- The New York City Jazz Record

Transcription

NOVEMBER 2013 - ISSUE 139
YOUR FREE GUIDE TO THE NYC JAZZ SCENE
NYCJAZZRECORD.COM
ROSWELL
RUDD
COOL
TROMBONE
LOVER
MICHEL
CAMILO
•
DAVE
KING
•
GEORGE • RELATIVE • EVENT
FREEMAN
PITCH
CALENDAR
“BEST JAZZ CLUBS OF THE YEAR 2012”
SMOKE JAZZ & SUPPER CLUB • HARLEM, NEW YORK CITY
FEATURED ARTISTS / 7:00, 9:00 & 10:30pm
ONE NIGHT ONLY / 7:00, 9:00 & 10:30pm
RESIDENCIES / 7:00, 9:00 & 10:30pm
Fri & Sat, Nov 1 & 2
Wed, Nov 6
Sundays, Nov 3 & 17
GARY BARTZ QUARTET PLUS
SPECIAL GUEST VINCENT HERRING
Gary Bartz (as) ● Vincent Herring (as)
Sullivan Fortner (p) ● James King (b) ● Greg Bandy (d)
BILL STEWART QUARTET
Chris Cheek (ts) ● Kevin Hays (p)
Doug Weiss (b) ● Bill Stewart (d)
LOUIS HAYES
& THE JAZZ COMMUNICATORS
Abraham Burton (ts) ● Steve Nelson (vibes)
Kris Bowers (p) ● Dezron Douglas (b) ● Louis Hayes (d)
CYRUS CHESTNUT TRIO
Cyrus Chestnut (p) ● Curtis Lundy (b) ● Victor Lewis (d)
STEVE DAVIS SEXTET
“THE MUSIC OF J.J. JOHNSON”
Eddie Henderson (tp) ● Eric Alexander (ts)
Steve Davis (tb) ● Harold Mabern (p)
John Webber (b) ● Joe Farnsworth (d)
MICHAEL RODRIGUEZ QUINTET
Michael Rodriguez (tp) ● Chris Cheek (ts)
Jeb Patton (p) ● Kiyoshi Kitagawa (b)
Obed Calvaire (d)
SaRon Crenshaw Band
Sundays, Nov 10 & 24
Vivian Sessoms
Wed, Nov 13
Mondays, Nov 4 & 18
Jack Walrath (tp) ● Alex Foster (ts)
George Burton (p) ● tba (b) ● Donald Edwards (d)
Mondays, Nov 11 & 25
JACK WALRATH QUINTET
Wed, Nov 20
BOB SANDS QUARTET
“OUT AND ABOUT” CD RELEASE
Bob Sands (ts) ● Joel Weiskopf (p)
Gregg August (b) ● Donald Edwards (d)
Wed, Nov 27
RAY MARCHICA QUARTET
FEATURING RODNEY JONES
Chase Baird (ts) ● Rodney Jones (guitar)
Mike LeDonne (organ) ● Ray Marchica (d)
JAZZ BRUNCH / 11:30am, 1:00 & 2:30pm
Sundays
Vocal Jazz Brunch
Annette St. John and Trio
Jason Marshall Big Band
Captain Black Big Band
Tuesdays, Nov 5, 12, 19, & 26
Mike LeDonne’s Groover Quartet
Thursdays, Nov 7, 14, 21 & 28
Gregory Generet
LATE NIGHT RESIDENCIES / 11:30 Mon
The Smoke Jam Session
Tue
Milton Suggs Quartet
Wed
Brianna Thomas Quartet
Thu
Nickel and Dime OPS
Fri
Patience Higgins Quartet
Sat
Johnny O’Neal & Friends
Sun
Roxy Coss Quartet
212-864-6662 • 2751 Broadway NYC (Between 105th & 106th streets) • www.smokejazz.com
SMOKE
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P art of what has made jazz continually vibrant - and staved off each decade’s
New York@Night
Interview: Michel Camilo
by Sam Spokony
Artist Feature: Dave King
by Brad Farberman
On The Cover: Roswell Rudd
by Kurt Gottschalk
Encore: George Freeman
by Ken Waxman
11
12
Lest We Forget:
Jeri Southern
by Andrew Vélez
MegaphoneVOXNews
by Jamie Baum
by Katie Bull
Label Spotlight:
Relative Pitch
Listen Up!:
Tadataka Unno & Milton Suggs
by Ken Waxman
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38
45
46
Festival Reports:
Belgian Jazz Meeting • Crak Festival • Krakow Jazz Autumn
CD Reviews: Gary Bartz, Mario Pavone, Marty Ehrlich, Ingebrigt
Håker Flaten, Cyrus Chestnut, Preservation Hall Jazz Band and more
Event Calendar
accusations of its irrelevance - has been the eclectic nature of its performers. For
every player who wants to keep jazz ‘pure’, there is counterbalance in a musician
who feels jazz’ bloodline is actually stronger for mixing it with other genres.
Trombonist Roswell Rudd (On The Cover) has been doing it for longer than
most. Coming out of a strict Dixieland background in the ‘50s, Rudd soon embraced
the nascent avant garde movement, working with Cecil Taylor, Steve Lacy and the
New York Art Quartet (which has been honor by the recent monumental Call It Art
boxed set). This month, Rudd turns 78 and releases a new album, Trombone for
Lovers, two reasons to party at Le Poisson Rouge with an allstar cast. Pianist Michel
Camilo (Interview) has spent the last few decades mixing straightahead jazz with
the traditions of his native Dominican Republic. This month, Camilo brings his big
band to the Blue Note for a week. As part of The Bad Plus, drummer Dave King
has helped open up the jazz repertoire to songs from the rock and pop world, but
he is also a compelling leader and will release a new Dave King Trucking Company
album with three nights at ShapeShifter Lab.
In other features this month, we have an Encore on Chicago guitarist George
Freeman; a Lest We Forget on vocalist Jeri Southern, whose complete Decca
recordings have just been released as a boxed set by Fresh Sound Records; a Label
Spotlight on the newish avant garde imprint Relative Pitch; Megaphone from
flutist Jamie Baum, who celebrates her latest album at Jazz Standard, and festival
reports from Belgium, France and Poland. Our usual packed house of CD reviews
this month includes albums with release events (check out our Event Calendar) by
Fred Hersch/Julian Lage, Dave Holland, Marco Cappelli, Amir ElSaffar,
Preservation Hall Jazz Band and René Marie, all artists who fit right into the theme
of expanding the scope and aesthetic sensibilities of jazz today and into the future.
We’ll see you out there...
Laurence Donohue-Greene, Managing Editor
Andrey Henkin, Editorial Director
On The cover: Roswell Rudd (photo by Alex Troesch/courtesy of Verna Gillis)
Club Directory
Miscellany: In Memoriam • Birthdays • On This Day
Corrections: In last month’s CD reviews of The Red Microphone, the composer
Hanns Eisler was German, not Austrian.
Submit Letters to the Editor by emailing [email protected]
US Subscription rates: 12 issues, $30 (International: 12 issues, $40)
For subscription assistance, send check, cash or money order to the
address below or email [email protected].
The New York City Jazz Record
www.nycjazzrecord.com / twitter: @nycjazzrecord
Managing Editor: Laurence Donohue-Greene
Editorial Director & Production Manager: Andrey Henkin
Staff Writers
David R. Adler, Clifford Allen, Fred Bouchard, Stuart Broomer, Katie Bull,
Tom Conrad, Ken Dryden, Donald Elfman, Brad Farberman, Sean Fitzell, Kurt Gottschalk,
Tom Greenland, Alex Henderson, Marcia Hillman, Terrell Holmes, Robert Iannapollo,
Wilbur MacKenzie, Marc Medwin, Sharon Mizrahi, Russ Musto, Sean J. O’Connell,
Joel Roberts, John Sharpe, Elliott Simon, Jeff Stockton, Andrew Vélez, Ken Waxman
Contributing Writers
Adam Everett, Jamie Baum, George Kanzler, Suzanne Lorge, Robert Milburn, Sam Spokony
Contributing Photographers
Jim Anness, George Council, Nicolas Fontaine, Scott Friedlander,
Ingrid Hertfelder, Joe Johnson, Susan O’Connor, Krzysztof Penarski, Alex Troesch
To Contact:
116 Pinehurst Avenue, Ste. J41
New York, NY 10033
United States
Laurence Donohue-Greene: [email protected]
Andrey Henkin: [email protected]
General Inquiries: [email protected]
Advertising: [email protected]
Editorial: [email protected]
Calendar: [email protected]
All rights reserved. Reproduction without permission strictly prohibited. All material copyrights property of the authors.
THE NEW YORK CITY JAZZ RECORD | NOVEMBER 2013
3
N EW YOR K @ N I G HT
Celebrating the release of Ängsudden Song Cycle (482 N ew
York affords uncommon opportunities - like
getting to hear the Swiss pianist Jacques Demierre
manipulating a Fender Rhodes in a small room without
a piano in the Prospect Heights section of Brooklyn. It
may not have been a planned component of his first
duo performance with local sound sculptor Andrea
Parkins, but at SEEDS (Oct. 2nd) it proved an obstacle
that led to exciting results. With the Rhodes’ metal bars
that stand in for strings exposed, Demierre set about
exploring and exploiting the instrument’s potential
while Parkins crafted a percussion track, looping the
sounds of paper crumpling and packing tape
unspooling. She had two other evocative keyboards in
tow - an accordion and melodica - and spent most of
the set kneeling before her laptop, creating evershifting foundations. The sustained keyboard and
processed accordion got surprisingly loud and thick
surprisingly fast, but Demierre held the iconic sound
of the keyboard at bay for a good quarter-hour, playing
dense clusters and forcing distortion by working the
pitch and volume knobs. When he finally let loose the
familiar tonality made famous by Herbie Hancock and
Steely Dan, Parkins responded with a loop from what
might have been a music box mechanism and the music
was quite placid for a few moments, although then and
always the pair didn’t stay anywhere long - from the
forest to the pond to moths around a light bulb
complemented by a room that looked like half parlor
and half holiday cabin.
- Kurt Gottschalk
Music) at Roulette (Oct. 13th), multi-reedist Mike
McGinnis could barely be seen during the concert’s
first half. He was up in the balcony playing “Ängsudden
Abstracts” for solo soprano saxophone while dancer
Davalois Fearon performed onstage below. In a way,
McGinnis danced as well: the intense reverberant
sound of his horn changed as he paced the floor,
moving closer and farther, setting the scene for the
octet showcase of the second half. The stage was strewn
with dry leaves and branches - an autumnal flourish,
perhaps a nod to the Swedish locale of Ängsudden, the
subject of a series of paintings and poems by McGinnis’
collaborator MuKha. Her projections appeared
onscreen above the band; her stark black-and-white
tapestries hung down from the balcony; her words
were sung with warmth and precision by vocalist
Kyoko Kitamura. There’s no shortage of ‘chamber jazz’
today, but McGinnis brought forth an ensemble sound
all his own, playing clarinet and bass clarinet and
blending beautifully with Sara Schoenbeck’s bassoon,
pinpoint vibraphone of drummer Harris Eisenstadt,
pliant viola of Jason Kao Hwang and deep-toned bass
of Dan Fabricatore. Sean Moran’s nylon-string guitar
and Khabu Doug Young’s cavaquinho were paired
brilliantly, not least on “You Are Morning”, a ray of
Brazilian-tinged sunshine and pure melodic inspiration
that ought to be remembered many years from now.
- David R. Adler
Photo by Kurt Gottschalk
Photo by Scott Friedlander
A
Jacques Demierre/Andrea Parkins @ SEEDS
Mike McGuiness @ Roulette
If one thing came across during tenor saxophonist Jason W illiam
Rigby’s first set at Cornelia Street Café (Oct. 5th), it was
experience. Pianist Russ Lossing, bassist Cameron
Brown and drummer Tom Rainey, Rigby’s quartet
mates, played with a lucidity that comes from years and
years on the bandstand. Rigby, pushing 40, is a bit
younger but just as seasoned and assured in his
approach. “Noire”, the first piece, began with a lustrous
and complex rubato melody and evolved over many
minutes, returning to a cued unison figure to keep the
exploration grounded. Without pause the band moved
into Thelonious Monk’s “Bye-Ya”, embracing a more
straightahead vibe with a round of burning solos and
trading, still just as adventurous. “New Tune”, by
drummer George Schuller, brought back a lyrical rubato
feel and allowed for inspired duo exchanges - first
between tenor and drums, then tenor and bass. Brown’s
powerful solo courted silence and stillness, but Lossing’s
entrance, informed by a deep and fluid swing even at a
free tempo, sent the music spinning again. In a dreamy
and abstract way, the pianist segued into his own “Brain
Wave”, the finale, marked by a bass-driven vamp that
propelled the tune straight through to Rainey’s climactic
drum feature. At the music’s most intense peaks, Rigby
maintained a velvety warmth and restraint. His is not a
language of high-register wails; there’s a sense of calm
within the storm, captured so well on his album titles
Translucent Space and The Sage, which makes his music
unique and endlessly inviting. (DA)
4 NOVEMBER 2013 | THE NEW YORK CITY JAZZ RECORD
Parker introduced Refugee Songs, a new
project dedicated to disenfranchised communities at
The Stone (Oct. 8th), as part of his week-long residency.
Originally intended to be a trio with trumpeter Roy
Campbell and pianist Kris Davis, the bassist explained,
it became a quartet when he envisioned adding
trombone and called in Steve Swell with a day’s notice.
The uncommon ensemble - neither reeds nor drums included two of the most on-point horn players in
downtown jazz with one of its most vital bandleaders.
The odd man out was a woman who laid confident
configurations behind them, working in fast nearrepetitions, starting resolutely in the middle third of
the keyboard before reaching out as the room opened
up. Swell was enormously articulate; his first solo of
the night was like an enumeration of points along an
arc, jumping back and forth until the whole of the
curve was covered. The ensemble dropped out for
Campbell’s first solo, which was no less punctuated.
The laurel on his head was, and always has been, the
capacity to land on every note, never faking a bluesy
blur to hit the target. Parker took an arco solo, playing
in between the notes like a Qawwali singer. The
ensemble followed the long “Dadaab” with “Light
Over Still Water Paints a Portrait of God”, which
Parker said was meant to express the notion that even
in the midst of a battlefield one could look up and see
a beautiful sky. The same might be experienced, at
times, like this was, inside and with eyes closed. (KG)
In a moving program honoring their fallen comrade,
several of the most celebrated soloists in jazz today
joined the Juilliard Jazz Artist Diploma Ensemble at
Paul Hall for A Tribute to Mulgrew Miller (Oct. 2nd).
The young quintet featuring saxophonist Lukas Gabric
and guitarist Greg Duncan with Reuben Allen, Paolo
Benedettini and Jordan Young on piano, bass and
drums, respectively, opened the concert with
arrangements of Miller ’s Latin-tinged “Leilani’s Leap”
and soulful “All Blues” variant “Hand In Hand”.
Vibraphonist Steve Nelson and alto saxophonist Steve
Wilson, two longtime members of Miller ’s Wingspan
group, joined the ensemble for a powerful rendition of
“Grew’s Tune”. Pianist Donald Brown, one of Miller ’s
oldest friends, humorously told of first meeting Miller
in college before taking the piano seat to perform his
own “Waltz For Monk” (a staple of the Wingspan
repertoire). He was joined by Miller ’s co-director of
the jazz studies program at William Paterson College,
tenor saxophonist David Dempsey, to conclude the
first half of the show with Miller ’s “Soul-Leo”. Surprise
guest, pianist Eric Reed opened the second set with a
stirring reading of the spiritual “Blessed Assurance”
and Miller ’s “Song For Darnell”. Saxophonist Javon
Jackson joined the band on “Second Thoughts”, a
Miller piece from their days with Art Blakey and the
Jazz Messengers, and remained for Miller ’s “Farewell
To Dogma” before all the guests returned to join the
ensemble to close with “Promethean”. - Russ Musto
Photo by Jim Anness
Photo by George Council / poeticimagephotos.com
Two years away from its 50th anniversary, in its tenth
year under the direction of bassist Ike Sturm, Saint
Peter ’s annual All Nite Soul (Oct. 13th) honored two
veterans: vocalist Sheila Jordan and pianist Barry
Harris. After the seven-tuba boom-bast of Howard
Johnson’s Gravity, the concert showcased Jordan in an
intimate duo with bassist Cameron Brown, with a
quartet and a final duet with pianist Steve Kuhn, all
demonstrating her continuing versatility and vitality.
Harris was next, with solo musings, a trio outing and a
24-voice choir delivering his fine originals “If I Had
But One Dream”, “Like This”, “We Are One”,
“Paradise”, plus an instrumental waltz, “To Duke With
Love”. Jordan joined Harris for an impromptu bluesrap about their early days in Detroit, ending with an
excerpt from a vocalese by Skeeter Spight. The eighthour-plus event comprised 24 short sets interspersed
with videos of featured performers discussing the
impact of the Jazz Ministry and former pastor John
Gensel. Concert high points included bass clarinetist
Don Byron’s solo on Tommy Dorsey’s “When I’ve Sung
My Last Song”; Jay Clayton and Peter Eldridge’s
traded scats over “It Could Happen to You”; Gene
Bertoncini and Ingrid Jensen’s solos on “East of the
Sun” (with string quartet); a trio of young hoofers;
pianist Connie Crothers’ dramatic soliloquy; organist
Sarah McLawler ’s “In a Sentimental Mood” and tenor
saxophonist John Ellis’ smoky “Emily”.
- Tom Greenland
Sheila Jordan & Cameron Brown @ Saint Peter’s
Steve Nelson @ Paul Hall
F or a dozen years and now seven albums, The Claudia
Quintet has been an expressive outlet for drummer/
composer John Hollenbeck’s distinctive musical vision.
Its latest release, September (Cuneiform), was duly
celebrated at Le Poisson Rouge (Oct. 3rd), following a
typically raucous warm-up set by Claudian Matt
Moran’s Slavic Soul Party. The quintet kicked off with
“12th Coping Song”, a minimalist meditation on the
lingering effects of the World Trade Center terrorist
attacks, its looping unison melodies slowly falling out
of phase to produce denser textures, topped by Moran’s
theremin-like vibe trills. They then moved to “24th
Interval Dig”, another looping figure - this time in 15
beats - featuring Chris Speed’s hoarse but cool tenor
saxophone tone over the tessellated chords of Moran
and new accordionist Red Wierenga, followed by “18th
Lemons”, one of Hollenbeck’s most compelling
compositions, a hypnotic experiment of overlain lines
of varying lengths, syncing and de-syncing like an
acoustic rave soundtrack over bassist Chris Tordini’s
steady pulse. “29th, 1936 Me Warn You” juxtaposed
triggered samples of an FDR speech against a backdrop
of roving diagonal lights, unpredictable ensemble
accents and quirky harmonized melodies. The light,
floating “25th Somber Blanket” had an equally
compelling light show of rotating stars and the closing
“9th Wayne Phases” (for Shorter and Gretsky) built
from a chorale to parade funk, with fine vibe work by
Moran. (TG)
Bringing together members from six separate editions
of one of the most famed groups in jazz history,
The Messenger Legacy held forth for four nights at
Jazz Standard (Oct 3rd-6th) for a program celebrating
Art Blakey. Organized by drummer Ralph Peterson,
second chair in the Jazz Messenger Big Band, the
group, with trumpeter Brian Lynch, alto saxophonist
Donald Harrison, tenor saxophonist Billy Pierce,
pianist Donald Brown and bassist Reggie Workman,
recalled the powerful sound of the popular hardbop
group (active from the ‘50s-80s), performing a wide
selection of the band’s classic repertoire. The sextet
opened their final set of the week with a fiery rendition
of “One By One”, which featured all hands soloing
energetically on the lyrical Wayne Shorter line,
propelled by the incendiary drumming of Peterson,
which recalled Blakey in its dynamic strength and
thorough knowledge of the Messenger-In-Chief’s
extensive percussive vocabulary. The group opened
“Along Came Betty” softly, blowing the well-known
Benny Golson melody before opening the floor up to
solos by Lynch, Harrison, Pierce and Brown that
displayed the original sounds honed during their days
under Blakey. Peterson began Shorter ’s “On The
Ginza” with an explosive solo, setting the tone for
another round of intense soloing buoyed by inspired
horn riffing. Brown was heard beautifully on the ballad
“Misty” before the band ended with requisite
performances of “Moanin’” and “The Theme”.
(RM)
WHAT’S NEWS
The winners of the 2013 Kennedy Center
Honors have been announced and will be
celebrated at an event Dec. 8th. Among the five
winners are Herbie Hancock and Carlos Santana.
For more information, visit kennedy-center.org.
The recipients of the 2013 MacArthur
Fellowship have been named. Among the 13
individuals who will receive an unrestricted
award of $625,000 is pianist Vijay Iyer. Previous
jazz musicians to have received the award
include drummer Max Roach (1988), composer
Gunther Schuller and pianist Cecil Taylor (1991),
saxophonists Ornette Coleman and Anthony
Braxton (1994), saxophonist Ken Vandermark
(1999), trombonist George Lewis (2002),
saxophonist John Zorn and violinist Regina
Carter (2006), pianist Jason Moran (2010) and
drummer Dafnis Prieto (2011). For more
information, visit macfound.org.
Nominees for the 14th Annual Latin Grammys
have been named, winners to be announced
during a ceremony in Las Vegas Nov. 21st.
Nominees for relevant categories include:
Record of the Year: “La Nave Del Olvido” - Buika
(Warner Music Spain); Best Traditional Tropical
Album: Un Siglo De Pasión - Arturo Sandoval
(E35); Best Instrumental Album: Dances From
The New World - Paquito D’Rivera y Sergio &
Odair Assad (GHA Records); Best Tango Album:
Amsterdam Meets New Tango - Pablo Ziegler &
Metropole Orkest, Jules Buckley (ZOHO); Best
Latin Jazz Album: What’s Up? - Michel Camilo
(OKeh/Redondo Music/Sony Music); ¡Ritmo! The Clare Fischer Latin Jazz Big Band (Clavo
Records); On The Way - Negroni’s Trio (AA
Records); Live In Hollywood - Poncho Sanchez
And His Latin Jazz Band (Concord Picante);
Border-Free - Chucho Valdés & The Afro-Cuban
Messengers (Jazz Village/Comanche Music);
Grand Piano Live - Chuchito Valdés (Music
Roots Records). For more information, visit
latingrammy.com.
November 29th is annual Record Store Day.
Coming on what is traditionally called “Black
Friday”, the first official shopping day for the
holiday season, a number of labels are
scheduling special releases for that day,
hopefully driving consumers to their local
independent record stores. For more information,
visit recordstoreday.com.
An open-house event will be held at Jazz at
Kitano Nov. 19th promoting the Samba Meets
Jazz Workshops. The week-long immersion
program takes place in Rio de Janeiro Feb.
15th-22nd and focuses on Brazilian, Latin and
mainstream jazz styles, taught by a faculty led by
bassist Nilson Matta. Matta and his fellow faculty
members Harry Allen, Claudio Roditi, Matt King
and Fernando Saci will perform and answer
questions about the program. For more
information, visit sambameetsjazz.com.
Submit news to [email protected]
5
INT ER V I EW
Photo by Ingrid Hertfelder / Courtesy of Redondo Music
Michel
Camilo
by Sam Spokony
Michel Camilo, 59, is a pianist from the Dominican
Republic who first made his name performing alongside top
Latin instrumentalists like saxophonist Paquito D’Rivera
while also going on to lead elite groups like his longtime trio
with bassist Anthony Jackson and drummer Horacio “El
Negro” Hernandez. Camilo’s latest album, What’s Up?, a
solo project released on the OKeh label, was recently honored
with a 2013 Latin Grammy Award nomination for Best
Latin Jazz Album. He has already won two Latin Grammys
in the past. This month is a particularly exciting one for
Camilo, as the pianist will lead a big band in New York for
the first time in more than a decade.
MC: And because Brubeck used to play it with two
hands [laughs]. Then on top of that, I had to work on
kind of having two brains in order to be able to
improvise on it and to have the rhythmic flexibility to
isolate one side from the other while also making them
work together.
But the listeners might also notice that my version
is also partially inspired by [drummer] Joe Morello’s
original solo. Later in the tune, when I break the
rhythm apart and I start making those runs down in
the low register, I’m thinking like a drummer who’s
using the whole kit. You know, da-da-dum-dum.
The New York City Jazz Record: After already having
won a couple of Latin Grammys, does it feel any
different to be nominated for a solo project?
TNYCJR: The fourth tune on the album, “Sandra’s
Serenade”, is also very moving. That was a piece
written for your wife?
Michel Camilo: The difference is that solo albums are
always a particular challenge and they’re also so
personally special. So definitely, yes, to be nominated
for a solo project feels great. And What’s Up? was an
album where I really took my time honing it before I
went into the studio and I really took a lot of time to
pick the material.
MC: Yes. We’ve been married since 1974 and she’s not
only part of my dream, but she’s also my manager. So
our careers are together, we travel together and she’s
my muse. I’ve written many tunes for her over the
years, but this one was particularly special because it
was my Valentine’s Day gift to her this year.
I was actually in the studio on February 14 and she
was there as well, but I didn’t tell her the title of the
tune until after I recorded it. So when she heard it, she
said to me, “Wow, what’s that one called?” And I said,
“It’s your song!”
TNYCJR: How did you go through that process of
deciding on the tunes?
MC: My motivation was to continue the long tradition
of solo piano styles in jazz and somehow to put all my
influences together in one album. You know, these are
sounds that have marked me for life, since the
beginning of my career. That’s why the album actually
starts with a honky-tonk blues [the title track]. It recalls
the foundations of the jazz tradition and that’s where
my roots are.
And then throughout the album those roots are
extrapolated and brought all over the place. Later,
there’s my tribute to Paul Desmond and Dave Brubeck
[“Take Five”], which I chose because I knew Brubeck
for many years. I met him over 20 years ago at the
Grande Parade du Jazz in Nice, France. I remember
that night - he was waiting on the side of the stage
while I was playing with my trio and as I was walking
off after the set, he gave me a hug and said that he
really enjoyed my playing. To be recognized like that
by one of my idols...that has stayed with me throughout
my life. I really felt blessed in that moment.
TNYCJR: How did you feel while playing “Take Five”
for the recording session this year?
MC: Let’s put it this way - it took me about a year to
practice keeping that famous beat going [laughs] and
to make sure that it was swinging. It’s a pretty
challenging part to play with just one hand.
TNYCJR: Right, because you really need to become the
rhythm section.
TNYCJR: Jazz musicians always know how to
improvise, even when it comes to romance.
MC: Yeah, there you go [laughs]. It was a really special
moment.
TNYCJR: Thinking again about the idea of becoming
the rhythm section in your left hand - as a pianist
known for his outstanding trio and small group work,
do you feel this kind of challenging solo work is
especially important to your personal development?
MC: Yes, it’s about always continuing to grow. Never
rest on your laurels, but instead always challenging
yourself and actually see how far you can actually take
it. And I think this is just part of what the jazz tradition
means, so I hope that never ends.
While I was recording the album I remember
walking back into the sound booth after doing a take
and I also said, “Wow…” while listening to myself
[laughs] and I think it’s important to have that feeling.
It’s good to rediscover yourself sometimes by really
risking it, putting yourself out there and not being
afraid of flying without a parachute. You see how far
you can go while making sure that it’s still something
you can really feel good about. And that “Wow”
moment is the great reminder that there’s always still
room for us to grow.
TNYCJR: And now, after being honored for your solo
work, you’re going to hit the stage with your big band
this month at the Blue Note.
MC: Right, it’s quite a contrast [laughs], but it’s going
to be great. I’ve brought all kinds of groups to the Blue
Note over the years, including various trios and
sextets, but never the big band. So when I was talking
to Steven Bensusan [President of Blue Note
Entertainment], who’s been a good friend of mine for
many years, he asked me, “Well, what haven’t you
done here yet?” And I said that the one thing I haven’t
brought yet is my Rolls Royce [laughs], which is the
nickname I have for my big band.
(CONTINUED ON PAGE 37)
Billy Lester
is accepting new jazz piano students,
offering an original approach to jazz
creativity, technique, theory and ear
training to students of all levels.
Re: Storytime - Billy’s solo piano CD:
“Connoisseur jazz...at an ever higher level
of daring and mastery.”
-Howard Mandel, President,
Jazz Journalists Association
“You won’t get any better than this.”
-Rotcod Zzaj, rotcodzzaj.com
“Solo jazz piano at its best”
- Scott Albin, Jazz Times
www.billylester.com
studio in Yonkers, NY
AR TIST F EA T U RE
Photo by Joe Johnson / courtesy of Dave King
Dave
King
For more information, visit daveking.net [As of press time,
King’s three-night November CD release celebration at
ShapeShifter Lab has been postponed until next year.]
