www.harlemtavern.com
Sat 3/2, 3/9, 3/16: New York Jazz Academy Big Band Rehearsal
at Somethin’ Jazz, 2:00 PM. 3rd Floor, 212 E. 52nd Street
Sat 3/2 Somethin’ Jazz. Joseph Howell Jazz Quartet at 9:00
PM; Tuomo Uusitalo Trio at 11:00 PM. 3rd Floor, 212 E. 52nd St.
Sat 3/2 Joe Alterman at Sugar Bar, 8:00 PM. 254 West 72nd
Street. 212-579-0222. www.sugarbarnyc.com
Sat 3/2 J.C. Hopkins Trio at Edison Rum House, 9:30 PM. 228
March 2013  Jazz Inside Magazine  www.JazzInsideMagazine.com
15
West 47th Street. 646-490-6924. www.edisonrumhouse.com
 Sat 3/2 Fat Cat. Raphael D’Lugoff Quintet at 7:00 PM; Ben
Meigners Band at 10:00 PM; After Hours Session at 1:30 AM.
75 Christopher Street at 7th Avenue. 212-675-6056.
 Sat 3/2 Paul Meyers/ Frank Wess Quintet at Kitano, 8PM &
10PM. 66 Park Avenue
 Sun 3/3, 3/10, 3/17, 3/24, 3/31: Tony Middleton Trio at Kitano,
11:00 AM and 1:00 PM. 66 Park Avenue
 Sun 3/3, 3/10, 3/17, 3/24, 3/31: Gabrielle Stravelli at Le
Pescadeux, 12:30 PM. 90 Thompson Street. 212-966-0021.
www.lepescadeux.com
 Sun 3/3, 3/10, 3/17, 3/24, 3/31: Bob Kindred Trio at Cafe Loup,
12:30 PM. 105 West 13 th Street. 212-225-4746.
www.cafeloupnyc.com
 Sun 3/3, 3/10, 3/17, 3/24, 3/31: The Smithfield Sunday Session
featuring the Ken Foley/ Nick Hempton Quartet at Smithfield,
8:30 PM. 215 West 28 th Street. 212-564-2172.
www.smithfieldnyc.com
 Sun 3/3, 3/10, 3/17, 3/24, 3/31: Jam Session at American Legion
Post #398, 7:00 PM. 248 West 132nd Street. 212-283-9701.
www.colchasyoungharlempost398.com
 Sun 3/3, 3/10, 3/17, 3/24, 3/31: Avalon Jazz Band at The Lambs
Club, 11:00 AM. 132 West 44th Street (bet. Broadway and 6th
Avenue.) 212-997-5262. www.thelambsclub.com
 Sun 3/3, 3/10, 3/17, 3/24, 3/31: Jazz Vespers at Saint Peter’s
Church, 5:00 PM. 619 Lexington Avenue at 54th Street. 212-9352200. www.saintpeters.org
 Sun 3/3, 3/10, 3/17, 3/24, 3/31: Creole Cooking Jazz Band at
Arthur’s Tavern, 7:00 PM. 57 Grove Street. 212-675-6879.
 Sun 3/3, 3/10, 3/17, 3/24, 3/31: Junior Mance Trio at Cafe Loup,
6:30 PM. 105 West 13 th Street. 212-225-4746.
www.cafeloupnyc.com
 Sun 3/3, 3/10, 3/17, 3/24, 3/31: Birdland. Birdland Jazz Party
with John Hart Quartet and Guest Vocalist, 6:00 PM; Arturo
O’Farrill Afro-Latin Jazz Orch, at 9 and 11PM. 315 West 44th St.
 Sun 3/3, 3/10, 3/17, 3/24: Peter Mazza Trio at The Bar Next
Door, 8PM & 10PM. 129 MacDougal Street. 212-529-5945.
 Sun 3/3, 3/17: Bossa Nova Brunch at SOB’s, 12:30 PM. 200
Varick Street. 212-243-4940. www.sobs.com
 Sun 3/3, 3/31: Vanessa Trouble at Swing 46, 8:30 PM. 349 West
46th Street. 212-262-9554. www.swing46.com
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 Sun 3/3 Fat Cat. Terry Waldo’s Gotham City Band at 6:00 PM;
Fat Cat Big Band at 8:30 PM; After Hours Session at 1:00 AM.
 Sun 3/3 Scott Tixier and Kenball Zwerin: A Night of Gypsy
Jazz at Edison Rum House, 9:30 PM. 228 West 47th Street. 646490-6924. www.edisonrumhouse.com
 Sun 3/3 Christian McBride and Inside Straight at Kaufmann
Concert Hall, 92nd Street Y, 3:00 PM. Corner of Lexington Avenue and 92nd Street. 212-415-5500. www.92y.org
 Sun 3/3 Somethin’ Jazz. Omoo featuring Emilie Weibel at 5:00
PM; Rose Ellis at 7:00 PM; Cristian Mendoza Quartet at 9:00
PM. 3rd Floor, 212 E. 52nd Street
 Sun 3/3 Jamie Reynolds Trio at Weill Art Gallery, 92nd Street Y,
5:00 PM. Corner of Lexington Avenue and 92nd Street. 212-4155500. www.92y.org
 Mon 3/4, 3/11, 3/18, 3/25: Jam Session with Iris Ornig at Kitano, 8:00 PM. 66 Park Avenue
 Mon 3/4, 3/11, 3/18, 3/25: Tom Abbott Big Bang Big Band at
Swing 46, 8:30 PM. 349 West 46th Street. 212-262-9554.
www.swing46.com
 Mon 3/4, 3/11, 3/18, 3/25: Cole Ramstad and the Chinatown All
Stars at Apotheke, 8:30 PM. 9 Doyers Street. 212-406-0400.
www.apothekenyc.com
 Mon 3/4, 3/11, 3/18, 3/25: Grove Street Stompers at Arthur’s
Tavern, 7:00 PM. 57 Grove Street. 212-675-6879.
 Mon 3/4, 3/11, 3/18. 3/25: Woody Allen and the Eddy Davis New
Orleans Jazz Band at Cafe Carlyle, 8:45 PM. 35 East 76th Street.
212-744-1600. www.thecarlyle.com
 Mon 3/4, 3/11, 3/18, 3/25: Bemelmans’ Bar, Hotel Carlyle. Earl
Rose at 5:30 PM; Earl Rose Trio at 9:00 PM. 35 East 76th Street.
212-744-1600. www.thecarlyle.com
 Mon 3/4, 3/11, 3/18: Boo Frazier Discusses His Uncle Dizzy
Gillespie at Noble Classroom, Lincoln Center, 6:30 PM. Corner
of Broadway and 60th Street. 212-721-6500. www.jalc.org
 Mon 3/4, 3/18, 3/25: Vince Giordano and the Nighthawks at
Sofia’s, Edison Hotel, 8:00 PM. 228 West 47th Street, 212-8405000. www.edisonhotelnyc.com
 Mon 3/4, 3/11: International Women in Jazz at Saint Peter’s
 Mon 3/4 Booker T. Jones at City Winery, 6:00 PM. 155 Varick
Street. 212-608-0555. www.citywinery.com/newyork/
 Mon 3/4 Fat Cat. Johnny O’Neal Sings and Plays at 7:00 PM;
Jimmy Cobb Quintet at 9:00 PM; After Hours Session at 12:30
AM. 75 Christopher Street at 7th Avenue. 212-675-6056.
www.fatcatmusic.org
 Mon 3/4 The Bar Next Door. Tom Finn Trio at 6:30 PM; Deanna
Witkowski Trio at 8:30 and 10:30 PM. 129 MacDougal Street.
212-529-5945. www.lalanternacaffe.com
 Mon 3/4 Olivia Trummer at The Metropolitan Room, 11:30 PM.
34 West 22nd Street. 212-206-0440.
 Mon 3/4 Somethin’ Jazz. Yuko Okamoto Quartet at 7:00 PM;
Terry’s Quartet featuring Terry Vakirtzolgou at 9:00 PM. 3rd
Floor, 212 E. 52nd Street
 Tue 3/5, 3/12, 3/19, 3/26: Yuichi Hirakawa House Band at
Arthur’s Tavern, 7:00 PM. 57 Grove Street. 212-675-6879.
 Tue 3/5, 3/12, 3/19, 3/26: Vince Giordano and the Nighthawks
at Sofia’s, Edison Hotel, 8:00 PM. 228 West 47th Street, 212-8405000. www.edisonhotelnyc.com
 Tue 3/5, 3/12, 3/19, 3/26: George Gee Swing Orchestra at
Swing 46, 8:30 PM. 349 West 46th Street. 212-262-9554.
www.swing46.com
 Tue 3/5, 3/12, 3/19, 3/26: Twilight Garden at Hotel Chantelle,
8:30 PM. 92 Ludlow Street. 212-254-9100.
www.hotelchantelle.com
 Tue 3/5, 3/12, 3/19, 3/26: Annie Ross at The Metropolitan
Room, 9:30 PM. 34 West 22nd Street. 212-206-0440.
 Tue 3/5, 3/12, 3/19, 3/26: Bemelmans’ Bar, Hotel Carlyle. Earl
Rose at 5:30 PM; Chris Gillespie Trio at 9:30 PM. 35 East 76th
Street. 212-744-1600. www.thecarlyle.com
 Tue 3/5 – Sat 3/9: Cedar Walton Trio at Birdland, 8:30 and 11:00
PM. 315 West 44th Street.
 Tue 3/5 – Thu 3/7: Marilyn Maye at 54 Below, 7:00 PM. Lower
level, 254 West 54th Street. 646-476-3551. www.54below.com
 Tue 3/5 – Wed 3/6 Jerry Weldon Trio at Showmans, 8:30 PM.
375 West 125th Street. 212-864-8941.
www.showmansjazzclub.com
 Tue 3/5 CD Release Party: Harvest featuring Andrae Murchison at Somethin’ Jazz, 7:00 PM. 3rd Floor, 212 E. 52nd Street
 Tue 3/5 Fat Cat. Paul Nowinsky at 7:00 PM; Maximo Bachata y
Merengue: La Banda Sabrosa at 9:00 PM; After Hours Session
at 12:30 AM. 75 Christopher Street at 7th Avenue. 212-675-6056.
 Tue 3/5 Warren Smith and the Composer’s Workshop Orches-
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tra at NYC Baha’i Center, 8:00 and 9:30 PM. 53 East 11th Street. 212-222-5159. www.bahainyc.org/
Page/Jazz-Night.aspx
Tue 3/5 The Bar Next Door. Abe Ovadia Trio at 6:30 PM; Bria Skonberg Trio at 8:30 and 10:30 PM .
129 MacDougal Street. 212-529-5945. www.lalanternacaffe.com
Tue 3/5 Peter Cincotti at Highline Ballroom, 7:00 PM. 431 West 16th Street (bet. 9th and 10th Avenue.) 212-424-5994. www.highlineballroom.com
Tue 3/5 Steven Fiefke at Kitano, 8:00 and 11:00 PM. 66 Park Ave
Tue 3/5 Perez & Anita Wardell at The Metropolitan Room, 7:00 PM. 34 West 22nd Street. 212-2060440.
Wed 3/6, 3/13, 3/20, 3/27: Arthur’s Tavern. Eve Silber at 7:00 PM; Alyson Williams with Arthur’s
House Band at 10:00 PM. 57 Grove Street. 212-675-6879. www.arthurstavernnyc.com
Wed 3/6, 3/13, 3/20, 3/27: Bemelmans’ Bar, Hotel Carlyle. Earl Rose at 5:30 PM; Chris Gillespie
Trio at 9:30 PM. 35 East 76th Street. 212-744-1600. www.thecarlyle.com
Wed 3/6, 3/13, 3/20, 3/27: New Orleans Jazz/ Stan Rubin Orchestra at Swing 46, 8:30 PM. 349
West 46th Street. 212-262-9554. www.swing46.com
Wed 3/6, 3/13, 3/20, 3/27: Julie Milgram Trio at Lime Leaf Thai Restaurant, 7:00 PM. 128 West 72nd
Street. 212-501-7800. www.limeleafnyc.com
Wed 3/6, 3/13, 3/20, 3/27: Jason Marshall Organ Trio at American Legion Post #398, 7:30 PM. 248
West 132nd Street. 212-283-9701. www.colchasyoungharlempost398.com
Wed 3/6, 3/13, 3/20, 3/27: Los Hacheros at Pulqueria, 9:00 PM. 11 Doyers Street. 212-227-3099.
www.pulquerianyc.com
Wed 3/6, 3/13, 3/20, 3/27: Avalon Jazz Band at Apotheke, 8:00 PM. 9 Doyers Street. 212-406-0400.
Wed 3/6, 3/13, 3/20, 3/27: Roger Davidson at Caffe Vivaldi, 7:15 PM. 32 Jones Street. 212-691-7538.
Wed 3/6, 3/13, 3/20: Smokin’ Billy Stover at Edison Rum House, 8:30 PM. 228 West 47th Street.
646-490-6924. www.edisonrumhouse.com
Wed 3/6 – Sun 3/10: Rebecca Kilgore and The Harry Allen Quartet at The Metropolitan Room, 9:30
PM. (3/10 shows at 7:00 and 9:30 PM.) 34 West 22nd Street. 212-206-0440.
Wed 3/6 Barry Harris Trio at Saint Peter’s Church, 1:00 PM. 619 Lexington Avenue at 54th Street.
212-935-2200. www.saintpeters.org
Wed 3/6 Nicole Henry at Ginny’s Supper Club, 8:00 PM. 310 Lenox Avenue. 212-421-3821.
Wed 3/6 Fat Cat. Raphael D’Lugoff Trio + at 7:00 PM; Groover Trio at 9:00 PM; After Hours Session at 12:30 AM. 75 Christopher Street at 7th Avenue. 212-675-6056. www.fatcatmusic.org
Wed 3/6 The Bar Next Door. P. J. Rasmussen Trio at 6:30 PM; Jonathan Kreisberg Trio at 8:30
and 10:30 PM. 129 MacDougal Street. 212-529-5945. www.lalanternacaffe.com
Wed 3/6 Joe Alterman Trio at Kitano, 8PM & 10PM. 66 Park Avenue
Wed 3/6 Somethin’ Jazz. David Engelhard Group at 7:00 PM; Emily Wolf Project at 9:00 PM. 3rd
Thu 3/7, 3/14, 3/21, 3/28: Bemelmans’ Bar, Hotel Carlyle. Earl Rose at 5:30 PM; Chris Gillespie
Trio at 9:30 PM. 35 East 76th Street. 212-744-1600. www.thecarlyle.com
Thu 3/7, 3/14, 3/21, 3/28: Tiffany Chang Trio at Lime Leaf Thai Restaurant, 7:00 PM. 128 West 72nd
Street. 212-501-7800. www.limeleafnyc.com
Thu 3/7, 3/14, 3/21, 3/28: Lauren Henderson Trio at Millesime, 7:00 PM. 92 Madison Avenue. 212889-7100. www.millesimenyc.com
Thu 3/7, 3/14, 3/21, 3/28: Dandy Wellington and His Band plus Nicole Zuraitis at Ella Lounge, 7:00
PM. 9 Avenue A (bet. 1st and 2nd Streets.) 212-777-2230. www.ellalounge.com
Thu 3/7, 3/14, 3/21, 3/28: Arthur’s Tavern. Eri Yamamoto Trio at 7:00 PM; Sweet Georgia Brown
with Off the Hook at 10:00 PM. 57 Grove Street. 212-675-6879. www.arthurstavernnyc.com
Thu 3/7, 3/21, 3/28: Felix and the Cats at Swing 46, 8:30 PM. 349 West 46th Street. 212-262-9554.
Thu 3/7 Steven Feifke Big Band at The Metropolitan Room, 11:30 PM. 34 West 22nd Street. 212206-0440.
Thu 3/7 Tomoko Omura/ Glenn Zaleski Duo at Tomi Jazz, 9:00 PM. Lower level, 239 East 53rd Street
(bet. 2nd and 3rd Avenues.) 646-497-1254. www.tomijazz.com
Thu 3/7 The Bar Next Door. Syberen van Munster at 6:30 PM; Jake Saslow Trio at 8:30 and 10:30
PM. 129 MacDougal Street. 212-529-5945. www.lalanternacaffe.com
Thu 3/7 Fat Cat. Melissa Aldana Quartet at 7:00 PM; Saul Rubin’s ZEBTET at 10:00 PM; After
Hours Session at 1:30 PM. 75 Christopher Street at 7th Avenue. 212-675-6056. www.fatcatmusic.org
Thu 3/7 Wilson “Chembo” Corneil at Nuyorican Poets Cafe, 9:00 PM. 236 East 3rd Street. 212-5058183. www.nuyorican.org
Thu 3/7 Wayne Krantz Trio at 55 Bar, 10:00 PM. 55 Christopher Street. 212-929-9883.
www.55bar.com
Thu 3/7 Gregorio Uribe Big Band at Zinc Bar, 9:00 PM; 10:30 PM, and 12:00 midnight. 82 West 3rd
Street (bet. Thompson and Sullivan Streets.) 212-477-9462. www.zincbar.com
Thu 3/7 Aki Ishiguro at Caffe Vivaldi, 9:30 PM. 32 Jones Street. 212-691-7538. www.caffevivaldi.com
Thu 3/7 Somethin’ Jazz. Yuko Yamamura and Ajarria at 7:00 PM; Nelson Riveros Quartet at 9:00
Thu 3/7 Nick Hempton Band at Little Branch, 10:30 PM. 20 Seventh Avenue South. 212-929-4360.
http://www.facebook.com/pages/Little-Branch/41435210381
Thu 3/7 Chris McNulty Quartet featuring Paul Bollenback at Kitano, 8:00 & 10:00 PM. 66 Park Ave
Fri 3/8, 3/15, 3/29: George Gee Swing Orchestra at Swing 46, 9:30 PM. (3/15 show at 8:30 PM.) 349
West 46th Street. 212-262-9554.
Fri 3/8 – Sat 3/9: Darryl Sherman/ Scott Robinson Duo at Knickerbocker Bar and Grill, 9:30 PM. 33
University Place.
Fri 3/8 – Sat 3/9: Paquito D’Rivera Recreates the Album Charlie Parker with Strings at The Allen
Room, Lincoln Center, 7:30 and 9:30 PM. Corner of Broadway and 60th Street. 212-721-6500.
www.jalc.org
Fri 3/8 – Sat 3/9: Lew Tabackin Quartet featuring David Hazeltine at Kitano, 8PM & 10PM. 66 Park
Avenue
Fri 3/8 – Sat 3/9: Celebrating Dizzy Gillespie: Jon Faddis Jazz Orchestra of New York with special
guests Jimmy Heath, Ignacio Berroa, and Steve Turre at Rose Theater, Lincoln Center, 8:00 PM.
Corner of Broadway and 60th Street. 212-721-6500. www.jalc.org
Fri 3/8 Fat Cat. Ray Gallon Trio at 6:00 PM; Lawrence Clark Quartet at 10:30 PM; After Hours
Session at 1:30 PM. 75 Christopher Street at 7th Avenue. 212-675-6056. www.fatcatmusic.org
Fri 3/8 Andrew Van Tassel/ Matthew Sheens Duo at Tomi Jazz, 9:00 PM. Lower level, 239 East 53rd
Street (bet. 2nd and 3rd Avenues.) 646-497-1254. www.tomijazz.com
Fri 3/8 Marsh Brothers at Sugar Bar, 8:00 PM. 254 West 72nd Street. 212-579-0222.
www.sugarbarnyc.com
Fri 3/8 Rick Stone Trio featuring Harvie S at The Bar Next Door, 7:30, 9:30, and 11:30 PM. 129
MacDougal Street. 212-529-5945. www.lalanternacaffe.com
17
and his 17 piece big band The
NY State of the Art Jazz Ensemble
March 2013
All Shows on Tuesdays at 8:00 PM
Mar 5: Warren Smith - Composer’s Workshop Orch
Mar 12: Russ Kassoff Orch w Catherine Dupuis
Mar 19: Mike Longo’s 17 piece NY State of the Art
Jazz Ensemble
Mar 26: Vibraphonist Warren Chiasson Plays The
Great American Songbook
18
 Fri 3/8 Broadway Brassy at Edison Rum House, 9:30 PM. 228
West 47th Street. 646-490-6924. www.edisonrumhouse.com
 Fri 3/8 Tessa Souter at 55 Bar, 6:00 PM. 55 Christopher Street.
212-929-9883. www.55bar.com
 Fri 3/8 Jazz Memorial for Delilah Jackson at Saint Peter’s
 Fri 3/8 Jaimoe’s Jasssz Band at B. B. King Blues Club, 11:59
PM. 237 West 42nd Street. 212-997-4144. www.bbkingblues.com
 Fri 3/8 Manny’s Boogaloo Crew at Cupping Room Cafe, 8:00
PM. 359 West Broadway. 212-925-2898.
www.cuppingroomcafe.com
 Fri 3/8 Somethin’ Jazz. Ryan Greer Jazz Group at 7:00 PM;
Kathleen Potton Band at 9:00 PM; Tunes from the 90s Quartet
at 11:00 PM. 3rd Floor, 212 E. 52nd Street
 Fri 3/8 African Jazz: Kaissa at Zinc Bar, 9:00 PM, 10:30 PM, and
12:00 AM. 82 West 3rd Street (bet. Thompson and Sullivan
Streets.) 212-477-9462. www.zincbar.com
 Sat 3/9, 3/23: Crescent City Maulers at Swing 46, 9:30 PM. 349
West 46th Street. 212-262-9554.
 Sat 3/9 The Metropolitan Room. Red Johnson Jr. and the
Broomdusters at 4:00 PM; Maria Guida Quartet at 7:00 PM. 34
West 22nd Street. 212-206-0440.
 Sat 3/9 Irini Res and the Jazz Mix at Sugar Bar, 8:00 PM. 254
West 72nd Street. 212-579-0222. www.sugarbarnyc.com
 Sat 3/9 Gilad Hekselman Trio at The Bar Next Door, 7:30, 9:30,
and 11:30 PM. 129 MacDougal Street. 212-529-5945.
 Sat 3/9 Avery Sharp at Ginny’s Supper Club, 8PM & 10PM. 310
Lenox Avenue. 212-421-3821.
 Sat 3/9 Fat Cat. Kyoyo Oyobe Quintet at 7:00 PM; Ed Cherry
Quartet at 10:00 PM; After Hours Session at 1:30 PM. 75 Christopher Street at 7th Avenue. 212-675-6056. www.fatcatmusic.org
 Sat 3/9 Jeff Franzel at Caffe Vivaldi, 7:15 PM. 32 Jones Street.
212-691-7538. www.caffevivaldi.com
 Sat 3/9 Samba Saturday: Liliana Araujo & Forro da Madame at
SOB’s, 8:30 and 10:45 PM. 200 Varick Street. 212-243-4940.
 Sat 3/9 Somethin’ Jazz. Matthew Whitaker Trio at 7:00 PM;
Brust Horowitz Quintet at 9:00 PM; James Robbins Quintet at
11:00 PM. 3rd Floor, 212 E. 52nd Street
 Sun 3/10 Somethin’ Jazz. Sly5thave and Philip Manchaca at
5:00 PM; Bach and Forward at 7:00 PM; Ehud Ettun Quartet at
 Sun 3/10 Candy Shop Boys at Edison Rum House, 9:30 PM.
228 West 47th Street. 646-490-6924. www.edisonrumhouse.com
 Mon 3/11 – Sat 3/16: Janet Planet at The Metropolitan Room,
7:00 PM. 34 West 22nd Street. 212-206-0440.
 Mon 3/11 The Bar Next Door. Andrew Van Tassel Trio at 6:30
PM; Holli Ross Trio with Dave Stryker at 8:30 and 10:30 PM.
129 MacDougal Street. 212-529-5945. www.lalanternacaffe.com
 Mon 3/11 Somethin’ Jazz. Michael Eaton Trio at 7:00 PM;
Tatiana Eva-Marie at 9:00 PM. 3rd Floor, 212 E. 52nd Street
 Mon 3/11 Nicole Zuraitis at 55 Bar, time TBA. 55 Christopher
Street. 212-929-9883. www.55bar.com
 Tue 3/12, 3/19, 3/26: Saul Rubin’s ZEBTET at Fat Cat, 7:00 PM.
 Tue 3/12 – Sat 3/16 Kevin Mahogany at Birdland, 8:30 and
11:00 PM. 315 West 44th Street.
 Tue 3/12 Marla Sampson at Somethin’ Jazz, 9:00 PM. 3rd Floor,
212 E. 52nd Street
 Tue 3/12 The Bar Next Door. Alex LoRe Trio at 6:30 PM; Craig
Yaremko Organ Trio at 8:30 and 10:30 PM. 129 MacDougal
Street. 212-529-5945. www.lalanternacaffe.com
 Tue 3/12 Russ Kassoff Orchestra with Catherine Dupuis at
NYC Baha’i Center, 8:00 and 9:30 PM. 53 East 11th Street. 212222-5159. www.bahainyc.org/Page/Jazz-Night.aspx
 Tue 3/12 Stan Killian ‘Evoke’ Quintet at 55 Bar, 7:00 PM. 55
Christopher Street. 212-929-9883. www.55bar.com
 Wed 3/13, 3/27: Lindsey Webster at The Lambs Club, 7:30 PM.
132 West 44th Street (bet. Broadway and 6th Avenue.) 212-9975262. www.thelambsclub.com
 Wed 3/13 Russ Kassoff Big Band at Saint Peter’s Church, 1:00
PM. 619 Lexington Avenue at 54th Street. 212-935-2200.
www.saintpeters.org
 Wed 3/13 Zinc Bar. Whitney Marchelle Quartet featuring
Champian Fulton at 7:00 PM; Osmany Paredes Quartet at 9:30
PM; 11:00 PM; and 1:00 AM. 82 West 3rd Street (bet. Thompson
and Sullivan Streets.) 212-477-9462. www.zincbar.com
 Wed 3/13 Jerry Weldon Trio at Showmans, 8:30 PM. 375 West
125th Street. 212-864-8941. www.showmansjazzclub.com
 Wed 3/13 The Bar Next Door. Jeff McLaughlin Trio at 6:30 PM;
Jonathan Kreisberg Trio at 8:30 and 10:30 PM. 129 MacDougal
Street. 212-529-5945.
 Wed 3/13 Laurel Massey / Tex Arnold Duo at Kitano, 8PM &
10PM. 66 Park Avenue
 Wed 3/13 Somethin’ Jazz. Jane Irving at 7:00 PM; Steve Picataggaio Quintet featuring Joe Alterman at 9:00 PM. 3rd Floor,
212 E. 52nd Street
 Thu 3/14 Pedro Giraudo ‘Expansions’ Big Band at Zinc Bar,
9:30 PM, 11:00 PM, and 12:30 AM. 82 West 3rd Street (bet.
Thompson and Sullivan Streets.) 212-477-9462. www.zincbar.com
 Thu 3/14 Frank Kohl Quartet featuring Steve LaSpina at The
Metropolitan Room, 11:30 PM. 34 West 22nd St. 212-206-0440.
 Thu 3/14 Alina Morini at Ginny’s Supper Club, 8PM & 10PM.
310 Lenox Avenue. 212-421-3821.
 Thu 3/14 Vanessa Trouble at Swing 46, 8:30 PM. 349 West 46th
Street. 212-262-9554. www.swing46.com
 Thu 3/14 The Bar Next Door. Aleksi Glick/ Deen Anbar Duo at
6:30 PM; Matt Otto Trio at 8:30 and 10:30 PM. 129 MacDougal
 Thu 3/14 Gabriel Alegria with Karachacha and Chilcano at
Nuyorican Poets Cafe, 7:00 PM. 236 East 3rd St. 212-505-8183.
 Thu 3/14 Noshir Mody Quintet at Somethin’ Jazz, 9:00 PM. 3rd
 Thu 3/14 Leslie Pintchik Trio at Kitano, 8PM & 10PM. 66 Park
Avenue
 Fri 3/15 – Sat 3/16: Darryl Sherman with Will & Peter Anderson
at Knickerbocker Bar and Grill, 9:30 PM. 33 University Place.
 Fri 3/15 – Sat 3/16 Charlie Musselwhite at The Allen Room,
Lincoln Center, 7:30 and 9:30 PM. Corner of Broadway and 60th
Street. 212-721-6500. www.jalc.org
 Fri 3/15 Nuf Said at Sugar Bar, 8:00 PM. 254 West 72nd Street.
212-579-0222. www.sugarbarnyc.com
 Fri 3/15 Joe Giglio Trio at The Bar Next Door, 7:30, 9:30, and
11:30 PM. 129 MacDougal Street. 212-529-5945.
 Fri 3/15 Jerry Weldon Trio at Showmans, 8:30 PM. 375 West
125th Street. 212-864-8941. www.showmansjazzclub.com
 Fri 3/15 SOB’s. Orquesta Galante at 5:00 PM; Zenglen with
special guest Bel Jazz at 12:00 midnight and 2:00 AM. 200
Varick Street. 212-243-4940. www.sobs.com
 Fri 3/15 Kay Matsuwaka at The Metropolitan Room, 11:30 PM.