Recommended Listening:
• Happy Apple - Body Popping, Moon Walking, Top
Rocking (Tinderbox Music/No Alternative, 1999)
• The Bad Plus - Eponymous
(Fresh Sound-New Talent, 2000)
• Dave King - Indelicate (Sunnyside, 2009))
• Craig Green/Dave King - Moontower (Long Song, 2010)
• Dave King - I’ve Been Ringing You (Sunnyside, 2012)
• Dave King Trucking Company - Adopted Highway
(Sunnyside, 2013)
by Brad Faberman
The Kickstarter video for Adopted Highway, the new
album from drummer Dave King’s Trucking Company
quintet, is laugh-out-loud funny. In it, King, who rose
to prominence as a member of both Happy Apple and
The Bad Plus, lifts weights; brandishes a knife he
claims to have fashioned from a water buffalo horn
(he’ll skin an animal for you as a reward, he kids);
explains that one can purchase a “pretty decent-fitting”
blazer from Target and reveals that he won’t play piano
if he’s not wearing gloves. But the fast-cutting clip
could also be described as brimming with ideas, a trait
it has in common with Adopted Highway. Influenced by
a broad but connected swath of styles - blues, swing,
funk, rock, minimalism - Adopted Highway is gleefully
eclectic, bringing together elements from different
corners of the music world. In the video, King earnestly
refers to the Trucking Company’s music as “an
Americana-tinged kind of avant garde jazz”, but
there’s more to it than that. Unique music cannot be
contained by a single phrase.
Birthed at Minneapolis’ Walker Art Center in 2010
during “King for Two Days” a two-day, six-band look
at King’s present and future work, the basically
Minneapolis-based Trucking Company - bassist Adam
Linz, guitarist Erik Fratzke, tenor saxophonists Chris
Speed and Brandon Wozniak and King - was originally
conceived as an opportunity for King to collaborate
with Happy Apple bassist Fratzke on guitar. It seems
natural, then, that the most compelling passage on the
album is a showcase for the six-stringer. After the
darkly wistful head in the epic “This Is a Non-Lecture”,
all that’s left is a single, repeated note from Linz and a
tribal cymbal pattern from King. Then, on top, Fratzke
slices, feeds back, crunches and drops bright, steelpans-like prepared-guitar riffs, leaving lots of space
between thoughts. The sparse, hypnotic section lasts
nearly seven minutes. The music is arresting. “Every
time we do that tune, you strap in and [Fratzke] takes
it,” says King. “Live, sometimes it’s been 15 minutes
long. I mean, it’s incredible vibes being in, like a
packed, kind of like jazz club and he’s using two to
three minutes sometimes in between stanzas of the
solo. And you’re just onstage going, ‘Dang. Dang.’”
But that’s merely one piece of the Adopted Highway
puzzle: “Dolly Jo and Ben Jay”, for instance, is
essentially a bebop tune; “When in North Dakota”
rides a filthy funk rhythm; “Ice Princess” is coming out
of riff-rock and the album-closing “Bronsonesque”, by
Fratzke, spends part of its time in a bluesy, gutbucket
groove. No genre is off-limits for the Trucking
Company. Anything it passes on the side of the road is
up for grabs.
“We love songs, we love the great traditions of
jazz, but we also love great rock music and great gospel
music and all these other things,” explains King.
“Fratzke, for instance, takes a few solos on this
Trucking record, on this new one, that would challenge
any kind of shred-metal guitar player, you know? And
he’s coming from such a deep space of all this different
music he’s ingested and it’s what’s just so nice about it,
again, ’cause it’s just sort of, like, there is no prescription
for what it is, it’s just the music we’re making.”
Another King-led group doing its own thing is the
acoustic Minneapolis trio of King, pianist Bill
Carrothers and bassist Billy Peterson, which
concentrates on standards. First assembled for the 2012
recording of King’s third album as a leader, I’ve Been
Ringing You, the band conjures up askew but
approachable performances of tunes like Cole Porter ’s
“So in Love” and Ornette Coleman’s “Lonely Woman”.
The arrangements feel connected to the jazz tradition,
but not in a hackneyed way. “I absolutely wanted this
idea that we’re not forcing any issue to be outside of
what’s happened before, or just playing some tunes,”
says King. “But at the same time, I wanted those kind
of elastic thinkers to put their brains on it. So everyone
had the responsibility to not force anything to happen
but to be yourself at the same time. Not try to fulfill
any jazz prompts.”
But King has never worried about expectations.
Growing up in Minneapolis in the ’70-80s, King studied
with jazz drummers Joe Pulice and Eric Gravatt. But
the young percussionist went on to spend the first half
of his 20s in Los Angeles, diving into diverse musical
situations, including recording beats for hip-hop artists
like Eazy-E and Biz Markie. And, save for those five
years in LA and a six-month New York City stint in
1989, King has chosen to infiltrate the jazz world from
afar: Minnesota. Especially unorthodox was King’s
decision to make his debut recording as a leader a true
solo affair. Indelicate, released in 2010, is a strong, vivid
collection of drums-and-piano duets and solo piano.
King plays every note on the album. The drums were
overdubbed. “I remembered seeing Flaming Lips play
live once where the drummer was playing all the
keyboards and there was a film of him playing drums
while they were playing,” relates King about one of the
inspirations for Indelicate. “Playing to the pre-recorded
stuff, of the drums and there he is on the film behind
them and there he was onstage playing all the keyboard
parts, that stuck with me. I loved that. That was, like,
in the late ’90s or whatever.”
Another thing King likely identified with at that
Lips show was the Oklahoma band’s sense of humor.
With song titles like “The Black Dial Tone of Night”
and the Adopted Highway Kickstarter video, for
example, King has shown himself to be a true
funnyman. But the wisecracking comes from a pure
place; for one thing, King wants his listeners to know
how happy he is to make music for them.
“We want everyone to know that we feel like we’re
the ones that owe you,” says King. “And so we’re not
gonna be, like, doing you any favors with our ‘great
art’. We want you to have an amazing time when you
come to see us and be able to hear some deep music
and also laugh and also be able to relax and be able to
enjoy the music on whatever level you’re able to
receive it.” v
JSnycjr1113
10/14/13
2:06 PM
Page 1
“Best Jazz Venue of the Year” NYC JAZZ RECORD“Best Jazz Club” NY MAGAZINE+CITYSEARCH
FRI-SUN-NOV 1-3
VIJAY IYER TRIO
HARISH RAGHAVAN - MARCUS GILMORE
TUE NOV 5 CLOSED FOR PRIVATE EVENT
WED NOV 6
CUBAN
MANUEL VALERA & NEW
EXPRESS
YOSVANY TERRY - TOM GUARNA - JOHN BENITEZ - LUDWIG AFONSO - MAURICIO HERRERA
THU-SUN NOV 7-10H7:30PM & 9:30PM ONLY
STEVE KUHN TRIO
BUSTER WILLIAMS - BILLY DRUMMOND
TUE-WED NOV 12-13
MELISSA
ALDANA QUARTET
GLENN ZALESKI - PABLO MENARES - JOCHEN RUECKERT
THU-SUN NOV 14-17
DAVE DOUGLAS QUINTET
JON IRABAGON - MATT MITCHELL - JOSH ROSEMAN (NOV 14) - LINDA OH - RUDY ROYSTON
TUE NOV 19
JAMIE BAUM SEPTET +
AMIR ELSAFFAR - DOUGLAS YATES - CHRIS KOMER - BRAD SHEPIK
JOHN ESCREET - ZACK LOBER - JEFF HIRSHFIELD
WED NOV 20
JOHN BEASLEY
JUILLIARD JAZZ
BIG BAND
THELONIOUS MONK
CONDUCTS THE
PLAYING THE MUSIC OF
ARRANGEMENTS BY JOHN BEASLEY/MONK’ESTRA
THU-SUN NOV 21-24
RENE MARIE
“I WANNA BE EVIL”-WITH LOVE TO EARTHA KITT
TATUM GREENBLAT - PETE REARDON ANDERSON - ST. CLAIR SIMMONS
KEVIN BALES - ELIAS BAILEY - QUENTIN BAXTER
TUE-SUN NOV 26-DEC 1
THU NOV 28 CLOSED FOR THANKSGIVING
MARIA SCHNEIDER
ORCHESTRA
HHHMINGUS MONDAYSHMINGUS MONDAYSHHH
MON NOV 11
MON NOV 4, 18 & 25
MINGUS BIG BAND
MINGUS ORCHESTRA
JAZZ FOR KIDS WITH THE JAZZ STANDARD YOUTH ORCHESTRA EVERY SUNDAYAT 2PM - DIRECTED BY DAVID O’ROURKE
7
O N T HE CO VER
photo by Alex Troesch/courtesy of Verna Gillis
ROSWELL RUDD
COOL TROMBONE LOVER
by Kurt Gottschalk
There’s cool jazz and then there’s cool jazz. There’s
the West Coast cool and then there’s the jazz played by
people who are just - cool. Players who are comfortable
doing their own thing. Who are traditionalists with a
tap on the current. And probably wear sunglasses.
Case in point, Roswell Rudd and the cover of his
latest record, with the decidedly cool title Trombone for
Lovers. Black turtleneck, black lenses, white frames,
white hair, contemporary font in ‘50s throwback pink
and blue hues with his slide slicing diagonally across
the tableaux.
Jazz for lovers is usually songs, generally
recognizable standards, laid back but not lazy.
Trombone for Lovers is all of that plus cool. Definition B
cool. Rudd’s set of standards includes Louis Armstrong,
Duke Ellington and Frank Loesser as well as the
Beatles, Booker T and the MGs and a ‘30s workers
rights anthem sung by the NYC Labor Chorus. Four
versions of it, in fact. “‘Jazz standards’ means popular
material that’s been taken on by jazz players who leave
their own stamp on it,” Rudd explained. “In the
category ‘standards’ there’s all kinds of standards and
I’ve been playing jazz standards for years but this
record is mainly about standards that I grew up on. It’s
just things that got into my body along the way from
what was on the radio.”
Rudd, who celebrates his 78th birthday this month,
has heard a lot of radio and has played a lot of music.
Having initially studied the mellophone and French
horn, he took up the trombone in his teens and as a
student at Yale University played in a Dixieland band.
During the radical political and musical foment of the
‘60s, he was a part of the New York Art Quartet (the
focus of the recent boxed set Call It Art) and played in
bands led by Steve Lacy, Cecil Taylor, John Tchicai and
most notably Archie Shepp, in whom he found a
kindred spirit, someone plugged into the free jazz
explosion but unwilling to dismiss history. That
partnership carries on more than 50 years later.
“That’s something that brought Archie and myself
together,” Rudd said. “I met him in a recording session
that had to do with a revival of some Duke Ellington
music in early 1961. From that time I was rehearsing
with Archie every so often to explore standards. I think
that created a musical bond, learning from each other
that way. The language of the music puts us in touch
with each other and we develop a vocabulary and a
sensitivity and an awareness that helps us grow.”
Ellingtonia found its way onto Trombone for Lovers
in the form of “Come Sunday”, one of the Duke’s most
lasting melodies and one of the more inventive
arrangements on the disc. “I did get to be there for a
performance of the Sacred Concert at the Apollo Theater
and it left such an impression on me because it just
expanded the content of ‘Come Sunday’, which was
huge already when Johnny Hodges recorded it. It gave
me a whole new vision of ‘Come Sunday’ and that
resides with me today.”
Rudd also had the opportunity to hear Louis
Armstrong’s band live. It was 1951 and he was 16 and
came down from Connecticut to hear Satchmo’s band
with singer Velma Middleton at the Paramount Theater.
“They did this beautiful dialogue with ‘Baby, It’s Cold
Outside’,” he recalled. “That experience of seeing
Louis Armstrong in person and going up and shaking
his hand, he was such a lovely person. He said, ‘You’re
pretty young to be in New York. You better watch out
on the streets.’ He was a real fatherly/brotherly kind
of guy. But the Louis Armstrong experience goes back
to when I came into the world because my father was
playing those 78s and playing along on a drumkit. It
was a good jazz experience in the home.”
One of his father ’s favorite Satchmo sides,
“Struttin’ With Some Barbeque” (written by Lil
Armstrong) also made it onto the new album, with Fay
Victor handling the vocals. “That is a song that stuck
with me in the earliest days, it’s one of the tunes that I
just kept on playing,” he said. “I think 95 percent of
American music is on Armstrong’s shoulders.”
Rudd also pays tribute to the memory of that duet
with Middleton in his own take on the Loesser classic,
replacing the vocals with his trombone and Steven
Bernstein’s trumpet. (Bernstein and Victor are just two
of the esteemed guests appearing on the disc. Bob
Dorough, Michael Doucet, Gary Lucas, Billy Martin
and John Medeski also make appearances. Yeah, cool.)
Rudd, who has taught ethnomusicology, talks about
the track and about playing music in general, using
such terms as “dialogue” and “conversation”, reflecting
a basic belief that music is, at its core, a means of
communication.
“Music has all the intricacies of spoken language
plus so much more that is sublingual,” he said. “I’m
going to be 78 years old and I’m still exploring the
incredible form that human beings have put together
for means of communication on all kinds of levels, this
thing we learned from wildlife and still do because the
wildlife are the experts, using the acoustics. I’m very
fortunate to be living in the country right now here in
Kerhonkson [upstate New York] and there’s a lot of
voices out there. This is something I grew up with too.
There’s a lot of call/response out there.”
The Beatles also found their way onto the disc. “I
never heard the Beatles in person but Revolver was a
favorite of mine and ‘Here, There and Everywhere’ is
song that went deep with me and I’ve been carrying it
with me ever since,” he said. “The Beatles were coming
to tour to promote that album and I was on my way up
to the Impulse! office to discuss a new album and they
were very visible on Sixth Avenue surrounded by
crowds of young people.” “Here, There and
Everywhere” is featured on the new record and,
coincidentally, the record he was planning when he
passed them on the street was titled Everywhere.
To put his own take on the standards down on
disc, Rudd and executive producer Verna Gillis turned
to Kickstarter. It was Rudd’s first experience with
crowdsourced fundraising, but it wasn’t the first time
he had to look outside the traditional arrangement of
having a record label foot the bills. His 1973 record
Numatik Swing Band was privately financed, although
not through an online network.
“I think it was a means to an end,” Rudd said of
the Web campaign. “I wanted to record again and
specifically the program that I had in mind for these
standards. And the opportunity was something we
would have to make for ourselves. But a lot of beautiful
people have come into your lives as a result of that
appeal. It’s wonderful to feel that support.”
Rudd gives the lion’s share of the credit for
managing the fundraising and pushing the project to
his longtime collaborator Gillis. Even the album’s title
came from her. “It was my nephew’s idea to raise the
money through Kickstarter and he and I worked hard
for several months to raise it,” she said. “And
Sunnyside has been Roswell’s label for more than ten
years, They have released everything we have
recorded. I thought Sunnyside would love this new CD
of course and would release it. Why not? It’s great.
There are always challenges - navigating personalities
and individual needs and schedules - but mostly it was
a dream project. Look at the talent we had!”
Halfway through the album’s 17 tracks lies a
perfect pinnacle in one of the coolest tunes of all time.
Booker T and the MGs’ 1962 instrumental hit “Green
Onions” has earned a lasting place in the public
consciousness, having been featured in numerous
films, including American Graffiti, Chicken Run,
Quadrophenia and X-Men: First Class, as well as
television programs and advertising. It is, without
doubt, a landmark of 20th Century popular music.
And it, perhaps, puts a handle on what makes Trombone
for Lovers so cool. “‘Green Onions’ came along in the
late ‘60s when I was living in New York City,” Rudd
said. “I’d been living there since 1957 and suddenly
one day coming out on the streets in a shopping area
was ‘Green Onions’ and I made some inquiries and
found out it wasn’t somebody playing a jazz recording,
it was coming out of the commercial radio. This was a
feel I’d grown up with in the ‘50s. I’d call it a jazz feel
and I’d never heard anything like that on commercial
radio. It was a breakthrough in that way and I thought
‘here’s the connection to the feeling I was trying to get
in my 20s. It was a sound coming from the ‘40s and
here it was in the street. You could call it some kind of
mainstream bop or blues, I just call it ‘the groove’.” v
For more information, visit roswellrudd.com. Rudd and
guests celebrate his 78th birthday and new album at Le
Poisson Rouge Nov. 24th. See Calendar.
• Archie Shepp - Four for Trane (Impulse, 1964)
• New York Art Quartet - Call It Art
(Triple Point, 1964-65)
• Steve Lacy/Roswell Rudd/Kent Carter/
Beaver Harris - Trickles (Black Saint, 1976)
• Roswell Rudd/Steve Lacy/Misha Mengelberg/
Kent Carter/Han Bennink - Regeneration
(Soul Note, 1982)
• Steve Lacy/Roswell Rudd - Monk’s Dream
(Verve, 1999)
• Roswell Rudd - Trombone for Lovers (Sunnyside, 2012)
9
E NC OR E
George Freeman
by Ken Waxman
Over the years he’s
played
with
Gene
Ammons,
Charlie
Parker, Johnny Griffin
and Richard “Groove”
Holmes,
composed
funky jazz hits and still
gigs frequently. Yet if Chicago-based George Freeman,
86, is known, it’s as the last survivor of the hypertalented jazz-playing Freeman brothers. Baby brother of
drummer Bruz (1921-2006) and tenor saxophonist Von
(1922-2012), he’s also uncle of tenor saxophonist Chico
Freeman. Freeman says without boasting: “God gave
me an extremely different type of talent, but I don’t
think I’ve been properly heard.”
Although he has led more than a dozen records, the
most recent is Savant’s At Long Last George, from 2000.
That may be because of his constant movement over the
years back and forth from Chicago to NYC to California.
Or as he jokes, “I’ve always been in the right place at the
wrong time.”
This goes back to his first NYC experience in the
late ‘40s when tenor saxophonist Griffin and trumpeter
Joe Morris left Lionel Hampton’s band and asked the
guitarist to put together a group. He did, but no sooner
did he arrive in the Apple then his amplifier was stolen
and the gig they were supposed to play never
materialized. Instead they worked in cities such as
Philadelphia, where Freeman first met John Coltrane,
who declared: “I like the way you play guitar...you hit
all the low strings.” Then in 1947 the Morris-Griffin
group recorded a Freeman-conceived tune called “Low
Groovin’”, which became one of Atlantic Records first
hits.
It isn’t surprising that Trane liked his playing since
Freeman “tried to play like a saxophone” after he first
heard Charlie Parker. “Charlie Parker’s playing was so
strong, but I could hear what he was doing and could
transfer it to the guitar,” he recalls. “That’s when I
started playing bebop.” He had already picked up
rudiments of the instrument from a neighbor and later
was in Chicago’s DuSable High School band under
legendary director Captain Walter Dyett. Other
influences that he heard on record were Charlie
Christian with Benny Goodman’s band and Floyd Smith
with Andy Kirk and when, as an adolescent peering
through the open door of the Rhumboogie Club, he saw
blues singer T-Bone Walker, resplendent in a white suit,
singing and playing the guitar. “The guitar fascinated
me,” he admits.
By the early ‘50s the Freeman brothers were some of
the most in-demand backing musicians in Chicago and
were asked to accompany Parker when he played at the
Pershing Ballroom. “The first time I saw Charlie Parker
play live I was in tears,” Freeman recalls. “Later when
we played with Dizzy Gillespie and Roy Eldridge it was
the same thing. Every time Dizzy hit a high note Von
and I would let out a scream.”
After experiences like that, the guitarist tried his
luck back East again. “I just like the smell of New York,”
he jokes. But he ended up playing less-than-well-paying
gigs with Holmes and others, almost ending up on
street with his gear in hock. Organist Wild Bill Davis
needed a guitarist, he gave Freeman money to reclaim
his guitar and amp and they immediately went on the
road. When the band arrived in Los Angeles, Freeman
tried for a record date at Pacific Jazz, but the producer
wanted to record Holmes. Freeman contacted him and
when the organist arrived in California (“with his wife
and four kids and a hearse that all organists drove those
days”), the two made some highly praised LPs featuring
the likes of tenor saxophonist Ben Webster and
trombonist Lawrence “Tricky” Lofton. However, the
guitarist recalls ruefully that Holmes had returned back
East without Freeman when the organist had a huge hit
with “Misty”.
When Freeman left California, it was to join R&B
singer Jackie Wilson’s band, fronted by tenor saxophonist
Sil Austin. “But I’m really a jazz guitar player,” says
Freeman. So he quit to work with others, usually
organists like Jimmy McGriff. “I like organ players,”
confirms Freeman, whose present working group
includes that instrument. “They know how to fill a room
and make the drummer play a continuous backbeat. But
I can keep up, know how to comp behind an organ
player and make him feel good. I was raised with that
sound and I can play heavy.”
Proof of this came during the seven years in the
early ‘70s he spent with Ammons, especially when the
frontline also featured the competitive Sonny Stitt.
Although playing with Ammons and Stitt was
“sometimes like going against heavy artillery, I had
volume that I could raise and I could play really hard,”
he notes. One reason he stayed with Chicago-born
Ammons was that his own composition “The Black Cat”
became a major hit for the saxophonist.
During that same period Freeman also recorded a
series of pioneering jazz-funk sessions like 1972’s
Franticdiagnosis (Bam-Boo Records, featuring organist
Charles Earland), performing with electric pianos, arp
synthesizers, lots of percussion and, of course, many
organists. But he returned to Chicago and mainstream
playing after Ammons’ death. Similarly, although
AACMers trombonist Lester Lashley and multi-reedist
Kalaparusha Maurice McIntyre were on his 1969 Birth
Signs LP (“that was the producer’s idea” he explains)
and his nephew is an AACM member, Freeman stays
away from avant garde improvising.
“At Von’s funeral when I played ‘I Remember You’
I went ‘out’, but then I came back in. That’s what I
always do. Listen to John Coltrane. He played ‘in’ before
he played ‘out’ and he would always come back in. I
like blues and ballads and like to swing in a modern
way. Charlie Parker blew my mind then and he still
does today.” v
to cross over into jazz singing. As she later recalled, “I
tried...to sing in my speaking voice. ...I kept practicing
my low voice and in about two months I sang well
enough not to sound ridiculous. ...It was like
manufacturing an entirely new voice.”
For a long time Southern considered herself only a
piano player until she learned she could get more work
if she both played and sang. She began attracting
attention as a vocalist when signed up for broadcasting
with Chicago jazz lover Dave Garroway,. By 1950 she
was singing intermissions at Birdland. During a gig at
Chicago’s Hi-Note, she was heard by Peggy Lee, who
was so impressed that she got her a contract with
Decca in 1951. The aforementioned tenderly treated
“You Better Go Now” was her first recording for the
label. After that she recorded quite often in New York
with the orchestras of Sy Oliver, Victor Young and
Salvatore “Tutti” Camarata, among others.
With an orchestra or her own trio, Southern
consistently chose quality songs and delivered them in
a straightforward manner, eschewing the novelty tunes
popular at the time, remarking, “I’ll sing songs I like.
Songs that are good.” Her care with words was a
lyricist’s dream; she was equally at ease sultrily
torching a blues like “That Old Devil Called Love”,
going uptempo and playfully seductive with “An
Occasional Man” or displaying a particular affinity for
romantic tunes like “When I Fall In Love”.
Finally weary of the vagaries of the music business
and a public that gave greater attention to Julie London,
June Christy and others of that era, Southern retired
from performing in 1962. She opened a studio in Los
Angeles where she taught vocal and piano technique.
A gifted songwriter, the depth of her musical
knowledge is evident in her book Interpreting Popular
Music at the Keyboard.
On Aug. 4th, 1991 Southern passed away at a mere
64. With all that talent and skill, one can’t help wishing
she’d had the bigger career she deserved. Perhaps, as
Marian McPartland sometimes opined of others, she
was “too hip for the room”. Like the great Carmen
McRae, Jeri Southern played exquisite piano and sang
with a depth-charge directness that stirred listeners.
Hearing her now, that sound remains as simple and
musical as it is deep. v
• Charlie Parker - One Night in Chicago (Savoy, 1950)
• Richard “Groove” Holmes - Groove (Les McCann
Presents The Dynamic Jazz Organ of Richard “Groove”
Holmes) (Pacific Jazz, 1961)
• George Freeman - Birth Sign (featuring Von Freeman)
(Delmark, 1969)
• Buddy Rich - The Last Blues Album, Vol. 1
(Groove Merchant, 1974)
• George Freeman - Rebellion (Southport, 1995)
• George Freeman - At Long Last George (Savant, 2000)
LE ST WE F OR GE T
Jeri Southern (1926-91)
by Andrew Vélez
“You better go now because I like you much too
much, you have a way with you...” is the alluring
opening line of one of sultry-voiced Jeri Southern’s
signature songs. Possessed of a honey purr, in the most
tastefully intimate manner hers was really a siren call
to STAY. Just how unique and spellbinding her pitch
perfect vocalizing was can be savored on The Warm
Singing Style of Jeri Southern (The Complete Decca Years
1951 - 1957) (Fresh Sound). Amply respected by fellow
musicians at the time, this singer-pianist numbered
Frank Sinatra, Stan Kenton, Tony Bennett, Ralph Burns
and Peggy Lee among her most ardent fans. Largely
unknown today beyond cognoscenti of vocalists, her
singing still sounds totally au courant.
Born Genevieve Lillian Hering on Aug. 5th, 1926
in Royal, Nebraska, she began playing piano when she
was three. By five she had begun formal study in
classical piano. Despite the family’s limited finances
during the Great Depression, her mother insisted on
her going to Notre Dame Academy in Omaha for
advanced training in classical piano. It was while
working as an assistant to the principal piano teacher
there that she discovered jazz and jazz singers. But
Southern’s coloratura soprano made it difficult for her
• Jeri Southern - The Warm Singing Style of Jeri
Southern (The Complete Decca Years)
(Decca-Fresh Sound, 1951-1957)
• Jeri Southern - Coffee, Cigarettes & Memories
(Roulette-Fresh Sound, 1957)
• Jeri Southern - Southern Breeze
(Roulette-Fresh Sound, 1958)
• Jeri Southern - Meets Cole Porter (Capitol-EMI, 1958)
• Jeri Southern - Meets Johnny Smith
(Forum-Roulette - Fresh Sound, 1958)
• Jeri Southern - At the Crescendo (Capitol-EMI, 1959)
ME GA PHON E
Following Your Muse
by Jamie Baum
When asked to write this column, I was flattered and
hesitant at the same time. Did I have something I had a
burning desire to talk about...at least in print anyway?
It was suggested to me that it would be a great
opportunity to talk about what going to South Asia
meant for my musical journey as a player and composer
and how that translated into my new Sunnyside release
In This Life. Of course, when it comes to that, there is
plenty for me to say! The one question, however, that I
have been continually asked, or what has often been
implied, has been to explain or perhaps even to qualify
my choice of working with the music of Nusrat Fateh
Ali Khan, the late iconic Pakistani Qawwali vocalist
(particularly in light of not having studied the music
through a formal or traditional approach). The short
answer is really because that music touched me in the
same way that listening to Miles and Coltrane did
when I first heard them.
Most people probably don’t know that I started
out at New England Conservatory as a Third Stream
major, although partway through my second year I
switched to the jazz department. While at that time my
reasons for switching was because I knew I wanted to
focus on the vast amount of information and skills I
would need for this journey, one of the things I got
from the Third Stream department, aside from some
great ear-training tools, was the importance of
following your muse and finding your voice through
discovering, being open to and synthesizing your
influences. That has always stayed with me.
Growing up, while jazz was always a passion, I
also listened to and played classical music, rock, blues
and later Latin and Brazilian music. I never really felt I
had to limit myself since I loved it all and so the
concept of Third Stream seemed to fit, as did traveling
and my interest in other cultures. Offered the
opportunity to tour as a State Department/Kennedy
Center Jazz Ambassador in South America for five
weeks in 1999, I jumped at it. Having the chance to
meet, play and learn from many musicians while there
was a thrill and so when a second opportunity came in
2002 to tour for six weeks in South Asia, it was a dream
come true! I’d been a fan of Indian music for a long
time, loved the tabla and bansuri and had even
recorded a tune by Trilok Gurtu on my 2003 OmniTone
release, Moving Forward, Standing Still.
The tour was an incredible opportunity in so many
ways. The two musicians I toured with, Jerome Harris
and Kenny Wessel, were not only great to play and
hang with but were as excited to absorb everything
about the music and culture as I was. We were a good
fit and had multiple opportunities to perform and
work with local musicians. Two of the most memorable
included a concert in Delhi with VM Bhatt, who plays
the Mohan Veena (slide guitar), and the tabla player
Sandeep Das (who is in the Silk Road Ensemble) and a
concert in Chennai with Karaikudi R. Mani, master
mridangam player and his eight-piece ensemble.
The time with Mani, who had been a teacher to
musicians like Jamey Haddad, Todd Isler and Marcie
Frishman-Sarangan, was priceless. Not only did he
compose a piece for us and his ensemble, which we
spent a couple of days rehearsing before our nationally
televised concert, but we also spent a day with him
during which he told us about his life and approach to
music. On later trips back to India, Nepal and
Bangladesh, I had several similar experiences that not
only informed and broadened my approach to
improvising and composing, but touched me
spiritually. It is true what they say about India and
other parts of South Asia - it can be life-changing.