34 West 22nd Street. 212-206-0440.
 Fri 3/15 African Jazz: Kofo the Wonderman at Zinc Bar, 9:00
PM, 10:30 PM, and 12:00 midnight. 82 West 3rd Street (bet.
Thompson and Sullivan Streets.) 212-477-9462. www.zincbar.com
 Fri 3/15 Gabriel Alegria Afro-Peruvian Sextet at Drom, 9:30 PM.
85 Avenue A (bet. 4th and 6th Streets.) 212-777-1157.
 Fri 3/15 Rogerio Boccato Quarteto at Performance Project,
University Settlement, 7:30 PM. 184 Eldridge Street (at Rivington
Street.) 212-453-4532. www.carnegiehall.org
 Fri 3/15 Somethin’ Jazz. Les Grant 5 at 7:00 PM; Reine Sophie
at 9:00 PM; Daniel Weiss Group at 11PM. 212 E. 52nd Street
 Fri 3/15 Lady Got Chops Women’s History Month ‘Musi-ArtiCopia’ Jazz Round Robin at Zeb’s, time TBA. Artists include
Andrea Brachfield, Kim Clarke, Bertha Hope, Meg Montgomery, Sheryl Renee, Lisette Santiago, Nikita White, and others.2nd Floor, 223 West 28th Street. 212-695-8081.
www.zebulonsoundandlight.com
 Fri 3/15 Michael Palma at Caffe Vivaldi, 9:30 PM. 32 Jones
Street. 212-691-7538. www.caffevivaldi.com
 Fri 3/15 Alexis Cole at Kitano, 8 and 10PM. 66 Park Avenue
 Sat 3/16, 3/30: Swingadelic at Swing 46, 9:30 PM. (3/30 show at
8:30 PM.) 349 West 46th Street. 212-262-9554. www.swing46.com
 Sat 3/16 Freddie Bryant/ Peter Bernstein Trio at The Bar Next
Door, 7:30, 9:30, and 11:30 PM. 129 MacDougal Street. 212-5295945. www.lalanternacaffe.com
 Sat 3/16 Dr. John and the Lower 911 with Allen Toussaint at
Town Hall, 8:00 PM. 123 West 43rd Street. 212-840-2824.
www.thetownhall.org
 Sat 3/16 New York Swing Dance Society Presents Ron Sunshine and Full Swing at St. Jean Baptiste Church. Dance
lessons at 7:00 PM; band starts at 8:00 PM. 184 East 76th Street at
Lexington Avenue. 212-696-9737. www.nysds.org
 Sat 3/16 Thana Alexa Quintet at 55 Bar, 6:00 PM. 55 Christopher
Street. 212-929-9883. www.55bar.com
 Sat 3/16 Christian McBride Big Band at Kaufmann Concert
Hall, 92nd Street Y, 8:00 PM. Corner of Lexington Avenue and
92nd Street. 212-415-5500. www.92y.org
 Sat 3/16 Somethin’ Jazz. Cettina Donato Quartet at 5:00 PM;
Christian Finger Band at 7:00 PM; Takeshi Asai New York Trio
at 9:00 PM; James Robbins Quintet at 11:00 PM. 3rd Floor, 212
E. 52nd Street
 Sat 3/16 Kali Z. Fasteau at Brecht Forum, 8:00 PM. 451 West
Street. 212-242-4201. www.brechtforum.org
 Sat 3/16 Helen Sung Trio at Kitano, 8PM, 10PM. 66 Park Ave
 Sun 3/17, 3/24, 3/31: Klezmer Brunch at City Winery, 11:00 AM.
Metropolitan Klezmer on 3/17, Margot Leverett and the Klezmer Mountain Boys on 3/24, Gary Mendilow Ensemble on 3/31.
155 Varick Street. 212-608-0555. www.citywinery.com/newyork/
 Sun 3/17 Bathabile Mthombeni Ensemble at Asali Yoga Studio,
4:00 PM. 243 West 135 th Street. 646-535-3307.
www.asaliyoga.com
 Sun 3/17 Felix and the Cats at Swing 46, 8:30 PM. 349 West 46th
 Sun 3/17 Juilliard Jazz Ensemble at Blue Note, 12:30 and 2:30
PM. 131 West 3rd Street. 212-475-8592. www.bluenote.net
 Sun 3/17 Somethin’ Jazz. Kind of Orange at 5:00 PM; Alex
Clough Group at 7:00 PM; Terry Vakirtzologou Duo at 9:00 PM.
3rd Floor, 212 E. 52nd Street
 Mon 3/18 Tribeca Performing Arts Center. The Anderson
Twins and James Langton Orchestra Perform Artie Shaw with
Strings at 8:00 PM; Warren Vache/ Kenny Washington Tribute
the Benny Goodman Combos at time TBA. 199 Chambers
Street. 212-220-1460. www.highlightsinjazz.org
 Mon 3/18 The Bar Next Door. Angela Davis Trio at 6:30 PM;
Foolish Hearts at 8:30 and 10:30 PM . 129 MacDougal Street.
 Mon 3/18 Kazz Music Orchestra at Club Groove, 7:00 PM. 125
MacDougal Street. 212-354-9393. www.clubgroovenyc.com
 Mon 3/18 Michael Webster Quintet at Saint Peter’s Church,
7:00 PM. Mon 3/4, 3/11: International Women in Jazz at Saint
Peter’s Church, 7:00 PM. 619 Lexington Avenue at 54th Street.
 Mon 3/18 Andrew Swift Quartet at Somethin’ Jazz, 9:00 PM. 3rd
 Tue 3/19 – Sat 3/23: Tierney Sutton Band at Birdland, 8:30 and
11:00 PM. 315 West 44th Street.
 Tue 3/19 Mike Longo’s New York State of the Art Jazz Ensemble with Dee Daniels at NYC Baha’i Center, 8:00 and 9:30 PM.
53 East 11th Street. 212-222-5159. www.bahainyc.org/Page/JazzNight.aspx
 Tue 3/19 The Bar Next Door. Paul Jones Trio at 6:30 PM; Jed
Levy Trio at 8:30 and 10:30 PM . 129 MacDougal Street. 212-5295945. www.lalanternacaffe.com
 Tue 3/19 Somethin’ Jazz. New York Jazz Academy Concert at
7:00 PM; Dorian Wallace Big Band at 9:00 PM. 3rd Floor, 212 E.
52nd Street
 Tue 3/19 Joshua Crumbly Bass Recital at Morse Hall, The
Juilliard School, 8:00 PM. 60 Lincoln Center Plaza, New York,
NY 10023. 212-799-5000. events.juilliard.edu
 Tue 3/19 Matt Herskowitz Album Release Concert at Drom,
7:15 PM. 85 Avenue A (bet. 4th and 6th Streets.) 212-777-1157.
 Wed 3/20, 3/27: Cafe Jazz at Ades Performance Space, Manhattan School of Music, 7:30 PM. Free. 120 Claremont Avenue.
212-749-2802. www.msmnyc.edu
 Wed 3/20 Jim Cullum Jazz Band at Peter Jay Sharp Theatre,
Symphony Space, 7:15 PM. 2537 Broadway at 95th Street. 212864-5400. www.symphonyspace.org
 Wed 3/20 The Bar Next Door. Ben Flocks Trio at 6:30 PM;
Jonathan Kreisberg Trio at 8:30 and 10:30 PM . 129 MacDougal
 Wed 3/20 Milton Suggs at Zeb’s, 8:00 PM. Second Floor, 223
West 28th Street. 212-695-8081. www.zebulonsoundandlight.com
 Wed 3/20 Eugene Marlow’s Heritage Ensemble at Saint Peter’s
 Wed 3/20 Camilla Meza Quartet at The Jazz Standard, 7:30 and
9:30 PM. 116 East 27 th Street. 212-576-2232.
www.jazzstandard.net
 Wed 3/20 Simona DeRosa at Somethin’ Jazz, 9:00 PM. 3rd Floor,
212 E. 52nd Street
 Wed 3/20 The Duke Ellington Society at Saint Peter’s Church,
7:00 PM. Mon 3/4, 3/11: International Women in Jazz at Saint
Peter’s Church, 7:00 PM. 619 Lexington Avenue at 54th Street.
 Wed 3/20 Marianne Solivan Quartet featuring Xavier Davis at
Kitano, 8PM & 10PM. 66 Park Avenue
 Wed 3/20 Lizzie Thomas with Antoine Drye at Flute Midtown,
7:00 PM. 205 West 54th Street. 212-265-5169. https://
www.facebook.com/flutemidtown/app_200193303353101
 Wed 3/20 Dandy Wellington and His Band at The Lambs Club,
7:30 PM. 132 West 44th Street (bet. Broadway and 6th Avenue.)
212-997-5262. www.thelambsclub.com
 Thu 3/21 Kay Lyra at Caffe Vivaldi, 9:30 PM. 32 Jones Street.
212-691-7538. www.caffevivaldi.com
 Thu 3/21 The Bar Next Door. Daan Kleijn Trio at 6:30 PM;
Jacam Manricks Trio at 8:30 and 10:30 PM . 129 MacDougal
 Thu 3/21 Mark Whitfield / James Genus at 78 Below, 8:00 PM.
380 Columbus Avenue (bet. 77th and 78th Streets.) 212-724-7800.
www.78below.com
 Thu 3/21 Cafe Jazz at Ades Performance Space, Manhattan
School of Music, 7:30 PM. Free. 120 Claremont Avenue. 212To Advertise CALL: 215-887-8880
749-2802. www.msmnyc.edu
 Thu 3/21 Jason Yeager Trio featuring Noah Preminger at The
Metropolitan Room, 11:30 PM. 34 West 22nd St. 212-206-0440.
 Thu 3/21 Hector Martignon at Nuyorican Poets Cafe, 9:00 PM.
236 East 3rd Street. 212-505-8183. www.nuyorican.org
 Thu 3/21 Somethin’ Jazz. Jonathan Saraga Quintet at 7:00 PM;
Rob Reich at 9:00 PM. 3rd Floor, 212 E. 52nd Street
 Thu 3/21 Maria Bacardi at Kitano, 8PM, 10PM. 66 Park Ave
 Fri 3/22 – Sat 3/23 Madeleine Peyroux at The Allen Room,
Lincoln Center, 7:30 and 9:30 PM. Corner of Broadway and 60th
Street. 212-721-6500. www.jalc.org
 Fri 3/22 A Tribute to Paul Motian at Peter Jay Sharp Theatre,
Symphony Space, 7:00 PM. Artists include Geri Allen, Joey
Baron, Tim Berne, Ravi Coltrane, Marilyn Crispell, Bill Frisell,
Billy Hart, Joe Lovano, Greg Osby, Gary Peacock, and many
others.
2537 Broadway at 95th Street. 212-864-5400.
www.symphonyspace.org
 Fri 3/22 Larry Corban Trio at The Bar Next Door, 7:30, 9:30, and
www.lalanternacaffe.com .
 Fri 3/22 James Cotton at B. B. King Blues Club, 8:00 PM. 237
West 42nd Street. 212-997-4144. www.bbkingblues.com
 Fri 3/22 Somethin’ Jazz. Nicole Lund Band at 7:00 PM; Somethin’ Vocal with Matt Baker Trio at 9:00 PM; Elevations at 11:00
 Fri 3/22 Frank Kimbrough 3 at Kitano, 8PM, 10PM. 66 Park Ave
 Sat 3/23 Manhattan School of Music Chamber Sinfonia with
special guests Jessye Norman and Nnenna Freelon performing Ask Your Mama: 12 Moods for Jazz at Apollo Theater, 8:00
PM. 212-531-5305. www.apollotheater.org
 Sat 3/23 Dave Kardas Band at Club Groove, 7:30 PM. 125
 Sat 3/23 Jenny Scheinman Trio with Bill Frisell and Brian
Blade: Songs With and Without Words at Zankel Hall, Carnegie Hall, 9:00 PM. Corner of 57th Street and 7th Avenue. 212-2477800. www.carnegiehall.org
 Sat 3/23 Somethin’ Jazz. Charles Sibirsky at 7:00 PM; Olli
Hirvonen/ Tuomo Uusitalo Duo at 9:00 PM; Brett Sandler Trio
at 11:00 PM. 3rd Floor, 212 E. 52nd Street
 Sat 3/23 Rory Stuart Trio at The Bar Next Door, 7:30, 9:30, and
 Sat 3/23 Valerie Capers at Kitano, 8PM & 10PM. 66 Park Avenue
 Sat 3/23 Nicole Zuraitis at Two E Bar, Pierre Hotel, 6:30 PM. 2
East 61st Street. 212-838-8000. www.tajhotels.com
 Sat 3/23 Ran Blake – John Medeski – Claudia Quintet and
Friends at Peter Jay Sharp Theatre, Symphony Space, 7:30
PM.
2537 Broadway at 95th Street. 212-864-5400.
www.symphonyspace.org
 Sat 3/23 Joe Alterman Trio at The Metropolitan Room, 11:30
PM. 34 West 22nd Street. 212-206-0440.
 Sun 3/24 Swingadelic at Swing 46, 8:30 PM. 349 West 46th
 Sun 3/24 Somethin’ Jazz. Lee Feldman and His Problems at
5:00 PM; Ali Carter at 7:00 PM; Yongmun Lee Quintet at 9:00
 Mon 3/25 Lady Got Chops Jam Session at Local 802, American
Federation of Musicians, 7:00 PM. 322 West 48th Street. 212245-4802. www.local802afm.org
 Mon 3/25 The Bar Next Door. Tom Finn Trio at 6:30 PM; Dorian
Devins Trio at 8:30 and 10:30 PM . 129 MacDougal Street. 212529-5945. www.lalanternacaffe.com
 Mon 3/25 Tomoko Omura Quintet at Tomi Jazz, 8:00 PM. Lower
level, 239 East 53rd Street (bet. 2nd and 3rd Avenues.) 646-4971254. www.tomijazz.com
 Tue 3/26 Lions Trio: Yelena Eckemoff, Arild Andersen, and
Billy Hart at Birdland, 8:30 and 11:00 PM. 315 West 44th Street.
 Tue 3/26 Warren Chiasson at NYC Baha’i Center, 8:00 and 9:30
PM. 53 East 11th Street. 212-222-5159. www.bahainyc.org/Page/
Jazz-Night.aspx
 Tue 3/26 The Bar Next Door. Kai Devitt Lee Trio at 6:30 PM;
Steve Bloom Trio at 8:30 and 10:30 PM . 129 MacDougal Street.
 Tue 3/26 Sarpay Ozcagatay Quartet: ‘Unexpected’ at Drom,
7:15 PM. 85 Avenue A (bet. 4th and 6th Streets.) 212-777-1157.
 Tue 3/26 Somethin’ Jazz. Scott Sharon Septet at 7:00 PM; Matt
Panavides Group at 9:00 PM. 3rd Floor, 212 E. 52nd Street
 Tue 3/26 Lizzie Thomas at Le Pescadeux, 7:00 PM. 90 Thompson Street. 212-966-0021. www.lepescadeux.com
 Tue 3/26 Sheila Jordan Master Class at Kitano, 7:00 PM. 66
Park Avenue
 Tue 3/26 Hames MacBride Drum Recital at Rehearsal Space
340, The Juilliard School, 8:00 PM. 60 Lincoln Center Plaza,
New York, NY 10023. 212-799-5000. events.juilliard.edu
 Wed 3/27 Big Machine at Somethin’ Jazz, 7:00 PM. 3rd Floor,
19
212 E. 52nd Street
 Wed 3/27 Jane Irving at Zeb’s, 8:00 PM. Second Floor, 223 West
28th Street. 212-695-8081. www.zebulonsoundandlight.com
 Wed 3/27 The Bar Next Door. Benny Benack III Trio at 6:30 PM;
Jonathan Kreisberg Trio at 8:30 and 10:30 PM . 129 MacDougal
 Wed 3/27 Caludia Acuna at Harlem Stage Gatehouse, 8:00 PM.
150 Convent Avenue (at West 135th Street.) 212-281-9240, ext. 19
or 20. www.harlemstage.org ; www.carnegiehall.org
 Wed 3/27 Aki Yashiro with Special Guests Helen Merrill, Kurt
Elling, and Regina Carter at Birdland, 7:00 and 9:30 PM. 315
West 44th Street.
 Wed 3/27 Barry Harris at Weill Recital Hall, Carnegie Hall, 8:00
PM. Corner of 57th Street and 7th Avenue. 212-247-7800.
www.carnegiehall.org
 Wed 3/27 Orrin Evans’ Birthday Bash at Zinc Bar, 9:00 PM;
10:30 PM; and 12:00 midnight. 82 West 3rd Street (bet. Thompson
and Sullivan Streets.) 212-477-9462. www.zincbar.com
 Wed 3/27 Pete Malinverni Trio at Fat Cat, 9:00 PM. 75 Christopher Street at 7th Avenue. 212-675-6056. www.fatcatmusic.org
 Wed 3/27 Youngjoo Song at Kitano, 8PM & 10PM. 66 Park Ave
 Wed 3/27 Outerplay featuring Gabe Valle at The Metropolitan
Room, 11:30 PM. 34 West 22nd Street. 212-206-0440.
 Thu 3/28 – Sat 3/30: Tomasz Stanko New York Quartet at
Birdland, 8:30 and 11:00 PM. 315 West 44th Street.
 Thu 3/28 Manhattan School of Music Afro-Cuban Jazz Orchestra at Borden Auditorium, Manhattan School of Music, 7:30
PM. 120 Claremont Avenue. 212-749-2802. www.msmnyc.edu
 Thu 3/28 The Bar Next Door. Syberen van Munster Trio at 6:30
PM; Sharel Cassity Trio at 8:30 and 10:30 PM . 129 MacDougal
 Thu 3/28 Mike Clark and Friends featuring Rachael Z at Kitano,
8PM & 10PM. 66 Park Avenue
 Thu 3/28 Somethin’ Jazz. Chiemi Nakai Latin Jazz Trio at 7:00
PM; Allegra Levy at 9:00 PM; New York Bakery Connection at
 Thu 3/28 Terry Waldo at Edison Rum House, 9:30 PM. 228 West
47th Street. 646-490-6924. www.edisonrumhouse.com
 Thu 3/28 Vadim Neselovskyi at Caffe Vivaldi, 9:30 PM. 32 Jones
Street. 212-691-7538. www.caffevivaldi.com
 Thu 3/28 The Metropolitan Room. Lorraine Feather/ Stephanie
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Trick at 9:30 PM; Zach Resnick Quintet at 11:30 PM. 34 West
22nd Street. 212-206-0440.
Fri 3/29 – Sat 3/30: Nikki Parrott at Knickerbocker Bar and Grill,
9:30 PM. 33 University Place.
Fri 3/29 – Sat 3/30 Don Friedman Trio with George Mraz and
Matt Wilson at Kitano, 8PM & 10PM. 66 Park Avenue
Fri 3/29 Jack Wilkins Trio at The Bar Next Door, 7:30, 9:30, and
Fri 3/29 Dawn Drake and Zapote at Club Groove, 8:00 PM. 125
Fri 3/29 Somethin’ Jazz. Paula Jaakkola at 7:00 PM; Samantha
Carlson Jazz’tet at 9:00 PM; Justin Purtill Trio at 11:00 PM. 3rd
Fri 3/29 Benny Benack Band at The Metropolitan Room, 11:30
PM. 34 West 22nd Street. 212-206-0440.
Sat 3/30 Lizzie Thomas and Janelle Reichman at Flute Midtown, 8:00 PM. 205 West 54th Street. 212-265-5169. https://
www.facebook.com/flutemidtown/app_200193303353101
Sat 3/30 Jerome Sabbagh Trio at The Bar Next Door, 7:30,
9:30, and 11:30 PM. 129 MacDougal Street. 212-529-5945.
www.lalanternacaffe.com
Sat 3/30 Chardavoine Quintet at The Metropolitan Room, 11:30
PM. 34 West 22nd Street. 212-206-0440.
Sat 3/30 Christian Scott at Ginny’s Supper Club, 8PM & 10PM.
310 Lenox Avenue. 212-421-3821. www.ginnyssupperclub.com
Sat 3/30 Somethin’ Jazz. New Jazz Messengers at 7:00 PM;
Frederick Levore at 9:00 PM; Ervin Dhimo Trio at 11:00 PM. 3rd
Sat 3/30 Charlie Rosen’s Big Band at 54 Below, 11:00 PM.
Lower level, 254 West 54 th Street. 646-476-3551.
www.54below.com
Sat 3/30 Underground Horns and Brown Rice Family at 92Y
Tribeca, 9:00 PM. 200 Hudson Street. 212-415-5500.
www.92y.org
Sat 3/30 Suspicious Brown at Club Groove, 7:30 PM. 125
Sun 3/31 Mike Rood Trio at The Bar Next Door, 8PM & 10PM.
129 MacDougal Street. 212-529-5945.
Sun 3/31 Alexi David’s Rough Jazz at Fat Cat, 9:00 PM. 75
Christopher Street at 7th Avenue. 212-675-6056.
Sun 3/31 Roz Corral with Gilad Hekselman at North Square
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20
Lounge, 12:30 and 2:15 PM. 103 Waverly Place (corner of Waverly and MacDougal.) 212-254-1200. www.northsquarejazz.com
 Sun 3/31 Roots and Fruits of Jazz featuring Boris Kurganov at
Somethin’ Jazz, 9:00 PM. 3rd Floor, 212 E. 52nd Street
BROOKLYN
 Fri 3/1, 3/8, 3/15, 3/22, 3/29: Jam Session with Gerry Eastman
Quintet at Williamsburg Music Center, 10:00 PM. 367 Bedford
Avenue. 718-384-1654. www.wmcjazz.org
 Fri 3/1, 3/8, 3/15, 3/22, 3/29: The Crooked Trio at Barbes, 5:00
PM. 376 Ninth Street, Park Slope. 347-422-0248.
 Fri 3/1, 3/8, 3/15, 3/22, 3/29: Smokin’ Billy Slater at Manhattan
Inn, 8:00 PM. 632 Manhattan Avenue, Greenpoint. 718-383-0885.
 Fri 3/1 Either/Or Ensemble at The Firehouse Space, 8:00 PM.
246 Frost Street. www.thefirehousespace.org
 Fri 3/1 Preservation Hall Jazz Band at Brooklyn Bowl, 8:00 PM.
61 Wythe Avenue. 718-963-3369. www.brooklynbowl.com
 Fri 3/1 Tone Road Ramblers at Roulette, 8:00 PM. 509 Atlantic
Avenue at 3rd Avenue. 917-267-0363. www.roulette.org
 Fri 3/1 I Beam Music Studio. Two Sides Sounding at 8:30 PM;
Zentripetal at time TBA. 168 7th Street. ibeambrooklyn.com
 Fri 3/1 Baby Soda at FADA French Bistro, 8:00 PM. 530 Driggs
Avenue. 718-388-6607. www.fadany.com
 Fri 3/1 Bog Swing Group at Radegast Hall and Biergarten, 6:00
PM. 113 N. 3rd Street, Williamsburg. 718-963-3973.
www.radegasthall.com
 Fri 3/1 Barbes. Pedro Giraudo Sextet at 8:00 Las Rubis del
Norte at 10:00 PM. 376 Ninth Street, Park Slope. 347-422-0248.
 Sat 3/2, 3/9, 3/16, 3/23, 3/30: Jo Shornikow at Manhattan Inn,
11:00 AM. 632 Manhattan Avenue, Greenpoint. 718-383-0885.
 Sat 3/2, 3/9, 3/16, 3/23, 3/30: Smokin’ Billy Slater at Manhattan
Inn, 8:00 PM. 632 Manhattan Avenue, Greenpoint. 718-383-0885.
 Sat 3/2, 3/30: Raya Brass Band at Radegast Hall and Biergarten, 4:30 PM. 113 N. 3rd Street, Williamsburg. 718-963-3973.
 Sat 3/2 Baby Soda at Cafe Moto, 9:30 PM. 394 Broadway (bet.
Keap and Hooper Streets.) 718-599-6895. www.cafe-moto.com
 Sat 3/2 The Firehouse Space. Andre Martinez and Earth People (premiering their composition ‘Opus One’) at 8:00 PM;
Open Music Ensemble at 9:30 PM. 246 Frost Street.
 Sat 3/2 Stephane Wremble at FADA French Bistro, 8:00 PM.
530 Driggs Avenue. 718-388-6607. www.fadany.com
 Sat 3/2 Barbes. Koran Agan at 8:00 PM; Banda Sinaloense de
los Muertos at 10:00 PM. 376 Ninth St, 347-422-0248.
 Sat 3/2 The Skatalites at Brooklyn Bowl, 8:00 PM. 61 Wythe
Avenue. 718-963-3369. www.brooklynbowl.com
 Sat 3/2 Terri Davis Group featuring Lonnie Plaxico at Sistas’
Place, 9:00 and 10:30 PM. 456 Nostrand Avenue. 718-398-1766.
www.sistasplace.org
 Sun 3/3, 3/10, 3/17, 3/24, 3/31: Michael Leviton at Manhattan
Inn, 11:00 AM. 632 Manhattan Ave, Greenpoint. 718-383-0885.
 Sun 3/3, 3/10, 3/17, 3/24, 3/31: Koran Agan Trio at Radegast
Hall and Biergarten, 1:30 PM. 113 N. 3rd Street, Williamsburg.
718-963-3973. www.radegasthall.com
 Sun 3/3, 3/10, 3/17, 3/24, 3/31: Stephane Wremble at Barbes,
9:00 PM. 376 Ninth Street, Park Slope. 347-422-0248.
 Sun 3/3, 3/10, 3/17, 3/24, 3/31: Joel Forrester at Manhattan Inn,
7:00 PM. 632 Manhattan Avenue, Greenpoint. 718-383-0885.
 Sun 3/3, 3/10: Baby Soda at St. Mazie, 9:30 PM. 345 Grand
Street, Williamsburg. 718-384-4807. www.stmazie.com
 Sun 3/3 Ryan Keberle and Catharsis at Barbes, 7:00 PM. 376
Ninth Street, Park Slope. 347-422-0248. www.barbesbrooklyn.com
 Sun 3/3 Short Memory at Le Grand Dakar, 1:00 PM. 285 Grand
Avenue (bet. Clifton Place and Lafayette Avenue.) 718-398-8900.
www.legranddakar.com
 Sun 3/3 Jen Chapin and The Rosetta Trio with special guest
Martha Redbone at Shapeshifter Lab, 8:00 PM. 18 Whitwell
Place, Park Slope. 646-820-9452. www.shapeshifterlab.com
 Mon 3/4, 3/11, 3/18, 3/25: Takuya Nakamura at Manhattan Inn,
 Mon 3/4, 3/11, 3/18, 3/25: Barbes. Chicha Libre at 7:00 PM;
Brain Cloud at 9:00 PM. 376 Ninth Street, Park Slope. 347-4220248. www.barbesbrooklyn.com
 Mon 3/4 Lakecia Benjamin Trio at For My Sweet Garden and
Event Space, Kalahari Gallery, 7:00 PM. 1103 Fulton Street.
917-757-0170. http://www.facebook.com/pages/For-My-SweetGarden-and-Event-SpaceKalahari-Gallery/214380545279066
 Tue 3/5, 3/12, 3/19, 3/26: Manhattan Inn. Jo Shornikow at 7:30
PM; Joe McGinty at 10:30 PM. 632 Manhattan Avenue, Greenpoint. 718-383-0885.
 Tue 3/5, 3/12, 3/19, 3/26: Jam Session at The Fifth Estate, 7:00
PM. 506 Fifth Avune (bet. 12th and 13th Streets), Park Slope. 718840-0089. www.fifthestatebar.com
 Tue 3/5, 3/12, 3/19, 3/26: Slavic Soul Party at Barbes, 9:00 PM.
sat, march 23 @ 8pm
David Bromberg &
His Big Band
With special guest The String Fingers Band.
Bromberg’s range of material continually
expanded with each new album to encompass
bluegrass, ragtime, country and ethnic music.
Tickets: $65 orches., $55 mezz.
fri, march 29 @ 8pm
Robert Davi Sings Sinatra
On the Road to Romance - A tribute to
Frank Sinatra. Robert Davi, one of the most
recognizable entertainers in the world puts on a
beautifully staged and sung tribute to Ol’ Blue
Eyes that is both heartfelt and theatrical.
Tickets: $65
sat, may 4 @ 8 pm
Steve March-Tormé
Singer-songwriter Steve March-Tormé (son of
legend Mel Tormé) performs classic standards,
original songs and shares personal stories from his
never boring life. From Broadway to The Beatles,
from Mercer to Mel, Steve always entertains.