Those experiences and being introduced to the
music of Nusrat Fateh Ali Khan inspired me to want to
find a way to incorporate some of the elements found
in that music into my music. It was a challenge, as
were my previous projects inspired by Western classical
composers, including Igor Stravinsky and Béla Bartók.
As I wrote in the liner notes for In This Life, with great
respect for their traditions and vast language and
without immersing myself in study, my goal wasn’t to
play or compose in those styles but to have them
inspire new ways of writing and improvising.
And so, despite the oftentimes-thorny issues that
come with venturing outside one’s (and others)
comfort zones, it is essential to one’s vitality and
growth as a musician to follow your muse. v
I Wanna Be Evil (Motéma) and experience this singular
performer’s Jazz Standard CD release (Nov. 21st-24th).
She is the cream of the modern day jazz crop, sensually
unearthing personal nuance as she honors Kitt’s terrain.
Fay Victor could be René Marie’s long-lost twin
from an alternate side of the jazz looking glass. Take a
trip with avant-take-you-off-guard Victor as she
celebrates the CD release of Absinthe & Vermouth
(Greene Avenue) at JACK (Nov. 13th). Like Dali’s
melting clock, Victor’s lyrics cascade in a melding of
the mundane, the natural and the fantastical. Words
morph into pointillistically expressive wails and
punctuating tones. It’s like the Mad Hatter invited Kurt
Weill and Arnold Schoenberg to tea and the caterpillar
scored it. You can also hear her in duo with Tyshawn
Sorey at Ibeam Brooklyn (Nov. 2nd) and as part of
Roswell Rudd’s 78th birthday celebration at Le Poisson
Rouge (Nov. 24th).
Speaking of birthdays, NEA Jazz Master Sheila
Jordan, also a mentor to many (including yours truly),
encourages her students to “sing the truth” and sing it
from the heart. Jordan’s 85th birthday celebration with
Steve Kuhn at the Blue Note (Nov. 18th) will most
certainly be a night of graceful and honest stories from
a jazz life lived out loud.
Another fierce jazz veteran will roar at Blue Note
(Nov. 13th) - hear the nine-time Grammy winning Janis
Siegel as she celebrates the CD release of Nightsongs
(Palmetto). Siegel will also join her collaborators of 38
years, The Manhattan Transfer, at Blue Note (Nov.
14th-17th) for what promises to be jazz vocalese at its
absolute five-star finest.
Two remarkable young award-winning rising
greats with French blood are in the house this month:
the incomparable 2010 Thelonious Monk International
Jazz Competition winner Cécile McLorin Salvant will
be performing as a guest with Jacky Terrasson at
Dizzy’s Club (Nov. 10th) and triple competition winner
(Montreux, Thelonious Monk and Sarah Vaughan
Awards) Cyrille Aimee will be at Birdland to celebrate
her self-released CD Live at Birdland, featuring
saxophonist Joel Frahm (Nov. 19th-23rd). Aimee will
also play lead with Broadway singer/actor Bernadette
Peters in the Wynton Marsalis/Steven Sondheim
collaboration A Bed and A Chair at City Center (Nov.
13th-17th). McLorin Salvant and Aimee are two next
generation vocalists rooted in tradition who are
masterfully contributing their fresh new verve to 21st
century jazz singing.
Back downtown, the cozy 55Bar hosts vocalist
Kendra Shank (Nov. 29th), whose original folk roots
contribute to her direct and unguilded simplicity.
Shank always spaciously navigates jazz standards,
delicately welding experimental jazz edges with
command and authenticity.
There are as many ways to sing jazz as there are
ways to experience “what is”. Great jazz musicians tell
their version of what is - like it is. v
For more information, visit jamiebaum.com. Baum is at Jazz
Standard Nov. 19th. See Calendar.
Jamie Baum is a New York City-based jazz flutist/composer.
She has toured 28 countries and performed with artists as
diverse as George Russell, Mick Goodrick, Randy Brecker
and Donald Brown to Dave Douglas, Ralph Alessi, Uri
Caine, Wadada Leo Smith and Ursel Schlicht. Her fifth CD
as leader, In This Life (Sunnyside), was released last month.
Baum has been nominated by the Jazz Journalists Association
for “Flutist of the Year“ several times and in DownBeat
Critics Polls annually since 1998. Her awards for composing
include the International Jazz Composers Alliance and the
Doris Duke/CMA New Works: Creation and Presentation
and she has toured as a Department of State/Kennedy Center
Jazz Ambassador. Aside from her Septet, together since
1999, she’s involved in several projects including Yard
Byard: The Jaki Byard Project.
VO X NEW S
Sing It Like It Is
by Katie Bull
Recently a jazz musician approached a singer to
suggest that “anyone” can scat in gibberish and invent
notes. If a singer could spontaneously invent fine lyrics,
he said, that would be a sign of “real” skill. He then
challenged the singer to recite the alphabet out of order,
on the spot. It so happens the singer is also a writer.
(Admission: I am the singer.) Assumptions around the
primacy of lyrics for all singers reveal a constricted
view of vocal jazz. Vocal jazz is not solely lyric-driven,
in the same way that instrumental jazz it not all about
the invention of notes.
November highlights singers who sing with or
without lyrics as their relationship to the composition
and their experience of the moment demands. These
singers can string events in whatever order or disorder
their story inspires. Though some may be firmly rooted
in tradition, they can all reference non-jazz sources and
move the listener with intimate truths or vigorous
imaginings.
In an epic tribute, René Marie channels the spirit of
beloved Eartha Kitt through her own brave and
uncompromising soul. Marie abandons herself to each
moment, delivering an instant classic that both respects
the source and stands on its own. Everyone must hear
11
LA BE L SPO T LIG HT
Relative Pitch
by Ken Waxman
“We both feel that every release has been a success,”
says Kevin Reilly, co-owner with Mike Panico, of the
New York area-based Relative Pitch (RP). “I want to
stay away from categorizing our releases according to
the parameters of late industrial capitalist consumerism.”
Economic methodology aside, in the less than five
years since it was founded, Relative Pitch has already
put out 14 well-regarded CDs, featuring younger
advanced players such as guitarist Mary Halvorson
and trumpeter Nate Wooley, plus veteran free
musicians such as bassist Joëlle Léandre and
saxophonist Urs Leimgruber.
Music fans from an early age, Reilly and Panico,
now both 47, gradually evolved from attending rock
shows to following traditional jazz to devoting their
time listening to free improvisation. “Since 9/11 I
listen almost exclusively to improvised music,” reveals
Reilly. “I find Cecil Taylor calming and cathartic.”
Attending on average of 20 concerts a month each, the
two partners first met online, then forged a friendship
while volunteering at The Stone. Eventually they
decided that releasing improvised music CDs would
spread appreciation for the sounds they loved. “This
label is another way to serve the music that we admire,”
insists Panico. As for the name, as Reilly explains:
“Most musicians have relative pitch, not perfect pitch.”
Taking care of a constantly active label like RP “is
a full-time job in addition to our other full-time day
jobs that pay the bills,” adds Panico. Although Mike
Sprigle does most of the label art and David Wight
helps with marketing, no one works exclusively for RP.
“We’re part of a community in NYC and try to use the
talents that are here,” notes Reilly.
“The thing that’s different about Relative Pitch
and what makes it so special in my mind, is that the
people that run the label are faces in the crowd of 90%
of the shows you play in New York,” notes Wooley,
who is on From The Discrete To The Particular with
guitarist Joe Morris and pianist Agustí Fernández. “It’s
not an overt community-building exercise for them to
be at the shows and manage a label, it’s just simply a
natural part of who they are,” he adds.
“What Kevin and Mike share is an unrelenting
dedication to and passion for music, which is evident
from the sheer number of concerts they attend,” says
Halvorson, who recorded with saxophonist Jim Hobbs
and cornet player Taylor Ho Bynum (collectively
known as AYCH) on As the Crow Flies and on Sifter with
drummer Matt Wilson and cornet player Kirk Knuffke.
“What I really appreciate is the seriousness with which
they went about starting the label and the sheer volume
of music that they put out. They certainly didn’t start
slow. It seems every time I see Kevin - which is fairly
often - there are another couple of new releases.”
Explains Reilly: “The AYCH record came about
after I saw the Taylor Ho Bynum sextet and told Jim
and Mary they had great chemistry. Jim knew about the
label and handed me the final mixes six months later.”
Practically each release has a different germination.
Floating Ice
Michael Bisio/Matthew Shipp
Just Listen
Joey Baron
From the Discrete to the Particular
Morris/Férnandez/Wooley
For instance, That Overt Desire of Object by saxophonist
Phillip Greenlief and Léandre or multi-reedist Vinny
Golia’s Take Your Time with cornetist Bobby Bradford,
bassist Ken Filiano and drummer Alex Cline were
existing sessions looking for a home. Other projects are
more “hands on” as Panico describes it. Two by alto
saxophonist Jemeel Moondoc and pianist Connie
Crothers was organized in response to a request from
the label. Another time, bassist Michael Bisio contacted
them about making a CD. The result was Floating Ice
with pianist Matthew Shipp, with Panico in the studio
as co-producer, involved in every aspect of the session.
“As producers, they aren’t trying to control anything;
they’re simply documenting artists they care about
and allowing a vehicle for those artists to express the
music they want to express, the way they want to
express it,” confirms Halvorson.
One anomaly in the catalogue is that Just Listen,
drummer Joey Baron’s disc featuring guitarist Bill
Frisell, is RPR 001 even though it was just released.
Baron had been promised that his would be the label’s
first CD, but unforeseen delays held up its release until
2013. That sensitivity to the interests of musicians and
audiences is another quality that radiates from RP and
its founders. “The label is an extension of their love of
the people they see almost every night out at the
venues,” says Wooley. “They truly are missionary in
their desire to get the music they think is transcendent
out to people that don’t have the chance or impetus to
go to six or seven shows a week in Brooklyn.”
With mostly similar music tastes, which Reilly
As the Crow Flies
AYCH
Sifter
Halvorson/Knuffke/Wilson
LISTEN UP!
P ianist TADATAKA UNNO was born in Tokyo. He
moved to NYC and started from scratch in 2008 after
10 years of performing professionally in Japan. In 2010,
Unno was selected to attend Betty Carter ’s Jazz Ahead
at Washington, DC’s Kennedy Center and Jazz Rising
Stars Program of the Chicago’s Ravinia Festival. He
has performed at the Village Vanguard, Smalls, Dizzy’s
Club Coca-Cola, etc. The legendary Hank Jones
mentored him, having the highest trust in his talents.
When Jones passed away in 2010 at age 91, Unno was
at his side and and is now one of several pianists who
hold the jazz piano baton left by Mr. Jones.
Dream Band: I would like to play with Ernestine Anderson.
Did you know?
I guess I have good hand for massages. Frank Wess
said, “I am jealous of your wife” to me when I gave
him a massage at his home.
For more information, visit facebook.com/tadatakaunnojazz.
Unno is at Blue Note Nov. 8th with Clifton Anderson, Nov.
17th at Measure and Arturo’s Saturdays in Greenwich
Village. See Calendar and Regular Engagements.
Teachers: Yuichi Otsuka, Kazuhide Motooka, Hank
Jones, George Cables.
By Day: Relaxing with music.
I knew I wanted to be a musician when... I was nine,
my father took me to Blue Note in Tokyo to listen to
Art Blakey and The Jazz Messengers. Before the show
started, Art came to me and patted me on the head,
then said “Nice Boy!” I think that’s the time.
Teachers: Willie Pickens, Bobby Broom, Lyndia
Johnson and a lot of self-study.
Influences: I take something from all the greats. Poet
Kahlil Gibran, author James Baldwin, vocalist Luba
Rashiek, ‘70s soul music.
Current Projects: My third album, Lyrical Vol. I
(Skiptone), was released in 2012. I am currently
preparing to record again while also developing some
thematic concert material and educational projects.
By Day: Practice, write, read and teach sometimes.
Influences: Art Blakey and The Jazz Messengers, Oscar
Peterson, Bill Evans, Tommy Flanagan, Ahmad Jamal,
Miles Davis, Ray Brown, Junior Mance, Gene Harris,
Monty Alexander.
Current Projects: Jimmy Cobb Trio; Clifton Anderson
Quintet; Winard Harper and Jeli Posse.
his own group regularly at Smalls Jazz Club, Smoke
and Dizzy’s Club Coca-Cola.
I knew I wanted to be a musician when... I read Q: The
Autobiography of Quincy Jones.
Tadataka Unno
Milton Suggs
A native of Chicago, MILTON SUGGS put down
roots in New York a year ago and has made strides in
furthering his reputation as one of the premier rising
male vocalists on the New York scene. With three
albums as a leader (Lyrical, Vol. 1, Things to Come and
Just Like Me, with Willie Pickens), since moving he has
recorded and performed with trombonist Wycliffe
Gordon and trumpeter Jeremy Pelt and performs with
Dream Band: The musicians I work with now hold me
down! But I look forward to meeting and working with
whomever I vibe with.
Did you know?
My first very instrument was the upright bass, I’m
currently re-learning how to play it.
For more information, visit miltonsuggs.com, Suggs is at
Smoke Tuesdays and Cávo Sundays. See Regular
Engagements.
F ESTIV AL R EP OR T
Crak Festival
Krakow Jazz Autumn
by Laurence Donohue-Greene
by Ken Waxman
by Andrey Henkin
Photo by Krzysztof Penarski
Photo by Nicolas Fontaine
(c) Susan O’Connor - www.jazzword.com/
Belgian Jazz Meeting
Peter Vandenberghe of Too Noisy Fish
John Butcher, Xavier Charles, Axel Dörner
Mats Gustafsson
J azz can teach quite a few non-musical lessons: from
interpersonal relationships to politics. Too bad
politicians aren’t more like jazz musicians, working
together on the bandstand for the common good. The
divisiveness between Belgium’s Dutch-speaking north
and mainly French-speaking south is similar to our
own Republicans and Democrats, who, at the time of
this writing are in the midst of a multi-week
government shutdown (something Belgium has itself
experienced).
Belgians have few factors uniting them beyond
jazz and their national soccer team. Qualifying for the
upcoming World Cup certainly gives the country cause
for celebration as should the biennial Belgian Jazz
Meeting (BJM) - née Flemish Jazz Meeting - admirably
taking place in a different region of the country and
financed by the otherwise divided government. This
year ’s BJM (Sep. 6th-8th) was staged in the Frenchspeaking region, in the so-called “Fiery City” of Liège
on the scenic Meuse River, not far from the Dutch and
German borders. Bands played at Caserne Fonck (a
former military base) and audiences got a good crosssection of the country’s jazz present and potential,
particularly a plethora of trios: 7 of 12 acts were trios
and of those 4 were piano trios.
Pianists Peter Vandenberghe and Kris Defoort
featured in the best of the BJM lineup, piano-led
or otherwise. Too Noisy Fish - the dynamic
Vandenberghe, bassist Kristof Roseeuw and drummer
Teun Verbruggen - started their set as if going through
a soundcheck. Opener “Turkish Laundry” (from this
year ’s Fight Eat Sleep on Rat Records) developed so
quickly it caught listeners off-guard. Theirs was a
“buckle your seat belts”-like set, with a sense of humor
and adventure in both the music and the titles: “PTMA”
in French stands for “Pour Toi Mon Amour (For You
My Love” and in English - according to the pianist “Pretty Thing My Ass”); “Curly Whurly, Napoleon”
featured prepared drums of various objects including
kalimba thumb piano on snare while Vandenberghe
repeated the tune name in a deep baritone voice,
followed by “Who you gonna call?”, instigating regular
audience laughter.
Too Noisy Fish’s level of creativity was matched
by Defoort’s trio with electric bassist Nicolas Thys and
perhaps the greatest revelation of BJM 2013 - mid-20s
drummer Lander Gyselinck, who looks like a pre-teen
but sounds like a veteran. Defoort’s former student
matched wits with his teacher and moved through
tempo shifts like quicksilver, from opener “Tokyo
Dreams” to The Police’s “Walking on the Moon” set
closer. Gyselinck also supplied his restless rhythmic
drive to the piano-less, Indian classical music-inspired
Ragini Trio, his multi-rhythmic prowess and intuitive
Completed in the mid-16th Century in the flamboyant
gothic style, the mammoth and solid Église St-Merry
characterizes the Beaubourg area on the right bank of
Paris as much as the nearby ornate 19th century Hôtel
de Ville and the brutalist, high-tech architecture of
1977’s Centre Georges Pompidou. During the second
annual Crak Festival (Sep. 26th-29th), however, the
church’s musty arches, pulpits and 30-foot-high
ceilings served as an unexpected backdrop for sounds
from the 20th and 21st centuries and beyond.
This year Crak, an onomatopoeic description of
the continuous, evolutionary friction among musical
genres, not only highlighted accomplished local
improvisers, but a cross-section of players now based
in Berlin. Featured were two large ensembles, Berlin’s
Splitter Orchester and Paris’ L’Orchestre de Nouvelles
Créations, Expérimentations et d’Improvisations
Musicales (ONCEIM), plus numerous smaller groups.
Two of the more stimulating bands were PanEuropean trios that turned expected ensemble roles on
their proverbial heads: Trio Inédit, matching French
drummer Antonin Gerbal, Austrian bassist Werner
Dafeldecker and German inside-piano specialist
Andrea Neuman, and Trio Sowari, with French tenor
saxophonist Bertrand Denzler, German percussionist
Burkhard Beins and British laptoppicist Phil Durrant.
Elusively accented, but hardly effete, Inédit’s on-going
narratives put cuffed hi-hat and intermittent bass
drum whaps upfront with the bassist’s individual
string stretching and wood rubbing, eschewing rhythm
but providing coloration. Meanwhile Neuman’s bowsawing on the edge of her instrument’s frame produced
ostinatos that gave the performance its shape. In
contrast, with rhythmic juddering from Durrant’s
computer in the bass role, Sowari hinted at jazz’
common sax-bass-drums groups, Denzler ’s side-ofmouth, balanced and meticulous delivery suggesting a
new century Lester Young. However Beins’ cymbal
scrubbing plus mallet smacks on horizontal floor tom
and bass drums made no effort to swing on their own. Another instance of interactive communication
was Contest of Pleasures with German slide trumpeter
Axel Dörner, French clarinetist Xavier Charles and
British soprano and tenor saxophonist John Butcher.
Having developed a strategy dependent on protracted
pauses and intuitive three-pronged harmony, the
results could be as upsetting as a sudden pistol shot or
as calming as a lullaby. Interaction trumped
individuality even though at points each explored the
furthest reach of his instrument. Similarly the
rigorously self-created and applied experimental tuba
timbres of the UK’s Robin Hayward brushed up against
the strategies of Norwegian Morten J. Olsen on a
horizontal bass drum during another set. With the
Remember (assuming it wasn’t you) that really cool
kid in high school, who seemed to know everyone and
whose table during lunch was the place to be? Now
imagine that kid grew up to be a venom-spitting
saxophonist and curated a festival in Europe? You’d
want to be there too, and with good reason.
We’re talking about Swedish agitator Mats
Gustafsson and the first half of the 8th annual Krakow
Jazz Autumn (Oct. 8th-12th). A joint venture between
Gustafsson, the seminal Polish record label Not Two
and Krakovian jazz club Alchemia, the event was a
reformation of Gustafsson’s Nu Ensemble, with an
almost entirely new cast. Joining the leader and
holdover tuba player Per Åke Holmlander were Peter
Evans (trumpet), Joe McPhee (trumpet/saxophone),
Crister Bothén (bass clarinet/guimbri), Agustí
Férnandez
(piano/organ),
Kjell
Nordeson
(vibraphone/drums), Stine Motland (vocals), Dieb 13
(turntables), Jon Rune Strøm and Ingebrigt Håker
Flaten (basses) and Paal Nilssen-Love (drums). For the
first four nights at Alchemia, small formations drawn
from the larger ensemble were presented in scrumptious
bite-sized morsels, some first-time meetings, others
groups of long-standing. All this frivolity culminated
on the final evening at Manggha Centre, where a new
full-group piece was premiered.
Alchemia, located in the city’s Kazimierz (historic
Jewish quarter), is a café on its ground floor, with a
perilous staircase leading to a brick-lined basement
performance space. There was a feeling of stumbling
into a WWII resistance meeting, amplified by the
strange and subversive sounds coming from the stage.
The several early evening sets were amuse-bouches eight minutes of solo vocals or 30 minutes of a bass
duet, for example - the proceedings closing with a
longer set by an active or revived group: Swedish Azz;
the trio of Evans/Férnandez/Gustafsson; Bothén’s
resurrected Acoustic Ensemble; The Thing (Gustafsson/
Håker Flaten/Nilssen-Love) with Joe McPhee.
Motland’s solo set on the first night was an
immediate highlight; in fact, the vocalist was the
revelation of the festival, a measured, almost electronic
approach to extended technique. On the same night
was a probing first-time duet between Bothén (on bass
clarinet) and McPhee (tenor sax), full of lovely textures.
Swedish Azz - Gustafsson, Nordeson, Holmlander,
Dieb 13 - featured a “Norwegian infusion”, to quote
Gustafsson, in the subbing Nilssen-Love. The group
plays only historic jazz from Sweden, lovingly
recreated and then twisted via Dieb 13’s modern
additions (eg, avian sounds on a graphic score to
Alfred Hitchcock’s The Birds).
Bothén’s solo bass clarinet recital on the second
was only 10 minutes long but remarkable, with a
13
CD R E V I E W S
Coltrane Rules: Tao Of A Music Warrior
Gary Bartz (OYO)
by Joel Roberts
V eteran alto saxophonist Gary Bartz, now 73 and fast
becoming an elder statesman, came of age as an artist
around the time Coltrane was hitting his peak in the
early ‘60s and has been deeply inspired by the great
saxophonist on both a musical and spiritual level.
The sessions that became Coltrane Rules have been
sitting on the shelf for more than a decade. Bartz and a
quartet of pianist Barney McAll, bassist James King
and drummer Greg Bandy recorded most of the album
in 2000, with the short opening and closing solo sax
versions of Coltrane’s “After the Rain” added in 2008,
but the album has gone unissued until now.
You can hear Coltrane’s influence in much of
Bartz’ playing, in his swirling, explosive solos and the
cascades of sound teetering between tonal and atonal.
But he seldom sounds imitative, bringing his own
highly intense style to the fore. The rest of the band
also evokes the classic Coltrane Quartet at times, with
ferocious drumming, heavily chorded piano and deep,
propulsive bass, but avoids the folly of mimicry and
finds its own way of approaching Coltrane’s music.
The album’s centerpiece is a sprawling 14-minute
modal take on “I Concentrate on You”, with exquisite
work on both alto and soprano sax by Bartz and an
impressive solo from McAll. Bartz’ own “BirdTrane”
features some of his fiercest playing in a more
straightahead vein while the whole band generates
heat on the jubilant “Nita”. A couple of tracks feature
vocals, with longtime Bartz associate Andy Bey lending
his gorgeous pipes to the hymn-like “Dear Lord” while
a quartet of singers is heard chanting on Bartz’
powerful, prayerful composition “The Song of Loving/
Kindness”, a nod to Coltrane’s mystical side.
There are plenty of Coltrane tribute albums out
there but this is one of the best you’re likely to hear.
For more information, visit garybartz.com. This project is at
Smoke Nov. 1st-2nd. See Calendar.
Alchemy
Amir ElSaffar (Pi)
by Robert Iannapollo
O riginally from Chicago and of Iraqi extraction,
trumpeter Amir ElSaffar has developed a unique strain
of jazz stemming from the John Coltrane/Ornette
Coleman axis and informed by elements of Middle
Eastern music, primarily maqam, a scalar/melodic
system of music. But he adds unusual rhythmic
elements as well. For Alchemy, while the Middle
Eastern element is still there, it seems slightly muted.
ElSaffar seems to be exploring more straightforward
jazz-based material. Although one can hear unusual
modality, the opening suite wouldn’t have sounded
out of place with the more adventurous Blue Notes of
the ‘60s.
The band is a quintet comprised of players ElSaffar
has worked with on the New York scene. Saxophonist
Ole Mathiesen was on ElSaffar ’s last album (Inana) and
has developed into an excellent foil for the trumpeter.
It’s good to see pianist John Escreet, already five
albums into his own career, working with ElSaffar and
providing some interesting avenues in tandem with
the trumpeter ’s microtonal concepts (particularly
“Miniature #1”). The rhythm section of bassist François
Moutin and drummer Dan Weiss are integral to holding
music’s rhythmic ideas together.
“Selections From The Alchemy Suite” is the most
intriguing sequence of this set. Here ElSaffar ’s ideas
regarding modes, microtones and unusual rhythms
come together at their most assured. And the brief
unaccompanied muted trumpet coda at the end of the
suite (“Five Phases”) is the perfect capper.
For more information, visit pirecordings.com. This project
is at The Jazz Gallery Nov. 2nd. See Calendar.
Mates
Diego Urcola (Sunnyside)
by Marcia Hillman
Argentine trumpeter Diego Urcola has chosen an
intimate approach for his current release: duets with
four other musicians - bassist Avishai Cohen,
vibraphonist Dave Samuels, harpist Edmar Castaneda
and bandoneon player Juan Dargenton. The concept is
suggested by the CD’s double entrende title, which
refers to a traditional South American drink made from
the yerba mate plant and drunk with friends in a
communal cup with a metal straw.
The selections played are a combination of
originals by Urcola, Castaneda and Samuels, traditional
pieces, Latin American standards by Egberto Gismonti
and Carlos Gardel and one selection from the Great
American Songbook, Raye-de Paul’s “You Don’t Know
What Love Is”. The opening “Elegia” is a traditional
folk song featuring lively conversation between Urcola
and Cohen. The haunting sound of Dargenton’s
bandoneon is heard on the next track, “Elm”, a minor
key piece where Urcola plays muted flugelhorn. The
bandoneon is also featured on Urcola’s original
“Milonga Para Paquito” (for Paquito D’Rivera, with
whom Urcola often performs). “You Don’t Know What
Love Is” also captures the ear with a simple reading by
Urcola and Dargenton.
For Cohen’s original “Float”, Urcola’s trumpet
gently wafts above the composer ’s intricate bass
figures. Castaneda’s playing is fluid and musicality
boundless on “Alfonsina Y El Mar” and “Columbian
Dixie” while Samuels’ vibraphone solo on “Preludio
#3” and marimba playing on “Samba Pa’ Dos” are
album highlights. But the track that will completely
enchant the listener is the rendition of Carlos Gardel’s
classic “El Dia Que Me Quieras”, played with Cohen
and clearly designed to melt listeners with its
sensitivity.
For more information, visit sunnysiderecords.com. Urcola
is at Smalls Nov. 4th. See Calendar.
RECOMMENDED
NEW RELEASES
• Amir ElSaffar - Alchemy (Pi)
• Dave King Trucking Company Adopted Highway (Sunnyside)
• Ghost Train Orchestra Book of Rhapsodies (Accurate)
• Mike McGinnis + 9 - Road*Trip (RKM)
• Aaron Parks - Arborescence (ECM)
• Michele Rosewoman - New Yor-Uba: 30 Years
- A Musical Celebration of Cuba in America
(Advance Dance)
David Adler, New York@Night Columnist
• Amir ElSaffar - Alchemy (Pi)
• Joe Fiedler’s Big Sackbut - Sackbut Stomp
(featuring Steven Bernstein)
(Multiphonics Music)
• Grzegorz Karnas Trio (feat. Miklos Lukacs) - Audio Beads (Budapest Music Center)
• Gregory Porter - Liquid Spirit (Blue Note)
• Matana Roberts - COIN COIN Chapter Two: Mississippi Moonchile (Constellation)
• Günter Baby Sommer - Dedications Hörmusik IV (Intakt)
Laurence Donohue-Greene
Managing Editor, The New York City Jazz Record
• Joachim Badenhorst/John Butcher/
Paul Lytton - Nachtigall (Klein)
• Tim Berne’s Snakeoil - Shadow Man(ECM)
• Elton Dean/Paul Dunmall/Paul Rogers/
Tony Bianco - Remembrance (NoBusiness)
• Eastern Boundary Quartet Live at De Werf (ARC)
• Yusef Lateef/Roscoe Mitchell/
Adam Rudolph/Douglas R. Ewart Voice Prints (Meta)
• Wacław Zimpel Quartet - Stone Fog(Fortune)
Andrey Henkin
Editorial Director, The New York City Jazz Record
Back to the Woods
Uri Sharlin and The Dogcat Ensemble
(Folk Dune-Naxos)
by Elliott Simon
The influx of Balkan, Eastern European and South
American music into NYC jazz circles has been
concurrent with an uptick in the number of NYC jazz
accordionists. Uri Sharlin, originally from Israel, has
had a presence in all of these world jazz scenes since
arriving in NYC. For this session, Sharlin and The
DogCat Ensemble provide an entertaining, if somewhat
uneven, journey.
Sharlin’s core quartet is rounded out by guitarist
Kyle Sanna, bassist Jordan Scannella and percussionist
Rich Stein. Sanna’s interplay with Sharlin, whether
comping accordion runs, adding Spanish or any
number of other ethnic colorations to the mix or soloing
over Sharlin’s chords is superb. CD opener “Night
Swim” begins as a pseudo rocker and evolves into a
very tight uptempo worldly offering using this core
quartet formula. The quartet then switches to exotica
for “Monte Verde”, complete with Arthur Lymaninspired animal noises.
On three of these eight tunes, Sharlin adds bass
clarinetist Matt Darriau, bassoonist Gili Sharett and
percussionist John Hadfield while two others feature
U
SE
EW
D
N
236 West 26 Street, Room 804
New York, NY 10001
Monday-Saturday, 10:00-6:00
Tel: 212-675-4480
Fax: 212-675-4504
Email: [email protected]
Web: jazzrecordcenter.com
LP’s, CD, Videos (DVD/VHS),
Books, Magazines, Posters,
Postcards, T-shirts,
Calendars, Ephemera
Buy, Sell, Trade
Collections bought
and/or appraised
Also carrying specialist labels
e.g. Fresh Sound, Criss Cross,
Ayler, Silkheart, AUM Fidelity,
Nagel Heyer, Eremite, Venus,
Clean Feed, Enja and many more
flutist Itai Kriss. Darriau’s feel for multiple world music
subgenres is readily apparent and he adds an infusion
of klezmer to “One for Frankie” and partners with
Sharett’s unique timbre to free up Hermeto Pascoal’s
“Dia #342”. “Real Dogcat” also has bassoon and clarinet
up front but this time in a laid-back ska. With all these
flavors already in the mix, “Mundau by Day” and
“Mundau by Night”, despite pretty acoustic work from
Sanna in the AM and seductive percussion and bass in
the PM, disappoint as does a funked-up “Don Quixote”.
Sharlin has a specific interest in Brazilian music and
closer “Baião” has a catchy melody, stellar flute solo
and unique bassoon/accordion interchange. Back to the Woods is at its best when it showcases
Sharlin’s ability to mix disparate influences with
uncommon instrumentation into cohesive world music.
For more information, visit folkdune.com. Sharlin is at The
Stone Nov. 5th, 6th, 7th and 10th with Roberto Rodriguez.
See Calendar.
Arc Trio
Mario Pavone (Playscape)
by David R. Adler
Recorded live at Cornelia Street Café in February
2013, Arc Trio finds veteran bassist Mario Pavone in
turbulent waters with pianist Craig Taborn and
drummer Gerald Cleaver. These aren’t some random
sidemen: Taborn and Cleaver share a bond going back
to the Detroit scene of the late ’80s. The freedom and
focus they bring to these eight Pavone originals is often
astounding.
As it happens, Arc Trio comes just five months
after Taborn’s trio debut for ECM, Chants, also featuring
Cleaver. While Chants richly deserves the accolades it
has received, Pavone’s outing is just as vital and
shouldn’t slip under the radar. It’s fueled by a similar
simpatico, though with a grittier aesthetic and
compositional logic. Chants boasts that exalted,
polished ECM sound; Arc Trio captures a night in a
club with a piano that Taborn wouldn’t likely choose
otherwise, but bends to his will nonetheless.
In his liner notes, Pavone gets specific about his
obsessions and models: Paul Bley’s The Floater, Andrew
Hill’s Smokestack, Steve Kuhn’s Three Waves and Keith
Jarrett’s Life Between the Exit Signs, along with certain
works by Dick Twardzik and Muhal Richard Abrams.
One way or another, the rhythmic thrust and texture of
all this music gets filtered into Arc Trio, beginning with
the frenetic double-stop bass riff and dense piano
theme of “Andrew” (first heard on the 2008 quintet
release Ancestors, featuring Cleaver).
Pavone’s writing is often spare and concise, with
tightly played heads but also room for open blowing
over solid tempos. While there aren’t many prescribed
chords, the pieces have distinct tonal personalities
conjured by the brilliance of the players involved.
“Eyto”, “Hotep” and the closing “Dialect” have a
jumpy, unpredictable flow while “Poles” and “Alban
Berg” usher in a slower swing vibe. Taborn is explosive
and virtuosic on “Not Five Kimono” and “Box in
Orange”, both also found on previous Pavone outings
but given new life. Cleaver is dynamic and funky
throughout, though sonically it is Pavone’s snappy
bass that gets captured the best.
For more information, visit playscape-recordings.com.
Pavone is at ShapeShifter Lab Nov. 8th. See Calendar.
UNEARTHED GEM
Eponymous
Live
Melodic Art-Tet
The Group
(NoBusiness)
(NoBusiness)
by Ken Waxman
Although, according to detractors, all free jazz
sessions sound alike, these high-quality dates put a
lie to that supposition. Both also suggest why the
music was never popular. Each CD shares trumpeter
Ahmed Abdullah and features allstars at all
positions: 1974’s Melodic Art-Tet included tenor and
soprano saxophonist/flutist Charles Brackeen,
bassist William Parker, drummer Roger Blank and
percussionist Tony Waters (Ramadan Mumeen)
while 1986’s The Group was filled out by alto
saxophonist Marion Brown, violinist Billy Bang,
bassists Sirone or Fred Hopkins and drummer
Andrew Cyrille.
Brackeen, who composed all but one of the ArtTet’s pieces, enlivened many ‘70s sessions. A gritty
soloist on tenor, with a tone reminiscent of Dewey
Redman, his flute and soprano work is surprisingly
refined. Meanwhile Abdullah manages to stay
passionate while blasting away. Former Sun Ra
Arkestra member Blank and future Downtown
fixture Parker maintain a shifting beat tinted by
Waters’ hand patterning. Triumphant throughout,
the quartet forges an imaginative fusion. It mixes
nimble heads with frenetic soloing and Africanized
polyrhythmic drumming without neglecting tune
structure. “Time and Money; YAMACA; Open; Pit
Chena; In the Chapel; With Cheer” is a particularly
illustrative sequence, a marvel of shading and
synthesis, violent screeds alternating with tempochanging sequences that pulsate with nearhummable themes to moderate confrontational
avant garde impulses. Unfortunately the fusion
preferred in the mid-‘70s was jazz-rock, propelled
by amplified instruments. Too arty for the
mainstream and not electric enough for the groove
crowd, the band passed into history,
The Group suffered a similar fate 12 years later.
Neobop had replaced fusion as the popular jazz
genre, but this quintet was too outside. This was
despite Live’s track list, which included Charles
Mingus’ “Goodbye Pork Pie Hat” plus Bang’s
arrangement of a Miriam Makeba (!) composition.
Clearly The Group aimed to excite a live audience.
Take the aforementioned Mingus tune. Before the
familiar melody appears, Brown interpolates quotes
from “Wade in the Water” and “Honky Tonk”;
subsequent theme variations are shaded by
Abdullah’s muted plunger tones plus Bang’s
bottleneck guitar-like slashes. On Makeba’s
“Amanpondo”, Bang’s torque builds up the tension
while Cyrille provides the tune’s climax with a solo
that defines a steady swing beat.
Luck and circumstances determine what bands
become famous. Despite overall excellence, destiny
was on neither band’s side here. Both were too far
behind or too far ahead for contemporary popularity.
For more information, visit nobusinessrecords.com.
Ahmed Abdullah is at Sistas’ Place Nov. 9th. See
Calendar.
15
GLOBE UNITY: IRAN
Mystery
Lucian Ban Elevation (Sunnyside)
by Jeff Stockton
Kula Kulluk Yakışır Mı
Kayhan Kalhor/Erdal Erzincan (ECM)
Dawning Saffron (Palmetto)
Eponymous
Choub (Lotus)
by Tom Greenland
Iranian classical music is based on the radif, a
melodic repertoire with 12 dastgah-ha, modal
systems for composition and improvisation.
Aesthetically and spiritually, the music also draws
on Persian poetry and mystic Sufism. In three
projects described below, Iranian musicians bring
these elements to multi-cultural collaborations.
Tehran-bred Kayhan Kalhor is a classically
trained kamancheh (round-bodied bowed spikelute) virtuoso known for innovative fusion projects
with other musicians from the ‘modal belt’. Kula
Kulluk Yakışır Mı, a duet with Turkish bağlama
(long-necked lute) player Erdal Erzincan, is a
follow-up to 2006’s The Wind, also an hour-long
continuous suite in one dastgah. The live concert
chain-links improvised sections to traditional
melodies, all based on Ab (the ist, or home note),
progressing through higher pitch centers and
exploring various avaz (sub-modes). Developing
narrative tension in gradual swells that occasionally
break over into inspired passages, notably during
“Improvisation II”, “Deli Derviş” and the title track,
Kalhor and Erzincan evoke spontaneous applause
from rapt listeners.
Saffron, another cultural amalgam, joins Iranian
vocalist Katayoun Goudarzi with Indian classical
musicians Shujaat Khan (sitar/vocals) and Abhiman
Kaushal (tabla) and North American jazzmen Kevin
Hays (piano) and Tim Ries (reeds). The group’s
debut, Dawning, features recitations of Rumi’s poetry
in Farsi to empathetic accompaniment loosely based
on raga. Most tracks begin with non-metered alaplike sections in which Khan and Hays respond to
Goudarzi’s dramatic incantations with flowing
obbligatos (Khan often sings wordlessly under the
lyrics), then adding tabla and gat–like cyclic melodies
mid-track,
leading
into
extended
group
improvisations around a central ‘key’, in which Ries
often introduces chromatic embellishments.
Choub is a Vienna-based quartet of Iranians
Golnar Shahyar (vocals) and Mahan Mirarab (guitar)
and Austrians Martin Heinzle (bass) and Klemens
Marktl (drums), which plays original compositions
and lyric adaptations of Persian poets like Omar
Khayyám and Hafez written with Iranian-influenced
melodies and Farsi lyrics over jazz-rock chord
progressions and rhythms, including some in 5-, 7or 13-beat patterns. Shahyar ’s nuanced voice
projects laid-back sensuality, from low growls,
gentle cracks and conversational asides to melismas,
scats, yodels and throaty bursts while Mirarab’s
restrained guitar (fretless on a few tracks) provides
apposite coloration and improvised interludes.
For
more
information,
visit
ecmrecords.com,
palmetto-records.com and lotusrecords.at. Kalhor is at
Asia Society Nov. 16th. See Calendar.
Romanian-born pianist Lucian Ban came to New York
in 1999 and since then has honestly and aggressively
developed a career as one of the city’s most facile and
creative working musicians. Never one to shy away
from working with talented partners, he first gained
notice in tandem with baritone saxophonist Alex
Harding and has collaborated with the likes of violist
Mat Maneri and tuba player Bob Stewart. In the
Elevation quartet, Ban gives the floor to the underrecorded tenor saxophonist Abraham Burton, a
powerful, charismatic player, equally skilled at
whispering the wind song of ballads or blowing fire on
free jazz workouts. Recorded live at Cornelia Street
Cafe in early 2010, Mystery appears nearly four years
later, with bassist John Hébert and drummer Eric
McPherson rounding out the group.
Aside from a brief tenor-and-drum convocation
(“Mystery Prelude”) and an equally brief-but-engaging
bass solo (“Obsolete”), Ban composed all the tunes. His
piano playing has a dreamy, lyrical quality and his
melodies are usually pretty, with touches of the
European classical tradition as well as Romanian folk
song sprinkled throughout. In support, Hébert and
McPherson deliver capable, nuanced ideas that
integrate beautifully with Ban’s harmonies on the
quirky tribute to Andrew Hill, “Serenade”.
In this live setting, however, Burton comes across
as a bit schizophrenic. On the one hand, on tracks like
the uptempo “Rank and File” and the elegiac “Silence”
he is steady-going, mellifluous yet authoritative and
even a little avant garde, but sonically right in tune
with the band. On the other hand, longer cuts like “Of
Things to Come” and especially “Freeflow” give him
the opportunity to take serious flight, à la late-period
Coltrane. It’s bracing and impressive and exciting, but
also a little incongruous. Ban’s group is highly skilled
with unimpeachable technique, but the satisfaction
you derive from Mystery might depend on your taste
for Burton’s extravagant performance. Either you
wonder what’s gotten into him, or he steals the show,
which could very likely leave you wanting more.
For more information, visit sunnysiderecords.com. Ban is at
Michiko Studios Nov. 8th. See Calendar.
Navigation
Slow and Steady
Taylor Ho Bynum
Convergence Quartet
(Firehouse 12)
(NoBusiness)
by Kurt Gottschalk
J ust after conducting a large-ensemble composition at
Roulette in September as a part of the Tri-Centric
Orchestra Commissioning Series concerts, Taylor Ho
Bynum spoke of the influence of Anthony Braxton, his
former teacher and the Artistic Director of the TriCentric Foundation, of which he is Executive Director.
Braxton encourages people to think big and work big,
Ho Bynum explained, and it’s clearly a lesson he’s
taken to heart. His new release Navigation is so big it
seems about to split at the seams. The four takes of a
single, multi-part composition - clocking in at a solid
three hours - are available in a small web of multiple
formats: half on a double LP and the other half on a
double CD or the entirety as a digital download.
(Purchasers of either physical release also get a
download of the whole shebang.) What’s more, the
titles bear the Roman numerals X through XIV,
suggesting there might be at least nine other
realizations of the score tucked away under the
floorboards.
The score itself is broken into six sections, using
traditional, graphic and cartographic notation while
still remaining open for a large amount of improvisation.
The rationale behind releasing four versions of the
piece - two recorded live by his sextet and two in the
studio adding Chad Taylor on drums and vibraphone
alongside drummer Tomas Fujiwara - was to illustrate
the open nature of the piece. In Ho Bynum’s own
words (from the liner notes), “I want to ask listeners to
consider the composition as a set of possibilities rather
than a fixed document, to encourage them to enjoy the
mutable nature of the music in multiple realizations
rather than focusing on one particular performance.”
And indeed, the four versions are markedly
different, although still recognizable as parts of a
whole, or different bakings of the same pie. The piece
manages to stay engaging though an entire 45 minutes
(the takes range from 43 to 54), or even for the full
three hours. It’s upbeat and tuneful, distinguished by
some nicely noisy guitar passages by Mary Halvorson
and occasional interjection from the horn section (Ho
Bynum, Jim Hobbs and Bill Lowe) that could pass in a
Fifth Dimension review. But most notably it is
eminently listenable. Ho Bynum swings with the
outcats and his music doesn’t often rely on traditional
jazz modalities of theme development, but he’s not
often given to noise or dissonance either. The music is
expansive and well considered and while four takes
might, in the end, be more than necessary, they don’t
grow thin. The big bag of LP, CD and MP3 is worth
giving some attention.
The Convergence Quartet - of which Ho Bynum is
one-fourth - is a less grand affair but still a pleasantly
challenging listen. While the liner notes to Slow and
Steady, penned by bassist Dominic Lash, offer a
complex mathematical rationale for the name of the
group, there is a much simpler read on it: the uniting of
two musicians from New York (Ho Bynum and
drummer Harris Eisenstadt) with two from London
(Lash and pianist Alexander Hawkins) into a cohesive
whole. The cornetist and drummer are likely familiar
to most New York jazz denizens and Lash has spent
time in town, but what might make the disc most
noteworthy is the pianist. Hawkins here is inventively
circuitous, finding small repetitions in which to lock.
During Lash’s “Oat Roe + Three by Three” it’s as
simple as one note repeated thrice and then dropped a
step. His own “equals/understand (totem)” is
reminiscent of Braxton and Henry Threadgill
experiments, beginning as a march and finding its way
to medium hardbop and distilling into isolated
traipses, all in six minutes time. Hawkins has worked
with the likes of Joe McPhee, Evan Parker and Wadada
Leo Smith and is clearly versed in the inside/outside
of playing forward-thinking jazz. But the quartet isn’t
all about him, of course. All four contribute
compositions and play with a dedication of spirit. It
might not be the most encompassing arena in which
you might find Taylor Ho Bynum, but it’s a nicely
harmonic convergence.
For more information, visit firehouse12.com and
nobusinessrecords.com. Bynum’s sextet is at The Jazz
Gallery Nov. 9th. See Calendar.
visitors center:
OPEN M-F 10 AM - 4 PM
104 E. 126th Street, #2C, New York, NY 10035
(Take the 2/3/4/5/6 train)
W W W. J M I H . O R G
THE NATIONAL JAZZ MUSEUM IN HARLEM PRESENTS
Pawtucket
Live at De Werf
Bobby Naughton Trio
Eastern Boundary
(OTIC)
Quartet (ARC)
by Fred Bouchard
J oe Fonda - bassist, composer, collaborator, bandleader,
etc. - has, since the ‘80s, been a hyperkinetic advocate
and participant in myriad new-music collectives. His
web currently lists over 20 active collaborations in
Northern USA and Europe. His impressive body of
work rambles among numerous modern pioneers (a
few names: Anthony Braxton, Han Bennink, Bill Dixon,
Barry Altschul, Oliver Lake, Herb Robertson, Jon
Irabagon, Mark Whitecage.) Fonda contributes his
thoughtful and variegated sounds here in two working
groups: a piquant trio led by vibraphonist Bobby
Naughton and Eastern Boundary, a half-Hungarian
quartet of reeds and rhythm section with Fonda’s
regular partner, pianist Michael Jefry Stevens.
Naughton’s trio on Pawtucket features the leader ’s
nearly vibrato-less four-mallet skeins, parsing metric
patterns and melodic kernels in mathematically precise
ruminations. Here Fonda glues together the tricky
angularities that spike between Naughton’s intricate
mallets and Laurence Cook’s drumkit.
Fonda’s only previous recording with Naughton
was Zoar (1982) on the vibraphonist’s OTIC label
(definition: pertaining to the ear) in a trio with
drummer Randy Kaye, though they’d all played
around New Haven as members of Creative Musicians
Improvisers Forum, founded in 1976 by Naughton,
Wadada Leo Smith and Gerry Hemingway. Fonda’s
dry bowing and clipped lines pepper eight tracks with
droll, clipped titles that smack of Steve Lacy. “I like
Joe’s harmonic emphasis,” avers Naughton, “sort of a
free swing-bass approach.” Fonda sing-along with his
plucked solo on “Side Saddle” recalls less Slam Stewart
than sitar player Ustad Vilayat Khan. Arco fancies
imitate wildlife - crickety chirps (“Brrr”); high-end
buzzing wails (“Lasso”); mammalian cries (“Bent
Key”) - blending right in with Naughton’s organic,
spidery zeitgeist. Score it on the Nature Channel. It’d
be a treat to see this alliance again apply macroscopic
observations onto detailed zoologic ideas.
Fonda’s roles in the Eastern Boundary Quartet’s
amiably evolving set Live at De Werf, a music theater in
Bruges, Belgium, tap into a more varied skill set.
Once the band lays down a slinky Oriental trot on
“Fogocska” he deconstructs and rebuilds it in a snaky
duo with drummer Balazs Bagyi. On his own louche
rumba “Belame” his energized solo employs strong
plucking and tapping. To open “Rege” his long bowed
tones underscore hypnotic lyrical lines for Jefry
Stevens and multi-reedist Mihaly Borbely. Fonda’s
rock-solid 7/4 ostinato dances beneath swaying
soprano and modal reaches of “Trinity”, links
insinuating arpeggios with Bagyi’s tomtom triplets
and leaps octaves to herald Borbely’s earthy solo on
tárogató, a sort of wooden soprano with mournful
tone, then wreathes it in pianissimo ostinatos. Quite a
ride! An album photo shows Fonda playing uncredited
clarinet with Borbely on pennywhistle. What can’t this
guy do toward the furtherance of jazz enterprise?
For more information, visit bobbynaughton.com and
artistsrecordingcollective.info. Joe Fonda is at ShapeShifter
Lab Nov. 8th with Michael Musillami, The Loft of Thomas
Rochon Nov. 17th with Michael Rabinowitz and Barbès
Nov. 20th. See Calendar.
Harlem Speaks
A SERIES DEDICATED TO CAPTURING THE HISTORY AND LEGACY OF JAZZ
9/20:
Roy
Eaton
George Gee
11/21
Dayna9/27:
Stephens
Pianist
Bandleader
saxophonist/composer
T he N aTioNal J azz M useuM iN h arleM 104 e asT 126 Th s TreeT , s uiTe 2C D oNaTioN s uggesTeD F or More iNForMaTioN : 212-348-8300
Jazz for Curious Listeners
Tuesdays 7:00 - 8:30 p.m.
Free classes celebrating Harlem and its legacy
suggested donation
Tuning into Treme with Larry Blumenfeld
The HBO fiction and the New Orleans reality
11/5: Brass Bands and Mardi Gras Indians
11/12: What is New Orleans Tradition? With guest pianist Courtney Bryan*
11/19: Taking it to the Streets
11/26:The “New” New Orleans with Treme producer Eric Overmyer
The National Jazz Museum in Harlem
104 E. 126th Street, #2C
*Event At Maysles Cinema
343 Lenox Avenue between 127th and 128th
NJMH At Stanford University
Echoes of Harlem: Classic Jazz Treasures ft. Jazz Saxophonist Loren Schoenberg
A Stanford Live Informance
November 20th 7:00 PM
Community School of Music and Arts Finn center
230 San Antonio Circle
Mountain View, CA. 94040
Funded in part by Council Member Inez E. Dickens, 9th C.D., Speaker Christine Quinn and the New York City Council
17
Illusionary Sea
Mary Halvorson Septet (Firehouse 12)
by Wilbur MacKenzie
G uitarist Mary Halvorson’s newest album continues a
progression from her first trio record, followed by two
quintet records. Her concept as a composer, bandleader
and instrumentalist is more refined, more ambitious,
more edgy but still maintaining a strong connection to
the core aesthetic ideals laid out on her first release.
With bassist John Hébert and drummer Ches
Smith again on hand in the rhythm section, Halvorson
has added Ingrid Laubrock (tenor saxophone) and
Jacob Garchik (trombone) alongside Jonathan
Finlayson (trumpet) and Jon Irabagon (alto saxophone).
With four distinctive bandleaders in the frontline, one
might expect a blowing session - but Halvorson’s
compositions are lush, narrative ventures characterized
throughout by very cohesive writing for the horns.
After the opening track’s lengthy exposition,
Garchik takes a colorful solo, followed by an
unaccompanied drum solo, before the theme is
restated. The following track, “Smiles of Great Men”,
puts the aggressive side of Halvorson’s playing in the
fore from the outset. As her solo transitions into some
brand-new thematic material, signaling a new section
midway through the track, Halvorson’s intervallic
debt to Thelonious Monk and Anthony Braxton are
apparent; ironically, at the same time, the singularity
of her style is all the more apparent.
Hébert’s bass intro to “Red Sky Still Sea” perfectly
sets up the cryptic harmonic and melodic vocabularies
that ensue. “Four Pages of Robots” offers a bit more
room for blowing, with Laubrock’s solo and, later, a
Garchik/Smith duo, both roaming around freely
through a variety of sonic areas. “Fourth Dimensional
Confession” provides a meaningful platform for
Finlayson, who expertly navigates the transition from
the expressive peak of his solo back to the subdued
ending (characterized by a delay-laden guitar solo over
a drone of bowed bass, trombone and tenor saxophone).
The ending takes advantage of a comparison that
has been floating around for years now between the
writing styles of Halvorson and British avant-prog
pioneer Robert Wyatt. The inclusion of Wyatt’s
“Nairam” is so fitting an addition to the overall sound
of this band, one can hardly distinguish it as coming
from a different composer. Chalk it up to Halvorson’s
skills as an arranger and bandleader.
For more information, visit firehouse12.com. Halvorson is at
The Jazz Gallery Nov. 9th with Taylor Ho Bynum, SEEDS Nov.
13th, Cornelia Street Café Nov. 15th and 16th and ShapeShifter
Lab Nov. 19th with The RicTer Scale. See Calendar.
A Trumpet in the Morning
Marty Ehrlich Large Ensemble (New World Records)
by Donald Elfman
The scope of Marty Ehrlich’s extraordinary output has
now grown exponentially with this stunning recording
of exceptional orchestral writing. Ehrlich puts aside
his playing for the most part and has decided, as he
puts it, “to listen and bring out certain things, to
maximize the creativity in the room.” Most of these
players have worked extensively with Ehrlich through
the years and are key in realizing the composer ’s largeensemble vision. The pieces here are mostly from
Ehrlich’s past and this recording is about highlighting
ways to unite them compositionally.
In the center are three extended pieces that
showcase both writing and improvisation and do so
with drama, humor and Ehrlich’s usual sense of
knowing what to put where. The title work is from
2004, a setting of a poem by Arthur Brown reflecting
the leader ’s own love of writing and reading. JD Parran
narrates the text and the work is essentially a concerto
for him as he declaims both with his voice and soprano
and bass saxophones. “Rundowns and Turnbacks” is a
seven-part suite that refracts life, both personal and
political, in these United States. The main melodic
source of the piece is stated in the opening by trumpeter
Ron Horton and Ehrlich in his only appearance on the
album. The sections suggest a vast scope of influences
- from blues to waltz to Irish jig to new music.
There are two other large pieces that form the
heart of this recording. “Blues for Peace” was originally
commissioned for a high school orchestra and stretches
the form with funky solos by guitarist Jerome Harris,
trombonist Ray Anderson, pianist Uri Caine, tenor
saxophonist Jason Robinson and drummer Matt
Wilson. It’s a great demonstration how important new
music can still be made from very traditional sources.
“M Variations (Melody for Madeleine)” is the oldest
piece in the collection, written and first recorded in
1989. It’s for Ehrlich’s daughter and has a concerto-like
structure, featuring Caine, Horton, bassist Drew Gress
and multi-reedist Adam Kolker.
Opening and closing this album is the “Aghekor
Translations”, originally written for an orchestra
augmented by a West African drumming ensemble. It’s
a kind of perpetuum mobile processional and, with
funky accents, takes us in and out of this superlative
recording.
lines that never stray too far from its changes. Miguel
Prado’s “Time Was” was recorded by Bud Powell
during the ‘50s, but has since languished in obscurity;
Perry’s conception puts the focus first on Anderson,
the leader taking a whimsical route in his bop-infused
solo, followed by Danko’s intricate improvising.
Leonard Bernstein’s “Lonely Town” was written
for his musical On The Town and was recorded by
singers like Frank Sinatra but Perry gives it a more
roller coaster treatment, removing some of its
melancholy air by playing spirited bop lines over the
loping rhythm section. John Lewis’ “Rouge” is another
hidden gem, recorded by Miles Davis during the
sessions compiled to produce the album Birth of the
Cool. Perry’s peppy setting of this bop vehicle starts
with his soft vibrato floating over the rhythm section,
then picking things up as he gives way to Danko and
Anderson. Perry’s lush tone in the standard “Summer
Night” recalls Stan Getz, also in the way he gradually
develops his improvisation in masterful fashion,
followed by Danko’s engaging solo. Gordon Jenkins’
“Goodbye” was long used by Benny Goodman as his
closing theme in performances. Perry’s tenor perfectly
fits this ballad’s hushed, bittersweet mood,
complemented by thoughtful piano. To wrap the
session, the quartet digs into Charlie Parker ’s offbeat
“Segment”, with Perry detouring into avant garde
territory for a part of his solo.
For more information, visit steeplechase.dk. Perry is at Barbès
Nov. 13th with Peter Brendler, Dizzy’s Club Nov. 18th with
Manhattan School of Music Jazz Orchestra, Smalls Nov.
23rd with Richard Sussman, Jazz Standard Nov. 26th-27th
and 29th through Dec. 1st with Maria Schneider and Village
Vanguard Mondays with the Vanguard Jazz Orchestra. See
Calendar and Regular Engagements.
For more information, visit newworldrecords.org. Ehrlich is
at The Stone Nov. 12th-17th with several of his ensembles.
See Calendar.
November 5th
Frank Perowsky Big Band
November 12th
Charli Persip big band
Super Sound
Time Was
Rich Perry (SteepleChase)
by Ken Dryden
A first-call tenor saxophonist who has played in both
the Thad Jones/Mel Lewis Orchestra and its successor,
the Vanguard Jazz Orchestra, Rich Perry has a large
discography as a sideman and leader. He frequently
turns up on SteepleChase, having recorded for the
label extensively as a leader while also appearing on
several of pianist Harold Danko’s CDs. The latter,
along with bassist Jay Anderson and drummer Jeff
Hirshfield, make up the rhythm section featured on
many of Perry’s CDs, this particular session mixing
standards and less frequently performed songs.
The midtempo setting of the Cole Porter standard
“Get Out of Town” should be considered a master class
for young musicians who constantly feel the need to
open a set with a barnburner. Perry’s approach is
gradually to increase its intensity, using long, spacious
November 19th
Vibraphonist Warren Chiasson
Cole Porter tribute
November 26th
Mike Longo and
Funk meets Jazz
New York Baha’i Center
53 E. 11th Street
(between University Place and Broadway)
Shows: 8:00 & 9:30 PM
Gen Adm: $15 Students $10
212-222-5159
bahainyc.org/nyc-bahai-center/jazz-night
Night Songs
Janis Siegel (Palmetto)
by Suzanne Lorge
J anis
Siegel’s credits as a singer and arranger are
legion: three decades with, arguably, the most
successful vocal jazz group of modern vintage, The
Manhattan Transfer; Grammy Awards; recordings,
television performances, commercials and film
soundtracks to her name. Her latest solo CD gives fans
a quiet respite from all of this excitement. On the cover
Siegel relaxes with a martini and a gentle smile. Night
Songs celebrates those end-of-the-day moments when
all is right with the world.