Tickets: $35
80 East Ridge, Ridgefield, CT
203.438.5795 • www.ridgefieldplayhouse.org
Calendar of Events
Long Island Winterfest:
Jazz on the Vine 2013
Long Island WinterFest
Schedule of Performances & Venues
 Amanda Ruzza Group, Sun, Mar 17, 2:30, Duck Walk
 Anette A. Anguilar , Sun, Mar 10, 4:00, Sparkling P
 Amy Cervini Quartet, Sat, Mar 2, 3:00, Palmer Vineyards
 Bob Leto Trio, Sat, Mar 2, 3:00, Jamesport Vineyards
 Brandee Younger Quartet, Sun, Mar 3, 4:00, Bedell Cellar
 Blur Division, Sat, Mar 16, 3:00, Sherwood House Vine
 Conjunto Sabori, Sun, Feb 10, 4:00, Raphael
 Dave Allen Trio, Sat, Feb 9, 3:00, Pellegrini Vineyards
 David Lobenstein/Salerno, Sat, Mar 16, 3:00, Sannino’s
 Dida’s Trio, Sat, Mar 9, 3:00, Palmer Vineyards
 DiMenna Sings Dinah,Tribute to Dinah Shore, Wednesday,
Mar 6, 2:00, Suffolk Theater
 Doug Munro, Sat, Mar 2, 4:30, Castello di Borghes
 East End Jazz, Sun, Mar 3, 4:00, Waters Crest Wine
 Eri Yamamoto Trio, Sun, Mar 10, 2:30, Clovis Point
 George Cables 3, Sat, Mar 9, 4, Castello di Borghese
 Glafkos Kontemeniotis Trio, Sat, Mar 2, 3:00, Clovis Point
 Heather Hardy, Sun, Mar 17, 4:00, Bedell Cellars
 Jane Hastay, Peter Martin Weiss, Sat, Mar 16, 3:00, Diliberto
Winery
 Joseph Carter III Group Sun, Mar 17, 4:00, Bedell Cellars
 Laura Kahle Trio, Sat, Mar 9, 4:30, Jamesport Vineyards
 Mambo Loco, Sun, Mar 17, 4:00, Raphael
 Marc Devine Trio, Sat, Mar 16, 4:30, Lieb Cellars
 Mark Gatz Band Sun, Mar 3, 2:30, Harbes Family Vine
 Michael Jazz Trio, Sat, Mar 9, 3:00, Macari Vineyards
 Michael Weiss Trio, Sun, Mar 17, 2:30, Clovis Point
 Mike Ficco Jazz Quartet, Sat, Mar 16, 4:30, Raphael
 Mitch Frohman, Sun, Mar 3, 2:30, Baiting Hollow Farm
 Mind Open, Sun, Mar 3, 4:00, Lieb Cellars
 Montana Skies, Sun, Mar 17, 2:30, Jamesport Vineyards
 Mundoclave, Sun, Mar 3, 2:30, Macari Vineyards
 New Mo Swing, Sun, Mar 3, 4:00, Bedell Cellars
 Randy Napoleon, Sat, Mar 9, 4:30, Sherwood House
 Sarah Elizabeth Charles, Sat, Mar 16, 4:30, Harbes Family
 Shenole Latimer, Sat, Mar 2, 4:30, Raphael
 Stephane Wrembel, Fri, Mar 8, 8:00, Suffolk Theater
 Susan Pereira, Sun, Mar 17, 4:00, Sparkling Pointe
 Tom Guarna, Sun, Mar 10, 2:30, Baiting Hollow Farm
 Trevor Davison, Sat, Mar 9, 3:00, Raphael
 Vanessa Trouble, Sun, Mar 10, 2:30, Sherwood House Vineyards
 Sarah Elizabeth Charles Quartet, Saturday, March 16, 4:30,
Harbes Family Vineyard
 Shenole Latimer, Saturday, March 2, 4:30, Raphael
 Stephane Wrembel, Friday, March 8, 8:00, Suffolk Theater
 Susan Pereira & Sabor Brasil, Sun, March 17, 4:00, Sparkling
Pointe
 Tom Guarna Quartet, Sun, March 10, 2:30, Baiting Hollow
Farm Vineyard
 Trevor Davison, Saturday, March 9, 3:00, Raphael
 Vanessa Trouble, Sun, March 10, 2:30, Sherwood House
For a full concert schedule and access to all festival promotions, visit www.LIWinterFest.com.
MAR
Larry Newcomb 4; Robert
Rocker 3
Dona Carter 4; Jesse
Simpson
Keith Ingham; Michika
Fukumori 3
4 - Mon
Odean Pope 3
5 - Tue
Jazz Crusaders
6 - Wed
Jazz Crusaders
Nial Djuliarso 3; Jam Session
Marc Devine 3; Jam Session
Les Kurtz 3; Joonsam Lee
7 - Thu
Jazz Crusaders
Joanna Sternberg; Kazu 3
8 - Fri
Jazz Crusaders; Vladimir
Rahn Burton 3; Robert
Cetkar
Rocker 3
Jazz Crusaders; Shea Rose Kazu 3; Jesse Simpson
2 - Sat
3 - Sun
9 - Sat
22
Deer Head Inn
5 Main Street
Delaware Water Gap, PA
18327
www.deerheadinn.com
Joe Alterman; Petros
Klampanis
Dave Liebman 5
Billy Test 3
Filip Novosel & Richard
Boukas
Dave Roper 3
Stephanie Niles 3
Ingrid Laubrock
Instant Strangers
John Yao 5; Peter Brendler Bill Goodwin
4
Hush Money
Spencer Reed Band
Amy Cervini; Janis Siegel
Five Play
Gerard Edery
Gaptime Ensemble
11 - Mon
12 - Tue
Afro-Cuban All Stars
13 - Wed
14 - Thu
15 - Fri
18—Mon
Afro-Cuban All Stars; Cole
Williams
Afro-Cuban All Stars; Evan
Marien & Dana Hawkins
Juilliard Jazz Brunch; AfroCuban All Stars
Acoustic Alchemy
19 - Tue
Robben Ford
20 - Wed
Robben Ford
21 - Thu
Stanley Clarke & George
Duke
Dara Tucker; Stanley
Clarke & George Duke
Duke
Masami Ishikawa 3; Kazu 3 Chris Speed 3
Bill Goodwin
Seth Myers 3; Robert
Rocker 3
Kuni Mikami 3; Jesse
Simpson
Sara Serpa
Najwa Parkins 4
Michael Formanek
40th Anniversary of Schoolhouse Rock with the French
Connection
Duke
3rd Annual James Moody
Scholarship Benefit Concert
& Celebration
Fukumori 3
Kyle Eastwood Group &
Larry Coryell Group
Larry Coryell Group
Larry Coryell Group
Margaret Glaspy; Jesse
Harris
Anat Fort 3
Steve Elmer 3; Kazu 3
Sanda Weigl; JP
Schlegelmilch
Bill Goodwin
29 - Fri
Larry Coryell Group; Charmaine Amee
Joonsam Lee 3; Robert
Rocker 3
Jeff Davis 3
Florian Hoefner
30 - Sat
Larry Coryell Group; Manu
Koch & Filtron M
Renaud Penant 3; Jesse
Simpson
Kris Davis
Brazilian Jazz
31 - Sun
Takuya Kuroda 6; Kyle
Eastwood Group & Larry
Coryell Group
16 - Sat
17 - Sun
22 - Fri
23 - Sat
24 - Sun
25 - Mon
26 - Tue
Fukumori 3
Cornelia St. Café
29 Cornelia St.
(bet. W 4th & Bleecker)
212-989-9319
corneliastreetcafe.com
Hendrik Meurkens 4; Jazz
Crusaders
Big Daddy Kane
10 - Sun
28 - Thu
— Charles de Montesquieu
Cleopatra’s Needle
2485 Broadway
(betw. 92nd & 93rd St.)
212-769-6969
Bill Evans Soulgrass;
Collette
Bill Evans Soulgrass; Vickie
Natale
Billy Drewes & Kenny
Werner NYU Ensemble; Bill
Evans Soulgrass
1 - Fri
27 - Wed
“There is no crueler
tyranny than that which is
perpetuated under the shield of
law and in the name of justice.”
Blue Note
131 W Third St.
(east of 6th Ave)
212-475-8592
www.bluenote.net
Lainie Cooke
Florian Hoefner; Alon
Nechushtan
Masami Ishikawa 3; Kazu 3 Rob Garcia
Seth Myers 3; Robert
Rocker 3
Kuni Mikami 3; Jesse
Simpson
Fukumori 3
Bill Goodwin
Bobby Avey
Nancy Coletti 4
Tony Malaby
Bill Warfield 8
Kalmanovitch Coleman
Reichman
Jesse Green & Joanie
Samra
Matt Holman
Bill Washer & Andy
LaVerne
COTA All Stars
Rachel Brotman 4; Maria
Neckam
Calendar of Events
MAR
B’dwy &t 60th, 5th Fl.
212-258-9595
jazzatlincolncenter.com
1 - Fri
Warren Wolf Group
2 - Sat
Warren Wolf Group
3 - Sun
Warren Wolf Group
4 - Mon
Jason Marsalis 4
5 - Tue
Grace Kelly 5
Aaron Kimmel Quartet Masami Ishikawa 3;
Will Vinson
Dre Barnes
Aaron Kimmel Quartet Larry Newcomb 4;
Luis Perdomo
Catherine Toren;
Akiko Tsuruga 3
Mayu Saeki 3; David
Coss 4
Howard Williams Jazz
Orchestra
Alphonso Horne
Legacy 3
6 - Wed
Grace Kelly 5
Alphonso Horne
Josh Lawrence 4
7 - Thu
Wycliffe Gordon
Alphonso Horne
Champian Fulton 4
8 - Fri
Wycliffe Gordon
Alphonso Horne
9 - Sat
Wycliffe Gordon
Alphonso Horne
10 - Sun
Wycliffe Gordon
11 - Mon
Amina Figarova 6
12 - Tue
14 - Thu
Eddie Daniels & Roger
Kellaway
Eddie Daniels & Roger
Kellaway
Billy Hart 4
Joe Saylor and Bryan
Carter
Carter
Carter
Nick Moran 3; Kevin
Walter Smith III
Dorn Band
Alex Layne 3; Daylight
Blues Band
Lou Caputo 4; David
Coss 4
New York Youth
Symphony Jazz Band
Anderson Brothers
15 - Fri
Billy Hart 4
Carter
Fukushi Tainaka 3;
Hot House
16 - Sat
Billy Hart 4
Carter
SFJazz Collective:
Music of Chick Corea
17 - Sun
Billy Hart 4
Larry Newcomb 4;
Nir Felder
Mark Marino 3; Jason
Prover Orchestra
Joonsam Lee 3; David
Coss 4
18—Mon
NY Youth Symphony Jazz
Classic with Brian Lynch
Mingus Orchestra
19 - Tue
Luis Bonilla 5
Howard Williams Jazz
Orchestra
Stafford Hunter 4
20 - Wed
Luis Bonilla 5
John Chin 3
21 - Thu
Michael Carvin
Rick Stone 3
22 - Fri
Michael Carvin
Henry Butler
23 - Sat
Michael Carvin
24 - Sun
Michael Carvin
25 - Mon
26 - Tue
Florida State University Jazz Ensemble
Terri Lynne Carrington Melissa Aldana
Joel Perry 3; Kevin
O’Farrill Brothers
Dorn Band
Band
Ben Benack 4; Virginia Joe Sanders 5
Mayhew 4
Iris Ornig 4; David
Coss 4
Cecilia Coleman Band
Nobuki Takamen 3
Kendrick Scott Oracle
27 - Wed
Terri Lynne Carrington Melissa Aldana
Kyoko Oyobe 3
Kendrick Scott Oracle
28 - Thu
Ben Wolfe 5
Melissa Aldana
Carl Bartless Jr.
Miho Hazama m_unit
Dave Douglas 5
29 - Fri
Ben Wolfe 5
Melissa Aldana
Rob Edwards 4; Joey
Morant 3
Miles Okazaki
Dave Douglas 5
30 - Sat
Ben Wolfe 5
Melissa Aldana
Dave Kain; Champian
Fulton; Virginia Mayhew
De Akokán Pavel
Dave Douglas 5
Urkiza & Ricardo Pons
376 Ninth Street, Park Slope. 347-422-0248.
 Tue 3/5 Korzo. Cat Toren Band at 9:00 PM; Giacomo
Merega Quartet at 10:30 PM. 667 5th Avenue (bet. 19th and
20 th Streets.) 718-285-9425. konceptionsmusicseries.wordpress.com ; www.korzorestaurant.com
 Wed 3/6, 3/13, 3/20, 3/27: Manhattan Inn. Joel Forrester at
7:00 PM; Hearing Things at 10:00 PM. 632 Manhattan Avenue, Greenpoint. 718-383-0885.
 Wed 3/6, 3/13, 3/20, 3/27: The Mandingo Ambassadors at
Barbes, 10:00 PM. 376 Ninth Street, Park Slope. 347-4220248.
 Wed 3/6 Howard Fishman and the Biting Fish Brass Band
at Radegast Hall and Biergarten, 9:00 PM. 113 N. 3rd Street,
Williamsburg. 718-963-3973. www.radegasthall.com
 Thu 3/7, 3/14, 3/21, 3/28: Vocal Jazz Workshop featuring
Gerry Eastman and Carlton Holmes Trio at Williamsburg
Music Center, 7PM. 367 Bedford Ave. 718-384-1654.
www.wmcjazz.org
 Thu 3/7, 3/14, 3/21, 3/28: Terry Waldo at Manhattan Inn,
 Thu 3/7 No Small Money Brass Band at Barbes, 10:00 PM.
376 Ninth Street, Park Slope. 347-422-0248.
www.barbesbrooklyn.com
 Thu 3/7 Geraldine Eguiluz/ Michael Attias/ Angelica Sanchez at I Beam Music Studio, 8:30 PM. 168 7th Street.
ibeambrooklyn.com
 Thu 3/7 Rob Scheps Core-tet at Shapeshifter Lab, 8:30 PM.
18 Whitwell Place, Park Slope. 646-820-9452.
 Thu 3/7 The Firehouse Space. The 12 Houses Festival, Part
Five: Claire de Brunner Freeway at 8:00 PM; Anders Nilsson and 12 Houses at 9:30 PM. 246 Frost Street.
 Fri 3/8 Barbes. Simja at 7:00 PM; Fredda at 8:00 PM; People’s Champs at 10:00 PM. 376 Ninth Street, Park Slope.
347-422-0248. www.barbesbrooklyn.com
 Fri 3/8 Madame Pat Tandy Quartet at Jazz 966, 8:00 PM.
966 Fulton Street. 718-638-6910. www.jazz966.com
 Fri 3/8 Alex Simon Trio at Radegast Hall and Biergarten,
6:00 PM. 113 N. 3rd Street, Williamsburg. 718-963-3973.
 Fri 3/8 Hucq / Dubole + 2 at I Beam Music Studio, 8:30 PM.
168 7th Street. ibeambrooklyn.com
 Fri 3/8 William Hooker Quartet: Music and Spoken Word at
The Firehouse Space, 8:00 PM. 246 Frost Street.
 Sat 3/9 Douglass Street Music Collective. Drinks with
Friends: A Program featuring Feather on the Breath,
Fester, Battle Trance, and Mutasm, starting at 8:00 PM. 295
Douglass Street. 295douglass.org
 Sat 3/9 Shenel Johns and Umoja at Sistas’ Place, 9:00 and
10:30 PM. 456 Nostrand Avenue. 718-398-1766.
 Sat 3/9 The Firehouse Space. Connie Crothers and David
Arner Piano Duo at 8:00 PM; Drunk Butterfly at 9:30 PM.
246 Frost Street. www.thefirehousespace.org
 Sun 3/10 Williamsburg Salsa Orchestra at Brooklyn Bowl,
8:00 PM. 61 Wythe Avenue. 718-963-3369.
www.brooklynbowl.com
 Mon 3/11 Brooklyn Jazz Warriors at The Way Station, 10:00
PM. 683 Washington Avenue, Prospect Heights. 347-6274949. waystationbk.blogspot.com
 Tue 3/12 Dave Clive’s Nawlins Funk Band at Radegast Hall
and Biergarten, 8:00 PM. 113 N. 3rd Street, Williamsburg.
718-963-3973. www.radegasthall.com
 Tue 3/12 Korzo. Carlo DeRosa’s ‘Cross-Fade’ with Luis
Perdomo at 9:00 PM; Kaheri Quartet with Angelica Sanchez at 10:30 PM. 667 5th Avenue (bet. 19th and 20th Streets.)
718-285-9425.
 Wed 3/13 All Saints Band at Radegast Hall and Biergarten,
9:00 PM. 113 N. 3rd Street, Williamsburg. 718-963-3973.
 Thu 3/14 Jumping Jive!: A Screening of World War II-era
Music Clips by Russell Scholl at Barbes, 8:00 PM. 376
Ninth Street, Park Slope. 347-422-0248.
 Thu 3/14 Vadim Neselovskyi’s Agricultural Dream Band at
Shapeshifter Lab, 9:00 PM. 18 Whitwell Place, Park Slope.
646-820-9452. www.shapeshifterlab.com
 Thu 3/14 Rachel Brotman with John Raymond at The
Paper Box, 7:00 PM. 17 Meadow Street. 718-383-3815.
www.paperboxnyc.com
 Thu 3/14 Jason Prover and His Sneak Thievery Orchestra
at Radegast Hall and Biergarten, 9:00 PM. 113 N. 3rd Street,
Williamsburg. 718-963-3973. www.radegasthall.com
 Thu 3/14 The Firehouse Space. The 12 Houses Festival,
Part Six: Chris Forbes trio at 8:00 PM; Ras Moshe Ensemble at 9:30 PM. 246 Frost Street. www.thefirehousespace.org
 Fri 3/15 – Sat 3/16 James Falzone’s KLANG with Jason
Adasiewicz and Special Guests at I Beam Music Studio,
8:30 PM. 168 7th Street. ibeambrooklyn.com
31 - Sun
Ben Wolfe 5
Melissa Aldana
David Coss 4
Dave Douglas 5
Dizzy’s Club
Coca Cola
13 - Wed
Dizzy’s Club After
Hours
Broadway at 60th St.
5th Floor
212-258-9595
Garage
99 Seventh Ave. S
(at Grove St.)
212-645-0600
www.garagerest.com
The Jazz Gallery
290 Hudson St.
(below Spring St.)
212-242-1063
www.jazzgallery.org
Eric Doob 4
Marc Devine 3
Randy Johnston 3
Jazz Standard
116 E 27th St
212-576-2232
Ravi Coltrane
Ravi Coltrane
Ravi Coltrane
Mingus Big Band
Killer Ray Appleton’s
Naptown Legacy All
Stars
Killer Ray Appleton’s
Naptown Legacy All
Stars
Antonio Sanchez
Migration
Antonio Sanchez
Migration
Antonio Sanchez
Migration
Antonio Sanchez
Migration
Mingus Big Band
Afro Horn: The Third
Incarnation
Clarence Penn 4
SFJazz Collective:
Michael Rodriguez 4
Glenn Zaleski
SFJazz Collective:
SFJazz Collective:
Henry Butler
Henry Butler
Henry Butler
Mingus Big Band
23
MAR
1 - Fri
2 - Sat
3 - Sun
4 - Mon
5 - Tue
6 - Wed
7 - Thu
Rakeim Walker; Cannibal Ramblers; Preacherman & the Revival
9 - Sat
DJ Madi; Glenn White 4; Shelly
Bhushan; La Flaque; FoTown
10 - Sun
Jazz Jam Session; Yuko Okamoto; Fourmalade; Jojo Romero;
Reggae
Megan Crain; Amira; Minority
Report; The World
tomoko Omura; Matthew Kiss;
Enrico Mariuzzo; J-Sharelle
12 - Tue
178 Seventh Ave. S
(below W 11th St.)
212-255-4037
villagevanguard.net
Sam Raderman & Luc Decker;
Ned goold; Anthony Wonsey 3;
Jay Collins
Dwayne Clemons & Sasha
Perry; Don Friedman 3; Jay
Collins; Stacy Dillard
Marion Cowings; John Merrill;
Lezlie Harrison; Johnny O’Neal;
Grant Stewart 4
Peter Bernstein; Ari Hoenig;
Spencer Murphy
Spike Wilner; Smalls Legacy
Band; Kyle Poole
14 - Thu
Yuki Shibata 4; Fillet of Soul; Old
City; Bakklash; DJ JP biamby
Rakeim Walker; DZH; DJ Birane
Scan the QR Code below
with your mobile device
Jon Roche; Dayna Stephens;
Nick Hempton
Jon Burr; Ken Peplowski 4;
Lawrence Leathers
Dwayne Clemons; John DiMartino 3; Ken Peplowski 4; Philip
Harper
Marion Cowings; John Mezrrill;
Bucky Pizzarelli & Ed Laub;
Yves Brouqui 4; Johnny O’Neal
Jill McCarron 3; Ari Hoenig;
Spencer Murphy
Band; Kyle Poole
16 - Sat
Kelly Powers; Humasbala; Erez;
Kepaar; DJ Taki
17 - Sun
Jazz Jam Session; King Tappa;
Reggae
18—Mon
Gathering Gospel; Wistheler
19 - Tue
Jacob Deaton 3; Uncharted
Territory; Gecko Brothers
20 - Wed
Hajime Yoshida; Maria Davis
Michaela Lerman; Donny
McCaslin; Noah Preminger
21 - Thu
Tim Chernikoff Band; Houston
Astors; Khaled Band; Bad Buka
Rakiem Walker; Session;
PitchBlak Brass Band
Jon Roche; Donny McCaslin;
Carlos Abadie
Cory Weeds 5; Ralph Peterson
23 - Sat
Danny Jonokuchi; Florencia
Gonzalez; Ayo in Motion
24 - Sun
Jazz Jam Session; Manny’s
Boogaloo Crew; Reggae
25 - Mon
Greg Reed; RendezVous
26 - Tue
Tom Blatt; Samia; Danny Severance; Earth Minor
Ember Schrag Band; Charlie
Raub; Bryce Zillweger; Kristina
Koller; Tamara; Harry Merry
Olivier Court; Mohammed Alidu;
DJ JP Biamby
Rakiem Walker; Apostles; Shining
Rae; Sheba; Reggae; DJ Birane
Perry; Pete Malinverni 3; Ralph
Peterson; Stacy Dillard
Marion Cowings; Falkner Evans;
Laura Brunner 2; Johnny
O’Neal; Alex Norris
Luis Perdomo; Ari Hoenig;
Spencer Murphy
Band; Kyle Poole
Michela Lerman; Gilad Hekselman; David Bryant 4
22 - Fri
24
Village Vanguard
Marc Sloan; Me in Radio; Jane
Michela Lerman; Dayna
Lee Hooker; Jean Fight; DJ Bison Stephens; Simona Premazzi
Jazz Lovers
Heaven
http://bit.ly/JvSML0
The Stone
Ave. C & Second St.
thestonenyc.com
13 - Wed
15 - Fri
Limited Availability
Smalls
183 W. 10th
212-252-5091
smallsjazzclub.com
Rakiem Walker; Gowanus Collec- Sam Raderman Luc Becker;
tive; La Mecanica; Aima Moses
Ray Gallon 3; Sherman Irby;
Lawrence Leathers
Black Butterflies; Afrobeat;
Kakande; DJ Taki
Perry; Lucas Pino 9; Sherman
Irby; Tyler Mitchell
Jazz Jam Session; Big Band Jazz; Marion Cowings; John Merrill;
Reggae
Marion Cowings 2; Johnny
O’Neil; Charles Owens 4
Jason Gastaud; Antoine Cara
Michael Bond 3; Ari Hoenig;
Spencer Murphy
Tunk 3; Matt Snow
Band; Kyle Poole
Gabe Valle; Mati Mat; Brad
Michela Lerman; Lage Lund;
Russell; MH The Verbl DJ Bison
Roberto Gatto
Scott Kulick; Fredda; AW8TED;
Jon Roche; Tada Unno; Lage
Flowers & Kain; Billy Conahan
Lund; Carlos Abadie
8 - Fri
11 - Mon
Your Own Personal
Lifetime Access!
Jazz Listening,
Enjoyment, Discovery
Shrine
2271 Adam Clayton Powell
Blvd.
212-690-7807
www.shrinenyc.com
27 - Wed
28 - Thu
29 - Fri
30 - Sat
31 - Sun
Dry States Blues Band; Marine
Futin; Yahawashi; Junior Lewis;
DJ Taki
Jazz Jam Session; Natty Dreadz
Jon Roche; Gilad Hekselman;
Emmet Cohen
Larry Ham/Woody Witt 4;
Marcus Strickland 4
Perry; Anderson Twins; Marcus
Strickland 4; Philip Harper
Marion Cowings; John Merrill;
Milton Suggs 2; Johnny O’Neal;
Spike Wilner
Killer BOB; Guerilla Toss
Heath Brothers
Normal Love; In One Wind Heath Brothers
Steven Lugerner 4; Cloud
Becomes Your Hand
Heath Brothers
Vanguard Jazz Orchestra
The Chives; Ashley Paul
Renee Rosnes 4
Girls and God
Renee Rosnes 4
The Dreebs; Anthony
LaMarca
Many Arms; Celestial
Shore
Renee Rosnes 4
Ashcan Orchestra; Pet
Bottle Ningen
Renee Rosnes 4
Hag; Rapstar
Renee Rosnes 4
Renee Rosnes 4
Travis Reuter; Zach Pruitt
Chamber Works
Wolfgang Gil; Alan Bjorklund
VaVatican; Eli Keszler
Fabian Almazan 3
Valerie Kuehne; Ippen
Fabian Almazan 3
John Zorn Improv Night
Fabian Almazan 3
Beth Weisser; William
Lang
Fabian Almazan 3
Fabian Almazan 3
Fabian Almazan 3
Joshua Roman; James
Kurt Rosenwinkel 4
Austin Smith
Sonic Overload; Daria
Kurt Rosenwinkel 4
Binkowski
Jeff Missal; Mike Truesdell Kurt Rosenwinkel 4
Schubert/Gavett; Chris
Gross
Dennis Sullivan & Levy
Lorenzo; Yuki Numata
Kurt Rosenwinkel 4
Ludovico Ensemble
Kurt Rosenwinkel 4
Kurt Rosenwinkel 4
Erik Carlson; Links 3
Tom Harrell 6
David Shively; Jonathan
Hepfer
Tom Harrell 6
Andy Kozar; Dave Nelson Tom Harrell 6
Miranda Cuckson; Rane
Moore & Gabriela Diaz
Tom Harrell 6
Ross Karre; Josh Modney Tom Harrell 6
Assaff Weisman; Steve
Beck
Tom Harrell 6
 Fri 3/15 Hot Club of Flatbush at Radegast Hall and Biergarten,
6:00 PM. 113 N. 3rd St, Williamsburg. 718-963-3973.
 Fri 3/15 Sweet Georgia Brown and Her Georgia Express at
Jazz 966, 8:00 PM. 966 Fulton Street. 718-638-6910.
 Fri 3/15 Redrocks: A Performance for Live Video Projection,
Prepared Piano, and Percussion at The Firehouse Space, 8:00
PM. 246 Frost Street. www.thefirehousespace.org
 Fri 3/15 Chia’s Dance Party at Barbes, 10:00 PM. 376 Ninth
Street, Park Slope. 347-422-0248. www.barbesbrooklyn.com
 Sat 3/16 Mala Waldron Trio Performing the Compositions of
Her Father Mal Waldron at Sistas’ Place, 9:00 and 10:30 PM.
456 Nostrand Avenue. 718-398-1766.
 Sat 3/16 All Saints Band at Radegast Hall and Biergarten, 3:00
 Sat 3/16 Rose Grillo and the Red Hook Ramblers at Edison
Rum House, 9:30 PM. 228 West 47th Street. 646-490-6924.
www.edisonrumhouse.com
 Sat 3/16 The Firehouse Space. Adam Lane at 8:00 PM; Omar
Tamez/ Angelica Sanchez Quartet at 9:30 PM. 246 Frost Street.
www.thefirehousespace.org
 Sat 3/16 Bill Carney’s Jug Addicts at Barbes, 10:00 PM. 376
Ninth Street, Park Slope. 347-422-0248.
 Sun 3/17 Dave Douglas Workshop at Shapeshifter Lab, 3:00
PM. 18 Whitwell Pl, Park Slope. 646-820-9452.
 Sun 3/17 Spelman College Jazz Ensemble at Jazz 966, 3:15
PM. 966 Fulton Street. 718-638-6910. www.jazz966.com
 Sun 3/17 The Firehouse Space. Shoko Nagai and VORTEX at
8:00 PM; The Restrictor at 9:30 PM. 246 Frost Street.
 Thu The Firehouse Space. The 12 Houses Festival, Part
Seven: SOS Collective with Jack DeSalvo at 8:00 PM; Catherine Sikora Ensemble at 9:30 PM. 246 Frost Street.
 Tue 3/19 Akiko Pavolka and House of Illusion at Barbes, 7:00
PM. 376 Ninth Street, Park Slope. 347-422-0248.
 Tue 3/19 Gordon’s Grand Street Stompers at Radegast Hall
and Biergarten, 8PM. 113 N. 3rd St, Williamsburg. 718-963-3973.
 Tue 3/19 Korzo. James Carney Trio at 9:00 PM; Hashim Assadullahi Quintet at 10:30 PM. 667 5th Avenue (bet. 19th and 20th
Streets.) 718-285-9425.
 Wed 3/20 Baby Soda at Radegast Hall and Biergarten, 9:00
 Thu 3/21 New England Conservatory Celebrates 40 Years of
Improvisation at Barbes, 8:00 PM. Personnel TBA. 376 Ninth
Street, Park Slope. 347-422-0248. www.barbesbrooklyn.com
 Fri 3/21 Emily Asher’s Garden Party at Radegast Hall and
Biergarten, 9:00 PM. 113 N. 3rd St, Williamsburg. 718-963-3973.