Siegel presents a dozen tunes - some standards,
some pop - each reflective, private and honest. The
tunes all wax romantic but there’s no mournful
sentimentality here. Siegel’s performances are innately
energetic and full of joy. For instance, on Antonio
Carlos Jobim’s “Inútil Paisagem”, retitled “If You
Never Come To Me”, Siegel and fellow singer Peter
Eldridge swap choruses and then share happy solos on
the extended final vamp. For Strayhorn’s “A Flower Is
A Lovesome Thing”, Siegel and her rhythm section
transform the ballad into an infectious uptempo romp.
Pianist John di Martino is behind the CD’s
innovative arrangements and drummer Joel Rosenblatt
plays on all but one track, with either Christian
McBride or Martin Wind on bass. Siegel draws on the
considerable talents of saxophonist Joel Frahm and
trumpeter Dominick Farinacci throughout, most
notably on Janelle Monae’s “Say You’ll Go”, which
segues into a gorgeous snippet of Claude Debussy’s
“Claire De Lune” - just the two horns and piano as an
outro on the CD’s final tune. The album “ends with a
little bit of moonlight,” Siegel writes in the liner notes,
adding, “And we all know what that can do.”
This CD is about more than just moonlight,
though. It’s also about Siegel’s unerring way with a
vocal line; wealth of experience as a performer,
arranger, lyricist and producer and innate likeability of
her vocal persona.
For more information, visit palmetto-records.com. This
project is at Blue Note Nov. 13th. See Calendar.
Refraction - Breakin’ Glass
Trio 3 + Jason Moran (Intakt)
by Ken Waxman
Trio 3 has been a band for 27 years, released eight
CDs, features its third pianist guest on Refraction and
with him has created a session almost 100% satisfying.
Veterans of the jazz wars, saxophonist Oliver Lake
(70), bassist Reggie Workman (75) and drummer
Andrew Cyrille (73) have been part of vital ensembles
as disparate as John Coltrane, Cecil Taylor and the
World Saxophone Quartet. Jason Moran, a generation
younger, MacArthur Fellow and artistic advisor for the
Kennedy Center, fits snugly onto the piano bench
previously occupied by Geri Allen and Irène Schweizer
because of a shared interest in the diversity of jazz.
Moran notably connects on tunes such as Cyrille’s
“AM 2½” and Workman’s “Summit Conference”. Both
tracks manage to suture insistent swing with echoes of
roadhouse R&B, courtesy of Lake’s mercurial alto
playing and flowing tremolo lines from the pianist,
with unexpected advanced sequences. Moran’s riffs
and runs suggest Herbie Nichols during his
breakthrough solo on the first tune while the
saxophonist insinuates quotes from “Focus on Sanity”
into his playing on the second. With “Listen”, Cyrille confirms his effortless
command of all parts of his kit, underscored by
Moran’s keyboard pumps, while Lake’s slippery
tongued, staccato squeals on “All Decks” demonstrate
how a blues line can be thorny and experimental
without losing in roots simplicity. If the CD has a
weakness it’s Moran’s composition “Foot Under Foot”,
which is overly studied and sedate until Lake goads
the pianist into unison spikiness.
The CD is bookended by two spoken-word pieces
that celebrate jazz’ past and continued growth. The
Lake-articulated title tune looks back on the resiliency
of his family striving to attain economic security.
Meanwhile Cyrille’s “High Priest” is an unsentimental
requiem for the late David S. Ware’s talents expressed
through waspish reed slurs and joyous drum clatters.
This CD is so cohesive that the band could be
dubbed Trio 4 rather than Trio 3 +.
For more information, visit intaktrec.ch. Oliver Lake is at The
Jazz Gallery Nov. 15th, The Stone Nov. 21st with YeYi Duet
and ShapeShifter Lab Nov. 22nd. Moran is at Paul Hall Nov.
5th and Village Vanguard Nov. 26th-30th. See Calendar.
a bass body and rapping fingers on a closed piano lid
while Parlato stands still in the center, singing solo
while playing hand percussion without missing a beat.
Her interaction and respect for her audience is shown
during a very special rendition of her original
composition “Better Than”, in which a melody is
taught beforehand and then conjured at the end. This
opens a connection between performer and listener,
extending the small stage to the entire room. Although
the track listing is short, each song expands to full
capacity in the live setting.
For more information, visit obliqsound.com. Parlato is at
Rockwood Music Hall Nov. 16th with TILLERY. See Calendar.
Blue Note Jazz Club
Presents
Eric Person Big Band
Monday, November 11th
8:00 &10:30pm
Tickets $10 /$15 avail.
at www.bluenote.net
Music to be played from
Eric’s spectacular CD
“Thoughts on God”
Avail. at cdbaby & iTunes
"One of the finest modern jazz outings of 2012."
Glenn Astarita of All About Jazz.com
www.ericperson.com
SANDY SASSO
Live in NYC
Gretchen Parlato (Obliqsound)
by Adam Everett
Recorded live at Rockwood Music Hall in the Lower
East Side, this CD/DVD package marks a very
successful decade since singer Gretchen Parlato moved
from Los Angeles to New York City. The album presents
nine songs (four of which are included on the DVD)
and draws exclusively from her last two albums, In a
Dream and The Lost and Found. The 2004 winner of the
Thelonious Monk Vocal Competition made no sacrifices
in selecting her band: keyboardist Taylor Eigsti and
rotating bassists Berniss Earl Travis II or Alan Hampton
and drummers Kendrick Scott or Mark Guiliana.
With a strong rhythmic foundation in place,
Parlato floats freely, taking her time and never rushing,
using her breath to articulate the beginning and ending
of phrases. On “Butterfly”, a vocal cover of the
Headhunters original, wordless vocals and handclaps
fade carefully into a piano solo. On video, she sings
with eyes closed, head nodding and turning with
respect to the music. With suggested naivety, she sings
each note and delivers every word as if for the first
time. The band supports and inspires, creating a
backdrop that changes when needed. On the song “All
that I Can Say”, Scott’s triplet shuffle drum groove
pauses for a moment, then restarts as a funky backbeat,
which lifts up Eigsti’s piano solo.
The DVD is a great addition to the live disc,
allowing the listener to understand better certain
compositions. For the song “Alô Alô”, the musicians
can be seen rolling mallets on drums, tapping hands on
“Sasso has garnered a widespread
reputation as a first rate vocalist.”
—NJ JAZZ SOCIETY
“Her greatest gift is the manner in
which she delivers a lyric. Smooth and
seductive. You’re not talking about
your average singer.”
—JAZZ INSIDE
“Sasso is a masterful chanteuse, with
an unerring sense of swing.
“Hands On” highlights her sultry
voice and relaxed groove.”
—HOT HOUSE
SANDYSASSO.COM
19
ROSWELL RUDD
TROMBONE FOR LOVERS
Kampen
Bobby Bradford/Frode Gjerstad/Ingebrigt Håker Flaten/
Paal Nilssen-Love (NoBusiness)
Now Is
Ingebrigt Håker Flaten New York Quartet (Clean Feed)
Live at Jazz Festival Saalfelden 2011
Ingebrigt Håker Flaten Chicago Sextet (Textite)
Moments Form
Mars Williams/Ingebrigt Håker Flaten/Tim Daisy
(Idyllic Noise)
by Andrey Henkin
Bassist Ingebrigt Håker Flaten has, since the mid ‘90s,
SSC1369 / in stores November 19
featuring
ROSWELL RUDD
JOHN MEDESKI
STEVEN BERNSTEIN
BOB DOROUGH
FAY VICTOR
MICHAEL DOUCET
ROLF STURM
GARY LUCAS
HEATHER MASSE
It is amazing how hearing a song can bring
you back to another time and place. A refrain or a
melody sparks an image of the past as well as
emotions from that particular moment.
Legendary trombonist Roswell Rudd has put
together a recording of pieces that have this effect
on him. The musical pieces chosen have become
standards of American song, most of the selections stemming from Rudd’s recollections of
childhood when he would sing the songs in
school or in church. Trombone for Lovers
brought together not only a collection of fantastic
music but also a tremendous assortment of
musical talent, including John Medeski, Bob
Dorough, and Steven Bernstein.
78th Birthday Concert for Roswell Rudd
Sunday, November 24, 3:00 pm
LE POISSON ROUGE, 156 Bleecker Street
www.sunnysiderecords.com
eOne Distribution
established himself as one of the bonafide stars on his
instrument. One need only look at two of his most
compelling collaborations - Scandinavian power trio
The Thing and delicate Norwegian sax-bass duo with
Håkon Kornstad - to realize he can do it all. In between
those two poles are dozens of partnerships, either of
long-standing or wonderfully ephemeral, which further
demonstrate his range and musical vision. It has helped
immensely that his experience is bi-continental: after
coming up in Norway and then the larger European
scene, he moved to Chicago and immersed himself in
that vibrant community and now lives in one of
America’s musical centers - Austin, TX.
Three of the four albums under review are live
recordings from 2010-12; three of the four are fully
improvised; Håker Flaten is matched with longtime
partners and new associates under his own name twice
and as part of collective groups; Chicago, New York and
Europe are represented. All are just slices of Håker
Flaten’s oeuvre.
Kampen is the oldest, a November 2010 concert
recording from Oslo. Joining Håker Flaten is cornet
player Bobby Bradford, saxophonist Frode Gjerstad and
fellow Thingee Paal Nilssen-Love on drums. The album
opens with a short duet between Bradford and Håker
Flaten before Gjerstad and Nilssen-Love skitter in
alongside them. Gjerstad’s ear-piercing tone can be
trying but it’s leavened by the richer tones of his
bandmates. Despite the bassist and drummer’s
extensive familiarity with each other, this is a generally
balanced and probing improv session, squarely in the
low-peaks-and-shallow-valleys school. Håker Flaten
and Bradford, born nearly 40 years and 4,500 miles
apart , are nicely paired. The proceedings vary whether
an improvised moment derives its melodic content from
Gjerstad’s freneticism or Bradford’s prodding.
Now Is continues and expands a partnership
between Håker Flaten and saxophonist/trumpeter Joe
McPhee, heard to great effect on a pair of duo recordings
on Not Two and Clean Feed. Joining them are guitarist
Joe Morris and trumpeter Nate Wooley for a July 2011
studio recording made right before the same quartet
played at The Stone. With the exception of “As If”, the
eight NYC-related (in title at least, with nods to some of
the metropolitan sports teams, “Rangers” perhaps
expressing frustration in a team without a championship
in almost 20 years) pieces are spontaneous creations and
refreshingly short. There is a nice contrast between the
warbly horns and the crisp snap of the strings, no one
necessarily pushing to the forefront but no one tentative
either. And there are enough snatches of melody and
form perhaps to imply some discussion beforehand but
certainly careful listening throughout. The longest track,
the nearly 10-minute “Pent”, introduces a blues
sensibility through Håker Flaten’s elephantine walk.
In August 2011, Håker Flaten brought his Chicago
Sextet to the Saalfelden Festival in Austria. Players like
guitarist Jeff Parker, saxophonist Dave Rempis,
vibraphonist Jason Adasiewicz and drummer Frank
Rosaly are all veterans of the modern Chicago avant
jazz scene; fellow Norwegian, violinist Ole Kvernberg,
is the interesting addition for these four Håker Flaten
compositions. The textural mix of “Virgoan Ways”
recalls gauzier moments of ‘70s fusion, à la Jean-Luc
Ponty, with some occasional similarity to the writing,
except for sparse, open sections colored by vibraphone
declamations. “Rosewood Avenue” slips in via the
leader’s electronics and vamps on the simple theme that
pokes its head out amid the digitized brambles. “Wells”,
another short piece, too has its foundation in electronics
but sharply contrasts what preceded it by approximating
the frenzy of an air raid. The closing “Irrational
Ceremony” returns to the Ponty vibe of the first piece,
but now from his King Kong period (no surprise that
both bands have very similar instrumentation). Håker
Flaten doesn’t indulge this side of his playing too often
- the last time may have been 2005’s Quintet (also with
Kvernberg) - which is a shame since he has a unique
take on what is otherwise a calcified genre.
The most recent disc is a live trio date from Austria,
recorded in March 2012, Håker Flaten one side of an
equilateral triangle with Chicagoans Mars Williams
(saxophones) and Tim Daisy (drums). Three improvised
pieces of descending length make up Moments Form.
Williams is a bit of an outlier in improvised circles, with
as many credits in avant rock as jazz but he is a forceful
member of the Windy City saxophone lineage and the
sound of this group is closest to some of The Thing’s
earthier moments, buoyed by Håker Flaten’s thick
propulsiveness. Speaking of lineage, though a modern
session, there are aesthetic allusions to earlier trio dates
by the likes of Peter Brötzmann, Albert Ayler and even
Sonny Rollins. The nuances of Håker Flaten’s bass are a
bit hard to hear when the trio is going full blast, more of
a feeling, not unlike Tom Araya on Slayer’s Reign in
Blood, but the ear becomes accustomed to filling in the
details as the set progresses. Daisy, as was always
evident from his work with the Vandermark 5, is as
flexible as his bandmates. The middle piece, “Galactic
Ballet”, is a masterful example of slow, simmering
improvisation, which almost boils over before the heat
is turned down at the end.
For more information, visit nobusinessrecords.com,
cleanfeed-records.com, tektite-records.com and muku.at. Håker
Flaten is at ShapeShifter Lab Nov. 18th as a leader and
Guggenheim Museum Nov. 20th with The Thing. See
Calendar.
BOOT!
The Thing (The Thing/Trost)
Vi Är Alla Guds Slavar
Mats Gustafsson/Thurston Moore (OTOroku)
Birds
Mats Gustafsson/John Russell/Raymond Strid (Den)
Eponymous
Ich Bin N!ntendo & Mats Gustafsson (Va Fongool)
Shift
Correction (with Mats Gustafsson) (NoBusiness)
by Clifford Allen
Swedish
saxophonist Mats Gustafsson is more than
just a hard-blowing improviser with a penchant for
seeking out bright and high-octane peers in a variety
of contexts. An ambassador for Scandinavian jazz, his
impulse is to spotlight the largely forgotten work of
heroes like saxophonist Bengt “Frippe” Nordstrom
and bassist George Reidel and one is as likely to find
him quoting Lars Gullin as Lightning Bolt in his
fiercely nuanced blowing.
The Thing is Gustafsson’s most regular unit and
includes Norwegian bassist Ingebrigt Håker Flaten
and drummer Paal Nilssen-Love; the cooperative trio
has been active since the close of the ‘90s. Often
appearing with guests, BOOT! presents the trio at their
core on a set of six pieces including Coltrane’s “India”
and Ellington’s “Heaven”, the former arranged for
baritone saxophone and sludgy electric bass,
aesthetically given over more to the Melvins than
Indo-jazz unfurling. Sure, they are a punkish trio at
heart - split tones supported by electric fuzz and
incredibly taut time - but Gustafsson brings particulate,
gruff melodies to the proceedings that reinforce his
free music roots and BOOT! offers a raw slice of The
Thing at their most rocking.
Gustafsson and fellow obsessive record collector,
Sonic Youth guitarist Thurston Moore, met at Harald
Hult’s Blue Tower (now Andra Jazz) Stockholm record
store in the mid ‘90s. It’s not too surprising that a social
and performing relationship grew out of that meeting,
which has resulted in concerts and recordings with
guitarist Jim O’Rourke (Diskaholics Anonymous Trio).
Vi Är Alla Guds Slavar was recorded at London’s Café
OTO in fall 2012 and features Gustafsson on live
electronics in addition to winds, pulsing and warping
in shrill asides to Moore’s battered, screwdriver-aided
Fender glitches. Across two sidelong chunks of
sputtering, soaring and charged free play, the pair
engages pure ‘noise music’ as well as a guttural
no-wave update on the guitar-saxophone duos of
Derek Bailey and Evan Parker.
Birds joins the saxophonist with longtime
collaborator/percussionist Raymond Strid (Gush,
Tarfala Trio) and British guitarist John Russell for a
pair of improvisations recorded live at the 2011 Hagen
Festen in Floda, Sweden. With Gustafsson on soprano
as well as baritone, the scrapes and erased strums of
acoustic guitar and Strid’s delicate, high-tuned accents
give the music a decidedly ‘English’ feel. It’s rare to
hear the hard-charging Swedish saxophonist in such a
spare, flitting context, but Birds is proof that he’s able
to translate muscularity into a program of controlled
microbursts and lateral conversation. Strid is
beautifully propulsive in muted thrusts and obsessive,
woody patter and while this music has a lacy openness,
the underlying impetus is toward release of energy,
either with insectile athletics or gradually layered
complexity.
Ich Bin N!ntendo & Mats Gustafsson brings our hero
together with the Norwegian free-rock trio of guitarist
Christian Skår Winther, electric bassist Magnus
Skavhaug Nergaard and drummer Joakim Heibø
Johansen on three pieces for power trio and baritone
saxophone. Leaving few stones unturned in its 28
minutes, Ich Bin N!ntendo grant a feedback-drenched
cavalcade of drilling pyrotechnics and blown-out,
clattering rhythm à la High Rise at their most fractured.
Gustafsson’s baritone is subsumed in a lo-fi squall that
nevertheless sallies forth with garage-y kinetics and
the whole thing sounds like it’s being played through
shot speakers. For some (this writer included), it is a
welcome slathering of dirty-needle distortion and
no-BS brevity among the overstuffed and precious.
It may come as something of a surprise to see
Gustafsson billed alongside a tried-and-true piano
trio, but Shift is just that and an opportunity to
experience the work of the lesser-known Swedish trio
Correction (Sebastian Bergström, piano; Joacim
Nyberg, bass; Emil Åstrand-Melin, drums). Correction
have two releases on Ayler Records from 2008 and
2010, respectively, the second of which Gustafsson
lavishly praised in the liners. While not exactly in the
same vein as Per-Henrik Wallin’s trio of the ‘80s-90s,
the late Stockholm pianist was a crucial influence on
the young Gustafsson and a similarly rollicking free
traditionalism imbues Shift. The seven pieces on this
set, while completely improvised, balance crisp
chordal waves with stripped-down, shimmering fields
into which Gustafsson’s neighing threads are woven.
More pairings out of left field are certainly welcome in
the saxophonist’s broad discography.
For
more
information,
visit
otoroku.limitedrun.com, denrecords.eu,
nobusinessrecords.com. Gustafsson is
Museum Nov. 20th with The Thing. See
thethingjazz.com,
vafongool.no and
at
Guggenheim
Calendar.
Double Tandem: OX
Ab Baars/Ken Vandermark/Paal Nilssen Love (Den)
Live at Café OTO Lean Left (Unsounds)
Mi Casa Es En Fuego Ballister (s/r)
by John Sharpe
Norwegian drum dynamo Paal Nilssen-Love can do it
all. Ferocious multi-directional rhythms imparted with
impeccable precision. Check. Rocky grooves spiced
with imagination. Check. Nuanced tone color play with
untethered cymbals, gongs and assorted percussion.
Check. Perhaps that’s why he has been the drummer of
choice of the last decade or more for some of the most
uncompromising free jazz leaders such as Peter
Brötzmann, Mats Gustafsson and Ken Vandermark,
featuring in outfits such as The Thing and Atomic. Three
recent live discs demonstrate both his consistency and
his scope.
Going under the moniker Double Tandem, NilssenLove and Vandermark join forces with Dutch reedman
Ab Baars for OX, their second outing. Even though all
three cuts are totally spontaneous, an air of premeditation
and almost architectural intent pervades proceedings.
That’s due in large part to the compositional sensibilities
of the horn players, both prolific composers as well as
seasoned improvisers, who are content to adopt
complementary stances as the moment demands. Their
conception also inspires Nilssen-Love, who moderates
his all-action style to produce effective single line
accompaniments, encompassing tolling cymbals,
skeletal tattoos or chattering hi-hat at various points. He
also recognizes when to sit out entirely, creating an
expansive and uncluttered feel, which benefits the
wonderful interplay between the two horns. Baars’ cool
clarinet lines prove likely to combust into spiraling
yelps while on his richly-hued tenor saxophone, he
ranges from a broad vibrato and fractured split-toned
shrieks. Vandermark’s gruff baritone and muscular
tenor act as a responsive foil, particularly when settling
into repeated motifs, which supplement the sense of
structure. Both “Toreros” and “Omasum” comfortably
breast the 20-minute marker, going through multiple
guises as a result, which allude to the bucolic and the
fevered and everything in between in glorious consort.
The closing “Akabeko” forms a restful coda to an
exhilarating ride.
The well-practiced pairing of Nilssen-Love and
Vandermark also lies at the heart of Lean Left, a quartet
completed by the dual guitars of Terrie Ex and Andy
Moor from Dutch post-punk veterans The Ex. Two
lengthy set-long cuts spread out the unit’s wares on Live
at Café Oto. Unsurprisingly they rank high in terms of
energy, intensity and attitude. Nilssen-Love explodes
from the off, flanked by gobbets of scrabbling percussive
guitar, in surges of unadulterated potency. Vandermark
fights hard to stay in touch, his R&B-inspired riffs and
unfettered skronk adding another layer of complexity to
the hard-driving juggernaut. Even when they group
around a shared meter, that merely acts as a launchpad
for yet another incendiary excursion, rather than any
resolution. But it’s not all thunder and lightning. In a
short postscript included as part of “Drevel”, the guitars
percolate through a drifting ambient soundscape while
earlier Ex picks up a reiterated figure from Vandermark,
which he maintains as everyone else falls away into
atmospheric rumination and Nilssen-Love delves into
an everything-but-the-kitchen-sink clatter. One of the
strongest and most distinctive features of the band
resides in the raucous exchanges between the effectsladen guitars, which are fortunately separated well in
the stereo soundstage.
The Windy City connection also looms large on Mi
Casa Es En Fuego, the third release by power trio Ballister,
captured in concert at Montreal’s Casa Del Popolo
during a 2012 North American tour. Alongside NilssenLove, the collective comprises reedman Dave Rempis
and cellist Fred Lonberg-Holm, both perhaps best
known for their inventive roles in the Vandermark 5.
Together they generate an environment in which no one
gives any quarter. Nilssen-Love’s relentless throbbing
drums evoke a pounding heart in the opening
“Cockloft”, fuelling the adrenaline rush of keening
falsetto alto saxophone and slashing cello. Appreciating
that all-out assault can only continue for so long, the
trio regroup as Nilssen-Love creates an uneasy tension
through overlaying disparate tempos, before Rempis
crowns the disquiet with his raw-edged skirling tenor.
Both the remaining cuts provide more light and shade.
“Smolder” does just that, pitching baritone snorts,
electronic burbles and scraped cymbals against each
other in a gradually intensifying staccato swirl until
Nilssen-Love ups the ante with delicate press rolls that
gain volume like a fast-approaching locomotive while
“Phantom Box System” posits a considered interchange
containing the threat of imminent escalation, which
eventually comes on the back of dancing cello pizzicato
and sinuously fluent tenor.
For more information, visit denrecords.eu, unsounds.com
and daverempis.com/ballister. Nilssen-Love is at Guggenheim
Museum Nov. 20th with The Thing. See Calendar.
21
I Wanna Be Evil: With Love to Eartha Kitt
René Marie (Motéma Music)
by Alex Henderson
In the liner notes she wrote for I Wanna Be Evil: With
Love to Eartha Kitt, René Marie explains that she used to
swear she would never record a tribute album. But it’s
good that the expressive vocalist reconsidered, since
she takes quite a few chances on this memorable tribute
to the late singer/actress Eartha Kitt (who died in 2008
at 81). Kitt was not a jazz artist, per se, but gritty, bigvoiced Marie is a jazz improviser with R&B and blues
influences and she captures Kitt’s fun, playful spirit
without obscuring her own personality. No one will
accuse Marie of trying to sound exactly like Kitt on
“Santa Baby”, “Oh, John” or the title track, all of which
receive improvisatory postbop makeovers. And she
isn’t shy about letting her sidemen enjoy some solo
space, including trombonist Wycliffe Gordon,
trumpeter Etienne Charles, reedman/flutist Adrian
Cunningham and pianist Kevin Bales.
Marie performs two Cole Porter standards - “Let’s
Do It” and “My Heart Belongs to Daddy” - but manages
to keep them sounding fresh. The former is a bluesy,
funky, soul-tinged workout and she brings a strong
bossa nova influence to the latter. Meanwhile, “C’est Si
Bon” (sung in both English and French) becomes an
intriguing blend of chanson and postbop. But Marie
sticks to English on “Come On-a My House”, which
Kitt liked to perform in Japanese.
Most of the material comes from Kitt’s repertoire,
including “I’d Rather Be Burned as a Witch” and Dave
Frishberg’s sexy “Peel Me a Grape”. But the dusky
“Weekend”, which has a softcore BDSM theme, is a
Marie original; this makes sense when one considers
that Kitt played the dominatrix-like Catwoman on the
‘60s Batman TV series. However, the woman described
in “Weekend” is submissive rather than dominant.
Marie’s albums have been full of surprises and her
risk-taking spirit continues to serve her well here.
For more information, visit motema.com. This project is at
Jazz Standard Nov. 21st-24th. See Calendar.
Soul Brother Cool
Cyrus Chestnut (WJ3)
by Sean O’Connell
20 years ago pianist Cyrus Chestnut started his streak
of swinging albums for Atlantic Records and has
steadily continued on that path, offering a deft touch
and an ever-present melodic bent. Soul Brother Cool is
an in-the-pocket traipse through ten originals aided by
bassist Dezron Douglas, drummer/producer Willie
Jones III and trumpeter Freddie Hendrix.
There is a mellow sleepiness that pervades much
of the album, opening with a light bounce on “Spicy
Honey” and the title track, both kickstarted by Jones’
kit. This album focuses more on the “cool” than the
“soul brother”, more often veering into the realm of
early ‘60s recordings like Herbie Hancock’s Maiden
Voyage and Wayne Shorter ’s Speak No Evil instead of
the gospel fervor Chestnut has displayed in the past.
Hendrix proves to be a revelation in the small
setting. He digs into telepathic interaction with
Chestnut’s high-register right hand on several melodies
and shines in the solo spotlight. “Piscean Thought”
features sputtering blasts over Chestnut’s vigorous
rumbling while “Intimacy” lets the trumpeter speak in
long phrases amid the band’s spacious support.
The always thoughtful leader has put together an
enjoyable enough set here, with conservative tune
lengths and tempos that hover somewhere in the
middle. “The Raven” is a propulsive exception,
barreling in with a Messengers-esque urgency. Hendrix
runs with it, reaching into the upper register for a
welcome shot of adrenaline. Chestnut keeps it going,
succinctly plucking his disjointed phrases from a
similar range, building into an excitement reminiscent
of the fire that marked his early trio records.
Chestnut’s songwriting follows a logistical rubric
that entertains without challenging listeners too much.
There are plenty of pleasantly engaging moments and
the band is in fine form but overall the proceedings
feel a little too subdued.
The three non-quartet pieces reveal more aspects
of Diehl’s musical personality. Ellington’s “Single Petal
of A Rose” is a solo rendition of measured grandeur
and majestic simplicity. Trio versions (sans Wolf) of
Ravel’s third movement of “Le tombeau de Couperin”
and Gershwin’s “Bess, You Is My Woman Now” both
reveal how hypnotically Diehl can unfurl variations on
themes beyond the usual pop song form. As for pop
songs, the quartet’s version of “Moonlight in Vermont”,
with its modernist shards of melody and blithe swing,
is a perfect example of reimagining a hoary standard.
For more information, visit mackavenue.com. Diehl is at
Miller Theater Nov. 23rd. See Calendar.
For more information, visit williejones3.com. Chestnut is at
Smoke Nov. 22nd-23rd. See Calendar.
The Bespoke Man’s Narrative
Aaron Diehl (Mack Avenue)
by George Kanzler
While
the prevalence of vibraphone-piano-and
rhythm-section quartets seems to be a validation of the
influence and importance of the Modern Jazz Quartet
(MJQ), that cynosure of 20th Century jazz combo
accomplishment is rarely reflected in the music of
those groups, which seem more indebted to the legacy
of Milt Jackson than of the MJQ itself. The rub, of
course, is that MJQ pianist-musical director John
Lewis’ fondness for austerity, forms like fugue,
penchant for European themes and delicate balance
achieved among four instruments reflecting virtues of
the classical string quartet is what made the MJQ so
unique. Pianist Aaron Diehl reflects much of Lewis and
his vision for the quartet in this CD, although Diehl is
never simply mimicking Lewis. Rather, he draws from
Lewis’ approach while adding his own creative vitality
and personality.
The quartet on seven of the ten tracks here - Diehl,
vibraphonist Warren Wolf, bassist David Wong and
drummer Rodney Green - often recalls the MJQ, but
“The Cylinder”, a Jackson piece that was a longtime
MJQ staple, offers a direct homage, right down to the
Lewis-like arranged roundelay, counterpoint melodies
and precise change-ups and stop-times. Wolf reflects
Jackson’s infectious fervor and Diehl comps and solos
in the spare, clipped manner of Lewis. Diehl’s
“Generation Y” has a “Django” template; like that
Lewis piece, it begins with a slow, semi-rubato theme
then falls into faster swing for the improvised solos.
It is actually refreshing that Diehl takes inspiration
from Lewis, rather than the usual suspects reflected by
so many of his contemporaries in their 20s and 30s. His
“Blue Nude” may be inspired by the MJQ, but his
cubist assemblage of divergent parts, from spacey
piano and martial drum licks to spare, lyrical chords
and rattling vibes-drums contrasts, is purely his own. 22 NOVEMBER 2013 | THE NEW YORK CITY JAZZ RECORD
DRUMMERS!
You’re invited to join Sam Ulano’s
“Drum Reader’s Club”
For only $25 a year
you’ll get a new
16-page reading book,
starting Dec. 2013April 2014-July 2014Oct. 2014
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To order, send a check or
money order for $25 to:
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127 W. 43rd St., Apt. 1026
New York, NY 10036
Call 212-977-5209
for more information.
Don’t Miss It, It’s A Hip Idea!
From The Hip
David Kikoski/Dave Carpenter/
Gary Novak/Bob Sheppard (BFM Jazz)
by Tom Conrad
This perfectly recorded session happened in 2006, in
producer/engineer George Klabin’s private studio in
Beverly Hills, in front of a live audience. In his liner
notes, saxophonist Bob Sheppard describes it as a
“bantering about in a deeply rich shared vocabulary...
with no rehearsal or even a talk through.” Four cats, a
band for one day, rethinking nine standards. Jazz is art
of the moment, but when everything works, it sounds
foreordained.
David Kikoski may not have played more piano
on record. His trio feature, “If You Could See Me Now”,
is stunning in its diversity and comprehensiveness,
evolving from lush to spare to deep in a groove to
floating to fractured, all without losing the thread of
Tadd Dameron’s great song. Kikoski provides
luminosity and buoyancy for this music. Bassist Dave
Carpenter and drummer Gary Novak provide its
counterpoise of relaxation and intensity.
But Sheppard is the primary reason every one of
these familiar songs sounds fresh. On “Star Eyes” he
hovers over the melody and descends to touch it barely
here and there. “How Deep Is the Ocean” is implied
more than stated, in snatches and fragments. “Autumn
Leaves” also sustains a casual relationship to its form,
always there, but as an intermittent subtext to the new
songs that Sheppard and Kikoski and Carpenter come
upon. (Carpenter ’s untimely death shortly after this
session was a tragic loss for jazz.) Sheppard rides air
currents in a levitational opening cadenza, then swoops
down into “My One and Only Love”. The design is
ornate. The passion is genuine, although measured
and dignified.
Sheppard is a new millennium version of a West
Coast tenor player. His light tone and subtlety place
him in a lineage with Bill Perkins and Bob Cooper. But
his version of lyricism is too complicated, with too
many hard turns, to belong in the “Cool School”.
For more information, visit bfmjazz.com. Kikoski is at
Smalls Nov. 25th-26th. See Calendar.
Free Flying
Fred Hersch/Julian Lage (Palmetto)
by Andrew Vélez
Radiant is the word that comes to mind to describe
Free Flying, a duo between pianist Fred Hersch and
guitarist Julian Lage. Once upon a time both were
childhood prodigies. Now at nearly 57 and 25,
Absolutely Live & Stephen Cloud present
30TH ANNIVERSARY CONCERT
KEITH JARRETT
GARY PEACOCK
JACK DEJOHNETTE
DEC. 11 @ 8PM
CARNEGIE HALL
Stern Auditorium/Perelman Stage
Carnegie Hall Box Office / CarnegieCharge 212-247-7800 online at carnegiehall.org
respectively, the mutually inspirational effect of their
excellent musicianship permeates this live recording.
It is music steeped in a sense of adventurous immediacy
between two exceptional players who trust each other.
Hersch’s gifts as a composer are widely
acknowledged as well his status as one of the
outstanding musicians of his generation. All but two of
the pieces included here are his own. The opener is
“Song Without Words #4: Duet”. It shifts from a Philip
Glass-like beginning to a melodious river-like
outpouring from Hersch. When Lage slips in, it is with
such a nearly imperceptible subtlety that at first it feels
as if he had emerged out of Hersch’s keyboard. Here
and throughout theirs is a conversation that revels in
melodic ideas and rhythmic play.
“Down Home” switches to a funkier barrelhouse
mood with some hymn-like moments. Hersch’s playing
has a strong sense of narrative; we are hearing a fully
expressed story, which just doesn’t happen to have
words. When Lage joins in, it’s with a sound that
Hersch has remarked is “both solid and transparent”.
The skillful delicacy of Lage’s partnering is especially
evident as he emerges and then recedes in “Beatrice”.
It’s distinct and yet complements Hersch’s jazzy blues.
The title tune, dedicated to Egberto Gismonti,
could as easily be a tribute to Bach. It’s yet another
expression of the seemingly infinite variety of Hersch’s
virtuoso playing. Once again the interplay is
exceptional. Each player seems to be inspiring the
other with ebullient wordless suggestions of “What
about this?” and “Try that!”. Spirited, lyrical and
intimate, Free Flying is an occasion for hurrahs and
repeated listenings.
For more information, visit palmetto-records.com. This duo
is at Blue Note Nov. 25th-27th. See Calendar.
Arborescence
Aaron Parks (ECM)
by Robert Milburn
After more than a decade on the scene, pianist Aaron
Parks continues to live up to his initial promise. He
began his career at 18 with Terence Blanchard and was
acclaimed for his technical prowess. Since then, Parks
has cemented his reputation with 2008’s Invisible
Cinema and the character he’s imparted to the collective
James Farm. Arborescence takes a radically different
approach though, with the pianist unaccompanied, but
ultimately it’s characteristic Parks, his reserved
coolness occasionally loosed in frothy eruptions.
Arborescence is an almost entirely improvised
collection of moody vignettes. The album’s ruminating
nature was by design since Parks recorded the album
with the lights down low so he could fall deeply into
his own unconsciousness, as if he were practicing in
his home. The result is intimate but accessible, apt in
comparison to works by Keith Jarrett or Paul Bley. The
title suggests the treelike progression by which each
song seems to blossom, from melancholy beginnings to
fitful bursts of evocation, perhaps best exemplified by
“Toward Awakening”. Here, Parks sprinkles question
marks between the atmospheric riffing before
climaxing in an anthem of fitful cries. The pianist finds
moments of reprieve amid all the thoughtfulness.
There’s the knotty “Squirrels”, where elusive
playfulness keeps everything light and airy, and the
unresolved trepidation of “Branchings”. “In Pursuit”,
meanwhile, is deceptively hopeful until suddenly the
pianist is snatched up in a frantic boom of doubt. The
songs are chock full of themes, the listener caught in
Parks’ unending sense of melodicism.
At The Jazz Gallery last month, the audience was
similarly intoxicated by Parks’ absorbing moodiness.
As his hands struck the keys, notes seemed to pool
slowly until bubbling over with cascading intensity. At
the concert, the songs melted into one another with
even Parks pausing to muse over the microphone,
“What am I doing?” He was very absorbed, nodding
and moaning, at times clicking his tongue percussively,
as if unable to control his body amid all the lively
improvisation. He hinted at a subdued yet beautiful
“Homestead” and mashed in a lush “Past Presence”.
Yet, these served as merely a vehicle for Parks to slip
M
E
E
T
S
Dizzy’s Club Coca-Cola
@ Jazz At Lincoln Center
Columbus Circle, 5th Floor
Tuesday, November 26th
Sets at 7:30 & 9:30 pm $30
jalc.org/dizzys
QJOG: Josh Deutsch, Jon Irabagon, J. Walter Hawkes,
Amanda Monaco, Mark Wade, Brian Woodruff
BJU: Tammy Scheffer, Adam Kolker, David Smith,
Bruce Barth, Carlo De Rosa, Owen Howard, Rob Garcia
queensjazz.org / brooklynjazz.org
deeper into a musical coma. Upon addressing the
audience, the pianist’s eyelids lazed in a sort of
inebriation, surprisedly snapping to attention as if he
had just realized the audience had entered the room. The lolling steadiness of “Elsewhere” was easily
the highlight of the night. The tune is very economical,
its space lending an atmospheric dreaminess. Parks
bore into that silence an unfilled void of longing that
seemed to ebb under his delicate caress. Parks is
certainly a talented pianist yet that technical knowhow never overshadows his passion. Instead, one feeds
the other and vice versa.
For more information, visit ecmrecords.com
DIEGO URCOLA
MATES
SSC 4112 - In Stores NOW
Sketches of Ethiopia
Mulatu Astatke (Jazz Village)
by Tom Greenland
F ather of Ethio-jazz, best known stateside for
Éthiopiques, Vol. 4 and his collaborations with Russ
Gershon’s Either/Orchestra, Mulatu Astatke (born 70
years ago in Jimma, Ethiopia) is a seminal figure from
Addis Ababa’s vibrant ‘70s music scene, a conductor,
composer, arranger, vibraphonist, conguero and
keyboardist who defined and continues to refine his
highly unique approach to jazz-making. Sketches of Ethiopia with the Steps Ahead Band is
an extension of earlier projects with the UK’s
Heliocentrics, several of whom - multi-reedist James
Arben and keyboardist Danny Keane - are featured
here, along with British futurist funkateers like
percussionist Richard Olatunde Baker, bassist John
Edwards, pianist Alexander Hawkins, drummer Tom
Skinner, trumpeter Byron Wallen and vocalist Tesfaye,
all recorded in London. Traditional Ethiopian
musicians, recorded in Addis Ababa, are also part of
the mix: Yohannes Afwork on washint (side-blown
flute), Mesele Asmamaw on krar (bowl lyre) and Indris
Hassun on masinko (single-stringed bowed lute).
Additional overdubs were added by French musicians,
including Malian vocalist Fatoumata Diawar and
Mandinka kora player Kandia Kora, making the project
a true melting pot of AfroEuropean culture.
Included are two traditional songs (“Hager Fiker”
and “Gumuz”) and a Gershon cover (“Azmari”), with
the rest originals, served up in Astatke’s slow-flow
arrangements, mixing Middle Eastern melodies,
pyramiding background vocals, call-and-response
sections, breakdowns, catchy horn lines and bubbling
counter-lines that recall Fela Kuti’s Afrobeat workouts
or Chuck Brown’s go-go jams. There are soloistic
flourishes - Astake’s noodly vibes on “Azmari”;
Arben’s spacey bass clarinet on “Assosa Derache”;
Afwork’s ethereal washint and Wallen’s waxing
trumpet on “Motherland Abay” - but this music is
more about timing, texture and interaction, evident on
tracks like “Gamo”, with its ornate melodic lines
framed by an intricate soundscape; “Motherland
Abay”, a pastiche of sonic surfaces, from lush horn
pads to a stark kora-masinko duet; or “Surma”, where
memorable riffs are underpinned by muted guitars
and polyrhythmic commentary. The high-fidelity
recording separates and highlights the multi-layered
parts, both acoustic and electric, rendering a
soundscape similar to a live show - where you’d bound
to be moving some part of your body in response.
For more information, visit jazzvillagemusic.com
The friendly tradition of drinking mate served as inspiration
for Argentinean born, New York based trumpeter Diego
Urcola. For his playfully titled new recording Mates, Urcola
wanted to mirror this give and take between friends (or
“mates”) with that of the musical duet. To achieve this, the
trumpeter recorded a number of intimate meetings with a
handful of his closest musical associates, including bassist
Avishai Cohen, vibraphonist Dave Samuels, harpist Edmar
Castañeda and bandoneón player Juan Dargenton.
Performing November 4th, 10pm at
SMALLS JAZZ CLUB
183 West 10th Street, NYC
STEPHAN CRUMP’S ROSETTA TRIO
THWIRL
SSC 1364 - In Stores NOW
When he first assembled the Rosetta Trio eight years ago, Crump
realized that the unique ensemble featuring acoustic guitarist
Liberty Ellman and electric guitarist Jamie Fox had an immediate
rapport.
The new recording Thwirl is the Trio’s beautiful third
recording, finding the band members in lockstep on 10 original
songs.
Performing
Friday, November 14, 8:00 pm
GREENWICH HOUSE, 46 Barrow Street
eOne Distribution
25
That’s It!
Preservation Hall Jazz Band (Legacy)
by Joel Roberts
FAURÉ AT PLAY
The Preservation Hall Jazz Band may be the keepers
of the flame of traditional New Orleans jazz, but the
group is by no means stodgy or conservative or averse
to trying new things. That’s clear on the band’s new
album and the first in its more than 50-year history
comprised entirely of original material.
The album was produced by bassist/tuba player
Ben Jaffe, whose parents founded Preservation Hall in
1961, and Jim James from the rock group My Morning
Jacket. It features tunes written by several
bandmembers, as well as collaborations with an
eclectic group of composers including legendary pop
songsmith Paul Williams. Like recent projects that
paired the eight-piece band with performers from
other genres, like bluegrass legend Del McCoury and
alt-country rocker Steve Earle, That’s It! is somewhat of
a departure for a group so steeped in tradition. But
everything retains an unmistakable and authentic New
Orleans feel, even if it strays a bit (but never too far)
from the early jazz standards and swinging blues that
remain the group’s bread and butter.
The 11 tracks cover a wide spectrum of New
Orleans music, past and present. There are boisterous
instrumentals, like the title track and “Sugar Plum”,
recalling the Crescent City modernism of the Dirty
Dozen or Rebirth Brass Bands, and vocal numbers like
“Rattlin’ Bones”, which suggest the sly, dark humor of
Dr. John. Some of the tracks, like the good-time gospel
of “Dear Lord (Give Me the Strength)”, sound like they
were unearthed from a ‘20s time capsule while others,
like the high-energy funk of “Halfway Right, Halfway
Wrong”, sound surprisingly contemporary.
The multigenerational ensemble, with members
ranging in age from their 30s to their 70s, has found a
way to survive by reinventing itself without losing its
soul. This is an exuberant, unpretentious album that
captures the joy and spirit of jazz’ birthplace and one
of its most long-lived groups.
For more information, visit legacyrecordings.com. This
band is at Apollo Theater Nov. 16th. See Calendar.
Absinthe & Vermouth
Fay Victor Ensemble (Green Avenue Music)
by Robert Iannapollo
F or this reviewer ’s money, the best album of 2011 was
the Fay Victor/Other Dimensions In Music
collaboration Kaiso Stories (Silkheart). A recasting of
songs from Victor ’s Caribbean roots, she was backed
Chesky recording
artist vocalist Louise
Rogers and pianist
Mark Kross offer their
jazz interpretations
of art songs by
French composer
Gabriel Fauré.
Louise Rogers
voice
Mark Kross
piano
Somethin’ Jazz Club
Saturday, Nov. 9 at 7pm
The harmonic
complexities,
subtleties, and
beauty of Fauré’s
melodies combined
with the romantic
lyricism of poets
such as Victor Hugo
and Paul Verlaine
inspired these
musical explorations.
The results are at
once pensive and
playful, languid and
lively, haunting and
heavenly.
212 E. 52nd St., NYC
by one of the premier improvising ensembles in jazz, a
true meeting of the minds. But the best way to hear her
is with her own group. Absinthe & Vermouth, their third
album is a follow up to 2009’s The Free Song Suite and
the band this time around is a trio with guitarist
Anders Nilsson and bassist Ken Filiano.
Victor ’s voice operates on many levels: it can be
sweet and seductive, harsh and abrasive, one minute
operating in the lower, quiet end of the spectrum
before abruptly swooping into the stratosphere. When
improvising, she frequently jumps octaves in a manner
not dissimilar to Eric Dolphy’s improvisations. She
alternates between singing and reciting lyrics and
there’s great theatricality in her presentation. Her
lyrics are alternately wry, witty, profound and
bittersweet, sometimes all in one song. Frequently they
are vignettes about her life.
All that and more is evident on Absinthe &
Vermouth. The communication level among the trio is
finely tuned and while Anders and Filiano are indeed
supporting Victor ’s voice and lyrics, she allows them
free range to express themselves as well. The epic (over
15 minutes) “I’m On A Mission/Paper Cup” is a perfect
example: the first part is an almost rock-ish high energy
blowout that contains a lengthy middle instrumental
section before segueing into the lovely “Paper Cup”,
Nilsson’s full-bodied chords and Filiano’s deep
basslines surrounding Victor ’s richly honeyed voice
cooing the lyrics. The program is sequenced with very
little space between songs, which gives the entire
album a suite-like effect. Get drawn into the spell of
this music and you could easily take in the album’s 72
minutes in one fell swoop.
For more information, visit greeneavemusic.com. This
project is at JACK Nov. 13th. See Calendar.
changing rhythmic figures. “Prelude” is a slow piece
given a bluesy treatment by Cassity on soprano sax and
counterpoint between the vibes and bass. The last track,
Chick Corea’s “Straight Up And Down”, gets a
straightahead, uptempo drum-driven treatment.
de Souza has put together a tasty CD, proving he
and his band can swing as well as they can samba.
Different Directions
Bossa Brasil/Maurício de Souza Group (Pulsa Music)
by Marcia Hillman
For more information, visit mauriciodesouzajazz.com. This
project is at Blue Note Nov. 16th. See Calendar.
Drummer Maurício de Souza dishes up a selection of
familiar songs and original songs in this new CD, a
mixture of Brazilian music and jazz. His bandmates
include saxophonist Sharel Cassity, trumpeter Greg
Gisbert, guitarist Mike Stern, vibraphonist Jerry Weir,
pianists Marc Copland, Ben Winkelman or Miho
Nobuzane, acoustic bassist Gary Mazzaroppi and
electric bassist John Lee. de Souza provides the steady
pulse throughout the album, punctuating the other
musicians’ statements, and is also responsible for all of
the arrangements, except for the lovely Cassity ballad
“The Acceptance of Resolve”.
Brazilian favorites include Jobim’s “Viva
Sonhando”
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swinging
performances by Stern and Winkelman), Edu Lobo’s
“Ponteio” (with Weir’s striking solo and a stellar
contribution by Mazzaroppi) and Dizzy Gillespie’s
“Con Alma” (which shows off Cassity’s inspired
saxophone work and some interesting tempo changes).
The Webster-Kaper standard “Invitation” gets an
attention-demanding treatment with fine piano work
from Winkelman and an engaging conversation between
Stern and Mazzaroppi, de Souza offering up ever-
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Cathedrals
Ross Hammond Quartet (Prescott)
by Elliott Simon
Cathedrals is the second release from guitarist Ross
Hammond’s quartet and is a not-so-slow trip down ‘70s
fusion memory lane. With a few gentle exceptions,
Hammond has chosen to produce an incendiary in-yourface session highlighting relentless rhythms, searing
solo work and precise in-tandem playing. Joining
Hammond are saxophonist/flutist Vinny Golia, bassist
Steuart Liebig and drummer Alex Cline.
Golia has created a contemporary musical blend
long on instrumental virtuosity, compositional
excellence and improvisational inventiveness. Paired
with the leader’s aggressive guitar, the band has an
incredible frontline defined by a combination of power,
creativity, speed and accuracy. Cline and Liebig work so
well together in laying down heavy pulsating rhythms
that they are a soloist’s dream. The result is an intense
and at times overpowering listening experience.
Session opener “A Song for Wizards” begins with a
nod to psychedelic guitar sorcery, Cline, Liebig and
Golia’s soprano sax opening the way for Hammond to
riff off the rhythm. “Hopped up on Adrenaline” rings
true to its name, a showcase for Golia flute work with
more than a passing nod to Jethro Tull’s Ian Anderson.
“Telescoping” is a free-formish respite evolving into the
more anthemic “Run Run Ibex!” before Golia’s tenor
saxophone sets the course for an incredibly frenetic
trilogy of “This Goes with your Leather”, “She Gets Her
Wine from a Box” and “Tricycle. The title track is an
overly long, out-of-place elegiac improv vehicle, which
eventually builds to a tension-filled crescendo before
the all-too-short “Goodnight Lola” uses an ethereally
beautiful backdrop of singing bowls backdrop to grant
Hammond a harmonically graceful exit.
Lacy’s music with Ideal Bread, the Lennie Tristano
legacy with Ted Brown and Monk, Ellington and Mingus
in duets with pianist Jesse Stacken. His sideman work
with Matt Wilson, Jon Irabagon and others is vigorous
and surefooted. Chorale, Knuffke’s fourth outing as a
leader, finds him in a brilliant lineup with pianist Russ
Lossing, bassist Michael Formanek and drummer Billy
Hart. It’s striking that the nine original pieces all have
one-word titles save for the closing “Good Good”,
which playfully shifts from uptempo to half-time swing.
Striving to balance the written and freely
improvised, Knuffke opens with the former, a plaintive
rubato invention called “Wingy”. Hart’s drumming is
identifiable within the first minute and its appeal only
grows from there, giving more tempo-based pieces such
as “Kettle”, “Standing” and “School” a sense of dynamic
flux and timbral oddity. “Madly” revives the hovering
feel of the opener but in a much freer context; it’s the
longest piece of the set, moving through passages of near
silence and ending with Lossing’s fiery unaccompanied
piano. The transition from there to “Match” is pretty
magical: Lossing is out for the first two minutes while
Formanek states a steady bassline and Hart plays
hypnotic tom-toms, moving to more jazz-like sticks and
cymbals the very moment the piano comes in.
The blend of cornet, bowed bass and piano on the
title track does, in fact, suggest a chorale. This bit of
lyrical and offbeat chamber-jazz, rather unlike the
album’s other material, yields to free rubato interplay
and yet somehow preserves the feeling and direction of
the opening statement. It’s the strongest evidence of the
band’s profound intuitive connection.
For more information, visit steeplechase.dk. Knuffke is at
Korzo Nov. 12th with Matt Pavolka and Cornelia Street Café
Nov. 20th with Ideal Bread. See Calendar.
For more information, visit prescottrecordings.blogspot.com.
Hammond is at Spectrum Nov. 8th, Downtown Music Gallery
Nov. 10th and Ibeam Brooklyn Nov. 11th. See Calendar.
S
U
N
I
O
J
THE THING RECORDS AND TROST PRESENT
THE NEW STUDIO ALBUM
FROM THE THING
Chorale
Kirk Knuffke (SteepleChase)
by David R. Adler
Cornet specialists aren’t in huge supply, but Kirk
Knuffke stands out among this unique lot for his
versatility and expressive depth. He’s explored Steve
MATS GUSTAFSSON
INGEBRIGT HÅKER FLATEN
PAAL NILSSEN-LOVE
CD, DOWNLOAD, LP AND 7”EP
IN COLLABORATION WITH TROST RECORDS
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WATCH OUT FOR REISSUES OF BACK CATALOGUE ON VINYL
27
Le Stagioni Del Commissario Ricciardi
Marco Cappelli Acoustic Trio (Tzadik)
by Kurt Gottschalk
Marco Cappelli has been finding great inspiration in
the written word at least since 2008, when In the Shadow
of No Towers - a video collaboration with writer/
illustrator Art Spiegelman about the Sep. 11th attacks
- premiered in Italy. The same year Cappelli‘s Acoustic
Trio released the CD Les Nuages en France, based on the
mysteries of French novelist Fred Vargas.
The Acoustic Trio returns with a release based on
Italian mystery writer Maurizio de Giovanni. The
project grew out of a concert in Cappelli’s native
Naples, where he and his band (bassist Ken Filiano and
percussionist Satoshi Takeishi) performed while de
Giovanni read. The nine instrumental tracks on the
album stand alone, not requiring knowledge of the
source material. Cappelli plays his heavily modified
nylon string guitar here, although unlike in his
“Extreme Guitar Project”, the sympathetic strings and
other modifications are in the background. The tunes
are little slices of progressive pop, played with
understated precision by the rhythm section, not
simple in their construction but reassuring in their
form and repetition.
“Sergeant Maione” evinces Cappelli’s classical
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prowess and “Deputy Police Chief Garzo” explores an
extended, fractious melody to exhaustion, eventually
finding within it a waltz. On other tracks subtle ‘60s
pop riffage or ‘70s prog complexities peek through
while the closer “Pateterno Nun E’ Mercante Ca Pava
‘O Sabbato” employs bits of back-masking and a nice
arco bass solo to create a richer depth of field.
While having read de Giovanni is not a
prerequisite, the package is an enticement, with
excerpted sentences tagging the tracks in the booklet
alongside lush drawings from the original books.
Conveniently, the novels were translated into English
by Europa Editions for the first time earlier this year.
For more information, visit tzadik.com. This project is at
Nublu Nov. 12th and ShapeShifter Lab Nov. 21st. See
Calendar.
Thwirl
Stephan Crump’s Rosetta Trio (Sunnyside)
by Donald Elfman
The Rosetta Trio continues to make exquisitely
intimate music that seems to encompass the whole
world, stories rich in jazz, classical, folk, blues and
more in a rich palette of color and texture. Bassist
Stephan Crump, acoustic guitarist Liberty Ellman and
electric guitarist Jamie Fox are all virtuosos but know
how to urge each other to inspired heights.
The set begins with “Ending”, Crump’s arco
hauntingly pure. He switches to pizzicato but the
chapel-like atmosphere continues, even as both
guitarists enter. The three improvise with delicate and
pointed precision and while there are certainly solo
passages these are just pointers to true spontaneous
interaction. “Reclamation” is something of a gentle
folk groove tune, the opening vamp repeated as
individual voices peer out to give the tune shape. “He
Runs Circles” is another quiet groove, Crump
propelling his mates throughout this wispy blues. The
title tune is helped along by percussive accents tapped
on the instruments, creating somewhat of an island
feel. Special note must be given to Ellman for his
powerful yet subtle approach. He never gets lost in the
mix thanks to the terrific engineering (provided by the
leader!) as well as the sure sense of his place in this
very special music.
The Rosetta Trio continue to move gently ahead,
bringing in the myriad influences the three players
have absorbed during their careers and in the special
experience of being in this extraordinary group.
For more information, visit sunnysiderecords.com. This project
is at Greenwich House Music School Nov. 14th. See Calendar.
Live at the Kitano
Dick Hyman/Ken Peplowski (Victoria Company)
by Ken Dryden
Dick
Hyman is one of the rare pianists who covers
most of jazz history in his playing, with a vast array of
songs in his active repertoire. 85 at the time of these
recordings, made during a week at Jazz at Kitano in
early 2012, Hyman is joined by clarinetist/tenor
saxophonist Ken Peplowski, a spry 54. Both are not
only alumni of the groups of Benny Goodman but both
have keen minds and wide-ranging musical interests.
They’ve performed numerous times together over the
years but this is only their second duo session.
They kick off with a whimsical take of RodgersHart’s “Blue Room”, full of sudden twists and brilliant
duo improvised lines, anticipating each other ’s moves.
Peplowski switches to tenor for “Gone With the Wind”,
playing with a soft vibrato as Hyman adds shades of
Art Tatum and Teddy Wilson to his elegant runs. “The
World is Waiting For Sunrise” is a song that both men
played during their respective stints with Goodman,
the influence of Wilson prominent in Hyman’s playing
and Peplowski swinging as hard as Goodman while
preserving his own style.
The duo tackles two Monk works: a spirited take
of “I Mean You” in which Peplowski steals the show
with his humorous clarinet and “Ugly Beauty”,
Hyman’s subtle use of the sustain pedal and creative
use of dissonance unveiling new dimensions of this
timeless ballad. One twist is the inclusion of WC
Handy’s “Yellow Dog Blues”, a tune more often heard
on traditional dates; the audience thankfully doesn’t
join them for the usual cheer in the midst of its refrain.
Peplowski is back on tenor for the medley of “Lover,
Come Back to Me” and “Quicksilver”, where both men
pull all the stops with breathtaking solos, sure to leave
their audience wanting more.
For more information, visit victoriarecords.net. Hyman is at
Saint Peter’s Nov. 27th. See Calendar.
The Angle Below
Peter Brendler & John Abercrombie (SteepleChase)
by Suzanne Lorge
Bassist Peter Brendler is younger than veteran
guitarist John Abercrombie by some 35 years. The
differences in age and experience are no obstacles to
the two players, though, who join forces for an album’s
worth of duets. The pair approach the material as
equals - equal time soloing and comping and their
performances equally weighted in the mix. True,
Brendler contributes more compositions - six, versus
Abercrombie’s three - but the two share a similar
compositional aesthetic: a prominent groove line
moving in and around a soaring, precisely articulated
improvisation. During even the closest listen it’s hard
to tell who is leading whom and whose ideas are
driving the performances.
The subtleties of the composing and the playing
are what make the disc: the understated Latin mood
that Brendler sets up during the extended bass intro of
“Valdoviño”; Abercrombie’s unexpected departure
into dissonance or a blues lick on the otherwise
harmonically simple “Jazz Folk”; Brendler ’s solo
composition “Rockaway”, just under two and a half
minutes in length; Abercrombie’s improvisation on
“Half Dozen of the Other”, featuring a rock guitar
sound in the first half of the tune and a hollowbody
jazz guitar sound in the second. To catch these moments
the listener has to lean in close; there’s more going on
behind these performances than one might expect.