 Fri 3/22 Alan Blackman Quartet at I Beam Music Studio, 8:30
PM. 168 7th Street. ibeambrooklyn.com
 Fri 3/22 Akua Dixon Quartet at Jazz 966, 8:00 PM. 966 Fulton
Street. 718-638-6910. www.jazz966.com
 Fri 3/22 Matt Cross Gypsy Jazz Project at Radegast Hall and
 Sat 3/23 Charanee Wade at Sistas’ Place, 9:00 and 10:30 PM.
456 Nostrand Avenue. 718-398-1766. www.sistasplace.org
 Sat 3/23 I Beam Music Studio. Max Johnson Trio at 8:30 PM;
Carter/ Shragge/ David Trio at 10:00 PM. 168 7th Street. ibeambrooklyn.com
 Tue 3/24 Douglass Street Music Collective. Curtis MacDonald
Quartet at 8:00 PM; Ideal Bread with special guest Chad Taylor
at 9:00 PM; Towering Poppies at 10:00 PM. 295 Douglass Street.
295douglass.org
 Tue 3/26 John Wriggle Swing Orchestra at Radegast Hall and
 Tue 3/26 Korzo. Kris Davis/ Ingrid Laubrock Duo at 9:00 PM;
TBA at 10:30 PM. 667 5th Avenue (bet. 19th and 20th Streets.) 718285-9425.
 Wed 3/27 Jessy Carolina and the Hot Mess at Radegast Hall
and Biergarten, 9:00 PM. 113 N. 3rd Street, Williamsburg. 718963-3973. www.radegasthall.com
 Thu 3/28 Regional de NY at Barbes, 10:00 PM. 376 Ninth Street,
Park Slope. 347-422-0248. www.barbesbrooklyn.com
 Thu 3/28 The 12 Houses Festival, Part Eight: Matt Lavelle and
The 12 Houses Orchestra at The Firehouse Space, 8:00 and
9:30 PM. 246 Frost Street. www.thefirehousespace.org
 Fri 3/29 Ahnee Sharon Freeman Quartet at Jazz 966, 8:00 PM.
966 Fulton Street. 718-638-6910. www.jazz966.com
 Sat 3/30 Lil Phillips at Sistas’ Place, 9:00 and 10:30 PM. 456
Nostrand Avenue. 718-398-1766. www.sistasplace.org
QUEENS
 Fri 3/1, 3/8, 3/15, 3/22, 3/29: Gelber and Manning at The Astor
Room, 7:00 PM. 34-12 36th Street, Astoria. 718-255-1947.
 Fri 3/1, 3/8, 3/15, 3/22, 3/29: Los Hacheros at La Gloria, 9:00
PM. 86-11 Northern Boulevard, Jackson Heights. 718-806-1270.
www.laglorianyc.com
 Sat 3/2, 3/9, 3/16, 3/23, 3/30: Dandy Wellington and His Band at
The Astor Room, 8:00 PM. 34-12 36th Street, Astoria. 718-2551947. www.astorroom.com
 Sat 3/2 Bertha Hope Trio at First Reformed Church of Jamaica,
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1:00 PM. 159-29 90th Avenue, Jamaica. 718-658-6333.
www.frcj.org
Sun 3/3, 3/10, 3/17, 3/24, 3/31: Dandy Wellington and His Band
at The Astor Room, 11:30 AM. 34-12 36th Street, Astoria. 718255-1947. www.astorroom.com
Sun 3/3, 3/10, 3/17, 3/24, 3/31: Jam Session at Blackbird’s Bar
& Restaurant, 10:00 AM. 41-19 30th Avenue, Astoria. 718-9436899. www.blackbirdsbar.com
Mon 3/4, 3/11, 3/18, 3/25: Larry Luger Trio at Sac’s Place, 7:00
PM. 2541 Broadway, Astoria. 718-204-5002. www.sacsplace.com
Tue 3/5 Fisherman’s Tiki Trio at The Astor Room, 8:00 PM. 3412 36th Street, Astoria. 718-255-1947. www.astorroom.com
Wed 3/6 Flushing Town Hall. Jazz Clinic with Michael Philip
Mossman at 5:00 PM; Jam Session with Los Pleneros de la 21
at 7:00 PM. Free to musicians and students. 137-35 Northern Blvd.
718-463-7700 ext. 222. www.flushingtownhall.org
Thu 3/7 Carl Fischer Big Band at The Astor Room, 8:30 PM. 3412 36th Street, Astoria. 718-255-1947. www.astorroom.com
Sat 3/9 Hurricane Camille Project: Camille Gainer Quartet
featuring Camille Thurman at Langston Hughes Community
Library, 2:00 PM. 100-01 Northern Boulevard, Corona. 718-6511100. www.queenslibrary.org/langston-hughes
Sat 3/9 Randy Sandke: An Homage to Louis Armstrong and
Bix Beiderbecke at Flushing Town Hall, 8:00 PM. Q & A Session and Birthday Cake to follow. 137-35 Northern Blvd. 718463-7700 ext. 222. www.flushingtownhall.org
Thu 3/14 Amy Rivard at The Astor Room, 7:00 PM. 34-12 36th
Street, Astoria. 718-255-1947. www.astorroom.com
Sat 3/23 Latin American Jazz: New York Faces at Flushing
Town Hall, 6:00 PM. Artists include Victor Prieto, Ricardo
Rordiguez Quintet, and Chia’s Dance Party. Dancing encouraged; refreshments available. 137-35 Northern Blvd. 718-4637700 ext. 222. www.flushingtownhall.org
Thu 3/28 Agave Quartet featuring Deb Knapper and Mala
Waldron at Nu Urban Cafe, time TBA. 188-36 Linden Boulevard,
St. Albans. 718-276-5555. www.nuurbancafe.com
STATEN ISLAND
 Fri 3/1 This Old House at Adobe Blues, 11:00 PM. 63 Lafayette
Avenue (two blocks from Snug Harbor.) 718-720-BLUE.
www.silive.com/sites/adobeblues
 Sat 3/2 Blues Ball at Alor Cafe, 8:00 PM. 2110 Richmond Road.
718-351-1101. www.alorcafe.com
 Sat 3/2 Comic Tales of Tragic Heartbreak at Adobe Blues,
11:00 PM. 63 Lafayette Avenue (two blocks from Snug Harbor.)
718-720-BLUE. www.silive.com/sites/adobeblues
 Sun 3/3, 3/10, 3/17, 3/24, 3/31: Arturo Vera at Bayou, 12:00
noon. 1072 Bay Street. 718-273-4383. www.bayounyc.com
 Sun 3/3, 3/10, 3/17, 3/24, 3/31: Mark Sganga Bossa Nova
Brunch at Beso, 12:30 PM. 11 Schuyler Street. 718-816-8162.
www.besonyc.com
 Tue 3/5, 3/12, 3/19. 3/26: Mark Sganga and Larry d’Albero at
Bayou, 7:30 PM. 1072 Bay Street. 718-273-4383.
 Wed 3/6, 3/13, 3/20, 3/27: Jam Session featuring The Wolfpack
at Adobe Blues, 9:00 PM. 63 Lafayette Avenue (two blocks from
Snug Harbor.) 718-720-BLUE. www.silive.com/sites/adobeblues
LONG ISLAND
 Fri 3/1, 3/8, 3/15, 3/22, 3/29: Steve Blanco Trio at Domaine Wine
Bar, 9:30 PM. 50-04 Vernon Boulevard, Long Island City. 718-7842350. www.domainewinebar.com
 Sat 3/2 Vince Giordano and the Nighthawks at Suffolk Theater,
6:00 PM. 118 East Main Street, Riverhead. 631-727-4343.
 Sat 3/2 Acoustic Soul at Baiting Hollow Farm Vineyard, 2:00
PM. 2114 Sound Avenue, Baiting Hollow. 631-369-0100.
 Sun 3/3 Mitch Frohman Latin Jazz Quartet at Baiting Hollow
Farm Vineyard, 2:00 PM. 2114 Sound Avenue, Baiting Hollow.
631-369-0100. www.baitinghollowfarmvineyard.com
 Tue 3/5, 3/12, 3/19, 3/26: Steve Blanco Trio at Domaine Wine
Bar, 9:30 PM. 50-04 Vernon Boulevard, Long Island City. 718-7842350. www.domainewinebar.com
 Wed 3/6 Fun and Fancy Free: The Music of Dinah Shore at
Suffolk Theater, 2:00 PM. Vocalists include Lynn DiMenna and
Bob Spiotto. 118 East Main Street, Riverhead. 631-727-4343.
www.suffolktheater.com
 Thu 3/7, 3/14, 3/21, 3/28: Jam Session at Two Finger Jake’s,
8:00 PM. 39 Sarah Drive, Farmingdale. 631-390-8844.
www.twofingerjake.com
 Fri 3/22 Suffolk Horns at Dix Hills Performing Arts Center, 7:30
PM. 305 North Service Road, Dix Hills. 631-424-7000.
www.dhpac.org
 Fri 3/22 Sylvia Cuenca Trio at Grasso’s, 7:30 PM. 134 Main
Street, Cold Spring Harbor. 631-367-6060.
 Sat 3/23 Swing Into Spring Big Band Dance: The Black Tie
Affair Orchestra at Suffolk Theater, 8:00 PM. 118 East Main
Street, Riverhead. 631-727-4343. www.suffolktheater.com
 Sat 3/23 Giada Valenti and Her Orchestra at Dix Hills Perform-
ing Arts Center, 7:30 PM. 305 North Service Road, Dix Hills. 631424-7000. www.dhpac.org
 Fri 3/29 Alexis Cole Trio featuring Jim Cammack at Grasso’s,
7:30 PM. 134 Main Street, Cold Spring Harbor. 631-367-6060.
www.grassosrestaurant.com
 Sat 3/30 Roger Davidson and the Frank London Klezmer
Orchestra at Suffolk Theater, 8:00 PM. 118 East Main Street,
Riverhead. 631-727-4343. www.suffolktheater.com
WESTCHESTER
 Fri 3/1, 3/8, 3/15, 3/22, 3/29: Takeshi Ogura Trio at The Bassline
Club, 9:00 PM. 130 East 1st Street, Mount Vernon. 914-433-1052.
www.basslineclub.com
 Tue 3/5, 3/12, 3/19, 3/26: Jam Session at Pete’s Saloon and
Restaurant, 9:30 PM. 8 West Main Street, Elmsford. 914-5929849. www.petessaloon.com
 Tue 3/5, 3/12, 3/19, 3/26: Jam Session featuring The Wolfpack
at Lucy’s, 9:00 PM. 446 Bedford Road, Pleasantville. 914-7474740. www.lucys-lounge.com
 Wed 3/6, 3/13, 3/20, 3/27: Jam Session at The Bassline Club,
8:30 PM. 130 East 1st Street, Mount Vernon. 914-433-1052
 Wed 3/6, 3/13, 3/20, 3/27: Bill Crow Quartet at Red Hat Bistro,
6:00 PM. One Bridge Street, Irvington-on-Hudson. 914-591-5888.
www.redhatbistro.com
 Wed 3/6 Norm Hathaway Big Band at at The Winery at St.
George, 8:15 PM. 1713 E. Main Street, Mohegan Lake. 914-4554272. www.thewineryatstgeorge.com
 Thu 3/7, 3/14, 3/21, 3/28: Jam Session at Casa del Sol, 9:30 PM.
104 & 106 Main Street, Nyack. 8450353-9846.
www.casaofnyack.com
 Thu 3/7 J.P. Patrick and Friends at 12 Grapes, 8:30 PM. 12
North Division Street, Peekskill. 914-737-6624.
www.12grapes.com
 Thu 3/7 Nadav Snir-Zelniker Trio at Watercolor Cafe, 7:30 PM.
2094 Boston Post Road, Larchmont. 914-834-2213.
www.watercolorcafe.net
 Fri 3/8 Juan DeMarco and the Afro-Cuban All-Stars at Tarrytown Music Hall, 8:00 PM. 13 Main Street, Tarrytown. 877-8400457. www.tarrytownmusichall.org
 Sat 3/9 Glenda Davenport Quartet at Watercolor Cafe, 8:30 PM.
 Sun 3/10 Al Jarreau at Tarrytown Music Hall, 7:00 PM. 13 Main
Street, Tarrytown. 877-840-0457. www.tarrytownmusichall.org
 Wed 3/13 Sonya Robinson at Don Coqui, 8:00 PM. 115 Cedar
Street, New Rochelle. 914-637-3737. www.doncoqui.com
 Wed 3/13 South Street Fusion Project at The Winery at St.
George, 8:00 PM. 1713 E. Main Street, Mohegan Lake. 914-4554272. www.thewineryatstgeorge.com
 Thu 3/14 Judi Mari Canterino at Watercolor Cafe, 7:30 PM.
www.watercolorcafe.net
 Fri 3/15 Joe Lovano with Kenny Werner at Carnegie Room,
Nyack Library, 7:30 PM. 59 South Broadway, Nyack. 845-6083593. www.carnegieroom.org
 Fri 3/15 Danny Draher Blues Trio at BeanRunner Cafe, 8:00
PM. 201 South Division Street, Peekskill. 914-737-1701.
 Sat 3/16 Lisa Gutkin Trio at BeanRunner Cafe, 7:30 PM. 201
South Division Street, Peekskill. 914-737-1701.
www.beanrunnercafe.com
 Wed 3/20 Madeleine Peyroux at Tarrytown Music Hall, 8:00 PM.
13 Main Street, Tarrytown. 877-840-0457.
www.tarrytownmusichall.org
 Sat 3/23 Leslie Pintchik Trio at Watercolor Cafe, 8:30 PM. 2094
Boston Post Road, Larchmont. 914-834-2213.
 Sat 3/23 Annette A. Aguilar and the Stringbean 4tet featuring
Deanna Witkowski at BeanRunner Cafe, 7:30 PM. 201 South
Division Street, Peekskill. 914-737-1701.
 Sun 3/24 Westchester Swing Band at 12 Grapes, 8:30 PM. 12
North Division Street, Peekskill. 914-737-6624.
 Fri 3/29 Ted Rosenthal Trio at Watercolor Cafe, 8:30 PM. 2094
Boston Post Road, Larchmont. 914-834-2213.
 Fri 3/29 Gil Parris Band at Pete’s Saloon and Restaurant, 10:30
PM. 8 West Main Street, Elmsford. 914-592-9849.
www.petessaloon.com
NEW JERSEY
 Fri 3/1, 3/8, 3/15, 3/22, 3/29: Dick Gratton at Chambers Walk
Cafe, 6:00 PM. 2667 Main Street, Lawrenceville. 609-896-5995.
www.chamberswalk.com
 Mon 3/4, 3/11, 3/18, 3/25: Full Count Big Band Open Rehearsal
at Church of the Assumption, 7:30 PM. Admission free; refreshments available for donation. 333 West Westfield Avenue (Route
28), Roselle Park. 908-347-0648. www.fullcountbigband.com
 Mon 3/4, 3/18: Rowan Jazz at Bus Stop Music Cafe, 4:30 PM.
1 4 8 S ou t h B r oa d w ay , P i t m a n. 8 5 6- 5 82 0 0 00 9 .
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www.busstopmusiccafe.com
 Mon 3/4 Swingadelic at Maxwell’s, 9:00 PM. 1039 Washington
Street, Hoboken. 201-798-0406. www.maxwellsnj.com
 Tue 3/5, 3/12, 3/19, 3/26: Jam Session at The Crossroads at
Garwood, 9:00 PM. 78 North Avenue, Garwood. 908-232-5666.
www.xxroads.com
 Tue 3/5 Bob DeVos Organ Trio at Stanhope House, 8:00 PM. 45
Main Street, Stanhope. 973-347-7777. www.stanhopehousenj.com
 Tue 3/5 One More Once Big Band with Don Shelden at Solari’s, 8:00 PM. 61 River Street, Hackensack. 201-487-1969.
www.solarisrestaurant.com
 Tue 3/5 Tumulty’s Pub. April Web at 8:00 PM; Jam Session at
9:30 PM. 361 George Street, New Brunswick. 732-545-6205.
www.tumultys.com ; www.nbjp.org
 Wed 3/6, 3/13, 3/20, 3/27: Jam Session with Mike Lee at Hat
City Kitchen, 8:00 PM. 459 Valley Street, Orange. 862-252-9147.
www.hatcitykitchen.com
 Wed 3/6, 3/13, 3/20, 3/27: Mark Sganga at Solari’s, 6:00 PM. 61
River Street, Hackensack. 201-487-1969.
 Wed 3/6, 3/13, 3/20, 3/27: Steve Salerno at Bernards Inn, 7:00
PM. 27 Mine Brook Road, Bernardsville. 908-766-0002.
www.bernardsinn.com
 Wed 3/6, 3/13, 3/27: Tom Pietrycha Trio at Highlawn Pavilion,
7:00 PM. Eagle Rock Reservation, West Orange. 973-731-3463.
www.highlawn.com
 Wed 3/6 Carrie Jackson and Her Band at New Brunswick
Hyatt, 7:30 PM. 2 Albany Street, New Brunswick. 732-873-1234.
newbrunswick.hyatt.com ; www.nbjp.org
 Thu 3/7, 3/14, 3/21, 3/28: Jam Session at La Tavola Cucina,
7:00 PM. 700 Old Bridge Turnpike, South River. 732-238-2111.
www.latavolacucinanj.com
 Thu 3/7, 3/14, 3/21, 3/28: John Bianculli at Bernards Inn, 6:30
PM. 27 Mine Brook Road, Bernardsville. 908-766-0002.
www.bernardsinn.com
 Thu 3/7 Bob DeVos/ Vic Juris Duo at Glen Rock Inn, 7:00 PM.
222 Rock Road, Glen Rock. 201-445-2362. www.glenrockinn.com
 Thu 3/7 Paul Gargulo at Shipwreck Grill, 7:00 PM. 720 Ashley
Avenue, Brielle. 732-292-9380. www.shipwreckgrill.com
 Thu 3/7 Tanya Darby Quartet at Makeda, 7:30 PM. 338 George
Street, New Brunswick. 732-545-5115. www.makedas.com ;
 Fri 3/8 Reggie Pittman/ Loren Daniels Quartet at Classic
Quiche Cafe, 7:00 PM. 330 Queen Anne Road, Teaneck. 201692-0150. www.classicquiche.com
 Sat 3/9 Mike Tate at Solari’s, 9:00 PM. 61 River Street, Hackensack. 201-487-1969. www.solarisrestaurant.com
 Sat 3/9 Swingadelic at Hoboken Elks Club, 7:00 PM. Corner of
10th and Washington Streets, Hoboken. 201-651-4000.
www.hobokensynagogue.org/casinonight.php
 Sat 3/9 Kevin Hildebrandt Trio at The Mill, 8:00 PM. 101 Old Mill
Road, Spring Lake Heights. 732-449-1800. www.themillnj.com
 Sat 3/9 New York Voices at Roxbury High School Auditorium,
7:30 PM. Rescheduled from 2/8; all tickets from 2/8 will be honored. 1 Bryant Drive, Succasunna. 201-745-7718.
www.roxburyartsalliance.com
 Sat 3/9 Cynthia Holiday at Trumpets, 8:00 PM. 6 Depot Square,
Montclair. 973-744-2600. www.trumpetsjazz.com
 Sat 3/9 Keith Ingham Trio at Shanghai Jazz, 6:15 and 8:35 PM.
24 Main Street, Madison. 973-822-2899. www.shanghaijazz.com
 Sat 3/9 Freddie Hendricks at Candlelight Lounge, 3:30 PM. 24
Passaic Street, Trenton. 609-695-9612. www.jazztrenton.com
 Sun 3/10, 3/24: Perfect Alibi Quintet at Hailey’s Harp and Pub,
3:00 PM. 400 Main Street, Metuchen. 732-321-0777.
www.haileysharpandpub.com
 Sun 3/10 Westchester Jazz Orchestra at Berrie Center for
Performing and Visual Arts, Ramapo College, 3:00 PM. 505
Ramapo Valley Road, Mahwah. 201-684-7844. www.ramapo.edu/
berriecenter
 Sun 3/10 John Pizzarelli Trio at Shanghai Jazz, 5:15 and 7:15
PM. All seats by reservation only. 24 Main Street, Madison. 973822-2899. www.shanghaijazz.com
 Sun 3/10 Diane Moser in a Tribute to Jaki Byard at Luna Stage,
7:00 PM. 555 Valley Road, West Orange. 973-395-5551.
www.lunastage.org
 Sun 3/10 Ali Ryerson Quintet at Trumpets, 7:00 PM. 6 Depot
Square, Montclair. 973-744-2600. www.trumpetsjazz.com
 Sun 3/10 Toshiko Akiyoshi/ Lew Tabackin Quartet at Shea
Center Auditorium, William Paterson University, 4:00 PM. 300
Pompton Road, Wayne. 973-720-3845. http://www.wpunj.edu/
wplive/programs/jazzroomseries.dot
 Mon 3/11, 3/25: Gil Lewis Trio at Bus Stop Music Cafe, 6:00
PM. 148 South Broadway, Pitman. 856-58200009.
www.busstopmusiccafe.com
 Mon 3/11 Big Bix Beiderbecke Birthday Bash at 6 Normandy
Heights Road, Morristown. Featuring The Mike Davis Quintet.
973-971-3706. www.morrismuseum.org ; www.bickfordtheatre.org
 Tue 3/12 John Halsey Trio with Dan Levinson and Kevin Dorn
at Bergen County Y, 1:00 PM. 605 Pascack Road, Washington
Township. 201-666-6610, ext. 210. www.yjcc.org
 Tue 3/12 Tumulty’s Pub. Jessica Ackerley Trio at 8:00 PM;
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Jam Session at 9:30 PM. 361 George Street, New Brunswick.
732-545-6205. www.tumultys.com ; www.nbjp.org
Thu 3/14 Shamie Royston Quartet at Makeda, 7:30 PM. 338
George Street, New Brunswick. 732-545-5115.
Thu 3/14 Swingadelic at Pilsener Haus, 8:00 PM. 1422 Grand
Street, Hoboken. 201-683-5465. www.pilsenerhaus.com
Fri 3/15 – Sat 3/16 Steve Turre Quartet at Shanghai Jazz, 6:30
and 8:30 PM. (3/16 shows at 6:15 and 8:35 PM.) 24 Main Street,
Madison. 973-822-2899. www.shanghaijazz.com
Fri 3/15 B. D. Lenz at Triumph Brewery, 10:30 PM. 138 Nassau
Street, Princeton. 609-924-7855. www.triumphbrewing.com/
princeton/
Fri 3/15 Ron Aprea and Angela DeNiro at Trumpets, 8:00 PM. 6
Depot Square, Montclair. 973-744-2600. www.trumpetsjazz.com
Fri 3/15 Pete Levin Organ Trio at Classic Quiche Cafe, 7:00 PM.
330 Queen Anne Road, Teaneck. 201-692-0150.
www.classicquiche.com
Sat 3/16, 3/30: Sheryl Bailey Trio at Stanhope House, 8:00 PM.
45 Main Street, Stanhope. 973-347-7777.
www.stanhopehousenj.com
Sat 3/16 Frank Wess Quartet featuring Winard Harper at South
Orange Performing Arts Center, 8:00 PM. One SOPAC Way,
South Orange. 973-275-1114. www.sopacnow.org
Sat 3/16 New Jersey Performing Arts Center. Simon Shaheen
at Victoria Theater, 7:30 PM; El Gran Combo at Prudential Hall,
8:00 PM. One Center Street, Newark. 973-642-8989.
Sun 3/17 New Jersey Jazz Society Social: Loren Schoenberg
at Shanghai Jazz, 3:00 PM. Free to NJJS members; admission
charged to others. 24 Main Street, Madison. 973-822-2899.
Tue 3/19 New York Voices at South Orange Performing Arts
Center, 7:30 PM. One SOPAC Way, South Orange. 973-2751114. www.sopacnow.org
Tue 3/19 Tumulty’s Pub. Patrice Jegou at 8:00 PM; Jam Session at 9:30 PM. 361 George Street, New Brunswick. 732-5456205. www.tumultys.com ; www.nbjp.org
Thu 3/21 Michael Feinstein: The Gershwins and Me at Mayo
Center for the Performing Arts, 8:00 PM. 100 South Street,
Morristown. 973-539-8008. www.mayoarts.org
Thu 3/21 Dick Gratton at New Cedar Pub, Cedar Gardens, 8:00
PM. 661 Route 33, Mercerville. 609-587-0930.
Fri 3/22 Mimi Jones Quartet at Makeda, 7:30 PM. 338 George
Street, New Brunswick. 732-545-5115. www.makedas.com
Sat 3/23 Jane Stuart: Tribute to the Great Ladies of Jazz at
Nutley Public Library, 2:00 PM. 93 Booth Drive, Nutley. 973-6670405.www.janestuartmusic.com ; nutley.bccls.org
Sat 3/23 Orrin Evans’ Birthday Bash at Candlelight Lounge,
3:30 PM. 24 Passaic Street, Trenton. 609-695-9612.
www.jazztrenton.com
Sat 3/23 Fred Lehotay and the Ragtimers at Monmouth County
Library, 2:00 PM. 125 Symmes Drive, Manalapan. 732-431-7220,
ext. 7222. www.monmouthcountylib.org
Sat 3/23 Bob DeVos Organ Trio at Stanhope House, 8:00 PM.
45 Main Street, Stanhope. 973-347-7777.
Sat 3/23 Enrico Granafei Quartet at Trumpets, 8:00 PM. 6 Depot
Square, Montclair. 973-744-2600. www.trumpetsjazz.com
Sun 3/24 Evan Sherman at South Orange Performing Arts
Center, 7:00 PM. One SOPAC Way, South Orange. 973-2751114. www.sopacnow.org
Wed 3/27 Virginia Mayhew Quartet featuring Ed Cherry and
Harvie S at New Brunswick Hyatt, 7:30 PM. 2 Albany Street,
New Brunswick. 732-873-1234. newbrunswick.hyatt.com ;
www.nbjp.org
Thu 3/28 Sylvia Cuenca Quartet featuring Tim Ries at Makeda,
7:30 PM. 338 George Street, New Brunswick. 732-545-5115.
Thu 3/28 Craig Handy and Second Line Smith at Pilsener
Haus, 8:00 PM. 1422 Grand Street, Hoboken. 201-683-5465.
www.pilsenerhaus.com
Thu 3/28 Film Screening: Ella Fitzgerald, First Lady of Song at
Library of the Chathams, 7:00 PM. 214 Main Street, Chatham.
973-635-0603. www.chatham-library.org
Fri 3/29 Rob Paparozzi Trio at Shanghai Jazz, 6:30 and 8:30
PM. 24 Main Street, Madison. 973-822-2899.
Fri 3/29 Bob DeVos at Trumpets, 8:00 PM. 6 Depot Square,
Fri 3/29 Take 6 with Hezekiah Walker at New Jersey Performing Arts Center, 8:00 PM. One Center St, Newark. 973-642-8989.
Sat 3/30 Monterey Jazz Festival on Tour at Mayo Center for
the Performing Arts, 8:00 PM. Artists include Christian McBride,
Dee Dee Bridgewater, Chris Potter, Benny Green, Lewis Nash,
and others. 100 South Street, Morristown. 973-539-8008.
www.mayoarts.org
Sat 3/30 Dave Stryker at Trumpets, 8:00 PM. 6 Depot Square,
Sat 3/30 Andy Akiho and the Foundry at Small World Coffee,
8:30 PM. 14 Witherspoon Street, Princeton. 609-924-4377.
www.smallworldcoffee.com
Sat 3/30 Mauricio DeSouza and Bossa Brasil at The Mill, 8:00
PM. 101 Old Mill Road, Spring Lake Heights. 732-449-1800.
www.themillnj.com
 Sat 3/30 Landham Brothers at Candlelight Lounge, 3:30 PM. 24
Passaic Street, Trenton. 609-695-9612. www.jazztrenton.com
...AND BEYOND
 Fri 3/1 Jason Marsalis Vibes Quartet at Garde Arts Center, 8:00
PM. 325 State Street, New London CT. 860-444-7373.
www.gardearts.org
 Tue 3/5, 3/12, 3/19, 3/26: Michael Palin’s Other Orchestra at
Black Eyed Sally’s 8:00 PM. 350 Asylum Street, Hartford CT.
860-278-7427. www.blackeyedsallys.com
 Tue 3/5 Anni with Special guest Nick DiMaria Quartet at Cafe
Nine, 8:00 PM. 250 State Street, New Haven CT. 203-789-8281.
www.cafenine.com
 Wed 3/6 Lee Shaw Duo at The Stockade Inn, 6:00 PM. One
North Church Street, Schenectady NY 518-346-3400.
 Wed 3/6 The Arrangement at The Red Door, 9:00 PM. 675 Main
Street, Watertown CT. 860-945-6688. www.reddoormusic.com
 Thu 3/7, 3/28: Joe Delia Solo Piano at 76 House, 7:30 PM. 110
Main Street, Tappan NY 845-359-5476. www.76house.com
 Thu 3/7 Bucky Pizzarelli and Frank Vignola with special guest
Vinny Raniolo at The Egg Center for the Perfoming Arts, 7:30
PM. Empire State Plaza, Albany NY 518-473-1845.
www.theegg.org
 Thu 3/7 Ali Ryerson Quintet at The Falcon, 7:00 PM. 1348
Route 9W, Marlboro NY. 845-236-7970.