The duo plays only one standard, closing out the
CD with Gordon Jenkins’ “Goodbye”, showing their
skill with the familiar tune after impressing with their
ingenuity on the originals. Their rendition is expertly
conventional and a clever sign-off: when the pair flips
out of the new and into this more traditional sound, we
realize that all along we’ve been eavesdropping on a
private conversation, one filled with familiarity, tacit
understanding and friendly challenges. They do leave
the final chord on the recording unresolved, however.
Perhaps their conversation has not yet ended.
For more information, visit steeplechase.dk. Brendler is at
Barbès Nov. 13th. Abercrombie is at Allen Room Nov.
22nd-23rd with Jim Hall. See Calendar.
Golden State
Harris Eisenstadt (Songlines)
by Ken Waxman
O ver the past decade, Toronto-born, NYC-based
drummer Harris Eisenstadt has demonstrated
effectiveness as composer, leader and sideman in a
variety of contexts, from experimental to roots-oriented
while staying clearly within the jazz-improvising
continuum. Golden State is a slight departure, fusing
the tones from two primarily orchestral instruments Nicole Mitchell’s flute and Sara Schoenbeck’s bassoon
- with the non-symmetrical yet explicit beat of Mark
Dresser ’s bass and the leader ’s drums.
Chamber jazz has gotten a bad rap over the years
since it is usually associated with bland programs
replacing inventive muscularity with soothing
textures. In contrast, Eisenstadt’s sophisticated themes
ignore hierarchal roles to showcase unexpected
instrumental blends, matching the rigor of so-called
classical music with the freedom of improvisation.
Consider “Dogmatic in Any Case”; as the rhythm
section’s flexible movements ground the narrative,
spry emotionalism is expressed by the horns, first
blended, then individually. Mitchell’s whorls and
flutters are passionately articulated and this
comfortable talent is subtly transferred so that the
bassoonist’s dyspeptic gutsiness continues to express
real feeling. Without resorting to the faux jazziness
many double-reed players bring to non-so-calledclassical music, Schoenbeck animates “Especially
Preposterous Assertions”. She uses rapid tonguing and
her instrument’s natural grittiness to swing hard, her
work is balanced by gutsy bass-string stops.
While the compositions allow the frontline to
expose the improvisatory heart of their often stolid
instruments, they also showcase Dresser ’s talents. His
arco facility is such that on “Sandy” his lyrical strokes
could come from a viola da gamba, extending the
joyous baroque-like shadings that parallel what flute
and bassoon already bring to the piece.
Always sympathetically constructive in his playing,
the leader propels these tracks without loudness or
forcing a beat. By letting the soloists and compositions
be the primary focus, Eisenstadt suggests that his music
has the potential to be as transformative as other nonidiomatic composers like Anthony Braxton.
For more information, visit songlines.com. Eisenstadt is at
Brooklyn Museum Nov. 23rd-24th. See Calendar.
A Round Goal Keefe Jackson’s Likely So (Delmark)
Cicada Music Frank Rosaly (Delmark)
Duope
Christoph Erb/Keefe Jackson/
Tomeka Reid/Fred Lonberg-Holm (Veto)
Circuitous Pandelis Karayorgis Quintet (Driff)
by Clifford Allen
Tenor saxophonist, bass and contrabass clarinetist
Keefe Jackson might be one of Chicago’s most
ambitious musicians to come along in years, though
he’s not entirely a household name. Jackson relocated
to the Windy City from Fayetteville, Arkansas and
being an Arkansan has a special meaning in the
instrument’s lineage, putting him alongside players
like Kalaparusha Maurice McIntyre and Pharoah
Sanders. In addition to a number of excellent sideman
turns, Jackson has co-led the hard-charging quintet
Fast Citizens (with reedman Aram Shelton, cornetist
Josh Berman, drummer Frank Rosaly, cellist Fred
Lonberg-Holm and bassist Anton Hatwich) since 2003
and convened the orchestral Project Project in 2007.
Jackson is a gruff and lyrical player whose bright
cadences easily stick in one’s craw, but only four discs
have been released under his leadership - likely a sign
of his methodical nature rather than whether or not the
jazz market is beating down his door.
Likely So is a recent ensemble that Jackson brought
together for the Jazzwerkstatt Festival in Berne earlier
in 2013. A woodwind septet, Likely So consists of
Chicagoans Mars Williams and Dave Rempis alongside
Poland’s Wacław Zimpel and Swiss reedplayers Marc
Stucki (doubling on harmonium), Peter Schmid and
Thomas KJ Mejer. A Round Goal is the ensemble’s first
recording and features 11 pieces, including two short
soli by Jackson and Rempis. It’s interesting and
indicative of the challenges that Jackson places on
himself to institute a reed septet, following on the
heels of such lofty units as the World Saxophone and
ROVA Saxophone Quartets. Likely So is a larger
ensemble that brings together unfettered, squirrelly
swing with a penchant for puckered, droning
dissonance, round-robin refraction and delicate
minimalism. It’s a testament to the leader ’s writing
that he can reign in the group’s size to feel like a trio or
quartet as Williams tears through “Was Ist Kultur?” as
well as highlight nuanced orchestral mass.
It shouldn’t be too surprising that drummer Frank
Rosaly’s first ensemble recording as a leader, Cicada
Music, also features Jackson as they’re regularly paired
up in Fast Citizens. Two solo percussion and electronics
12-inchers later, as well as a Jackson-Rosaly duo 7-inch
on Molk, Rosaly’s chopped and rearranged
improvisational fragments bear fruit in a supple and
versatile sextet disc. Rosaly composed the ten pieces
here, which grew out of a soundtrack session for the
documentary Scrappers, and is joined by Chicago
stalwarts: vibraphonist Jason Adasiewicz, bass
clarinetist Jason Stein, clarinetist James Falzone and
bassist Jason Roebke. Rosaly’s approach is a limber
and athletic blend of breaks, shimmering free time and
erudite clips that propel warm, measured and economic
clarinet lines (including Jackson’s contrabass clarinet
wallops). Though Cicada Music is far from being among
the ‘rockist’ pantheon of new Chicago avant garde
jazz, Rosaly and company bring a hook-laden insistence
to a music that, like all good soundtrack composition,
can stand firmly on its own.
Jackson’s bass clarinet is the preferred axe on
Duope, a double-duo that pits him alongside
Switzerland’s Christoph Erb (on bass clarinet and a
Chicago fixture) and cellists Fred Lonberg-Holm and
Tomeka Reid. It’s not the first time that Jackson has
appeared on Erb’s Veto Records-Exchange, as a fine
2011 set of duos with pianist Hans-Peter Pfammatter
attests. There are four improvisations here and despite
the woody chromatic similarity of cello and bass
clarinet, the quartet’s ranginess and diversity is what
comes through. Erb and Jackson are quite different in
their approaches, with the latter ’s buoyant, gruff
lyricism an interesting foil for the former ’s warble
while Reid’s somber throatiness supplants LonbergHolm’s jarring electricity. The second piece of the set,
“snuro”, is perhaps the strongest and represents well
the quartet’s spry grit.
Boston pianist Pandelis Karayorgis has had a long
relationship with Chicago musicians, going back to his
late ‘90s-early ‘00s work with Ken Vandermark and
Guillermo Gregorio. With right-hand man bassist Nate
McBride, who has split time between Boston and
Chicago, he has expanded on the inventions and
dimensions of pianist-composers Herbie Nichols,
Hasaan Ibn Ali, Sun Ra and Cecil Taylor, frequently in
the trio format. Circuitous adds Rosaly and the twined
reeds of Jackson and Rempis to the mix on a program
of nine Karayorgis originals. The leader ’s playing is
full of elbows and gracefully weird turnarounds and
offers challenging support for Rempis’ excoriations
and Jackson’s wry, steely playing. Decades removed
from what contemporary improvisation is ‘supposed’
to be, Circuitous is energetically far from anachronism.
For more information, visit delmark.com, veto-records.ch
and driffrecords.com. Jackson is at Ibeam Brooklyn Nov. 3rd
with the Duope group. See Calendar.
29
Prism
Dave Holland (Dare2)
by George Kanzler
Can’t avoid the terms “fusion” or “rock adrenaline”
when hearing this atavistic supergroup that features
the guitar heroics of Kevin Eubanks. Dave Holland,
sticking to his acoustic bass and often anchoring the
maelstrom of his cohorts, is the only member of this
quartet who doesn’t succumb to the indulgences and
excesses of rock-fusion, although as nominal leader he
does preside over them all. Creating a heady sturm
und drang throughout, drummer Eric Harland is more
tempestuous here than in his more straightahead roles.
Splitting
the
difference
between
Holland’s
mathematically measured cool and Eubanks’ searing
heat is Craig Taborn, funking things up on Fender
Rhodes but unpredictable, from postbop groove to
avant garde abstract, on acoustic piano.
Each member contributes two tracks, Eubanks
three, to the program. The guitarist’s blues riff “Watcher”
opens the proceedings heavy on feedback and distortion
from composer and keyboardist, drums pounding in a
jazz-rock mode that’s even more pronounced on
Eubanks’ faster and overindulgently long “Evolution”,
rising to onanistic heights in an Allman Brothers raveup climax. Processional patterns à la early Weather
Report inform Eubanks’ “The Color of Iris”, subtle
guitar effects taking the sound underwater. Holland’s
pair include slinky “The Empty Chair (For Clare)” with
fuzzy wah-wah guitar and “A New Day”, bringing
familiar guitar and piano tones to a fusion meter. Taborn’s pieces are intricate and multi-faceted:
“Spirals” full of titular moves, interrupted by freefloating atonalities, odd and even meters and limpid
piano notes; “The True Meaning of Determination”
pushing convoluted cycles and solos over a pulsing
fusion 8/8. But compositional honors go to Harland’s
two tracks, also the shortest on the album. “Choir” goes
to fusion church, with calliope-like guitar and jazzy
drum solo while closer “Breathe” opens with elegiac
solo piano, joined halfway through by whispering
brushes, billowy bass and sighing guitar behind slowly
rising piano lines.
“This Is No Laughing Matter” has more than a
passing resemblance to the famed Frank SinatraTommy Dorsey collaborations of the same period. “I
Don’t Care Who Knows It” especially has a Sinatraesque boy-next-door appeal to it. But Allyn’s baritone
was more akin to that of Dick Haymes, though he was
never to attain the kind of bobby soxer adulation of
either of those crooners. A fruitful period Allyn spent
with the Boyd Raeburn Orchestra is recalled with
Harold Arlen-Johnny Mercer ’s “Out of this World”, as
solid rhythmically as it is dreamy. Another 1946 gem,
“It Shouldn’t Happen to a Dream”, notably has Lucky
Thompson on tenor saxophone and Dodo Marmarosa
on piano. This is pitch perfect Big Band Era music at its
best.
Allyn’s life included lengthy bouts with drugs and
run-ins with the law, which included prison time. All
this and much more is candidly documented in his
autobiography, There Ain’t No Such Word as Can’t.
Devoted fans such as fellow entertainment stars
Sammy Davis, Tony Bennett, Vic Damone and Tony
Curtis continued to be supportive during hard times.
After Allyn was paroled in 1957, his old friend Richard
Bock, then heading up World Pacific Records, an
emerging West Coast label, teamed up with another
buddy of Allyn’s, Johnny Mandel. Together they all
produced a memorable album of Jerome Kern songs. It
included what became an Allyn signature song, “The
Folks Who Live On The Hill”.
“Here’s The Way It Is” with the Bob Prince
Orchestra is a beguiling 1959 sample of how fullbodied and enduring Allyn’s voice still remained later
in his career. The B-side of the recording is “Pleasant
Dreams”, a very sweet ballad written by another Allyn
admirer, TV personality and jazz fan Steve Allen. By
contrast, “Where You At?” is a full charge 1963 swinger
by Prince. It’s an occasion for Bud Shank to sizzle on
alto saxophone and Jimmy Rowles swinging on piano.
As sweet and mellow as Allyn’s forte often was, this
side is irrefutable affirmation of just how hard and
satisfyingly Allyn could swing big time when given
the opportunity.
Allyn continued to perform into his 70s. His long
and difficult journey came to an end when he passed
away a year ago this month at 93. It’s good to have
these beautiful sides available again now to affirm just
how fine a singer he was.
For more information, visit hepjazz.com
For more information, visit daveholland.com/dare2. This
project is at Birdland Nov. 26th-30th. See Calendar.
Live at the Bistro
The Wee Trio (Bionic)
by Tom Greenland
Where You At? (‘41-’63)
David Allyn (Hep)
by Andrew Vélez
Where You At? (‘41-‘63) is a welcome opportunity to
catch up with an undeservedly neglected crooner from
during and after the Big Band Era. It begins with three
songs from a year David Allyn spent with the Jack
Teagarden Orchestra in 1941. Particularly of note is
“Soft As Spring”, one of Allyn’s signature songs. His is
classic crooner singing, easy and romantic, and there’s
lovely low-key brass backing him up.
In trying to connect with ‘ordinary’ people, jazz
musicians often cover currently popular songs with
lots of repetition and beat, hoping to make the
intellectual or experimental elements of the music
more listener-friendly, but The Wee Trio seems able to
negotiate the high/low cultural divide in an
uncontrived way. On their recently released fourth
album, they display edgy infectious energy, eliciting
the kinds of audience responses more prevalent at rock
shows than comparatively staid jazz concerts.
Collectively, vibraphonist James Westfall, bassist Dan
Loomis and drummer Jared Schonig are just that: a
more wholesome sum than each part, though Schonig
is clearly the fire in the seat of their pants. The album
contains originals by all members, plus covers of the
standards “Cherokee” (with an imaginative 3-over-4
feel) and “There Is No Greater Love” (as a bossa), plus
David Bowie’s “Queen Bitch”, all laced with mercurial
tempo and textural shifts. Westfall’s two-mallet style
leaves plenty of harmonic space, often filled in by
Loomis’ chordal passages and both Westfall and
Schonig play freely with the time. The rhythms are
rock-based, with heavy - if floating - backbeats and
although sections typically riff and repeat, the trio
never stays in one mood for long. Standout tracks
include
“White
Trash
Blues”,
a
Monk-like
deconstruction; aforementioned “Queen Bitch”, on
which Schonig balances the abandon of a garage-band
slugger with the restrained finesse of an orchestral
percussionist, and “White Out”, with an exciting
Westfall solo and more signature rhythmic tension.
Hearing the trio live at the culminating gig of a
two-week promotional tour, held at SubCulture in late
September, confirmed an initial hunch that Schonig
plays with a smile on his face and that group interplay,
not a string of solos, is what drives them. The setlist
included many songs from the new album, plus a
second Bowie cover, “The Man Who Sold the World”
(part of a Bowie two-fer) and a new original, “RG3”.
Westfall provided much of the melodic interest, Loomis
proved to be the fulcrum of rhythmic see-sawing
between vibes and drums and Schonig played like a
bulldozer in a china shop, cracking the snare rim with
ear-splitting pops, then abruptly switching to whispersoft taps on the cymbal bell, punctuating each exciting
gesture - his or the others - with ecstatic groans. Most
importantly, they were enjoying themselves, probably
because they obviously haven’t lost the ability to
amuse and surprise each other.
For more information, visit theweetrio.com
Atzbe: Zone De Memoire
Gilad Atzmon/Hubert Bergmann (Mudoks)
by Elliott Simon
So called “Memory Zones” exist as physical locations
to honor events and people that it is felt should not be
forgotten. The cover of this release, from pianist Hubert
Bergmann and saxophonist/clarinetist Gilad Atzmon,
is an image of flowers, perhaps left at such a Zone De
Memoire that has burst into flames. Both of these artists
are extremely forthright in their support of the
Palestinian people; Bergmann has produced a film
with this same title centered in the Middle East and
Atzmon has written extensively on this subject. The
combination of beauty and anger so powerfully
represented on the cover informs these seven joint
improvisations.
This is emotional music and Atzmon’s horns have
never sounded so gorgeous or been laid so bare.
Bergmann has released previous one-on-one encounters
and he lends this session its structure, his chords
providing the forum for Atzmon to showcase the rich
tone as well as the sharp thrust and parry of his
clarinet, alto and soprano saxophones. Bergmann is at
the mercy of the mechanics of his instrument but does
on occasion pluck its strings to add coloration while
Atzmon’s reeds allow him a wider range of expression.
JON DAVIS DUO FEAT.
GIANLUCA RENZI
The Jon Davis Duo featuring
Gianluca Renzi on bass will be
celebrating the release of
“No Kiddin’” on WideSound
Records at the Knickerbocker Bar
and Grill (December 20th and 21st)
and at Smalls (December 23rd).
...”These two gentlemen are not
kidding when it comes to dealing in
the intimate duo setting and their
chemistry is clear on this superb
outing.” – Bill Milkowski
www.jondavismusic.com
www.gianlucarenzi.com
“Roof of Clouds” is one of the most stunning and
uplifting clarinet pieces this reviewer has ever heard.
The lines are spiritually inspired and the instrument’s
fullness is exposed in a single note. Bergmann’s cleaner
playing initially stands in contrast but the two reach
common ground as things develop.
Bergmann is at his most sensitive on closer
“Present Absent”. Here Atzmon maintains a plaintive
Middle-Eastern cry on soprano as Bergmann delicately
spins phrases that add depth. “Beyond Boundaries”
begins as a smoky alto excursion that Bergmann,
through swinging figures, jolts into reality while the
“Invisible Abyss” is an extended exercise of quickly
darting and inventive joint improvisation. Zone De
Memoire is a powerful statement that presents Atzmon
and Bergmann in a very personal musical context.
For more information, visit mudoks.org
Carillon
Nate Radley (SteepleChase)
by David R. Adler
G uitarist Nate Radley doesn’t have the wide
recognition of some of his six-string peers, though he’s
one of the tastiest and most consistent players on the
scene. He’s done enviable sideman work with Alan
Ferber, Loren Stillman, Marc Mommaas, Andrew
Rathbun and others. He debuted in 2012 with The Big
Eyes (Fresh Sound-New Talent), using a lineup of
guitar, alto sax and (sometimes) Fender Rhodes with
rhythm section. On the new album Carillon he omits
keyboard but keeps the guitar/reed frontline, using
tenor saxophonist Chris Cheek alongside bassist Matt
Clohesy and drummer Ted Poor.
Radley isn’t after wild and extravagant
soundscapes in the studio. He plays semi-hollowbody
guitar, straightforwardly and beautifully, with a round
but slightly steely tone and just a bit of reverb. He has
a buoyant rhythmic feel, a cohesive hookup with
Cheek and a fluid harmonic approach that lets him fill
plenty of space when the horn lays out.
Radley’s writing has a lushness and intricacy, a
way with pacing and contrast, from the bright feel and
contrapuntal invention of the opening title track to the
mellower glide of “Positive Train”, the finale. There’s
something logical and satisfying in the transition from
“Whiteout”, an evocative waltz for solo guitar, to
“Fadeout”, with its slow rock feel and majestic minormodal tonality.
These are eclectic players who are nonetheless
rooted in jazz - something Radley stresses with his
inclusion of Thelonious Monk’s “Hornin’ In”, Cole
Porter ’s “All Through the Night” and the Charlie
Parker-associated ballad “Laura” by David Raksin.
(There were no standards on Radley’s debut.) In a
word, the quartet can swing. Radley has a rich and
well-developed take on Monk’s aesthetic. He reads the
Porter tune in a staggered uptempo swing feel and
cleverly opts to have Poor solo first. But the dark
original ballad “Some More” works just as well as a
jazz showcase. The ending, an E-flat minor chord held
and elaborated for a quietly stunning 20 seconds, is
probably the session’s single finest moment.
For more information, visit freshsoundrecords.com. Radley is
at 55Bar Nov. 3rd with Tony Moreno, Cornelia Street Café
Nov. 12th with Akiko Pavolka and Brooklyn Conservatory of
Music Nov. 16th with Loren Stillman. See Calendar.
RANDY WESTON
BILLY HARPER
THE ROOTS OF THE BLUES
SSC1369 in stores November 19
Any recording made by the legendary pianist Randy
Weston is cause for celebration.
Who better to record an inspired album of duets with
than the great tenor saxophonist Billy Harper? Harper
comes from an equally diverse musical background with
a musical journey spanning from his Texas blues background to the avant-garde sounds of New York of the
1970s, where the Brooklyn born Weston had already
been innovating and exploring the African inspirations of
jazz for nearly twenty years.
The duo met for two sessions at Avatar Studios in
New York City on February 8th and 9th, 2013. The analog
recording provides additional warmth to the sounds of
their mutual admiration expressed through these emotive
tracks
eOne Distribution
31
Gershwin & Me
Simon Tedeschi (ABC Classics)
by Donald Elfman
It’s a special ‘collaboration’ when an artist chooses the
work of a particular composer, taking on the challenge
of finding what’s most personal in the music and then
a way to bring that connection out.
George Gershwin’s music continues to resonate
with audiences and performers, perhaps because, more
than anyone, he successfully bridged the worlds of
jazz, classics and popular art. More likely it is because
his melodies are timeless and reflect the best in what
might be called the American spirit. Pianist Simon
Tedeschi presents those wonderful melodies in a sound
environment that best displays their glories. Though
not a jazz album in the strictest sense, the feeling of
jazz is ever-present and Tedeschi offers arrangements
by two giants of the jazz world as well as improvising
on two of Gershwin’s best-known tunes.
The album opens in a concert setting with the
lovely “Rialto Ripples”, a rag of what feel like classic
proportions. It is considered to be Gershwin’s first
instrumental piece, composed with Will Donaldson.
Tedeschi brings a youthful zest to the performance,
deftly negotiating the subtle rhythm and captivating
melody. He continues by tackling the marvelous
“Preludes”, which test a pianist’s ability to deal
simultaneously with technique and spirit. “ S o m e o n e
to Watch Over Me”, arranged by Keith Jarrett, and
“Nice Work if You Can Get It”, arranged by Dave
Grusin, are both darkly beautiful takes full of new
colors and feelings while Tedeschi’s own coloring of
“Summertime” and “I Loves You Porgy” honors
Gershwin’s legendary opera Porgy and Bess. Tedeschi
calls British composer Percy Grainger ’s arrangements
of “Love Walked In” and “The Man I Love” sumptuous
and they are indeed - slow, elegant and gorgeous. And
finally, there’s a full-blown version of the famous Grofé
arrangement of Gershwin’s most popular orchestral
piece, “Rhapsody in Blue”.
For more information, visit shop.abc.net.au/t/brands/abc-classics
Ready or Not
Ron McClure (SteepleChase)
by Ken Dryden
V eteran bassist Ron McClure has widely recorded as a
sideman with many jazz greats, in addition to over 20
albums as a leader, as well as being a noted jazz
educator at NYU. His previous SteepleChase CD,
Crunch Time, was the debut recording of Gabe
Terracciano, a 17-year-old violinist who had asked to
sit in with McClure’s Jazz Ensemble at the university,
and also included two promising NYU graduate
students, pianist Mike Eckroth and drummer Shareef
Taher. McClure was very pleased with the results and
felt the group merited another recording. For this date
McClure added a new voice, tenor saxophonist Chad
Lefkowitz-Brown, who he had played with during a
New Year ’s Eve gig just prior to the recording session.
McClure was justified in his assessment, remarking
in his liner notes that all four young men excel in sightreading, interpreting and embellishing melodies on
the spot. Most of the tracks are originals by the leader.
“The Gathering” is a brisk postbop opener with strong
solos by the bassist and Lefkowitz-Brown. The loping
“Country Ride” shifts the mood with its laid-back
attitude. “My Love For You” is a ballad McClure wrote
long ago for his wife, blending robust, emotional tenor
sax with rich violin harmony; it also features what the
bassist thought was an impossible counterline for
piano but Eckroth nailed it perfectly. McClure asked
Terracciano
and
Lefkowitz-Brown
to
solo
simultaneously in the introduction to “Ten Or More”,
which they do flawlessly while their ensemble work in
the challenging tune was sight-read with equal
precision.
Terracciano contributed the moving ballad
“Breaking Away”, a slow, spacious arrangement that
evolved in the studio with lush interplay between the
composer and Lefkowitz-Brown. Cal Tjader ’s “LizAnne” is a delightful piece, initially played as an
easygoing jazz waltz, tempo slowed a bit for McClure’s
intimate solo. Don’t be surprised if McClure has future
recording plans for these four talented young men.
For more information, visit steeplechase.dk. McClure is at
McDonald’s Wednesday and Saturdays. See Regular Engagements.
MICHEL CAMILO
W H AT ' S U P ?
THE nEW Solo-PiAno AlbUM
f E AT U r i n g
o r i g i n A l S o n g S , l AT i n A n d j A z z S TA n dA r d S
n o M i n AT E d f o r T H E 2 0 1 3
l AT i n g r A M M y AWA r d ®
b E S T l AT i n j A z z A l b U M
for
AvA i l A b l E AT
Global Expressions in Jazz
W W W . M i c H E l c A M i l o. co M
© 2013 Sony Music Entertainment
JAZZ LEGENDS PERFORM NIGHTLY 8 – 11 PM
November 1 – 2, 8 – 9, 11 – 14
ANTONIO CIACCA
Antonio Ciacca continues his
exciting residency with Measure
Lounge at Langham Place, Fifth
Avenue. He will delight your
evening with the American and
Italian American Song book.
November 4-7
EMMET COHEN
At 23, jazz pianist Emmet Cohen,
was a finalist in the 2011 Thelonious
Monk International Piano
Competition. Emmet plays with the
maturity and confidence of a
seasoned veteran.
November 15 – 16, 18 - 23
LUCIO FERRARA
One of the best jazz guitarists of
the Belpaese will delight the
audience with his swinging
soulful playing.
November 25-30
GREG CHEN
A native of San Jose, California,
Gregory Chen moved to New
York in 2009. Gregory has
shared the stage with many of
the top artists in both New
York and California.
PIANO SOLO SUNDAYS:
November 3, 10: JON DAVIS
|
November 17: TADADAKA UNNO |
400 Fifth Avenue, New York, NY 10018 - 212.695.4005
November 24: STEVE ASH
Vocal Sides
Carline Ray (Carl Cat Records)
by Suzanne Lorge
J azz pioneer Carline Ray graduated from Juilliard at
the end of World War II and soon thereafter was
working as a bass player, guitarist and singer with
groups like the International Sweethearts of Rhythm
and Erskine Hawkins’ big band. Later she would play
with Sy Oliver ’s Orchestra at the Rainbow Room and
record with jazz pianist Mary Lou Williams. In 2005
she won the Mary Lou Williams Women in Jazz Award
and the International Women in Jazz Award in 2008.
Despite this long list of accomplishments, Vocal Sides,
released this past June on Carl Cat Records, is Ray’s
first solo CD, where she is featured as a vocalist.
The record draws selections from Ray’s lengthy
career and features her husky contralto on a
surprisingly wide range of tunes. She opens with the
pop chestnut “When I Grow Too Old To Dream”, an
understated ballad in trio with pianist Yuka Aikawa
and bassist Atsundo Aikawa, her primary players for
the recording. She follows with a vivacious rendering
of “Donna Lee/Back Home Again In Indiana”, scatting
the Miles Davis melody over the “Indiana” changes in
tandem with Atsundo; Ray’s expert phrasing on this
bebop classic is a highlight of the album. Next, in yet
another reversal, Ray delivers a legit interpretation of
the Broadway classic, “Somewhere” from Leonard
Bernstein’s West Side Story. Ray’s classically trained,
deeply resonant voice moves like second nature
through these inspired and inspiring selections; very
few singers get to perform even one song they’ve lived
a lifetime with, much less an album’s worth.
The CD contains some highly personal material
for Ray: on two songs (“Hold On” and the
aforementioned gospel tune) Ray sings with her
daughter, Catherine Russell, an impressive jazz singer
in her own right and the album’s producer. Ray’s
husband and Russell’s father, Luis Russell, wrote
“Lucille” for Louis Armstrong and named it after
Armstrong’s wife. Armstrong never recorded the tune,
but Russell and Ray have included the tune’s demo
from 1961 as a bonus track. Ray’s voice on the first 10
tracks sounds remarkably unchanged and the 50-odd
years in between these recording sessions did nothing
to diminish Ray’s obvious joy in singing and her love
of the tunes themselves.
Carline Ray died this past July at 88, just a month
after the album’s release. While passing so soon after
her debut makes us regret the recordings that might
have been, it also makes us appreciate all the more
Ray’s deeply moving final gift.
For more information, visit cdbaby.com/cd/carlineray. A
tribute to Carline Ray is at Saint Peter’s Nov. 18th. See
Calendar.
dog whistle-like and the other pressurized altissimo.
Escaping studio confines, his timbre-exploration goes
on for more than 10 minutes on some tracks, as bassist
and drummer scramble to keep up.
Ayler ’s concluding, nearly 11-minute “Ghosts”
confirms that he could still find nuances in his anthem.
Mirthfully exaggerated as well as nephritically
powerful, he stops the tune with an applause-milking
melody upturn and, after that arrives, recasts the
familiar line as a sailor ’s hornpipe. Who knows what
Ayler would have created had his mental state allowed
him to survive?