 Thu 3/7 Bill Evans and Soulgrass at Infinity Music Hall, 8:00
PM. 20 Greenwoods Road West, Norfolk CT. 866-666-6306.
 Thu 3/7 Tommy Verrigni at The Stockade Inn, 7:00 PM. One
www.stockadeinn.com
 Fri 3/8 Mary Taylor Trio at 76 House, 8:00 PM. 110 Main Street,
Tappan NY 845-359-5476. www.76house.com
 Fri 3/8 Lindsey Webster at La Peurta Azul, 8:00 PM. 2510 Route
44, Millbrook NY. 845-677-2985. www.lapeurtaazul.com
 Fri 3/8 K. J. Denhert and the N. Y. Unit at The Falcon, 7:00 PM.
1348 Route 9W, Marlboro NY. 845-236-7970.
 Fri 3/8 Roomful of Blues at Infinity Music Hall, 8:00 PM. 20
Greenwoods Road West, Norfolk CT. 866-666-6306.
 Sat 3/9 Booker T. Jones with special Guest Jonny Monster at
Bearsville Theater, 8:00 PM. 291 Tinker Street, Woodstock NY.
845-679-4406. www.bearsvilletheater.com
 Sat 3/9 Lindsey Webster Band at Keegan Ales, 9:00 PM. Free.
20 Saint James Street, Kingston NY. 845-331-2739.
www.keeganales.com
 Sat 3/9 Avenue Groove at Black Eyed Sally’s 9:00 PM. 350
Asylum Street, Hartford CT. 860-278-7427.
 Sun 3/10 Big Bad Voodoo Daddy at Infinity Music Hall, 7:30
PM. 20 Greenwoods Road West, Norfolk CT. 866-666-6306.
 Sun 3/10 Latin Quarter Jazz at Downtown Atrium, Hartford
Public Library, 3:00 PM. 500 Main Street, Hartford CT. 860-6956280. www.hplct.org
 Mon 3/11 Jen Allen Trio at Black Eyed Sally’s 8:00 PM. 350
Asylum Street, Hartford CT. 860-278-7427.
 Wed 3/13 Sultans of String at Bridge Street Live, 8:00 PM. 41
Bridge Street, Collinsville CT. 860-693-9762.
 Wed 3/13 Tom Devino Quartet with Timmy Maia at The Red
Door, 9:00 PM. 675 Main Street, Watertown CT. 860-945-6688.
 Wed 3/13 Brian Patneaude at The Stockade Inn, 6:00 PM. One
www.stockadeinn.com
 Thu 3/14 Lindsey Webster at Joshua’s Cafe, time TBA. 51
Tinker Street, Woodstock NY. 845-679-5533.
www.joshuascafe.com
 Fri 3/15 Stephen Haynes’ Pomegranate featuring Joe Morris,
William Parker, and Warren Smith: New Music for Bill Dixon at
Firehouse 12, 8:30 and 10:00 PM. 45 Crown Street, New Haven
CT. 203-785-0468. www.firehouse12.com
 Fri 3/15 Alexis P. Suter at The Falcon, 7:00 PM. 1348 Route 9W,
Marlboro NY. 845-236-7970.
 Sun 3/17 Marty Elkins and the Saints of Swing at The Falcon,
10:00 AM. 1348 Route 9W, Marlboro NY. 845-236-7970.
 Sun 3/17 El Gran Combo at Bushnell Center for the Perfoming
Arts, 6:00 PM. 166 Capitol Avenue, Hartford CT. 888-824-2874.
www.bushnell.org
 Thu 3/21 Reflections Big Band at 76 House, 8:00 PM. 110 Main
Street, Tappan NY 845-359-5476. www.76house.com
 Thu 3/21 Luis Bonilla at The Falcon, 7:00 PM. 1348 Route 9W,
Marlboro NY. 845-236-7970.
 Fri 3/22 Matthew Shipp Trio at Firehouse 12, 8:30 and 10:00
PM. 45 Crown Street, New Haven CT. 203-785-0468.
www.firehouse12.com
 Fri 3/22 Al Santoro and Friends at Athos Restaurant, 7:00 PM.
1814 Western Avenue, Albany NY. 518-608-6400.
www.athosrestaurant.com
 Fri 3/22 Bernard Purdie and Friends at The Falcon, 7:00 PM.
1348 Route 9W, Marlboro NY. 845-236-7970.
 Sat 3/23 Sam Wayman Band at 76 House, 8:00 PM. 110 Main
Street, Tappan NY 845-359-5476. www.76house.com
Clubs & Venues
55 Bar, 55 Christopher St. (betw 6th & 7th Ave.), 212-929-9883,
www.55bar.com
92nd Street Y, 1395 Lexington Ave, New York, NY 10128
212.415.5500, www.92ndsty.org
Aaron Davis Hall, City College of NY, Convent Ave., 212-6506900, www.aarondavishall.org
Alice Tully Hall, Lincoln Center, Broadway & 65th St., 212-8755050, www.lincolncenter.org/default.asp
Allen Room, Lincoln Center, Time Warner Center, Broadway and
60th, 5th floor, 212-258-9800, www.lincolncenter.org/default.asp
American Museum of Natural History, 81st St. &
Central Park W., 212-769-5100, www.amnh.org
Arthur’s Tavern, 57 Grove St., 212-675-6879 or 917-301-8759,
www.arthurstavernnyc.com
Arts Maplewood, P.O. Box 383, Maplewood, NJ 07040; 973-3782133, www.artsmaplewood.org
Avery Fischer Hall, Lincoln Center, Columbus Ave. & 65th St.,
212-875-5030, www.lincolncenter.org
Backroom at Freddie’s, 485 Dean St. (at 6th Ave.), Brooklyn,
NY, 718-622-7035, www.freddysbackroom.com
BAM Café, 30 Lafayette Ave., Brooklyn, NY, 718-636-4100,
www.bam.org
Bar 4, 7 Ave and 15th, Brooklyn NY 11215, 718-832-9800,
www.Bar4.net
Bar on Fifth — Jazz at the Bar on Fifth, Music every night 8:00
PM - 11:00 PM, No cover charge, one drink minimum
The Bar on Fifth at the Setai Fifth Avenue Hotel, 400 Fifth Avenue,
New York, NY, 212-695-4005—www.capellahotels.com/newyork/
Barbes, 376 9th St. (corner of 6th Ave.), Park Slope, Brooklyn,
718-965-9177, www.barbesbrooklyn.com
Barge Music, Fulton Ferry Landing, Brooklyn, 718-624-2083,
www.bargemusic.org
B.B. King’s Blues Bar, 237 W. 42nd St., 212-997-4144,
www.bbkingblues.com
Beacon Theatre, 74th St. & Broadway, 212-496-7070
Bickford Theatre, on Columbia Turnpike @ Normandy Heights
Road, east of downtown Morristown. 973-744-2600
Birdland, 315 W. 44th St., 212-581-3080
Blue Note, 131 W. 3rd St., 212-475-8592,
www.bluenotejazz.com/newyork
Bluestone Bar & Grill, 117 Columbia St., Brooklyn, NY, 718403-7450, www.bluestonebarngrill.com
Bourbon Street Bar and Grille, 346 W. 46th St, NY, 10036,
212-245-2030, [email protected],
[email protected]
Bowery Poetry Club, 308 Bowery (at Bleecker), 212-614-0505,
www.bowerypoetry.com
Brooklyn Public Library, Grand Army Plaza, 2nd Fl, Brooklyn,
NY, 718-230-2100, www.brooklynpubliclibrary.org
Buttonwood Tree Performing Arts & Cultural Center, 605
Main St., Middletown, CT. 860-347-4957, www.buttonwood.org.
Café Carlyle, 35 E. 76th St., 212-570-7189, www.thecarlyle.com
Café Loup, 105 W. 13th St. (West Village) , between Sixth and
Seventh Aves., 212-255-4746
Cafe Mozart, 308 Mamaroneck Ave., Mamaroneck, NY
Café St. Bart’s, 109 E. 50th St. (at Park Ave.), 212-888-2664,
www.cafestbarts.com
Caffe Vivaldi, 32 Jones St, NYC; www.caffevivaldi.com
Candlelight Lounge, 24 Passaic Street, Trenton. 609-695-9612.
Carnegie Club, 156 W. 56th St., 212-957-9676,
www.hospitalityholdings.com
Carnegie Hall, 7th Av & 57th, 212-247-7800,
www.carnegiehall.org
Casa Dante, 737 Newark Avenue, Jersey City, NJ,
www.casadante.com
Cecil’s Jazz Club & Restaurant, 364 Valley Rd, West Orange,
NJ, Phone: 973-736-4800, www.cecilsjazzclub.com
Charley O’s, 713 Eighth Ave., 212-626-7300
Chico’s House Of Jazz, In Shoppes at the Arcade, 631 Lake Ave.,
Asbury Park, 732-774-5299
City Winery, 155 Varick St. Bet. Vandam & Spring St., 212-6080555. www.citywinery.com
Cleopatra’s Needle, 2485 Broadway (betw 92nd & 93rd),
212-769-6969, www.cleopatrasneedleny.com
Cobi’s Place, 158 W. 48th (bet 5th & 6th Av.), 516-922-2010
Copeland’s, 547 W. 145th St. (at Bdwy), 212-234-2356
Cornelia Street Café, 29 Cornelia St., 212-989-9319, www.
corneliastreetcafe.com
Creole Café, 2167 Third Ave (at 118th), 212-876-8838.
Crossroads at Garwood, 78 North Ave., Garwood, NJ 07027,
908-232-5666
Crossroads – 78 North Avenue, Garwood, NJ
Cutting Room, 19 W. 24th St, Tel: 212-691-1900,
www.thecuttingroomnyc.com
Destino, 891 First Ave. & 50th St., 212-751-0700
Detour, 349 E. 13th St. (betw 1st & 2nd Ave.), 212-533-6212,
www.jazzatdetour.com
Division Street Grill, 26 North Division Street, Peekskill, NY,
914-739-6380, www.divisionstreetgrill.com
Dizzy’s Club Coca Cola, Broadway at 60th St., 5th Floor, 212258-9595, www.jalc.com
DROM, 85 Avenue A, New York, 212-777-1157,
www.dromnyc.com/
The Ear Inn, 326 Spring St., NY, 212-226-9060, www.earinn.com
El Museo Del Barrio, 1230 Fifth Ave (at 104th St.), Tel: 212-8317272, Fax: 212-831-7927, www.elmuseo.org
The Encore, 266 W. 47th St., 212-221-3960,
www.theencorenyc.com
The Falcon, 1348 Rt. 9W, Marlboro, NY., 845) 236-7970,
Fat Cat, 75 Christopher St. (at &th Ave.), 212-675-7369,
www.fatcatjazz.com
Feinstein’s at Loew’s Regency, 540 Park Avenue (at 61st Street),
NY, 212-339-4095, feinsteinsattheregency.com
Five Spot, 459 Myrtle Ave, Brooklyn, NY, 718-852-0202,
www.fivespotsoulfood.com
Flushing Town Hall, 137-35 Northern Blvd., Flushing, NY,
718-463-7700 x222, www.flushingtownhall.org
For My Sweet, 1103 Fulton St., Brooklyn, NY 718-857-1427
Frank’s Cocktail Lounge, 660 Fulton St. (at Lafayette), Brooklyn,
NY, 718-625-9339, www.frankscocktaillounge.com
Galapagos, 70 N. 6th St., Brooklyn, NY, 718-782-5188,
www.galapagosartspace.com
Garage Restaurant and Café, 99 Seventh Ave. (betw 4th and
Bleecker), 212-645-0600, www.garagerest.com
Garden Café, 4961 Broadway, by 207th St., New York, 10034,
212-544-9480
Ginny’s Supper Club, 310 Malcolm X Boulevard Manhattan, NY
10027, 212-792-9001, http://redroosterharlem.com/ginnys/
Glen Rock Inn, 222 Rock Road, Glen Rock, NJ, (201) 445-2362,
www.glenrockinn.com
Greenwich Village Bistro, 13 Carmine St., 212-206-9777,
www.greenwichvillagebistro.com
Harlem Tea Room, 1793A Madison Ave., 212-348-3471,
www.harlemtearoom.com
Hat City Kitchen, 459 Valley Street, Orange. 862-252-9147.
www.hatcitykitchen.com
Havana Central West End, 2911 Broadway/114th St), NYC,
212-662-8830, www.havanacentral.com
Hibiscus Restaurant, 270 S. Street, Morristown, NJ, 973-3590200, www.hibiscusrestaurantnj.com
Highline Ballroom, 431 West 16th St (between 9th & 10th Ave.
www.highlineballroom.com, 212-414-4314.
Hopewell Valley Bistro, 15 East Broad St, Hopewell, NJ 08525,
609-466-9889, www.hopewellvalleybistro.com
Hyatt New Brunswick, 2 Albany St., New Brunswick, NJ
IBeam Music Studio, 168 7th St., Brooklyn, ibeambrooklyn.com
Iridium, 1650 Broadway, 212-582-2121, iridiumjazzclub.com
Jazz 966, 966 Fulton St., Brooklyn, NY, 718-638-6910
Jazz at Lincoln Center, 33 W. 60th St., 212-258-9800,
www.jalc.org
Frederick P. Rose Hall, Broadway at 60th St., 5th Floor
Dizzy’s Club Coca-Cola, Reservations: 212-258-9595
Rose Theater, Tickets: 212-721-6500
The Allen Room, Tickets: 212-721-6500
Jazz Gallery, 290 Hudson St., Tel: 212-242-1063, Fax: 212-2420491, www.jazzgallery.org
The Jazz Spot, 375 Kosciuszko St. (enter at 179 Marcus Garvey
Blvd.), Brooklyn, NY, 718-453-7825, www.thejazz.8m.com
Jazz Standard, 116 E. 27th St., 212-576-2232,
Joe’s Pub at the Public Theater, 425 Lafayette St & Astor Pl.,
212-539-8778, www.joespub.com
John Birks Gillespie Auditorium (see Baha’i Center)
Jules Bistro, 65 St. Marks Place, Tel: 212-477-5560, Fax: 212-4200998, www.julesbistro.com
Kasser Theater, 1 Normal Avenue, Montclair State College,
Montclair, 973-655-4000, www.montclair.edu/arts/
performancefacilities/alexanderkasser.html
Key Club, 58 Park Place, Newark, NJ, (973) 799-0306,
www.keyclubnj.com
Kitano Hotel, 66 Park Ave., 212-885-7119. www.kitano.com
Knickerbocker Bar & Grill, 33 University Pl., 212-228-8490,
www.knickerbockerbarandgrill.com
The Knitting Factory, 74 Leonard St., Tel: 212-219-3132,
www.knittingfactory.com
La Famiglia Sorrento, 631 Central Ave, Westfield, NJ, 07090,
908-232-2642, www.lafamigliasorrento.com
La Lanterna (Bar Next Door at La Lanterna), 129 MacDougal
Street, New York, 212-529-5945, www.lalanternarcaffe.com
Le Grand Dakar Cafe, 285 Grand Ave, Clinton Hill, Brooklyn,
http://nymag.com/listings/restaurant/le-grand-dakar/
Le Madeleine, 403 W. 43rd St. (betw 9th & 10th Ave.), New York,
New York, 212-246-2993, www.lemadeleine.com
Lenox Lounge, 288 Lenox Ave. (above 124th St.), 212-427-0253,
www.lenoxlounge.com
Les Gallery Clemente Soto Velez, 107 Suffolk St. (at Rivington
St.), 212-260-4080
Live @ The Falcon, 1348 Route 9W, Marlboro, NY 12542,
Living Room, 154 Ludlow St. (betw Rivington & Stanton),
212-533-7235, www.livingroomny.com
The Local 269, 269 E. Houston St. (corner of Suffolk St.), NYC
Makor, 35 W. 67th St. (at Columbus Ave.), 212-601-1000,
www.makor.org
Lounge Zen, 254 DeGraw Ave, Teaneck, NJ, (201) 692-8585,
www.lounge-zen.com
Makeda, George St., New Brunswick. NJ, www.nbjp.org
Maxwell’s, 1039 Washington Street, Hoboken, NJ, 201-653-1703,
www.maxwellsnj.com
McCarter Theater, 91 University Pl., Princeton, 609-258-2787,
www.mccarter.org
Merkin Concert Hall, Kaufman Center, 129 W. 67th St. (betw
Broadway & Amsterdam), 212-501-3330, www.ekcc.org/
merkin.htm
Metropolitan Room, 34 West 22nd Street New York City, NY
10012, 212-206-0440,
MetroTech Commons, Flatbush & Myrtle Ave., Brooklyn, NY,
718-488-8200 or 718-636-4100 (BAM)
Mirelle’s, 170 Post Ave., Westbury, NY, 516-338-4933
Mixed Notes Café, 333 Elmont Rd., Elmont, NY (Queens area),
516-328-2233, www.mixednotescafe.com
Mo-Bay Uptown, 17 W. 125th St., 212-876-9300,
www.mobayrestaurant.com
Montauk Club, 25 Eighth Ave., Brooklyn, NY, 718-638-0800,
www.montaukclub.com
Museum of the City of New York, 1220 Fifth Ave. (between
103rd & 104th St.), 212-534-1672, www.mcny.org
Musicians’ Local 802, 332 W. 48th St., 718-468-7376 or
860-231-0663
Newark Museum, 49 Washington Street, Newark, New Jersey
07102-3176, 973-596-6550, www.newarkmuseum.org
New Jersey Performing Arts Center, 1 Center St., Newark, NJ,
07102, 973-642-8989, www.njpac.org
New School Performance Space, 55 W. 13th St., 5th Floor (betw
5th & 6th Ave.), 212-229-5896, www.newschool.edu.
New School University-Tishman Auditorium, 66 W. 12th St., 1st
Floor, Room 106, 212-229-5488, www.newschool.edu
New York City Baha’i Center, 53 E. 11th St. (betw Broadway &
University), 212-222-5159, www.bahainyc.org
Night of the Cookers, 767 Fulton St., Brooklyn, NY, Tel: 718-7971197, Fax: 718-797-0975
North Square Lounge, 103 Waverly Pl. (at MacDougal St.),
212-254-1200, www.northsquarejazz.com
Novita Bistro & Lounge, 25 New St, Metuchen.
Nublu, 62 Ave. C (betw 4th & 5th St.), 212-979-9925,
www.nublu.net
Nuyorican Poet’s Café, 236 E. 3rd St. (betw Ave. B & C), 212505-8183, www.nuyorican.org
Oak Room at The Algonquin Hotel, 59 W. 44th St. (betw 5th and
6th Ave.), 212-840-6800, www.thealgonquin.net
Oceana Restaurant, 120 West 49th Street, New York, NY 10020
212-759-5941, www.oceanarestaurant.com
Opia, 130 East 57th St, New York, NY 10022, 212-688-3939
www.opiarestaurant.com
Orchid, 765 Sixth Ave. (betw 25th & 26th St.), 212-206-9928
Palazzo Restaurant, 11 South Fullerton Avenue, Montclair. 973746-6778. www.palazzonj.com
Performance Space 122, 150 First Av., 212-477-5829,
www.ps122.org
Pigalle, 790 8th Ave. 212-489-2233. www.pigallenyc.com
Priory Restaurant & Jazz Club: 223 W Market St., Newark, NJ
07103, 973-639-7885
Private Place, 29 S. Center Street, South Orange, NJ, 973-6756620 www.privateplacelounge.com
Proper Café, 217-01 Linden Blvd., Queens, 718-341-2233
Prospect Park Bandshell, 9th St. & Prospect Park W., Brooklyn,
NY, 718-768-0855
Prospect Wine Bar & Bistro, 16 Prospect St. Westfield, NJ,
908-232-7320, www.16prospect.com, www.cjayrecords.com
Puppets Jazz Bar, Puppet Jazz Bar, 481 5th Avenue, NY 11215,
718- 499-2622, www.PuppetsJazz.com
Red Eye Grill, 890 Seventh Ave. (at 56th St.), 212-541-9000,
www.redeyegrill.com
Ridgefield Playhouse, 80 East Ridge, parallel to Main St., Ridgefield, CT; ridgefieldplayhouse.org, 203-438-5795
Rockwood Music Hall, 196 Allen St, New York, NY 10002
212-477-4155
Rose Center (American Museum of Natural History), 81st St.
(Central Park W. & Columbus), 212-769-5100, amnh.org/rose
Rose Hall, 33 W. 60th St., 212-258-9800, www.jalc.org
Rosendale Café, 434 Main St., PO Box 436, Rosendale, NY
12472, 845-658-9048, www.rosendalecafe.com
Rubin Museum of Art - “Harlem in the Himalayas”, 150 W. 17th
St. 212-620-5000. www.rmanyc.org
Rustik, 471 DeKalb Ave, Brooklyn, NY, 347-406-9700, www.
rustikrestaurant.com
Shapeshifter Lab, 18 Whitwell Pl, Brooklyn, 646-820-9452.
www.shapeshifterlab.com
St. Mark’s Church, 131 10th St. (at 2nd Ave.), 212-674-6377
St. Nick’s Pub, 773 St. Nicholas Av (at 149th), 212-283-9728
St. Peter’s Church, 619 Lexington (at 54th), 212-935-2200,
www.saintpeters.org
Salon at Rue 57, 60 West 57th Street, 212-307-5656,
www.rue57.com
Sasa’s Lounge, 924 Columbus Ave, Between 105th & 106th St.
NY, NY 10025, 212-865-5159,
www.sasasloungenyc.yolasite.com
Savoy Grill, 60 Park Place, Newark, NJ 07102, 973-286-1700
Schomburg Center, 515 Malcolm X Blvd., 212-491-2200,
www.nypl.org/research/sc/sc.html
Session Bistro. 245 Maywood Avenue, Maywood. 201-880-7810.
Shanghai Jazz, 24 Main St., Madison, NJ, 973-822-2899,
www.shanghaijazz.com
27
Clubs & Venues
ShapeShifter Lab, 18 Whitwell Place, Brooklyn, NY 11215
www.shapeshifterlab.com
Showman’s, 375 W. 125th St., 212-864-8941
Sidewalk Café, 94 Ave. A, 212-473-7373
Silver Spoon, 124 Main St., Cold Spring, NY 10516, 845-2652525, www.silverspooncoldpspring.com
Sista’s Place, 456 Nostrand Ave. (at Jefferson Ave.), Brooklyn,
NY, 718-398-1766, www.sistasplace.org
Skippers Plane Street Pub, 304 University Ave. Newark NJ, 973733-9300, skippersplanestreetpub
Smalls Jazz Club, 183 W. 10th St. (at 7th Ave.), 212-929-7565,
www.SmallsJazzClub.com
Smith’s Bar, 701 8th Ave, New York, 212-246-3268
Sofia’s Restaurant - Club Cache’ [downstairs], Edison Hotel,
221 W. 46th St. (between Broadway & 8th Ave), 212-719-5799
Somethin’ Jazz Club, 212 E. 52nd St., NY 10022, 212-371-7657
Sophie’s Bistro, 700 Hamilton St., Somerset. www.nbjp.org
South Gate Restaurant & Bar, 154 Central Park South, 212-4845120, www.154southgate.com
South Orange Performing Arts Center, One SOPAC
Way, South Orange, NJ 07079, sopacnow.org, 973-313-2787
South Street Seaport, 207 Front St., 212-748-8600,
www.southstseaport.org.
Spoken Words Café, 266 4th Av, Brooklyn, 718-596-3923
Stanley H. Kaplan Penthouse, 165 W. 65th St., 10th Floor,
212-721-6500, www.lincolncenter.org
The Stone, Ave. C & 2nd St., www.thestonenyc.com
Sugar Bar, 25 4 W. 72nd St ., 212-579-0222,
www.sugarbarnyc.com
Swing 46, 349 W. 46th St.(betw 8th & 9th Ave.),
212-262-9554, www.swing46.com
Symphony Space, 2537 Broadway, Tel: 212-864-1414, Fax: 212932-3228, www.symphonyspace.org
Tea Lounge, 837 Union St. (betw 6th & 7th Ave), Park Slope,
Broooklyn, 718-789-2762, www.tealoungeNY.com
Terra Blues, 149 Bleecker St. (betw Thompson & LaGuardia),
212-777-7776, www.terrablues.com
Theatre Row, 410 W. 42nd, 212-714-2442, www.theatrerow.org
Tito Puente’s Restaurant and Cabaret, 64 City Island Avenue,
City Island, Bronx, 718-885-3200, titopuentesrestaurant.com
Tomi Jazz, 239 E. 53rd St., lower level. 646-497-1254,
www.tomijazz.com
Tonic, 107 Norfolk St. (betw Delancey & Rivington), Tel: 212358-7501, Fax: 212-358-1237, tonicnyc.com
Town Hall, 123 W. 43rd St., 212-997-1003
Trash Bar, 256 Grand St. 718-599-1000. www.thetrashbar.com
Triad Theater, 158 W. 72nd St. (betw Broadway & Columbus
Ave.), 212-362-2590, www.triadnyc.com
Tribeca Performing Arts Center, 199 Chambers Street, 10007,
[email protected], www.tribecapac.org
Trumpets, 6 Depot Square, Montclair, NJ, 973-744-2600, www.
trumpetsjazz.com
Tumulty’s Pub, 361 George St., New Brunswick
Turning Point Cafe, 468 Piermont Ave. Piermont, N.Y. 10968
(845) 359-1089, http://www.turningpointcafe.com/
Village Vanguard, 178 7th Avenue South, 212-255-4037,
www.villagevanguard.net
Vision Festival, 212-696-6681, [email protected],
www.visionfestival.org
Watchung Arts Center, 18 Stirling Rd, Watchung, NJ 07069,
908-753-0190, www.watchungarts.org
Watercolor Café, 2094 Boston Post Road, Larchmont, NY 10538,
914-834-2213, www.watercolorcafe.net
Weill Receital Hall at Carnegie Hall, 57th & 7th Ave,
212-247-7800
Williamsburg Music Center, 367 Bedford Avenue, Brooklyn, NY
11211, (718) 384-1654 www.wmcjazz.org
Zankel Hall, 881 7th Ave, New York, 212-247-7800
Zebulon, 258 Wythe St., Brooklyn, NY, 11211, 718-218-6934,
www.zebuloncafeconcert.com
Zinc Bar, 82 West 3rd St.
RECORD STORES
Barnes & Noble, 1960 Broadway, at 67th St, 212-595-6859
Colony Music Center, 1619 Broadway. 212-265-2050,
www.colonymusic.com
Downtown Music Gallery, 13 Monroe St, New York, NY 10002,
(212) 473-0043, www.downtownmusicgallery.com
J&R Music World, 13 Monroe Street, 212-238-9000, www,jr.com
Jazz Record Center, 236 W. 26th St., Room 804,
212-675-4480, www.jazzrecordcenter.com
Norman’s Sound & Vision, 555 Metropolitan Ave, Brooklyn,
New York 11211
Princeton Record Exchange, 20 South Tulane Street, Princeton,
NJ 08542, 609-921-0881, www.prex.com
Rainbow Music 2002 Ltd., 130 1st Ave (between 7th & St. Marks
Pl.), 212-505-1774
Scotti’s Records, 351 Springfield Ave, Summit, NJ, 07901,
908-277-3893, www.scotticd.com
MUSIC STORES
Manny’s Music, 156 W. 48th St. (betw. 6th and 7th Ave),
212-819-0576, Fax: 212-391-9250, www.mannysmusic.com
Drummers World, Inc., 151 W. 46th St., NY, NY 10036, 212840-3057, 212-391-1185, www.drummersworld.com
Roberto’s Woodwind & Brass, 149 West 46th St. NY, NY 10036,
646-366-0240, Repair Shop: 212-391-1315; 212-840-7224,
www.robertoswoodwind.com
Rod Baltimore Intl Woodwind & Brass, 168 W. 48 St. New
York, NY 10036, 212-302-5893
Sam Ash, 160 West 48th St, 212-719-2299, www.samash.com
Sadowsky Guitars Ltd, 2107 41st Avenue 4th Floor, Long Island
City, NY 11101, 718-433-1990. www.sadowsky.com
Steve Maxwell Vintage Drums, 723 7th Ave, 3rd Floor, New
York, NY 10019, 212-730-8138, www.maxwelldrums.com
SCHOOLS, COLLEGES, CONSERVATORIES
92nd Street Y, 1395 Lexington Ave, New York, NY 10128
212.415.5500; www.92ndsty.org
Brooklyn-Queens Conservatory of Music, 42-76 Main St.,
Flushing, NY, Tel: 718-461-8910, Fax: 718-886-2450
Brooklyn Conservatory of Music, 58 Seventh Ave., Brooklyn,
NY, 718-622-3300, www.brooklynconservatory.com
City College of NY-Jazz Program, 212-650-5411,
Columbia University, 2960 Broadway, 10027
Drummers Collective, 541 6th Ave, New York, NY 10011,
212-741-0091, www.thecoll.com
Five Towns College, 305 N. Service Rd., 516-424-7000, ext.163,
Dix Hills, NY
Greenwich House Music School, 46 Barrow St., Tel: 212-2424770, Fax: 212-366-9621, www.greenwichhouse.org
Juilliard School of Music, 60 Lincoln Ctr, 212-799-5000
LaGuardia Community College/CUNI, 31-10 Thomson Ave.,
Long Island City, 718-482-5151
Lincoln Center — Jazz At Lincoln Center, 140 W. 65th St.,
10023, 212-258-9816, 212-258-9900
Long Island University — Brooklyn Campus, Dept. of Music,
University Plaza, Brooklyn, 718-488-1051, 718-488-1372
Manhattan School of Music, 120 Claremont Ave., 10027,
212-749-2805, 2802, 212-749-3025
New Jersey City University, 2039 Kennedy Blvd., Jersey City, NJ
07305, 888-441-6528
New School, 55 W. 13th St., 212-229-5896, 212-229-8936
New York University-Jazz/Contemporary Music Studies, 35
West 4th St. Room#777, 212-998-5446, 212-995-4043
New
York
Jazz
Academy,
(718) 426-0633,
www.NYJazzAcademy.com
Princeton University-Dept. of Music, Woolworth Center Musical
Studies, Princeton, NJ, 609-258-4241, 609-258-6793
Queens College — Copland School of Music, City University of
NY, Flushing, 718-997-3800
Rutgers Univ. at New Brunswick, Jazz Studies, Douglass Campus, PO Box 270, New Brunswick, NJ, 908-932-9302
Rutgers University Institute of Jazz Studies, 185 University
Avenue, Newark NJ 07102, 973-353-5595
newarkwww.rutgers.edu/IJS/index1.html
SUNY Purchase, 735 Anderson Hill Rd., Purchase, NY
914-251-6300, 914-251-6314
William Paterson University Jazz Studies Program, 300 Pompton
Rd, Wayne, NJ, 973-720-2320
RADIO
WBGO 88.3 FM, 54 Park Pl, Newark, NJ 07102, Tel: 973-6248880, Fax: 973-824-8888, www.wbgo.org
WCWP, LIU/C.W. Post Campus
WFDU, http://alpha.fdu.edu/wfdu/wfdufm/index2.html
WKCR 89.9, Columbia University, 2920 Broadway
Mailcode 2612, New York, NY 10027, Listener Line: (212) 8549920, www.columbia.edu/cu/wkcr, [email protected]
One Great Song, Hosted by Jay Harris, www.wmnr.org (at 6 on
Saturdays, and at www.tribecaradio.net at 11AM Sundays and
again on Monday and Thursday nights at 11PM.)
Lenore Raphael’s JazzSpot, www.purejazzradio.com.
PERFORMING GROUPS
Westchester Jazz Orchestra, Emily Tabin, Director, PO Box 506,
Chappaqua, NY 10514, 914-861-9100, www.westjazzorch.org
ADDITIONAL JAZZ RESOURCES
Big Apple Jazz, www.bigapplejazz.com, 718-606-8442,
[email protected]
Louis Armstrong House, 34-56 107th St, Corona, NY 11368,
718-997-3670, www.satchmo.net
Institute of Jazz Studies, John Cotton Dana Library, RutgersUniv, 185 University Av, Newark, NJ, 07102, 973-353-5595
Jazzmobile, Inc., 154 W. 126th St., 10027, 212-866-4900,
www.jazzmobile.org
Jazz Museum in Harlem, 104 E. 126th St., 212-348-8300,
www.jazzmuseuminharlem.org
Jazz Foundation of America, 322 W. 48th St. 10036,
212-245-3999, www.jazzfoundation.org
New Jersey Jazz Society, 1-800-303-NJJS, www.njjs.org
New York Blues & Jazz Society, www.NYBluesandJazz.org
Rubin Museum, 150 W. 17th St, New York, NY,
212-620-5000 ex 344, www.rmanyc.org.


28
Feature
Lewis Porter
Interview by Nora McCarthy
(This is a continuation of the interview
that was published in the February issue
of Jazz Inside Magazine.)
LP: Like most cats I have been self-managed all
these years but recently I've started to work with
Susan Brink who does an excellent job and can
be reached on Facebook. Recently, I was asked
to join a new collective called, The Conjure
Collective and that collective includes Howard
Johnson, who I love, and Frank Lacy, J.D. Parran, Ray Blue, Kevin Ray—about ten people,
and we are going to be working with a booking
agent as well.
JI: Tell me more about the Master’s Program
you founded.
LP: I’ve always loved teaching. I especially love
it in recent years because since from about 1998
all I do is teach graduate students now in a program that I founded in 1997. It is the only jazz
history degree in the world, it’s called, “A Master’s in Jazz History and Research.” So all I’ve
done in recent years is teach graduate seminars
which I love because graduate students are people who have made a decision that jazz is what
they’re all about. Not only that but it’s a really
interesting mix of students, most of whom are
young people who just finished their Bachelor’s
Degree. Not people whose names you’re going
to know but I also get accomplished musicians
who are going back to school to study with me
and get their Master’s and those include currently: Vincent Gardner, Wynton Marsalis’
trombone player, a lovely guy who happens to
be in my mind, one of the best trombone players
anywhere. He’s very open in terms of how he
plays and what kind of things he likes to play;
Rhoda Scott, the legendary organist who is in
her early 70’s; singer Melba Joyce, also in her
early 70’s; and, Chad Taylor the drummer, who
is on the new Enja Record with Liebman. So it’s
a really interesting mix of people everything
from people who maybe are not destined to become name players to people who already are
name players. Because it’s a Jazz History program, you don’t want only people who are high
powered players in it, you also want people who
are heading more toward a Jazz History/
Education type of career. I find that when we
have discussions that it’s a marvelous mix, that
it’s not all one kind of a thing—everybody’s
mutually respectful, and it’s just a great program
and I love it.
JI: Do you have an association with Wynton
Marsalis and Jazz at Lincoln Center? I remember
hearing you speak there a few years ago.
LP: What happened is from September, 2006 to
May 2009, they asked me if I would put together
and lead a series of panel discussions for Jazz at
Lincoln Center. I said, of course, as long as I can
have freedom in choosing what I want to do. I
wanted to get people talking about some of the
tougher issues like race and I wanted to get people who are interested in free jazz even though it
isn’t a big part of the programming there. They
were cool with that so those years that I was
doing that series, Jazz Talk, I had a bunch of
people that told me that they had never spoken at
Lincoln Center before. They included: Jane Ira
Bloom, Amiri Baraka, Rashied Ali, Daniel
Carter, Don Byron, just a whole bunch of people
who had never been there before and we talked
about things like: jazz and race, race and how it
comes into play in jazz education, we talked
about why are there not more women in jazz—
although I feel that in the past few years there
has been improvement there but it is still a good
question. I’m the kind of person who respects
everyone’s opinion. I’ve never been a person
who expects anyone to agree with me in order to
be my friend…to a point, if you hate Black people or Jewish people and you love guns then you
probably are not going to be my friend. But I
don’t really get worked up when people disagree. You have to know how to moderate. Most
moderators do nothing; they just sit there and
maybe throw out one question and sit back to see
what happens. I feel that if you want a panel to
be interesting you have to be an active moderator. That doesn’t mean that you should interrupt
people or talk much, or talk about yourself, but it
means that you have to stay on it. The moderator
should be on the edge of his/her seat thinking
how can I keep this moving and how can I keep
everyone involved, and if there is someone who
hasn’t spoken, how can I get that person to start
talking.
JI: What do you want our readers to take with
them from this interview, or to know about you
that we haven’t discussed here?
LP: I’m a person who has pursued many different avenues and has a lot of interests, but the
thing is that’s just who I am, it is not something
that I made a decision to be and the fact it is not
something that I even had a choice about. Everybody’s different and you don’t necessarily
choose to be the way you are.
JI: What do you think about the business
though? What do the kids who are leaving the
music universities have to look forward to?
What are their odds for success?
LP: I’m sure it is rough these days and I know it
is but I will say one thing. I don’t think it makes
sense to go around talking about how all the
players were great in the old days and “these
kids today,” blah, blah, blah. I don’t’ agree with
that. There’s hundreds of great players out there
today and Jimmy Heath is one of the few older
cats I know, and I love. Jimmy by the way, who
will say to you that the average level of players
today as a result of jazz education is much
higher than it was in his generation—and he will
say that and won’t say they were better in the old
days. The thing is we know the few best players
from the old days. I have a thing I do for my
students where I play them recordings of average
bebop bands from the forties and the cats are not
making the changes and it sounds horrible—the
students start laughing. I say to them, ‘Now you
know what the average player sounded like, do
you think everybody played like Charlie Parker?
Wake up.’ So this idea that everybody used to be
magnificent and today they’re not, that’s ridiculous. There was only one, Bird, Coleman Hawkins and Prez but as far as I’m concerned, Joshua
Redman is one of the best saxophonists ever and
if you can’t hear that, too bad. Chris Potter is
great too! C’mon, wake up. There are lots of
great musicians and there’s lots of passion. This
idea that they’re not passionate like they used to
be is pessimistic and insulting in my judgment.
The thing about music is this. Occasionally I
have a student who comes up to me, an undergraduate at Rutgers, and they will say to me,
“I’m trying to decide if I should go into music or
something else.” My answer is always the same.
If you’re trying to decide between music and
something else, go into something else. If the
only passion that you must do is music, then you
have no choice. And, if you have no choice,
somehow or other, you’re going to make it work.
JI: I agree with that. Lastly, what do you see in
the future for Lewis Porter?
JP: I’m going to continue doing a lot of work as
a side person. I find working as a side person
very satisfying. I don’t think it’s such a terrible
thing because it exposes me to a lot of different
playing situations. It is a bit hair-raising sometimes because you have to learn a lot of new
music with short notice but in general there are a
lot of things that I like about it. I’m hoping that I
continue to get things as a single outside of the
New York area and in Europe. I’ve been all over
Europe, most often to Italy. I’ve also been to
Germany, the UK, the Netherlands, Denmark,
France, Finland, Spain - on the same festival
with Roy Hargrove and others. I’m going to
continue to tour as a single, continue to do
mostly performing but of course my regular
teaching at Rutgers and guest teaching here and
there especially when I give a guest concert out
of town very often they want a workshop or
clinic. As far as big composition projects, I expect I’ll continue to do them on an occasional
basis, it’s a lot of work, so I don’t think I’m
going to be turning out more than one a year. Of
course, I’m going to continue to write music for
some of the bands I’m in. This is basically it, just
making music. I do occasionally get invitations
to teach at other schools. In the early ‘90s I
taught one day a week at the New School for two
years. I taught one day a week at the Manhattan
School of Music for two years. I taught one day
a week at NYU for one semester and this semester, I accepted an invitation, so I’m going to
teach every Monday at William Paterson University in addition to teaching at Rutgers.

“First rate people surround
themselves with first rate people,
and second rate people surround
themselves with third rate people.”
- Leo Rosten, Author, 1908-1997
29
AROUND TOWN
New England Conservatory
Celebrates Contemporary
Improvisation 40th Anniversary
Performance in New York March 17-23
In celebration of their 40th Anniversary,
the New England Conservatory will feature a
variety of faculty and student ensembles in
performances at venues in New York City between March 17-23
Founded in 1972 by musical visionaries
Gunther Schuller and Ran Blake, New England
Conservatory's Contemporary Improvisation
program celebrates its 40th anniversary in the
2012-2013 season with a series of events in
Boston and New York City. NEC’s CI Program
trains creative musicians to broaden their musical palettes and develop unique voices as composer/performer/ improvisers. Under Blake's
guidance for its first twenty-six years, the program expanded its offerings under subsequent
chairs Allan Chase and Hankus Netsky. Alumni
include clarinetist/composer Don Byron, keyboardist John Medeski, pianist Jacqueline
Schwab, and vocalist Aoife O'Donovan. NEC’s
program founder, Gunther Schuller, coined the
term "Third Stream" in the 1950s and articulated the idea of the "Complete Musician" during his presidency at NEC.

Sunday, March 17, Cornelia Street Café:
Kalmanovitch, Coleman, Reichman Trio.
Friends and faculty members in NEC’s Contemporary Improvisation Department, Tanya
Kalmanovitch, Anthony Coleman and Ted
Reichman walk the contested spaces between
composition and improvisation, and art music, free improvisation and popular song.
Their core repertoire includes original compositions and re-compositions of classical and
popular music – from the final movement of
Mahler’s Third Symphony, the Russian popular song Kalinka, to Duke Ellington’s Mood
Indigo.
 Wednesday, March 20 - Leonard Nimoy
Thalia Theatre, Symphony Space: Today’s
Jewish Music: From NEC to the Downtown
Scene. 7PM: Panel Discussion on New England Conservatory’s pivotal role in the contemporary Renaissance of Jewish Music.
Concert featuring NEC alumni Hankus Netsky, Greg Wall, Michael Winograd, Lily
Henley, Marty Ehrlich, Matt Darriau, Anthony Coleman, Judith Berkson and more.
 Thursday, March 21, 7-11 PM, Barbes, 376
9th Street, Brooklyn: Contemporary Improvisation Festival. Curated by Anthony Coleman
and Ashley Paul, this Festival will feature
performances by NEC alumni Matt Darriau,
Frank London, Ashley Paul, Cuddle Magic,
Mat Maneri, Andrew Hock, Judith Berkson
and more.
 Saturday, March 23: Celebration Concert,
Symphony Space. Ran Blake, Dominique
30
Eade, The Claudia Quintet, Christine Correa,
Sarah Jarosz, John Medeski, Anthony Coleman and Eden MacAdam-Somer. For forty
years New England Conservatory's Contemporary Improvisation Department has been
changing the conversation around improvisation and composition. This final New York
event hosted by Contemporary Improvisation
department chair Hankus Netsky and administrative director Greta DiGiorgio McAndrew
celebrates the joy of musical innovation, featuring performances by the program's trailblazing faculty and alumni including Ran
Blake, Dominique Eade, The Claudia Quintet,
Christine Correa, Sarah Jarosz, John Medeski,
Anthony Coleman and Eden MacAdamS o m e r .
2 1 2 - 8 6 4 - 5 4 0 0
www.symphonyspace.org/
For more information:
http://necmusic.edu/contemporaryimprovisation
http://necmusic.edu/ci40
Dizzy & Bird Festival, March 8-9,
Jazz At Lincoln Center
Featuring Jon Faddis Jazz Orchestra,
Paquito D’Rivera, Wycliffe Gordon
The 2012-13 Jazz at Lincoln Center 25th
Anniversary Season features six festivals that
reflect on jazz music’s legendary artists and
celebrate the musicians performing today. The
fourth festival in this series of special events is
the Dizzy and Bird Festival, highlighting the
musical genius of Dizzy Gillespie and Charlie
“Bird” Parker.
 Jon Faddis Jazz Orchestra of New York &
Quintet, 8PM in the Rose Theater, March 8-9,
Celebrating Dizzy Gillespie.
 Paquito D’Rivera’s ‘Charlie Parker with
Strings’ March 8-9, 2013, 7:30pm & 9:30pm,
The Allen Room. Cuban reedist, arranger,
composer Paquito D’Rivera has performed at
numerous concert events at Jazz at Lincoln
Center in the organization’s 25 year history.
For these special concerts, he will delve into
the musical compositions of the 1950 session
of Charlie Parker with Strings, imparting a
Latin twist to the proceedings. A few pieces
from Parker’s recordings with Machito, Chico
O’Farrill, and other Latin artists will also be
revisited.
Performers include Paquito
D’Rivera (alto saxophone, clarinet, conductor), Charles Pillow (oboe, alto saxophone),
Riza Printup (harp), Alex Brown (piano), Ben
Williams (bass), and Vince Cherico (drums).
The core ensemble will be augmented by 6
violins, 2 violas and 2 cellos.
 Wycliffe Gordon and Friends – The Dizzy
Birds: Bebop Then & Now, March 7-10,
2013, sets at 7:30pm & 9:30pm, Dizzy’s Club
Coca-Cola. Trombonist Wycliffe Gordon will
explore the music of Dizzy Gillespie and
Charlie “Bird” Parker with his ensemble in
Dizzy’s Club Coca-Cola. Performers include
Wycliffe Gordon (trombone, trumpet, vocals), Adrian Cunningham (saxophones),
Michael Dease (brass and saxophones),
Aaron Diehl (piano), Yasushi Nakamura
(bass), Dion Parson (drums), plus special
guests.
 Listening Party – Dizzy and Bird Festival,
February 28, 7pm – Frederick P. Rose Hall.
This interview series invites audiences to
listen to new jazz albums, while meeting and
hearing from the artists who recorded them.
Special guest NEA Jazz Master Randy Weston to lead discussion. Free and open to the
public.
For more information: www.JALC.org
Ask Your Mama: 12 Moods For
Jazz at Apollo Theatre, March 23
Features Jazz Vocalist Nnenna Freelon and the
Manhattan School of Music Chamber Sinfonia
The Apollo Theater and Manhattan School
of Music will join forces to present Ask Your
Mama: 12 Moods for Jazz, a 90-minute sonic
tapestry of music, film, and spoken word by
Emmy Award-winning composer Laura Karpman based on Langston Hughes’s “Ask Your
Mama: 12 Moods for Jazz” that bursts the
boundaries of time, place, and verbal expression to trace the currents and tributaries of cultural diasporas. Conducted by George Manahan
this collaboration between Grammy Awardwinning soprano Jessye Norman and Laura
Karpman will feature jazz vocalist Nnenna
Freelon and the Manhattan School of Music
Chamber Sinfonia. Langston Hughes conceived
his 1961 epic “Ask Your Mama: 12 Moods for
Jazz” as an interdisciplinary creation, including
in the margins suggestions for types of music
including hot jazz, German lieder, cha-cha,
patriotic songs, post-bop, and Middle Eastern,
as well as specific songs like “When the Saints
Go Marching In” and “Battle Hymn of the Republic," all of which he meant to accompany
his words. Karpman’s composition brings these
imaginings to life, combining Hughes’ language with sounds that come together to evoke
the turbulent flux and flow of American cultural life, making the 50-year-old text startlingly
current.
Information:
www.ApolloTheater.org



“It is incumbent
on every generation
to pay its own debts
as it goes. A principle
which if acted on would
save one-half the
wars of the world.”
- Thomas Jefferson
Interview
Demetrius Spaneas
Jazz Arranger, Conductor, Educator at Five Towns College
Interview by Joe Patitucci
(Photo by Henryk Halesa, Courtesy of Artist)
JI: Could you discuss how your role at Five
Towns College has developed?
DS: I was hired in 2010 to conduct the two big
bands as well as teaching composition and
saxophone. I teach both Classical and jazz composition.
JI: Talk about your teaching of composition
and what music you focus on.
DS: For the most part, with the classical composers, I get them very familiar with scores. I
focus on Bartok quite a lot because he had the
basis of modern orchestration, while still using
a tonal palette. I think that many classical composers and jazz arrangers, post Bartok, are using a lot of his techniques as a basis to explain
what modern Classical orchestrators are doing,
but Gil Evans’ color palette as well. I really
don’t like to make any distinction between classical and jazz training as far as composition
goes. Once you got to mid-Century, the techniques were moving back and forth. You could
take what Stravinsky was doing, and take what
Duke Ellington was doing, and mix them with
what Gunther Schuller was doing. You could
take a Lennie Tristano composition and say this
is coming from mid-Century modernism in
classical music. I want students to see the connection and make it relevant for them—rather
than having them think that there is this type of
used vocalists. So I would focus on the Great
American Songbook. In December, I had three
vocalists in the band—doing mostly ballads and
swing tunes. The Jazz Orchestra—which I regard as the flagship ensemble of the school,
focuses on much more modern music. I also try
to focus the music around what the personnel
are and what soloists I have. I’ll do anything
from Mingus to Earth Wind and Fire—which
I’m doing this semester. I have a great rhythm
section so I might as well show them off.
JI: Do you arrange material for the ensembles
you lead.
DS: Yes. What I might do is take a published
arrangement and completely re-adapt it. That
happens quite a lot. I may take an arrangement
that has a trumpet feature and completely revoice it. In fact, it’s kind of a running joke with
my students …. we’ll be reading through an
arrangement and decide that we like it and then
I’ll start re-arranging it on the spot. I’ll say,
“Hey trumpets, why don’t you play these notes
instead, and let’s give this to the trombones,
and try this format and see if it works a little
better. We also read a lot of student arrangements, particularly from my graduate and doctoral classes. Some things that are really quite
good, I’ll program onto a concert.
JI: Could you discuss how you discovered your
“...you can’t deny your own background
and training—because they all wind up
being part of your soundscape as an
artist—and you can draw upon all
these different influences.”
music and there is this type of music. Of
course, all of these techniques are being used in
pop arrangements as well. When Bartok came
up with how to write for strings, you find that
in film scores, and other types of commercial
music.
JI: How do you select the repertoire for the big
bands?
DS: There are two different focuses. One of
those was the Swing band which I did up until
this semester. The focus of that ensemble was
as a pre-World War II type of stage band which
32
Jazz Inside-2013-03_032
page 2
passion for arranging and how you’ve nurtured
that.
DS: I studied at New England Conservatory
and earned my Bachelors Degree and Masters
degree there. My teacher was Jimmy Giuffre—
who, of course, was a great avant-garde saxophonist as well as being very well-known as a
composer and arranger—notably for writing
“Four Brothers.” Also, New England Conservatory has the oldest jazz program in the country.
I played in the Jewish music ensemble with
Hankus Netsky—and he taught me quite a lot
about that style of music as well. I did quite a
lot of World Music while I was there. Of
course, had the looming presence of Gunther
Schuller there—who saw no boundaries between classical and jazz. George Russell was
also teaching there when I attended and was a
major influence on me as well — and his
Lydian Chromatic Concept and his compositions were incredibly inspiring to me.
JI: What kinds of guidance do you provide for
students about the business side of the music?
DS: One thing that I tell students is that you
can’t use your teachers as a model. The paradigm for the business changes constantly. What
may have worked for me 15 or 20 years ago, is
not going to work for a student now. I tell classical students not to expect that they’re going to
win an orchestra job—simply because they
virtually don’t exist any more. I tell jazz students the same thing—that getting a steady
[playing] gig is not necessarily going to happen.
So I tell them to be more entrepreneurial about
it. In the many lectures I’ve done, I tell students
that you have to be your own business. You
have to decide to promote yourself. You can’t
wait for anyone else to do it. You have to be
extremely proactive in creating your own career.
JI: Were there some things you wanted to highlight about your own career that we haven't
covered.
DS: I do quite a lot of cultural diplomacy programs with the U.S. State Department overseas.
I’ve been in 23 countries in the last five years—
basically cultural diplomacy through jazz education. I also have had a very dynamic life in
the commercial world playing R&B with Motown’s Funk Brothers for two years—taking
over for Tom Scott. In short, you can’t deny
these experiences, and you can’t deny your own
background and training—because they all
wind up being part of your soundscape as an
artist—and you can draw upon all these different influences.
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Profile
Remembering
Lawrence D. “Butch” Morris
The Man, Mentor, Maestro, Alchemist
February 10, 1947-January 29, 2013
Photo by Ken Weiss
By Nora McCarthy
Member of Chorus of Poets
“There is so much love in this room, it
hurts.” Alexandre Morris’ tearful words pierced
the hearts of those who gathered to mourn and
celebrate the life of his beloved father, visionary
conductor, jazz musician, and innovator, Laurence D. “Butch” Morris who died on January 29,
2013 from cancer, he was 65.
The service, officiated by William Parker,
was held at the Angel Orensanz Center on the
L.E.S. and came together a little over a week
after Butch’s death while the pain and shock of
this tremendous loss was still stinging in everyone’s awareness. The cavernous space of the
historic synagogue was teaming with friends,
family, colleagues, musicians, artists, writers,
poets, photographers, videographers, dancers,
actors, people of all stripes and stations in life—
admirers from far and near. The sadness was
palpable as friends greeted one another in somber embraces. People were standing five deep in
the back of the room, along the sides, and in the
balcony to pay their respects to the man they
loved. We all listened with rapt attention to each
speakers’ moving anecdotal recitation about the
man, the lifelong friend, the artist—but none
spoke as movingly or poignantly as his son,
whose gut wrenching purge made me sob. With
a lifesized poster of Butch Morris on the stage
beside him Alexandre spoke honestly and truly
about the father none of us could have known
and his pain we could only imagine.
Maestro Henry Threadgill; saxophonist,
David Murray; poet, playwright and critic, Allan
Graubard; actor Avery Brooks; poet Steve Dalachinsky; drummer, J.T. Lewis; and, several others spoke endearingly about the man they knew
so well and cherished. Writer, poet, playwright,
professor Steve Cannon, founder of A Gathering
of the Tribes Gallery—Butch’s second home—
gave a compelling synopsis of the last days leading up to Butch’s transition. A video presentation followed, The Composition of Conduction
by Luciano Rosetti, that beautifully encapsulated
the essence of Butch’s work. This night was not
an ordinary night nor was this an ordinary service for a lost member of the jazz community, it
was quite different, this one was felt on an extremely visceral level. The service was comforting yet heartbreaking beyond words. I have attended many memorials in my life, but not a one
as loving as this one.
Butch Morris was a dichotomous enigma.
Simultaneously an accessible openly warm gregarious individual and, a complex mysterious
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loner, a seriously brilliant artist, creative mind,
innovator and highly esteemed significant figure
in the world of creative music – a very private
and very public human being. He was a pioneer
in the field of Conduction having invented a
vocabulary of ideographic signs and gestures,
i.e. “directives” he used to construct an arrangement or instant composition by manipulating and
exploiting symbolic and sonic information. His
fascination with the gap between notated music
and improvisation was at the center of his life’s
work. In his own words the purpose of his Conduction Vocabulary® is, “To balance the intuitive, improvisational, interpretational, and compositional character of the ensemble, and construct a music that can reflect all known and
unknown elements that exist in the fabric of (all)
music and its sonic world.” His Conduction Vocabulary® translates across all musical forms,
genres, and traditions, and can be applied as an
extension of conventional ‘conduction’ as well.
My association with Butch Morris began in
February, 2005 when I first saw him conducting
a 27 piece orchestra, New York City Skyscraper,
at The Bowery Poetry Club. Being somewhat
familiar with the artists from the L.E.S. whose
reputations in the creative world preceded them,
I had heard of Butch Morris through the various
channels and from the bandleaders I had met
and/or worked with who use conduction in their
orchestras like Frank Lacy, Craig Harris, David
Murray and Jorge Sylvester but I hadn’t experienced the music of Butch Morris until I was
pulled into the Bowery Poetry Club that Sunday
afternoon by the glorious sounds that came wafting out onto the street. The music was so intriguing that I decided to stay to listen further. I found
a seat at the bar off to the side of the bandstand
and witnessed for the first time the phenomenon
of Butch Morris’ conduction which I can only
describe as seeing music move in 3-D, complete
with colors and an infinite array of unpredictable
designs and shapes being created in the moment
before my eyes and ears—each gesture, each
wave of his baton, each body movement manifested into a tangible image of sound. From my
somewhat limited vantage point, I watched him
as he swayed, whirled and dipped with every
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CD Reviews
Brazilian Trio
CONSTELAÇÃO
–
Motema
www.Motema.com. Constelação; Bebe; Embalo; O Cantador; Quebra Pedra; Lvm/ Direto
Ao Assunto; Luiza; O Bôto; Isabella; Bolivia.
PERSONNEL: Helio Alves, piano; Nilson
Matta, bass; Duduka da Fonseca, drums.
By John Barrett, Jr.
Certain albums place an image in your
mind; this disc, almost as it started to spin, mad
me imagine a dance in a rainstorm. The playful
“Embalo” starts on a pounce, its boppish theme
coming in warm clusters. Duduka da Fonseca
brings the soft cymbals, a steady mist joined by
tiny clicks. As his left hand pumps barely-heard
chords, Helio Alves shuffles slyly, Bringing
Vince Guaraldi voicings as the pace heightens.
The result is a vivid watercolor, a spot of light
on a grey background; Nilson Matta helps with
an angular solo.
“Bebe” is more formal, without losing the
warmth: Alves sketches a waltz, with lots of
open space. Whispering brushes frame rounded
chords, a shyness turning bold as the tune unwraps. Lots of sustain pedal here: it feels like
Alves looks back as he presses on with more
notes. Just a faint whoosh from Duduka, like dry
leaves on an autumn sidewalk; Matta’s sinewy
turn brings to mind Eddie Gomez, tart and
tightly wound. Quiet and elegant, this tune is a
wallflower, in time realizing her beauty; the busy
flourish near the end is a pirouette.
“O Cantador” is the same mood slower:
Helio’s keys are relaxed, slow chords against
Matta’s growl. A measures ascent leads to tumbling echoes, with background as still as shifting
sand. But if it’s movement you want: from
waves of cymbals to the moan of Matta’s bow,
the opening of “Constelação” hints of the storm
to come. Icy chords descend in clipped precision, Duduka crashes often and everywhere, and
wisps of sour bass tying it together. Under the
cold rhythm Helio surges: swift single-note
lines, dabs of montuno, splashes of torrid chords.
A ferocious tom-tom assault is followed by sad
stillness, and with it the theme; the parts seem at
odds but the whole is wonderful. And the title
gives us a hint: while constellations do not really
exist, they seem to form a whole in the way we
perceive them. And in viewing these three – how
boldly they shine.
The dancing, and the thunder, continue with
“Quebra Pedra”. Circling brushes and a pulsing
left hand get it started; from there we get hammered single notes, dueling with soft sad chords.
Duduka’s marching snare is fun; Alves’ solo is
exciting, if perhaps a bit busy. Matta’s “Lvm”
brigns beauty with silence: few drums, almost no
theme, just a slow rumination leading to wispy
bass figures. This reminds me of LaFaro’s “Jade
Visions”, a dreamlike mood you feel more than
hear – and then you wake up! Transformed by
fast tempo, the players chase each other, Helio
running mad at the top of his range. Tom-toms
leap among the interlocked cymbals; a twofinger twiddle grows ever faster, prodded by the
tiniest chords. Duduka gets a full minute to himself, and how the toms roll – before you know it
the tune ends, as abruptly as that tempo change.
An angular bass figure brings in “O Bôto”,
where melody is jabbed in, bluntly and brightly.
Fonseca’s part is mostly clicks; the brief touches
of sustain suggest a steady breeze. Faster the
piano goes, culminating in chorded spirals. So
integrated is Alves’ solo to the who that you
could miss his end-theme, as I did in fact. For
energy and invention, this takes my vote as the
prize of the album. “Isabella”, a quiet waltz by
Duduka, pairs laid-back keys and springy asides
from Matta, who gets a more prominent role
than on most tracks. In contrast, his solo is less
active: a series of stretches, dark-hued and wiry.
And the drummer strikes first on the only nonBrazilian selection, a swift reading of Cedar
Walton’s “Bolivia”. Heady toms on the opening,
a sleek arcing bass, and floating keys that sketch
the theme before dropping long zigzags on the
cymbal-soaked background. Solid from start to
finish, there isn’t much more I could say about
this album. If you like mainstream piano, this
isn’t one to analyze … this is one to sit back and
enjoy.
Lou Caputo
INTERFACE – Jazzcat 47 Records 1824.
www.LouCaputo.com. La Costa; I Love You;
Lotus Blossom; A Felicidade; The Dry Cleaner
from Des Moines; Urban Flower; Interface;
Azule Serape; If You Never Come to Me/ The
Dreamer; The Duke; Remembrance.
PERSONNEL: Lou Caputo: soprano, alto, and
baritone saxophones, tenor and alto flutes, clarinet; Chris White, bass; Don Stein, piano; Warren
Smith, vibraphone; Payton Crossley, drums;
Leopoldo Fleming, percussion.
Here is a blast from the past – perhaps two.
Chris White was Dizzy Gillespie’s bassist
through much of the ‘Sixties, playing behind
giants like Moody and Leo Wright; beyond Warren Smith and Payton Crossley, none of the other
players are familiar to me. The sound, though, is
easy to recognize: with its glowing vibes and
fluttering flute, “I Love You” comes from the
California ‘Fifties. Don Stein drops blunt chords
over White’s chewy walk; below this are gentle
snares and above, Lou Caputo’s metallic chirps.
His relaxed solo drifts sweetly, like a leaf in the
wind; Smith’s vibes are glassy, and his harmonics come from generous sustain. The ending
interplay sounds like Brubeck’s early fugues –
the whole thing feels like Dave Pike’s Bossa
Nova Carnival – an album that also featured
Chris White.
For Strayhorn’s “Lotus Blossom”, Caputo
picks up an alto, and there is more nostalgia –
imagine a softer Phil Woods. Sliding his high
notes and buzzing the low ones, Lou is smooth,
confident … and very very warm. Stein’s comps
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are minimal, giving the stage to Smith; his
chords blend with White’s lines to sound like
one instrument. Lou returns for a cooing last
chorus, and there’s even a solo tag ending, a la
Sonny Stitt. All that’s missing is the hiss of a
spinning LP; yesterday never sounded so good.
Don’t view them as copycats: it is the style,
more than the sound of any player, that this
group emulates. The placid seashore feel of “La
Costa” confronts a brusque baritone, hard-edged
and firm. Piano and vibes follow its lead, adding
bright flourishes to the dark road it takes. Stein’s
solo is a formal dance, with careful pace and tiny
round chords – pretty but played a bit safe. Better is Warren, whose lines skitter wild and sink
in a pool of vibrato.
Mingus’ “Dry Cleaner from Des Moines”
goes mostly to the bassist: White hums through
the blues changes like nobody’s business. Lou
shouts the theme from his baritone as Stein hammers Monkish chords; one chorus and back to
Chris, whose solo twangs and rings with overtones. Stein serves the good back-room blues;
Lou’s solo is good but oddly short. White’s tune
“Urban Flower” brings back the flute, an alto
this time, and the faint patterings of distant percussion. With a throatier sound than before,
Caputo spins slow circles, taking a brief soar but
otherwise staying close to earth. This lead is
followed by Smith, whose solo stays on the low
notes and radiates energy. Stein’s lush effort
takes the prize here: Crossley’s tom-toms push
him on, then get a spotlight of their own.
A different flavor comes on “Interface”:
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Lou’s breathy soprano sounds like Toots Thielemans’ harmonica! He pushes upward against
Stein’s comp, as Smith chimes in for good measure. The lonely mood grows with Don’s solo:
jabbed notes and open spaces, enlivened at times
by bluesy chords. Warren’s solo dials back the
vibrato, for a more brittle tone than usual.
(Sounds like Johnny Lytle in places.) “If You
Never Come” returns us to Brazil, and Caputo’s
flute; it reminds you of the ‘Sixties, especially
the records Pike did with Herbie Mann. When
we reach the “Dreamer” half of the medley,
Warren parallels Lou’s lead, sounding like a
second horn; his descending solo is a joy, splashing against the sparse background.
Things get fun on the homestretch. Stein
delivers a strong theme on Dave Brubeck’s “The
Duke”; now on clarinet, Caputo ambles leisurely, not sounding like Desmond but still as
dry. Smith’s turn is playful, but it seems buried
by the thick piano. And rounding things out is
White’s “Remembrance”, its theme a cross of
“Gloomy Sunday” and John Lewis’ “Django”.
For the first minute it’s just the leaders, White
walking slowly and Lou weeping through his
alto. A sad and stately parade: Stein enters with
barely-heard chords, and then the whole gang.
When Warren steps in all turns funky, and the
cathedral becomes a jazz club. (Again, think
“Django”: the same thing happens on Milt Jackson’s solo.) This is Warren’s finest hour, helped
by White’s jaunty bassline; Stein’s Evans-like
solo takes us to a ballroom, and Lou’s return is
swinging but sad. This is a tune, and a group,
worth remembering; this is a timeless sound,
which one hopes will be heard more often.
Rondi Charleston
SIGNS OF LIFE – Motema Music.
www.motema.com; www.RondiCharleston.com.
DNA; Signs of Life; How the River Flows; The
Wind Speaks; Footprints; Spirit Voices; In These
Hours; Reflections; Babe’s Blues; Chega de
Saudade; The Cave Knows.
PERSONNEL: Rondi Charleston, vocals; Dave
Stryker, guitar; Brandon McCune, piano; Ed
Howard, bass; Clarence Penn, drums; Mayra
Casales, percussion; Gregoire Maret, harmonica
on “Signs of Life” and “The Wind Speaks”; Ted
Nash, tenor saxophone on “How the River
Flows” on “Footprints”.
By John R. Barrett, Jr.
To write your own songs, particularly in a
genre where one expects standards, brings a raft
of challenges. You want the lyric to be witty and
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memorable, but can you sing it easily? Once that
is accomplished, you worry about the tune, how
the two fit together ... and whether your creation
feels out of place on an album that also has standards. To even try such a task, you must dive in
with both feet and give it everything; this is no
problem for Rondi Charleston.
Given an emotive, enthusiastic voice, she
instinctively reaches for reflective songs with
unusual imagery – and when such songs are not
there, supplies her own. The title track starts
with a mystery (“I step down the wooden stairway through my cellar door/ And I breathe the
musty air from 1844”) and ends with a reverie
(“There’s a spoon that fed a baby/ I hear childrens’ voices laughing/I smell supper in the
kitchen up above.”) As her nostalgia grows
warmer, so does the background: enveloping
chords from Brandon McCune, tip-toeing bass,
and the breezy wisp of harmonica.
More than just accompaniment, the music
comments on the lyric in a way you rarely hear.
When she thinks about what people of the next
century will think of her, the drum brushes hiss,
as if laughing at the thought. The following line
she does so herself, a stifled giggle following “a
page of scribbled poetry”. Ideas like this run
through “The Wind Speaks”, an environmental
snap shot of the present and worry for the future.
Under the breezy Bossa pulse, a voice calls out:
“It dances over grapevines, kissing their leaves/
And whispers through the wheat fields and the
wilderness/ Winding through the rivers, rustling
their reeds.” Those reeds are joined by the harmonica’s, and the pattering cymbals conjure the
breeze as well as her words. There is passion,
but no melodrama; concern without preaching –
a love song to the earth told in its language.
Ted Nash adds a strong tenor to “How the
River Flows”, in a turbulent 6/8 marked by tart
bursts of piano. “We paddled deep to the heart of
darkness/ Too late to realize/The currents pulling
beneath the surface/ Hoping to hypnotize.”
When Rondi turns optimistic, urging to “push on
through,” Nash does likewise, fluttering and
surging over the cymbals’ crash. McCune does
some rolling himself, indulging in ragtime before resuming the lush chords. On “Footprints”
his harmonics are simpler, but the mood remains
rich: Rondi becomes a overdubbed choir, Nash
hints Wayne Shorter in his solo, and Dave
Stryker’s guitar walking between them. There
are places I think she over-emotes, but the good
parts – where warm words are kissed by vibrato
as Nash bids his farewell – are not easily forgotten. Not that you’d want to.
On some songs Charleston adopts a lighter
touch, handling the tune simply as the musicians
work their magic. The earthy charm of Paul
Simon’s “Spirit Voices” fits her aesthetic well:
this is a triumph of drums, of rippling tropic
guitars, of a voice delighted by the life around
her. The lyric and band are wonderfully vibrant,
and there is no need to do more – her direct reading works well. For “Reflections”, McCune
avoids the expected invocations of Monk, playing instead with ballroom elegance; fits well to
one of Monk’s most romantic tunes. There’s a
bit of wistfulness in “some living souls rearranged”, a little throatiness as she sings the sad
bridge; sometimes the best acting is barely noticed. Her jazziest reading comes on “Babe’s
Blues”, a funky waltz by Randy Weston.
McCune has fun with the chords, and so does
Rondi: here she’s very hornlike, sliding the Jon
Hendricks lyric and doing so with a big smile on
her face. For dessert we get “The Cave Knows,”
a tune she wrote with Fred Hersch for a documentary, and joined here by a small orchestra.
An art song in all senses of the word, a sad topic
(a network of tunnels in the Ukraine where Russian Jews sought refuge during World War II) is
joined sad words and somber music ... to form
something that transcends sadness. Rondi shouts
and she sobs – but mostly she lets the words sink
in. “The cave knows the fire in the night/ The
evils of the world/ The cave knows the childhood lost forever/ Our whispered prayers of
faith/ It gave us warmth and shelter/ It gave us
the gift of time/ It gave us strength and freedom/
It gave us the gift of life.” Slow, dignified, unforgettable ; you cannot it call it jazz, but I will
call it beautiful. That word applies to the whole
disc: a blending of word and sound you rarely
get to hear.
Mac Gollehon
LA FAMA – www.mac-nyc.com. La Fama;
New Mac City; Introspection; Voices; Casino;
Fried Neck Bones; Donde Lo Hace Duelen;
Fotos De Los Ochentas; Conjunto Moods; Nite
Trax; A Night in Tunisia.
PERSONNEL: Mac Gollehon, trumpet and
trombone; Charlie Palmieri, Larry Harlow, Hilton Ruiz, Gilberto Colon, Alon Nechushten,
keyboards; Carlos Valdez, Frankie Malaby, S.A.
Davis, Eddie Montalvo, congas; Francisco Bastar, Nicky Marrero, Poncho Roman, timbales; Jimmy Delgado, Ray Colon, percussion; Bernard Edwards, Ray Martinez, Victor
Venegas, Alex Blake, bass; Ray Maldonado,
Lester Bowie, Jose Febles, Doc Cheatham, Puchi
Boulong, trumpet; Jose Rodriguez, Harry
D’Aguiar, Barry Rogers, Michael Grey, trombone; Robert Arron, Maurice Smith, flute; Tony
Thompson, drums; Pablo Rosario, bongo;
Sammy Pagan, bata; Baron Raymonde, alto
saxophone; A. J. Mantas, vibes.
By Mark Keresman
Mac Gollehon, trumpeter and trombonist, is
one of those cats that you’ve heard whether or
not you knew it. Aside from his credits in the
jazz (a member of Lester Bowie’s Brass Fantasy) and NYC Latin spheres, Gollehon has performed on tons of rock, R&B, and pop sessions,
including those helmed by Chic, David Bowie,
Hall & Oates, Madonna, Rod Stewart, Mick
Jagger, and more. La Fama is something of a
“history of” collection, as it was recorded vari-
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ous times and places between the years 19801996. (Mostly in NYC, it seems—the booklet
notes don’t give a definitive track-by-track
breakdown.)
The sleek title track opens this set—it’s got
the feel of movie music, like when there’s an
opening aerial shot of a big city (often NYC—
hey, it’s the movies), and it’s got subtle Latin
undertones courtesy of its percolating rhythms.
Gollehon plays some snazzy muted trumpet
here, evoking Dizzy Gillespie’s forays into AfroCuban contexts. “New Mac City” continues the
cinematic vibe—in fact the melody bears more
than a passing resemblance to Henry Mancini’s
“Peter Gunn” (not a bad thing, incidentally)—
while increasing the Latin factor via some
pointed salsa-inspired percussion. Gollehon ups
the ante considerably with “Voices,” a vibrant
cosmopolitan churner that’d be right at home on
an Eddie Palmieri or Ray Barretto album, and
gets into some torrid trumpet soli, as he does
with “Casino.” The real gem here in “Nite
Trax”—seven minutes long, the stately melody
is Ellington-rich and languorous, Mac G wailing
bluesy like he was possessed by the spirits of
Red Stewart and Cootie Williams over the orchestral textures. The electric bass line is measured and gothic, the bubbling percussion lending
wry counterpoint. The set is closed-out by a
rollicking version of the Gillespie classic “Night
in Tunisia,” though Mac G and company take it
from Tunisia to NYC’s 53 Street to maybe the
Gulf of Mexico, with bob-and-weave bass-lines
and Mac G making with some dynamic (but not
excessive) stratospheric high-register lines (a la
Maynard Ferguson and Cat Anderson) that still
exude taste and inventiveness. (While most of
the CD has a Latin/Afro-Cuban orientation,
“Tunisia” is the most straight-ahead jazz track
here, it drive part swing, part fusion.)
Despite its historical scope—or maybe
because of it—La Fama is a mostly consistently
satisfying listen. While it doesn’t have the stylistic breadth of Gollehon’s previous (excellent)
album Odyssey of Nostalgia, those enjoying jazz
rich with salsa and Afro-Cuban shades will find
lots to enjoy here.
singing, the fact is that vocal jazz has been successfully performed in a variety of languages
ranging from Portuguese (Flora Purim, Tania
Maria, Ithamara Koorax) to Polish (Grazyna
Auguscik). And on Painter’s Eye, Korean singer
Sunny Kim (who now lives in the United States)
performs jazz in both Korean and English. Certainly, Korean is not the first language that
comes to mind when one thinks of vocal jazz,
but it is quite appropriate given the focus of this
album; Painter’s Eye is a tribute to Korean
painter/poet Sun Doo Kim. All of the selections
were inspired by Kim’s work, and that includes
the ones that are performed in English as well as
the ones that are performed in Korean (or, in
some cases, a combination of the two languages). Sometimes, Sunny Kim unites Sun Doo
Kim’s Korean-language poems with her own
melodies; other times, she performs original
English-language material that she composed in
honor of Sun Doo Kim. But either way,
Painter’s Eye maintains a Sun Doo Kim-minded
focus.
Painter’s Eye is best described as a combination of post-bop and mildly avant-garde jazz
that incorporates elements of both European
classical music and traditional Korean music.
This 40-minute CD has an inside/outside approach, but the performances are more inside
than outside—and even when Sunny Kim does
venture into the outside, she is never radical or
extreme. Some avant-garde jazz can be harsh
and abrasive; Painter’s Eye, however, is never
like that. Kim is consistently musical, even at her
most abstract. And unlike the avant-garde artists
who favor brutal density, Kim makes extensive
use of space. In that sense, tracks like “Bloom
and Wither,” “In Silence” and “Worm” bring to
mind the aesthetic of Chicago’s Association for
the Advancement of Creative Musicians
(AACM). Over the years, the AACM has championed a style of avant-garde jazz that tends to
be reflective and space-minded rather than brutally dense—and when Kim makes some avantgarde moves, they inspire comparisons to the
AACM perspective rather than the ferocious,
blistering approach that some free jazz is known
for. The late soprano saxophonist Steve Lacy is
another valid comparison on this album.
Painter’s Eye is far from blistering; much
of a time, a mood of calm prevails. “A Slow
Landscape,” “A Tree and a Bird” and “Passing”
are contemplative and have an impressionistic
sort of beauty. Kim is always melodic, and admirers of traditional Asian music will appreciate
the Korean influence that one hears in her melodies and harmonies.
Listeners who don’t know much about Korean art or Korean poetry may not be familiar
with Sun Doo Kim’s work, but one needn’t be a
Sun Doo Kim expert to appreciate Painter’s Eye.
Regardless of how much one knows or doesn’t
know about Sun Doo Kim, Painter’s Eye is an
appealing contribution to post-bop and mildly
avant-garde jazz.
Sunny Kim
PAINTER’S EYE — www.myspace.com/
vocalistsunnykim . Passing; Painter’s Eye; A
Tree and a Bird; Ink Silence; In Between;
Worm; Bloom and Wither; A Slow Landscape.
PERSONNEL: Sunny Kim, vocals, producer,
arrangements, liner notes; Chris Speed, tenor
saxophone; Ben Monder, electric guitar; Angelica Sanchez, acoustic piano; Sean Conly, bass;
Richie Barshay, drums; Pheeran Aklaff, drums;
Darius Jones, producer, Andy Taub, engineer;
Michael Marciano, engineer; Sung Hyun Sohn,
photography; Christopher Drukker, graphic design
By Alex Henderson
Some jazz vocalists believe that in order to
“sound right,” jazz singing has to be in English
(assuming it isn’t all scatting). But while English
continues to be the dominant language of jazz
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Sheila Landis, Rick Matle
HEART PLAZA—SheLan Records SL023.
Jazz; Nightime and the Sky is Mine; Bag Lady;
Hart Plaza; Night; The Duke; Congolese; Trampled Heart; A Healing Blue, A Healing Gray;
My Heart Goes Out; Lemonade; Her Whisper a
Roar; First Lady.
PERSONNEL: Sheila Landis, vocals, slide
whistle and cowbell and autoharp; Rick Matle,
guitars; Dennis Sheridan, drums and percussion;
John Lindberg, acoustic bass; Wendell Harrison,
clarinet and bass clarinet and tenor saxophone.
By Eric Harabadian
Sheila Landis and Rick Matle are a jazz duo
that has lit up the Detroit and Midwestern U.S.
landscape, individually and collectively, for over
30 years. Landis cut her teeth on classic artists
like Betty Carter and Matle draws equally from
Jimi Hendrix and Robert Fripp as he does Wes
Montgomery. They have always historically
pushed the boundaries of musical convention
while managing to stay true to their jazz and
improvisational roots. Heart Plaza is a prime
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example of that marriage between experimentation and moving straight ahead. For this venture
they have written a number of jazz-oriented
pieces that are based on original poetry by
Landis as well as select independent educators
and writers.
Some of the highlights begin with the appropriately titled “Jazz.” The piece, written by
Elizabeth Romatz, kind of puts a face on the art
form and humanizes it. Their mid-tempo samba
groove really make the colorful lyrics jump out
of the speakers. Landis sings and speaks with
such whimsy and verve accentuated by Matle
and Sheridan who play off each other really
well. “Nighttime and the Sky is Mine” is a nice
straight ahead number that swings. Landis delivers the words in a manner that recalls the great
Annie Ross or some of the collaborations Joni
Mitchell had with Charles Mingus. There is also
some superb support here by Matle and
Lindberg. “Bag Lady” is a cool Latin track written by Landis that features a dense and wellorchestrated woodwind arrangement by Harrison. Landis’ knack for keen character development and social observation comes to play here.
“Hart Plaza,” with words by Michael C. Jones is
loosely based on the title track but also has a
dual meaning. “Hart Plaza” is the famed Detroit
city locale that is situated along the banks of the
Detroit River and the site of the international
Detroit Jazz Festival as well as many other
events. But as the liner notes state it is also: “the
realm of feelings and emotions.” Jones’ words
capture the feelings and recollections of significant events enjoyed at this open downtown park
as the band really swings through a series of
appropriate moods and motifs. “Night” is another piece by Romatz, with words beautifully
interpreted by Landis. Here she uses her voice
like a horn as she stretches syllables and emphasizes certain phrases. The trio of Matle,
Lindberg’s bowed bass and Sheridan’s cymbal
work accents things perfectly.
A few other key standouts are the dedications to Edward Kennedy Ellington and Ella
Fitzgerald. “The Duke” and “First Lady” feature
words by Irvine Barat and are fitting tributes to
these two titans of jazz. They both swing like
crazy; yet possess a somewhat reverent tone as
well. There are some spacey and adventurous
moments also where Landis’ multiple voices
meet Matle’s layered guitars on “Trampled
Heart” and the dreamy instrumental “Her Whisper a Roar.”
In Landis’ liner notes she states: “Thanks to
the poets and wordsmiths whose imaginations
provided the wondrous springboard of words
that allowed me to sing and soar into the stratosphere.” Indeed!
Rachael MacFarlane
HAYLEY SINGS—Concord Jazz 33326. 100
North Crescent Dr., Suite 275, Beverly Hills, CA
90210. Web: concordmusicgroup.com. Makin’
Whoopee; Feelin’ Groovy; Sooner or Later;
Someone to Watch Over Me; One Fine Day; Out
of This World; Loneliness; Never Never Land:
Do You Want to Dance?; I’m Glad There Is You;
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Up on the Roof; Since You’ve Asked; Time in a
Bottle; All My Loving
PERSONNEL: Rachael MacFarlane, vocals,
liner notes; Allen J. Sviridoff; Matt Catingub,
conductor, arranger, saxophone, acoustic piano;
Chris Walden, conductor; Tedd Firth, arranger;
Steve Hoffman, trombone; Andy Martin, trombone; Bill Reichenbach, trombone; Craig Gosnell, trombone; Rick Baptist, trumpet; Bob Summers, trumpet; Wayne Bergeron, trumpet; Warren Leuning, flugelhorn; Pete Christlieb, saxophone; Bill Liston, saxophone; Dan Higgins,
saxophone; Greg Huckins, saxophone; Randy
Waldman, acoustic piano, electric keyboards;
George Doering, guitar; Larry Koonse, guitar;
Mike Valerio, bass; Curt Bisquera, drums;
Bernie Dresel, drums; Joe LaBarbera, drums;
Alan Estes, percussion; Luis Conte, percussion;
Raphael Ferrer, vocals; Katie Popov, strings;
Brian Dembow, strings; Julie Gigante, strings;
Steve Erdody, strings; Charlie Paakari, engineer;
Ron McMaster, mastering; Larissa Collins, art
director; Giuliano Beker, photography
By Alex Henderson
In its post-Carl Jefferson era, Concord Jazz
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hasn’t been shy about releasing some CDs by
artists who aren’t jazz in the strict sense (for
example, Michael Bublé). But even when a Concord release isn’t jazz per se, there is usually
some type of jazz influence. A case in point is
this CD by voice actress Rachael MacFarlane,
not to be confused with British house/trance/
dance-pop singer Rachel McFarlane. The Los
Angeles-based MacFarlane (originally from
Connecticut) is best known for her portrayal of
the character Hayley on the animated sitcom
American Dad!, and Hayley Sings (which is the
36-year-old MacFarlane’s first album as a vocalist) is far from a straight-ahead bop outing. Instead, MacFarlane’s performances are a jazzinfluenced mixture of traditional pop, cabaret
and adult contemporary. So anyone who expects
to hear MacFarlane scat-singing her way through
John Coltrane’s “Giant Steps” or Charlie
Parker’s “Ornithology” at breakneck speed will
be disappointed. But from a pop/adult contemporary standpoint, Hayley Sings is a decent effort—
and MacFarlane takes some chances here and
there.
MacFarlane has a sweet, warm voice that
serves her well on Tin Pan Alley standards such
as George & Ira Gershwin’s “Someone to Watch
Over Me,” Johnny Mercer and Harold Arlen’s
“Out of This World” and Gus Kahn & Walter
Donaldson’s “Makin’ Whoopee” (which was
considered racy in its time but is viewed as
quaint, cute and lighthearted in this era of Lil’
Kim, Eminem and Ludacris). Most of the songs
that MacFarlane chooses, however, are not from
the 1930s or 1940s but rather, from the 1960s
and 1970s—and MacFarlane’s good-natured
approach also yields likable results on rock-era
favorites that include Paul Simon’s “The 59th
Street Bridge Song,” a.k.a. “Feelin’ Groovy,” the
Beatles’ “All My Loving” (which she turns into
a slow ballad), Judy Collins’ “Since You’ve
Asked” and Jim Croce’s “Time in a Bottle.”
Bobby Freeman’s “Do You Want to
Dance?” has usually been recorded as uptempo
rock & roll; that approach was favored by Freeman on his original 1958 version as well as on
covers by the Beach Boys in 1965 and the
Ramones in 1977 (when the song got the New
York City punk treatment). But MacFarlane
performs “Do You Want to Dance?” as a romantic, jazzy, Afro-Cuban-flavored cha-cha.
MacFarlane pretty much sticks to the original
English-language lyrics (apart from briefly quoting David Bowie’s 1983 hit “Let’s Dance”) and
doesn’t do any singing in Spanish, but vocalist
Raphael Ferrer throws in some Spanish phrases
that enhance the track’s Latin appeal.
MacFarlane also surprises us on her version
of Carole King & Gerry Goffin’s “One Fine
Day,” which went down in history as a definitive
example of Brill Building pop and was made
famous by the Chiffons in 1963. But
MacFarlane’s jazz-influenced take on “One Fine
Day” is closer to Jo Stafford or Peggy Lee than
the girl-group style of Chiffons.
This album is essentially a tribute to
MacFarlane’s Hayley character (who has done
some singing on American Dad!), but her per-
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formances hold up even if one has never seen
that program. And while Hayley Sings isn’t a
remarkable listen, it is a consistently pleasant
and agreeable one.
in mind. The disc has too much funk and pop
influence to win over purists. Regardless, there
is an improvisatory spirit throughout Ritzville;
Vizzutti has plenty of room to stretch out and
blow.
Allen Vizzutti
RITZVILLE—Village Place Music 061552.
Vizzutti.com. Ritzville; Silhouette; Amara; Ticklish; Glide; Touch; One of a Kind; Papa Bear;
Laura’s Blues; Azure Cool; I Don’t Know
PERSONNEL: Allen Vizzutti, trumpeter, flugelhorn, piccolo trumpet, producer, arranger,
liner notes; Chick Corea, acoustic piano; andothers
By Alex Henderson
Over the years, Allen Vizzutti (or Al
Vizzutti) has not been an easy artist to pigeonhole stylistically. The veteran trumpeter/
flugelhornist, who turned 60 on September 13,
2012, has appeared on many straight-ahead postbop albums as a sideman, but he has also played
an abundance of electric jazz-funk and poppish
material. While Vizzutti has a long list of sideman credits (ranging from Woody Herman to
Chick Corea to Stan Getz), he has only recorded
sporadically as a leader—and although some of
the albums he recorded in the past were uneven,
Ritzville is among his more consistent efforts.
This 2011 release doesn’t fit neatly into one
particular area of jazz; parts of Ritzville are more
straight-ahead, while other parts are funkier or
more pop-influenced.
The more straight-ahead tracks on Ritzville
include the angular “Ticklish” (which boasts
Stanley Clarke on acoustic bass) and “Amara,” a
Brazilian-flavored tune that features Corea on
acoustic piano. Vizzutti spent four years as a
Corea sidemen in the late 1970s/early 1980s.
Vizzutti gets into jazz-funk mode on “Papa
Bear” and the Miles Davis-flavored title track.
Of course, when one hears that a composition
has a Miles Davis influence, the question becomes, “Which Miles Davis?” The trumpet icon
liked to keep forging ahead, and he wasn’t one to
look back or indulge in nostalgia. Compositionally, the Davis who influences Vizzutti on the
title track is the funky, fusion-oriented Davis of
the 1970s and 1980s, not the acoustic Davis of
the 1940s and 1950s. Davis has clearly influenced Vizzutti’s trumpet and flugelhorn playing
as well as some of his composing, but then, one
hears a variety of trumpeters in Vizzutti’s playing—not only cool-toned players like Davis and
Chet Baker, but also, Freddie Hubbard, Dizzy
Gillespie and Art Farmer. In terms of tone,
Vizzutti occupies a middle ground on his instruments; he has a bigger tone than Davis and
Baker, but not as big a tone as Hubbard, Lee
Morgan or Clifford Brown. The late jazz critic
Leonard Feather once metaphorically described
saxman Hank Mobley as “the middleweight
champion of the tenor,” meaning that Mobley
had a tone that wasn’t too large and wasn’t too
small—and similarly, Vizzutti has maintained a
middleweight approach on his trumpet and flugelhorn.
Ritzville was not recorded with jazz purists
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Sandy Sasso
HANDS ON—Charlie Boy Records SL-S004.
Crazy He Calls Me; You Go to My Head; Little
Sunflower; My Ship; Up on the Roof; Jet Song;
Carefully Taught; They Left Me; Alice in Wonderland; Sanpaku; Summer in the City; Natural
Self.
PERSONNEL: Sandy Sasso, vocals; Carlton
Holmes, piano; Bill Easley, saxophone and flute;
Gary Mazzaroppi, bass; Tim Horner, drums;
Gladstone Trott, piano (track 7).
Franks’ “Sanpaku” is another rare track that
features a cool Brazilian vibe and a great piano
solo from Carlton Holmes. The Lovin’ Spoonful’s “Summer in the City” has been covered to
death by many. But bet you never heard it like
this! Sasso and company deconstruct it down to
bare bones. They reinvent it as a mid-tempo
blues, with stellar features by Easley on tenor
sax and Holmes exorcising the soul of Ray
Charles. The singer concludes the album with
advice from her father called “Natural Self.”
This song has a positive message set to a grooving Lou Rawls kind of beat. Within the context
of the song Sasso offers little nuanced homilies
that seem to echo Ken Nordine’s WordJazz approach.
Sasso has an innate ability to mix and
match musical genres and eras at will—making
them her own. And her partnership with likeminded players like Holmes, Easley, Mazzaroppi
and Horner is a winning combination.
By Eric Harabadian
On this, her fourth recording venture, Sasso
returns with her customary mix of eclectic classics and original tunes to keep the listener thoroughly enthralled and entertained. With Hands
On, the leader delves into a treasure trove of the
Great American Songbook, classic pop/rock and
assorted odds and ends.
Sasso’s greatest gift seems to be the manner
in which she delivers a lyric. She is a great interpreter of song; able to distill delicate emotion
from words and make the listener feel like she is
singing directly to them. “Crazy He Calls Me” is
just one of those songs. Sasso is smooth and
seductive, with an alluring edge. Her top notch
combo follows suit and accompanies in a brisk
and breezy swing. “You Go to My Head” follows and is equally dark and intoxicating. The
slow and somewhat brooding feel finds the band
comping subtly as Bill Easley blows superb
tenor sax. Freddie Hubbard’s “Little Sunflower”
is a natural showcase for Sasso’s rich and mellifluous range. The band ebbs and flows between
Easley’s smooth flute work and the tune’s entrancing rhythms. King/Goffin’s “Up on the
Roof” is a unique selection that Sasso arranges
as a waltz. This track really swings, and the
song’s theme of escape and solitude truly come
alive within the care of the leader. Sondheim/
Bernstein’s classic “Jet Song” from West Side
Story is not something you usually associate
with a solo vocal performer. But, when it comes
to Sasso, you’re not talking about your average
singer. Her arrangement here is dynamite, with
enough drama and attitude to cover an entire
Broadway chorus line. The band cooks, with
explosive drum breaks by Tim Horner. Sasso is
also a smart and thoughtful songwriter, with the
first of two original compositions dedicated to
her family called “They Left Me.” It is a sweet
and engaging tribute to her mother, grandmother
and aunts that will melt your heart. Michael
Jaleel Shaw
THE SOUNDTRACK OF THINGS TO
COME—Changu Records CR002. I Wish I Didn’t Know; Conclusions; Ballerina; The Wheel of
Life; The Understanding; Chroma; Sister; Leel’s
Tune; Song for Sid; Faith.
PERSONNEL: Jaleel Shaw, alto and soprano
saxophone; Lawrence Fields, piano; Boris
Kozlov, bass; Jonathan Blake, drums.
By Eric Harabadian
NYC-based saxophonist Jaleel Shaw was
commissioned in 2010 by New York’s Rubin
and Brooklyn Museums to compose works based
on music of his choosing. Being of a familial and
spiritual nature he tended to select artwork that
reflected those aspects of life. Around this time
he also began composing music to be utilized in
a quartet setting. You never know what kind of
curveballs life will throw at you. In 2011, Shaw
experienced some difficult losses—namely the
death of his father who he had not seen for some
time. It was through these hardships that the
seeds of inspiration and healing were sown to
produce this very personal and reflective album.
Shaw has a very distinctive tone and style
on both alto and soprano. He tends to draw from
the robust and edgier side of Coltrane or Wayne
Shorter. “I Wish I Didn’t Know” is one such
tune that is very modal and open. Shaw plays
with plenty of passion but tempers it with tasteful restraint. Lawrence Fields explores the total
landscape of the piano and then decrescendos to
pave way for an intense rubato exit by drummer
Jonathan Blake. “Ballerina” is significant for its
grace and lilting structure. It is a melody that is
stated by Shaw and gradually evolves as the tune
progresses. Blake’s drumming here is more
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decorative than propulsive and the piano reflects
variations on a theme that intersect with Shaw’s
lovely soprano. “The Wheel of Life” is an interesting tune that was inspired by Buddhist teachings about living a mindful life. Shaw composes
a folk-like melody that seems to revolve in a
circle like a wheel. The band really swings on
this one. Other tracks of note are “Chroma,” with
its ostinato bass line that underpins an open
drum feel and robust alto on top. “Sister” is a
sweet ballad originally inspired by iconic Egyptian sculptures of families. Shaw was moved to
dedicate it to his own sister, in light of his father’s passing. “Leel’s Tune” has kind of a classic call and response melody—somewhat blues
in nature, with a minor modal feel. Fields turns
things up a notch and truly burns on the piece.
The same can be said for the final number
“Faith.” Shaw based the piece on artist Kehinde
Wiley’s exhibit “Passing/Posing.” It depicted
African-American men as saints and angels and
the saxophonist utilized that as a springboard for
something with a decidedly gospel feel. Shaw
plays from his soul and sparks pianist Fields to
new heights as well.
Jaleel Shaw is an artist cut from a classic
cloth of post modern bop and seems destined to
use his art as a vehicle to motivate himself and
others. In his words: “I’ve been reminded that
life will continue to throw many obstacles and
unforeseen changes that I may not have control
over…..I am extremely thankful for these life
experiences, be they negative or positive, and
can only hope that they continue to inspire me
and contribute to my development as not only a
musician and composer, but as a human being.”
Tom Schuman
DESIGNATED PLANETS—Jazzbridge Music
www.JazzBridge.com. Designated Planets; A
Piece of Me; Against the Odds; Sweet Surrender; Then You Walked In; Inevitable Changes;
Look in My Eyes; You’re the One for Me; Ear
Candy; Last Confession; Fusion Fire; Because
of You.
PERSONNEL: Tom Schuman, piano and keyboards and drum, percussion and bass programming; Steve Oliver, guitars and vocals; Jeff Kashiwa, alto and soprano sax; Taylor Moore,
drums; Skip Martin, trumpet, flugelhorn and
vocals; Julian Tanaka, tenor saxophone; Kevin
Marshall, drums and vocals; Bonny B, drums;
Scott Ambush, bass; Joel Rosenblatt, drums;
Sarah Brooks, backing vocals; Vinny Valentino,
guitars; Kevin Whalum, vocals; Rocco Prestia,
bass; Lee Pearson, drums; Serena Henry, backing vocals; Austin Pooley, drums.
By Eric Harabadian
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Schuman has been a founder and at the
helm of, arguably, one of the most popular contemporary jazz groups in the last 30 years, Spyrogyra. His resume has covered the gamut from
smooth jazz styles to edgy fusion, funky pop and
acoustic post-bop. On his fifth solo release (The
fourth on his own imprint Jazzbridge Music)
Schuman exhibits a project that is certainly a
reflection of his vast and eclectic musical vision.
He is also a fine producer and engineer; creating
a wide and expansive sonic landscape that is
state of the art and showcases a great collaborative effort with his fellow artists.
This constellation of 12 original compositions reflects Schuman’s universe starting with
the title track. “Designated Planets” is a driving
and energetic piece, with an open groove that
features dynamic sax work from Kashiwa. Schuman brings out his full keyboard arsenal and
accompanies with seamless drum programming
as well. “A Piece of Me” spotlights vocals from
guitarist Oliver. He is one of the leader’s prime
collaborators here and provides strong pop hooks
and stellar lyrical content. There is a tasty Rhodes-type solo by Schuman which is framed by
well-placed comping and smooth breakdowns
too. “Against the Odds” was written by drummer
and vocalist Marshall. Funky rhythm patterns
underscore an active and intricate front line horn
melody. Tanaka plays bebop lines on top augmented by Schuman’s Jan Hammer-like synth
breaks and the author’s choral backing vocals.
“Sweet Surrender” moves out of the pseudofusion realm into more traditional territory, with
an easy and relaxed Coltrane-type feel from
Kashiwa on soprano sax. Bonny B offers superb
brush work and Schuman does amazing double
duty on piano and programmed acoustic bass.
His ability to mix real time instruments and virtual sounds is quite impressive. “Then You
Walked In” continues in a similar style, with a
full ensemble piece lead by Martin and Tanaka’s
Miles Davis meets Wayne Shorter wall of sound.
“Inevitable Changes” is a dynamic piano piece
that focuses on Schuman’s romantic and expressive side. The next series of tunes bring things
back to a pop or funk-infused element, with
“Look in My Eyes” leading the charge. Here
vocalist Whalum belts out a scat-oriented lyric
assisted by legendary Tower of Power bassist
Prestia. The mood and groove is definitely tight
and right on this one. The same can be said for
“You’re the One for Me” and “Ear Candy” but,
perhaps, to a slightly lesser degree. They are
somewhat strong pop vehicles but kind of pale
by comparison with the rest of the album. “Last
Confession” is a Schuman piece that employs a
modern Yellowjackets and Vital Information
kind of vibe. The melody and solos feature playful intervals and plenty of atmosphere. The disc
winds down similarly to how it began with the
incendiary “Fusion Fire” and a classic jazzy
fueled original ballad called “Because of You.”
Paul Van Kamenade
WHO IS IN CHARGE? - KEMO 10. KEMO
Recordings, Enschosesstraat 262, 5014 DL Tilb u r g ,
N e t h e r l a n d s .
www.PaulVanKemenade.com. Who Is in
Charge?; Pet Shop; As Yet; Close Enough; Silver Nichols; Song for Che; A Time for N.
PERSONNEL: Paul van Kemenade, alto sax;
Ray Anderson, trombone; Frank Möbus, guitar;
Ernst Glerum, bass, Han Bennink, drums.
The first thing you notice is the cover: you
don’t see too many black-and-white photos these
days. That throwback approach continues in the
music: a pianoless quintet where the second horn
(a trombone) also does time in the rhythm section. The opening track conmes straight from the
Gerry Mulligan ‘Fifties, only Paul van Kemenade wields an alto: the horns pop a “Perdido”ish riff beofre Ernst Glerum’s sturdy walk. The
bridge hints “A Night in Tunisia”, and here we
get pools of guitar: Frank Möbus has a tart
glassy sound, like Billy Bauer on the first Lee
Konitz sides.
Those slapping brushes come Han Bennink,
who played on Dolphy’s Last Date; when the
theme ends, the ‘bone steps forward as someone
says “Yeah!” I concur: Ray Anderson’s tone is
thick and burry, with a little tailgate flamboyance. As Möbus sneaks chords around him, he
drawls with rumpled whoops, sounding like a
French horn – and in some points a whistle!
Möbus’ solodrifts by, barely above a whisper:
tiny plucks between soft washes of sound, reminding me of a stronger Ben Monder. Glerum’s
cello-like notes add to the windscape; when
Möbus leaves his strings become tangy, and a
hipster walk that leads naturally to the theme. It
sounds old yet feels new; it’s West Coast, from a
different coast. As to the title question, I’d say
all are in charge.
Modernity shows its face on “Pet Shop”,
which opens on arid harmonies from the horns.
Anderson’s high notes are throaty, with a good
warble; there are points his tone matches
Möbus’. The theme is tense but hopeful; in back
is a fiercely plucked bass and Bennink’s mad
brushes. Van Kemenade begins his solo with
simple lines, soon pushed by Anderson into tight
metallic circles. Ray then goes muted and guttural, sounding like the Ellington band’s Sam
Nanton at one point: Paul responds by going
breathy, with occasional screeches. In the back
Glerum slowly picks up the pace, and when the
horns leave the mood is totally different. Möbus’
solo is full of repetitive ripples; this is followed
by a static bass, then some rattling percussion,
then the theme. To me it seems abrupt, and the
whole seems less than the sum of the parts. Still,
there are parts worth listening to.
Bennink marches the intro to “As Yet”, a
ramshackle bebop that quotes “Salt Peanuts” as
it tootles along. With the second-line drums you
get chime-like chords from Möbus, tuba blasts
from the ‘bone … and then all goes wild! No
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Butch Morris
nuance manipulating the musicians on the bandstand who were all fixated upon him as if in a
trance. Afterwards, he came over to where I was
sitting and I was compelled to comment on what
I had just witnessed. “You are a wizard, like
Merlin, a magician.” He replied, “A magician?
No, I’m an alchemist.” We both laughed.
So after hearing the great Butch Morris, I
saw that he was in a category by himself; his
conduction methods were unique. There was
something extraordinary about him, his presence
for one, he reminded me of a jazzy Doctor
Doolittle of sorts but he definitely had his own
style. He was an unmistakable figure, tall, artsy
and rather professorial with his wire rimmed
glasses and tufting assorted gray hair that he
sometimes contained under a big apple cap with
just his little pony tail hanging out in the back
and sometimes he just let it flow like he had just
gotten out of bed. His wardrobe consisted of a
mixed bag of vintage clothes circa late ‘60s, 70s,
80s, and guru-esque garb—he was timeless and
charming, with a childlike playfulness about him
and an ability to transform not only the music
but the musicians themselves and that transformation flowed over into the audience members
as well—Hell, he transformed the whole damn
room. He took conduction to another level, he
developed it and took it beyond—a little like
sorcery but truly he was simply utilizing the
elements of nature and physics like a mad scientist in a way that no one else had ever done before and will more than likely never do again in
quite the same manner because the main element—the conductor, was the spirit of the man.
The main element was him.
Several months after that first encounter,
Steve Cannon told me that Butch was looking
for Chorus members for the Chorus of Poets and
was holding auditions, he urged me to try out,
which I did. An opportunity to work with Butch
Morris could not be passed up. Though nervous
with anticipation, I made the audition and was
inducted into the Chorus of Poets. I studied and
memorized his Conduction Vocabulary® which
was a must in order to perform optimally. Butch
transmitted a lot of information to the poets and
at every performance we were on high alert from
beginning to end. All eyes on him, never losing
focus, always ready to respond instantly to his
every command, and to do so musically, with
intention, while reading text or soloing, all while
never losing our place, our memory (1,2 & 3) or
solos as such, just everyone skittering at once;
van Kemenade has some nice bits as they race to
a sudden end.
Paul’s entrance is wistful and Konitz-like
on his tune “Close Enough”, a slow walk on
calm terrain. Möbus’ comps softly appear in the
background, notes not played as much as they
blossom, When Paul turns impassioned, Ray
makes a warm ascent, a hopeful rise as the alto
hints Trane. A tempoless midsectionlets the
players murmur, to little purpose; in time
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our connection to one another. It was challenging, certainly not easy but extremely fulfilling
and lots of fun. Forty-five minute performances
would pass by in a flash as we were totally
caught up in the moment and meditation of his
conduction.
The one thing you didn’t want to do during
performance was earn one of Butch’s scornful
facial expressions for missing a cue or a downbeat or for not being where you were supposed
to be. That was dreadful and hard to recover
from. Even off the bandstand on break, he’d give
you that look that said, “Where are you going,
we’re starting in five minutes!” had you per
chance thought you could make a quick potty
run. Like a shepherd overlooking his flock or a
watchful parent, he could be engaged in conversation with someone looking in the other direction and know exactly where you were at all
times; like he had eyes in the back of his head.
Shortly after the first performance, Butch
asked me to help him organize the Chorus,
which I accepted and became his assistant for the
next five years. This was a time in my life that I
will value forever as a creative singer and poet,
and one that I am most proud of. The friends I
made in the Chorus, the gifted people I had the
opportunity to work with plus the work itself that
was inspired by his various conduction themes,
the texts that we read from and wrote, the subject
matter, the opportunity to work out and develop
my writing and reading, as well as the experience of improvising in this kind of ensemble,
being conducted by a master, well, what can I
say? It doesn’t get any better. Oftentimes he’d
ask me to recruit poets and he’d say, “Get me
several strong male voices, or two female voices,
poets, actors or singers,” or other times he’d ask
me to contact specific individuals that he wanted
to include in his next conduction. Since I was on
top of who was out there performing, it was a
wonderful feeling to give this opportunity to
someone who I knew would greatly benefit from
it as well as make a worthwhile contribution to
the Chorus. But the one thing Butch was adamant about was that whoever I chose had to be
able to focus, it was imperative. He’d often say
or include in his emails that I would forward,
“Don’t even bother to show up if you can’t concentrate or focus.” That was paramount to him.
Once in the Chorus you’d quickly find out why
and you really didn’t want to mess up and incur
his wrath and be the recipient of one of those
famous harsh expressions, albeit short lived and
quickly forgotten after the performance ended.
My favorite moments were when the Chorus would be in full tilt and suddenly it would
fall apart or someone would blurt out something
outrageous in a moment of pure expression and
total lack of self consciousness or when the thing
just took on a life of its own, Butch would step
back, stop and laugh his ass off, so entertained,
so moved by the humor and silliness of the
muses he conjured and our fallibility. He was so
free from attachment to a preconceived outcome
and loved the surprises. I think that’s what he got
out of it, the element of surprise and the endless
possibilities in the unknown.
The feeling of accomplishment after every
performance, of being part of something that was
truly great, belonged to each and every one of
us. It was ours to take home and to put in our
back pockets, to keep, to fondly and proudly
remember that special moment in our lives when
we were members of Butch Morris’ Chorus of
Poets-he was surrounded by greatness, he exuded greatness, and he made us all shine with
greatness. Though he belonged to the world, he
was our conductor and friend. The many YouTube videos of his performances and his large
repository of work is there for us to view, learn
from and enhance our continuing work as artists.
We all have his stamp on us. And as long as his
conduction methods continue on in each of us, as
long as they continue to ignite and combust
within every musician, poet and artist that he
touched around the globe and they surely must,
then Butch Morris didn’t die. He will always be
with us—those who worked with him especially
and those who experienced his work can never
forget him. The music never dies, the art never
dies, the ideas never die, the exploration never
stops, the discoveries never cease and the quest
continues.
I salute and lovingly embrace the members
of the Chorus of Poets that I had the privilege of
knowing and working with namely: actor, poet,
Janet “Yasha” Bilan; actor, painter, Mark Gering; singer, actor, painter poet, Alexander Bilu,
author, poet, singer, Chavisa Woods; playwright,
actor, poet, Helga Davis; singer, DJ, writer,
Justin Carter; jazz vocalist, poet, David Devoe;
professor, poet, performer, Golda Solomon;
actress, poet, musician, Chantal Ughi; vocalist,
composer, lyricist, educator, Fay Victor; poet,
classical musician and visual artist, Anyssa Kim;
poet, performer, coach, choreographer, Barbara
Duchow; jazz vocalist, Susan Kramer; playwright, artist, lyricist, performer, actress, Alva
Rogers, vocalist, poet, Jessica Eubanks; musician, composer, poet, Eric Mingus; composer,
and, vocalist, composer Odeya Nini.
Bennink hits a fast pattern , and a new mood
emerges. The horns convene in small phrases,
Ray starts an up-and-down pattern as he walks,
and somehow we end at a Latin dance. As with
“Pet Shop”, the whole is disjointed while some
parts are lovely.
Charlie Haden’s “Song for Che” gets a
gentle reading, with wiry steps from Glerum and
Möbus like a keyboard. Paul sounds wispy and
introspective, with the ‘bone more outgoing: as
louder they grow, so does the passion. It’s a nice
miniature, though the active drums seem some-
what misplaced. And “A Tune for N.” gives us
some ‘Fifties future, where the lunar guitar is
matched by whooping trombone that seems electronified. Paul’s moments are brief but nervy,
and all slowly fades on an ominous bassline
resembling Raymond Scott’s “Powerhouse”.
While slightly uneven, this set gives you some
idea of what the early ‘Fifties laidback sound
had continued to the present. And that is an intriguing place to be.
Monday, March 04, 2013 18:11
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Noteworthy Performance
Joe Sample
Dave Douglas
Blue Note: Blue Note, March 5-10
Jazz Standard, March 28-31
Interview By
Eric Nemeyer
Photo by Perry Hagopian
(courtesy Universal/Verve)
JI: Joe, could you talk
about your early development and how you and
your early friendships
created the Crusaders?
JS: I was always introducing the guys to this
and to that. I introduced
the guys to Sonny Rollins.
I had Count Basie records.
I was the one who was
buying records. Originally
I realized once we were in
the jazz orchestra in high
school in the tenth grade,
that we all were jazz lovers - as was everyone in the jazz orchestra, and
mostly even in our marching bands. I played the clarinet in the marching
the band. We were also in the jazz orchestra. Finally Stix [Hooper] formed
a band called the Swingsters and we were playing blues, rhythm and blues.
Then we formed a jazz band at high school called the Modern Jazz Sextet.
Oh course we were influenced by the music of the day - by Oscar Peterson, Miles Davis the West Coast sound, the Bop sound, the Hard Bop
sound. All of those things influenced us. But, yet at the same time there
was something else deep inside of us that I don’t think that other musicians who were not born in this region really-really-really paid attention
to. ...there were men like T-Bone Walker and there was Ray Charles …
before he became the pop star. This music we described as Gulf Coast
music and when I say Gulf Coast, we are basically talking of something
about Texas. It was the pace, it was the blending of elements of Gospel of
Rhythm and Blues and all jazz, and it was also known as The Territory.
When I listen to Chick Corea and Herbie Hancock, I right away knew they
did not come from this region. They came from another school of music what they heard, what they lived in their lives. I grew up in The Territory
… loving every single form of African American music. I was supposed to
forget African instincts and show the world that I could be a brilliant as
any white man. My piano teacher would tell me I was not playing Mozart
or Beethoven with the proper feeling that is good - and. I would look at
him, and say, “He’s out of his mind.” How in the hell am I suppose to play
Beethoven the same way that a sixteen year old German boy would? The
consensus was that we had to forget our African ways and turn our selves
into classical musicians. I love the Classics, I love music. It was all a mystery and I wanted to understand it. As we begin to record … we really
wanted to show that we could be just as intellectual as some of the Miles
Davis’ Groups, or some of the leading Jazz Bands. I know that John Lewis
of the MJQ had a particular dislike for the Crusaders—because we were
too black. He played in tuxedos. He was going to take African American
music and place it in concert halls. I have to tip my hat to him. He did
open up jazz. He was almost like a Martin Luther King of jazz. He and the
MJQ were fantastic. In 1963 I was moving to New York City. That was
the beginning of free jazz. I saw what was going on with all the black
musicians. They were changing all their names to African names. They
were beginning to wear African wear. Everybody put on a display of how
free he was and I felt like this is just the opposite of freedom.
www.BlueNote.net | www.JoeSample.com
43
page 1
Interview & Photo By Eric Nemeyer
DD: Well, you know it’s funny. That wasn’t my first album. I moved to
New York in 1984. I was playing in the street in bands with Vincent Herring, Charlie Davis, Billy Newman, and great musicians. Bruce Cox was
out there sometimes with us. I was going to NYU and getting a degree in
music at the same time. I graduated in ‘86 and I guess I had this idea that
you could just have a career as a jazz musician in New York as a trumpet
player. I had always looked up to the Jazz Messengers and wanted to be
one of the Jazz Messengers. I had met Valery Ponomarev when I was
maybe fifteen, just briefly. He wouldn’t even remember. I was so impressed with somebody playing like that. These people were just getting
up there and making music together. By the time I got out of college, I felt
somehow like the scene had changed. There were people playing mainstream jazz and then there were people downtown playing noise-crazy
stuff, with very little in between. I always felt like I was caught in the
middle, and I feel like I eventually ran into a lot of other people who felt
the same way. I started to develop connections that way. I mean at the
same time I was doing a lot of wedding work, Bar Mitzvahs, jingles, Hessian gigs and anything at all that would come my way. In ‘87, I was lucky
enough to be heard by Horace Silver on the first record I ever played,
which was with a pianist named John Esposito in a group called Second
Sight. Somehow it got into Horace’s hands and he just called me out of the
blue. That was really my first high visibility touring gig, let’s say. Then
coming back to New York after that tour-you’re a musician, right?
JI: What did you take with you from those experiences with his band?
DD: There are still things that Horace said that I think about. At the time, I
was a big Woody Shaw freak and I was transcribing Woody Shaw, and
trying to inject some of that spirit, and energy, and chromaticism into my
own playing. It wasn’t what Horace was looking for. I don’t think I was
wise enough to understand that and to really give him what he wanted —
which is what I should have done. When you’re young, you just think you
know everything. You know that you know everything. But Horace also
talked about how to play that music in an interesting way. He was really
down on this model concept of learning chord scales—here’s the chord,
what are the right notes. His approach was that the voice leading was more
important than any of that, so how do you get from one chord to the next?
I’ve been in a lot of abstract situations over the years and it’s something I
always think about. What’s the motion here? Where are we going? Is this
line making sense, even just out of thin air, or with some crazy other thing
going on? I still feel like when I’m playing a line, I keep the melody in my
head and the voice lead going.
www.JazzStandard.com | www.DaveDouglas.com
43
Monday, March 04, 2013 16:48
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Stanley Clarke
Blue Note, March 21-23
Interview & Photo by Eric Nemeyer
SC: McCoy is probably one of my favorite musicians ever. When I was a
kid, I was way up into John Coltrane. I did get a chance to play with
Elvin. When I played with
McCoy, I felt like that was the
closest that I could have ever
possibly gotten to playing with
John. I did a couple things with
him. The last thing I did with
him was a trio record — myself,
McCoy, and drummer Alex
Foster. I’ve played a lot of gigs
with McCoy. We play a lot of
stuff that he played with Coltrane. He’s an amazing player.
He’s the only guy I play with
where I get like a kid. I’ve played with a lot of musicians in my life, but
when I’m with McCoy, I’m like a kid.
JI: What was it like when you first made his acquaintance?
SC: McCoy came to a club called Slugs to hear Horace Silver. That night,
there were a lot of people in that club. Lee Morgan was there — just to
show you how long ago that was. [laughs] I was just so amazed that I was
playing in this club and all my heroes were there. So I met McCoy that
www.BlueNote.net | www.StanleyClarke.com
44
44
page 2
night, and I think I hung out with Lee Morgan and Joe Chambers in somebody’s apartment! I just found myself there sitting very quietly in a corner. I was feeling like a part of this “team” — this group of guys who
were jazz musicians, and I was becoming a part of it, you know? It’s
funny, I saw George Benson the other day. I recorded with him and Al
Jarreau. It’s nice because living out here in California, I don’t know too
many guys that are out here from the old days; the late ‘60s and early ‘70s
back in New York. George was back and it was just nice talking with him.
Maybe there’s some sort of camaraderie or something. There’s just a feeling that I get when I talk to those guys and we remember the old days.
That just lays with me and it just has me kind of reacquaint me with myself. It’s a strange thing.
JI: What kind of suggestions does McCoy provide?
SC: McCoy would in his own way tell you how to approach something in
the music. Because McCoy is a composer, he’ll have something original
and brand new written. We’ll sit down and rehearse that stuff. He has, I
would say, 30% ensemble stuff, and the rest is improvisation. McCoy
loves to rehearse. When I played with Chick Corea, we were rehearsal
fiends. Our music was really ensemble-oriented. We used to really, really
rehearse — sometimes eight to ten hours a day for weeks. McCoy was
more of a broad stroke kind of guy, whereas Horace Silver was just brutally specific. [laughs] That’s a funny combination of words. But I actually learned how to rehearse a band from Horace. For instance, Horace
would write a bass chart and he’d have every note written in the bass chart
— every single note. I found out later, after playing with him for a while,
that one of the reasons why he did that was he wanted to make sure that
his piece was rendered properly. He had a full vision of his songs. He
wasn’t a guy that left anything up to the imagination, in a bad way. What
he was interested in more than anything was how you made his bass lines
feel. He knew that the people that he hired could technically play the
notes, but he didn’t know whether they could make those bass lines swing
or feel. I remember there were a couple charts that he had where there
were chord changes down there. I would go, “Ahh, finally — a
chord!” [laughs] There was a good balance there.
Monday, March 04, 2013 17:13
Magenta
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PDF - Jazz Inside Magazine

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