For more information, visit espdisk.com
IN PRINT
Space, Interiors and Exteriors, 1972
Sun Ra + Ayé Aton (Corbett vs. Dempsey)
by Russ Musto
The artistry of Sun Ra long had a visual component,
Live on the Riviera
Albert Ayler (ESP-Disk’)
by Ken Waxman
With a recording history almost as chaotic as his life,
hitherto-unknown sessions by saxophone avatar Albert
Ayler (who died 43 years ago this month at age 34)
keep appearing. Ayler ’s career was so brief (eight
years) and so groundbreaking, that every track standards-reinterpretation, rock music flirtation or
unprecedented free-form expression - has value.
Recorded four months before his suicide, Live on the
Riviera is doubly important since most previous issues
of the saxophonist’s Fondation Maeght concerts have
been limited to quintet performances from Jul. 27th.
Recorded two days earlier, the CD is Ayler accompanied
only by bassist Steve Tintweiss, drummer Allen
Blairman and the vocals and soprano saxophone of
Mary Maria.
While Ayler ’s performances are usually as subtle
as blunt force trauma and as harmless as a car accident,
he genuinely seems to be enjoying himself here,
vocalizing with Maria, showcasing new arrangements
of his then-recent Impulse LPs and injecting his pet
phrases into most of the tunes. The remastering allows
his and Maria’s naïve peace-and-love sentiments to be
heard more clearly, along with the intricacies of his
improvisations. Surprisingly, tunes such as Maria’s
lilting “Island Harvest”, backed with spare
accompaniment from Ayler, could actually be calypso
or Caribbean play-party songs. Elsewhere, moving
from mimicking a church congregation’s affirmation of
Maria’s preaching on “Music is the Healing Force of
the Universe” to his semi-lyrical, though fluttertongued staccato variants on “Birth of Mirth”, Ayler ’s
expected multiphonics reinforce the performances.
When playing musette on “Masonic Inborn”, his
screaming reed bites divide still further, with one line
most obviously in the attire that he and his Arkestra
wore when performing. At first the costumes came
from an opera company’s discarded wardrobe,
acquired by the ensemble’s manager, but soon Ra
himself was designing the band’s stagewear to
identify more closely with his unique world view,
combining ancient Egyptology and futuristic space
travel. He was color conscious - not only in his own
Afrocentric philosophy - but to the point of inspecting
the colors of hotel rooms in order to assign the proper
match for each musician’s character.
Ra’s artistic vision was an inspiration to a young
painter Robert Underwood, who would rename
himself Aýe Aton and go on to service in the Arkestra
both as a muralist (painting stunning backdrops for
the group’s performances) and a percussionist/
drummer (playing with the band at the 1972 Ann
Arbor Blues & Jazz Festival documented on Life Is
Splendid). Space, Interiors and Exteriors, 1972 combines
long lost photographs of Ra from the set of the biopic
Space Is The Place and those of Aton’s many murals.
The dozen or so photos of Ra depict him
resplendently attired in “weird and beautiful
Egyptian costumes” on loan from a local Masonic
temple. Wearing a gargantuan headpiece topped
with an enormous translucent orb flanked by two
golden horn like spires pointing spaceward, the
photographs portray Sun Ra in various settings, both
extraordinary
(a
lush
California
botanical
environment) and pedestrian (the contrast between
his apparel and an old sedan and school bus is
bizarrely striking). The images are arguably the most
dazzling of any taken of jazz’ most colorful character.
The more than 40 snapshots of Aton’s murals,
three from the Morton Street Ra house in
Germantown, Philadelphia, the remainder painted
on or in Chicago homes are equally arresting combining Egyptian and astral imagery in almost
explosive arrays of color. Glenn Ligon’s essay
“Sound and Vision” and John Corbett’s foreword
give historical context to the volume, which ends
fittingly with Ra’s poem “The Art Scene”.
For more information, visit corbettvsdempsey.com. A benefit
for the Sun Ra Archives is at JACK Nov. 17th. See Calendar.
Live at The Jazz Showcase in Chicago, Vol. 1
Hampton Hawes (Enja)
by George Kanzler
H e played with Charlie Parker and considered him a
friend as well as an influence and in 1956, the year
after Bird died, late pianist Hampton Hawes (born 85
years ago this month) won the two major jazz magazine
polls for new artist, at age 28. Two years later he was
sent to Federal prison for heroin possession, finally
pardoned after five years by President Kennedy. In late
‘60s Hawes enjoyed success in Europe and Japan as a
touring artist, based on the fame of his mid ‘50s
recordings. In the ‘70s Hawes, like many hardbop
musicians, floundered around seeking an approach
with popular appeal. He embraced the Fender Rhodes
electric piano, experimented with modal jazz-fusion
and even played with Joan Baez on tour and records.
Unlike such contemporaries as Sonny Clark,
Freddie Redd and Herbie Nichols, Hawes has never
been celebrated or taken up by younger generations of
jazz musicians for tribute bands or recordings. And as
a West Coast musician, whose best albums - trios and
quartets on the Contemporary label - from the ‘50s
were not part of the Blue Note quasi-official canon of
the era, Hawes is little remembered today. But his best
work was a harbinger of the grittier side of hardbop
and soul jazz, hard-swinging bebop melded with the
fervor of gospel.
This album, recorded at the Chicago’s Jazz
Showcase in 1973, four years before Hawes died, isn’t
nearly up to his best work for Contemporary. (His best
‘70s LP was a duet with Charlie Haden.) He is playing
acoustic piano though and his trio consists of bassist
Cecil McBee and drummer Roy Haynes. However, the
skewed mix favors bass way over drums and sometimes
even over piano. The four tracks here include two
roughly quarter-hour excursions, including a
foundering attempt at a modal piece by Hawes,
“Spanish Moods”, less-than-hypnotically-repeating
simple note patterns, sometimes with a percussive
pounding from Hawes suggesting he’s trying to
approximate his Fender Rhodes.
The other long track, “Stella by Starlight”, features
an extended, gauzy rubato solo piano intro and shorter
solo with trio, plus a bowed solo from McBee. Charlie
Parker ’s “Blue Bird” strives for the verve of Hawes’
bop youth while “St. Thomas” prances along on
Haynes’ calypso accents.
There are intimations of Hawes’ mastery here, but
this CD is for completists only. For Hawes at his best,
seek out the Contemporary All Night Sessions with
guitarist Jim Hall, bassist Red Mitchell - his frequent
partner in the ‘50s - and drummer Eldridge Freeman.
Or Mingus Three on Jubilee, a trio session with Charles
Mingus and drummer Dannie Richmond.
For more information, visit jazzrecords.com/enja
Speak
Mike LeDonne Trio (Cellar Live)
by Ken Dryden
Mike LeDonne is a solid pianist and organist who has
recorded extensively as a leader while also drawing
praise from heavy hitters like Milt Jackson and Oscar
Peterson. This trio engagement from late 2012 features
LeDonne on piano, leading a trio with two fellow
veterans who have frequently joined him on the
bandstand, bassist John Webber and drummer Joe
Farnsworth.
The first five tracks are movements of “Suite
Mary”, dedicated to his nine-year-old daughter, who is
mute due to a rare disability. The individual sections
often represent his interaction with her while each
piece easily stands on its own merits. The first part,
“Speak”, is a turbulent hardbop tune full of slashing
chords, showcasing Farnsworth in the midst of the
maelstrom. The mood quickly shifts with “Listen”, a
glistening ballad that has a meditative, Far Eastern air.
“Play” has an infectious groove, an upbeat vehicle
with a Latin undercurrent powering it. “I Will Always
Love You” is a poignant ballad, almost whispered,
with the soft background supplied by Webber and
Farnsworth providing the perfect support for
LeDonne’s piano, which alternates between lyricism
and elaborate right-hand runs. “Little M” is a
rambunctious finale, blending hardbop with a touch of
Latin jazz with its share of twists.
Following his suite, LeDonne tackles the late
James Williams’ “What You Say Dr. J”, a funky, funfilled tribute to basketball great Julius Erving, which
also spotlights Webber ’s sublime solo. With George
Gershwin’s “I Loves You, Porgy”, LeDonne again shifts
the mood by alternating between a loping, laidback
setting in the body of the song and straightahead swing
in its bridge. The leader ’s “Blues For McCoy” (a tribute
to McCoy Tyner) is played at a ferocious tempo,
incorporating blistering runs and thunderous chords,
also showcasing Farnsworth’s powerful solo. The final
track is an interpretation of the late Cedar Walton’s
soulful “Bleeker Street Theme”, opening with Webber ’s
hip solo before the leader brings out its bluesy side
while also adding a touch of humor.
For more information, visit cellarlive.com. LeDonne is at The
Players Nov. 8th with George Coleman, Jr., Miller Theater
Nov. 21st with Michael Hashim, Smoke Nov. 27th with Ray
Marchika and Mondays with Joe Farnsworth and Tuesdays
as a leader. See Calendar and Regular Engagements.
ON DVD
Invitation to Illumination (Live at Montreux 2011)
Santana & McLaughlin (Eagle Vision)
by Andrey Henkin
W ithout
the benefit of hindsight, the 1972-73
pairing of guitarists Carlos Santana and John
McLaughlin for Love Devotion Surrender (LDS),
seems odd; the former came out of the acid-soaked
rock scene of ‘60s California while the latter, several
years older, was a veteran of Britain’s blues and jazz
circles and then entered the world of Miles. But the
early ‘70s were a time of porous genre borders. Of
course, the two had a few things in common: a love
of Coltrane; a shared mentor in Sri Chimnoy and
staggering technical virtuosity wedded to extreme
spirituality. Fast-forward nearly 40 years and where
had the two ended up? McLaughlin is a legend who
has never really surpassed his work with the
Mahavishnu Orchestra and Santana gave up his
complexity and became a superstar as a result.
Ironically, the pair actually became better suited to
each other than they were all those years ago.
Invitation to Illumination is an over-two-hour set
from the 2011 Montreux Jazz Festival. The band
behind the two six-stringers draws from their two
groups. Almost all of LDS is performed, albeit
broken up, augmented by some fascinating choices:
a Coltrane/Bob Dylan/Led Zeppelin/Albert Ayler/
Santana medley; nods to McLaughlin’s tenure in
Tony Williams’ Lifetime; tunes by Miles, Elvin Jones,
Pharoah Sanders/Leon Thomas, an acoustic/electric
duet on Coltrane’s “Naima” and a John Lee Hooker
tune to close. The sound and video are as impeccable
as one would expect from the Swiss; with so much
doubling, a muddy mix would have been tragic.
But more important than the setlist or
reproduction is how Santana and McLaughlin,
guitar heroes long before the video game, sound, on
their own and together. Santana still has that classic
tone harking all the way back to Woodstock but
thankfully McLaughlin mostly eschews the slick
sound of which he has become enamored over the
last decade. Both men sound gritty and positively
inspired, spurred on by the dual drummers (Dennis
Chambers, formerly of McLaughlin’s band, joins
Cindy Blackman-Santana). We are left with one
question: if Santana and McLaughlin can still play
like this, why don’t they more often?
For more information, visit eaglerockent.com
35
BOXED SET
DD|50: 50th Birthday Recordings
Dave Douglas (Greenleaf Music)
by Russ Musto
Arguably
the most eclectic artist in jazz today,
trumpeter Dave Douglas has drawn inspiration from
a diverse assortment of sources, creating an engaging
body of work, the expansiveness of which of testifies
to his wide-ranging experience (from Horace Silver to
John Zorn) and tastes. DD|50: 50th Birthday Recordings
finds the intrepid trumpeter exploring new territory
in a familiar, time-tested manner, eschewing the “I’m
so hip” attitude that plagues many other players’
contrived attempts to break down barriers without a
concept of what to do on the other side.
The attractively packaged boxed set brings
together three separate, very different sounding discs
recorded last year, which, while preceding Douglas’
half-century mark heralded in the collection’s title,
assuredly attests to his maturity as a young veteran
refusing to rest on his well-earned laurels. The three
CDs are augmented by a bonus DVD, affording
viewers an inside look at the sessions that produced
the music, along with complementary video imagery.
Disc One, Be Still, is by Douglas’ own admittance
his most personal work to date, comprised
predominantly of the traditional Protestant hymns
his late mother had requested he play at her
memorial. Originally performed by a brass ensemble,
they are reorchestrated here by Douglas for his young
new quintet of tenor saxophonist Jon Irabagon,
pianist Matt Mitchell, bassist Linda Oh and drummer
Rudy Royston, augmented by the vocals and guitar
of Aoife O’Donovan of the contemporary bluegrass
group Crooked Still. Despite the orthodoxy of the
source material, the arrangements span a wide array
of moods and grooves, recalling the Americanainspired music by Charlie Haden or Bill Frisell. The
opening title track features O’Donovan delicately
intoning the hymn’s lyric over the band’s serene
accompaniment, recalling a children’s lullaby, with
impassioned passages from Douglas marked by the
restrained virtuosity characteristic of his work.
“High On Mountain” is a foot-stomping bluegrass
tour de force with the band driving O’Donovan’s full
throttled vocal. The mournful sound of “God Be With
You”, “Barbara Allen” and closing “Whither Must I
Wander” are balanced by the optimistic tone of “This
Is My Father’s World” and Douglas originals ”Going
Somewhere With You” and “Middle March” (a
dedication to Paul Motian).
Recorded at the same sessions that produced Be
Still, Time Travel is unadulterated jazz featuring the
quintet playing seven Douglas pieces that fall, in his
words “between soloing and trading and playing
together.” Beginning with “Bridge To Nowhere”, a
quirky bop line reminiscent of Monk and Mingus, the
band swings hard in the tradition. The title track is
more futuristic in tone, a bit ominous in its elusive
shifting rhythms, a sharp contrast to the stasis of
“Law Of Historical Memory”, on which the horns
play long unison tones over a slow dark repetitive
piano ostinato. “Beware Of Doug” is a playful
country-and-western-tinged outing recalling Oliver
Nelson’s “Hoe-Down”, fodder for inspired soloing
by all. “Little Feet” utilizes “Hush Little Baby” as a
point of departure for a brooding excursion that
moves outside for some of the date’s freest playing.
“Garden State” is a hard-swinging burner in tribute
to Douglas’ New Jersey roots. The concluding “The
Pigeon and the Pie” is a slowly building, spacious
outing that hearkens to the leader’s earlier Milesinspired quintet days, with taut ensemble playing
and thoughtful soloing by the members of the quintet.
Pathways again finds Douglas going outside of
the jazz confines for inspiration, here back to Bach.
The disc’s seven pieces, played by a sextet that brings
together old bandmates saxophonist Greg Tardy,
trombonist Josh Roseman, pianist Uri Caine and
drummer Clarence Penn with Oh, are all variations
on the chorale Es Ist Genug, spotlighting each player,
beginning with guest O’Donovan, who sings the
original melody and beautifully improvises her own
lyric. Douglas is featured on “Dragonback”, which
exhibits the influence of Booker Little. The other
soloists are featured individually on the succeeding
pieces, which go from freebopping intensity to
pastoral solemnity, ending with the Messenger-ish
ode “Passing The Torch Song”, everyone swinging
like mad over Penn’s burning rhythms.
For more information, visit greenleafmusic.com. Douglas’
quintet is at Jazz Standard Nov. 14th-17th. See Calendar.
Cobi Narita Presents at Zeb’s
N OV 1 – 3
N OV 1 6 –1 7
ted nash big band: chakra
george cables songbook
featuring victor lewis
N OV 4
manhattan school of music
afro-cuban orchestra
N OV 5 – 6
myron walden momentum
N OV 7–1 0
N OV 1 8
manhattan school of music
jazz ensemble
N OV 1 9 –2 0
lavay smith sings count basie
N OV 2 1 –2 4
jacky terrasson quartet
bobby sanabria multiverse
big band
N OV 1 1 monday nights with wbgo
jon cowherd: mercy
N OV 2 5
N OV 1 2
the danny mixon quartet
the amigos band hosts
david amram
N OV 1 3
N OV 2 6
niels lan doky trio:
scandinavian standards
brooklyn underground meets
queens overground
N OV 1 4 –1 5
N OV 2 7
george cables trio featuring
victor lewis:
a birthday celebration
juilliard jazz ensemble
swing by tonight
set times
pm
N OV 2 8 – D E C 1
wycliffe gordon & friends
jalc.org / dizzys
Jazz at Lincoln Center’s Frederick P. Rose Hall Broadway at 60th Street, 5th Floor, nyc
EVERY FRIDAY - 6:30 TO 9:30 PM
OPEN MIC/JAM SESSION
Open Mic/Jam Session for Singers, Tap Dancers, Instrumentalists,
Poets - hosted by Frank Owens, one of the most gifted
pianists you will ever hear!
Our Open Mic is one of the best of the Open Mics happening in New York
& elsewhere, with the incomparable Frank Owens playing for you.
An unmatchable moment in your life! As a participant, or as an audience
member, you will always have an amazing time, one you will never forget!
Don’t miss! Admission: $10.
ME (YOU)! THE DIVA PROJECT
Two One-Of-A-Kind Talents:
Ejaye Tracey and Frank Owens
present a Vocalist’s coaching session for professional, as well as beginners
and actors, who sing, focusing on understanding/caressing/emoting the lyric;
crafting and interjecting your art into the lyric of a song.
Ejaye Tracey and Frank Owens are gifted, seasoned artists,
seamless in artistic thought.
Sunday, November 10, 2013, 3:00-8:00PM
$35 Participant, $40 at Door; $25 Audit
ZEB’S, 223 W. 28 Street (between 7th & 8th Avenues), 2nd floor walk-up
cobinarita.com / zebulonsoundandlight.com / Info & Res: (516) 922-2010
(INTERVIEW CONTINUED FROM PAGE 6)
TNYCJR: You have a fantastic lineup of players.
MC: Yeah, these are top players. And I’m very fortunate
to have basically a whole section of lead trumpets Lew Soloff, Michael Mossman, Tanya Darby and John
Walsh - so they can alternate the lead parts and it helps
to keep everyone really fresh, since six nights of two
sets per night is a lot of playing. It’s always great to
work so closely with all these colleagues of mine and
there are outstanding players in all sections of the
band, like [saxophonist/flutist] Antonio Hart,
[trombonist] Luis Bonilla, [saxophonist] Chris Hunter,
[saxophonist/flutist]
Lou
Marini,
[baritone
saxophonist] Gary Smulyan and, of course, there’s
Anthony Jackson on bass and Cliff Almond on drums.
TNYCJR: Will we also get to hear any new tunes?
MC: Yeah, you might hear some new stuff. I’m working
on a couple of new charts right now and I plan to
premiere them at the Blue Note. And as I’ve been
working on those new charts, I’ve been motivated to
expand the language, or the concept, of a big band. It’s
not just normal material, since it goes in some other
different ways. There are backbeats and all kinds of
other rhythms and grooves that you don’t usually hear
coming from a big band. And the players in the band
know that, which is why I think they love doing it,
since they love the challenge just like I do.
TNYCJR: Big bands can be a great way to engage
listeners who might not be as familiar with more
complicated aspects of the music, since the sound is so
big and joyful and it really hits you physically.
Academy Records
& CDs
Cash for new and used
compact discs,vinyl
records, blu-rays and
dvds.
We buy and sell all
genres of music.
All sizes of collections
welcome.
For large collections,
please call to set up an
appointment.
Open 7 days a week 11-7
12 W. 18th Street NY, NY 10011
212-242-3000
MC: I think that’s true. And when we hit, the walls are
gonna be shaking. These are players that really go all
out and it’s going to be some very challenging music,
but every part matters and the main thing is that this
band is going to be extremely tight. And at the same
time, it’s just a great feeling to work with so many of
my colleagues to put this together. At the end of the
day, that’s what it’s all about. Let’s enjoy the moment
and have a great time and if an audience shows up,
then it’ll be even more special. v
New World Records
For more information, visit michelcamilo.com. Camilo is at
Blue Note Nov. 5th-10th. See Calendar. See Calendar.
• Michel Camilo - Eponymous (Portrait, 1988)
• Michel Camilo - Rendezvous (Columbia, 1993)
• Michel Camilo - One More Once (Sony-Columbia, 1994)
• Giovanni Hidalgo - Hands of Rhythm
(featuring Michel Camilo) (RMM, 1997)
• Michel Camilo - Live at the Blue Note (Telarc, 2003)
• Michel Camilo - What’s Up? (OKeh, 2013)
(LABEL CONTINUED FROM PAGE 12)
describes as ranging from “minimalism to noise”,
Reilly and Panico don’t often disagree on what should
be released. “Agreeing is usually not an issue,” notes
Reilly. “If we don’t, each of us gets to release what he
believes in.”
Like all other smaller labels, what does hold them
back is finances. “We put personal funds into the label
each year with the goal that the income generated by
the catalogue will pay for future releases,” explains
Reilly. “Each project is based on our budget and what
the situation requires. There have been projects we
liked that we had to pass on because of our budget.”
Besides CDs, most RP titles are also available as
downloads, although as Reilly points out, “some artists
aren’t eager to make their music available digitally.
They spend a great deal of time getting things to sound
a certain way and resist the music being distributed in
lesser quality formats.” As for LPs, Panico counters:
“While LPs are hip again, manufacturing and shipping
them is very expensive.”
Rather than spending their money that way, the
two attend as many shows as they can in the NYC-area
and overseas and aim to release CDs by artists who
impress them. “We both first heard each of our releases
alone, in our homes and felt privileged and excited to
be hearing them. We want to get this art out into the
world since, this music deserves to be heard,” states
Reilly. “I like the idea that you could look at our
catalogue and not know where the label is based. To
paraphrase [pianist] Thollem McDonas: ‘This music
has no borders.’” v
For more information, visit relativepitchrecords.com. Artists
performing this month include Taylor Ho Bynum at The Jazz
Gallery Nov. 9th and Clemente Soto Velez Cultural Center
Nov. 22nd; Connie Crothers at The Firehouse Space Nov. 22nd
with Adam Caine; Vinny Golia at The Firehouse Space Nov.
2nd with Adam Lane, Downtown Music Gallery Nov. 3rd and
Barbès Nov. 6th; Mary Halvorson at The Jazz Gallery Nov. 9th
with Taylor Ho Bynum, SEEDS Nov. 13th, Cornelia Street
Café Nov. 15th and 16th and ShapeShifter Lab Nov. 19th with
The RicTer Scale; Jim Hobbs at The Jazz Gallery Nov. 9th with
Taylor Ho Bynum; Kirk Knuffke at Korzo Nov. 12th with Matt
Pavolka and Cornelia Street Café Nov. 20th with Ideal Bread;
Matthew Shipp at Klavierhaus Nov. 6th; Matt Wilson at
Smalls Nov. 1st-2nd with Ken Peplowski, Jazz at Kitano Nov.
2nd with John Menegon, 13th with Julian Shore and 22nd-23rd
with Jane Ira Bloom, 55Bar Nov. 14th with Amy Cervini and
The Stone Nov. 16th with Ray Anderson/Marty Ehrlich; and
Nate Wooley at 61 Local and Ibeam Brooklyn Nov. 3rd, 61
Local Nov. 7th with Jaap Blonk and ShapeShifter Lab Nov.
18th with Ingebrigt Håker Flaten. See Calendar. See Calendar.
Marty Ehrlich
A Trumpet in the Morning
Marty Ehrlich Large Ensemble: E.J. Allen, Ray Anderson,
Uri Caine, John Clark, Joseph Daley, Robert DeBellis, Michael
Dessen, Curtis Fowlkes, Drew Gress, Jerome Harris, Miki Hirose,
Ron Horton, Howard Johnson, Brad Jones, Adam Kolker, Andy
Laster, Eric McPherson, J.D. Parran, Lisa Parrott, Jason Robinson,
Warren Smith, James Weidman, Matt Wilson, James Zollar;
Marty Ehrlich, conductor
“
80752-2
This is the most ambitious recording I
have done to date as a composer. These
compositions, written over a twenty-year
period, receive wonderful performances from
these A-list musicians, many of whom I have
worked with for thirty years and more. Each
piece approaches the jazz orchestra in different
ways. The music on this recording presents the
fullest range yet of my creative passions.
—Marty Ehrlich
This is the first program devoted entirely
to the orchestral music of Marty Ehrlich. It
displays the characteristics that have marked
his success as an instrumentalist, composer,
and bandleader: strong melodic invention
and a keen ear for instrumental color,
creative curiosity embracing disciplines
beyond music, extreme sensitivity to
those with whom he collaborates, formal
inventiveness that enhances rather
than obscures expressive intent, and an
unblinking yet ultimately affirmative
insistence on connecting his music with
realities both historic and contemporary.
@NewWorldDram
www.new world records.org
37
CALENDAR
Friday, November 1
êGary Bartz Quintet with Vincent Herring, Sullivan Fortner, James King, Greg Bandy
Smoke 7, 9, 10:30 pm $38
êDave Liebman Expansions Group with Matt Vashlishan, Bobby Avey, Tony Marino,
Alex Ritz
Cornelia Street Café 9, 10:30 pm $15
• Sing Sing Swing: The New York Pops with guests Montego Glover, Dave Bennett
Stern Auditorium 8 pm $34-120
êJoe Lovano Us Five with James Weidman, Peter Slavov, Otis Brown III, Francisco Mela
Village Vanguard 8:30, 10:30 pm $25
• Ron Carter Nonet
Birdland 8:30, 11 pm $40
êTed Nash Big Band with Ben Kono, Charles Pillow, Dan Willis, Anat Cohen,
Paul Nedzela, Kenny Rampton, Alphonso Horne, Ron Horton, Tim Hagans, Alan Ferber,
Mark Patterson, Charley Gordon, Jack Schatz, Christopher Ziemba, Martin Wind,
Ulysses Owens
Dizzy’s Club 7:30, 9:30 pm $40
êVijay Iyer Trio with Harish Raghavan, Marcus Gilmore
Jazz Standard 7:30, 9:30, 11:30 pm $30
• Arturo Sandoval
Blue Note 8, 10:30 pm $45
êCharlie Hunter solo
Rockwood Music Hall 8 pm $15
êKen Peplowski Quartet with Ehud Asherie, Martin Wind, Matt Wilson
Smalls 10:30 pm $20
• John Pizzarelli/Jessica Molaskey Café Carlyle 8:45 pm $55-100
êBen Allison Trio with Steve Cardenas, Steve Wilson
Jazz at Kitano 8, 10 pm $25
• Eugene Chadbourne/Tatsuya Nakatani
The Stone 8, 10 pm $15
• Bobby Sanabria Multiverse Big Band
Hostos Center 7:30 pm $25-35
• Osmany Paredes Trio with Yunior Terry, Ludwig Afonso
The Jazz Gallery 9, 11 pm $20
êLuis Bonilla Duo
Knickerbocker Bar and Grill 9:45 pm $5
• Jostein Gulbrandsen Trio with Mike McGuirk, Andrew Swift
Bar Next Door 7:30, 9:30, 11:30 pm $12
• David Scanlon, Sean Ali, Koh Ohtera; Sean Ali/Koh Ohtera; Coco Karol, Koh Ohtera
Ibeam Brooklyn 8 pm $10
• Chris Massey’s Nue Jazz Project with Benny Benack III, Wilerm Delisfort, Chris Talio,
Stacy Dillard
ShapeShifter Lab 7 pm $10
• Ray Gallon Trio; Jared Gold/Dave Gibson Band
Fat Cat 6, 10:30 pm
• Elektra Kurtis Ensemble Elektra with India Czajkowska, Curtis Stewart, Brad Jones,
Reggie Nicholson
Kosciuszko Foundation 7 pm
• Masami Ishikawa Organ Trio
Cleopatra’s Needle 8 pm
• Rudi Mwongozi Quartet with Abdus Sabur, Chris Hall, Chris Almeida
University of the Streets 9 pm $10
• Antonio Ciacca Measure 8 pm
• Audrey Silver; Somethin’ Vocal with Matt Baker Trio; Will Macirowski Trio with
Tucker Flythe, Victor Lewis
Somethin’ Jazz Club 7, 9, 11 pm $12-15
• Billy Carvion, Jr.
Tomi Jazz 9 pm $10
• Guy Mintus Trio; Hot House
The Garage 6:15, 10:45 pm
Saturday, November 2
• Sylvie Courvoisier Trio with Drew Gress, Kenny Wollesen
Greenwich House Music School 8 pm $15
êAmir ElSaffar Quintet with Ole Mathisen, John Escreet, François Moutin, Dan Weiss The Jazz Gallery 9, 11 pm $20
• John Menegon Quartet with Tineke Postma, Matt Wilson
• Eugene Chadbourne solo
• Warren Wolf Quartet with Alex Brown, Vicente Archer, Billy Williams
Miller Theater 8 pm $25-35
êTim Price/Bill Goodwin
Michiko Studios 8 pm $15
êAdam Lane Trio with Vinny Golia, Vijay Anderson
The Firehouse Space 8, 9:30 pm $10
êSugar Hill Quartet with Patience Higgins
Ginny’s Supper Club 7:30 pm $10
• Brandon Sanders Group
Sistas’ Place 9, 10:30 pm $20
• Barry Greene Trio with Marco Panascia, Kyle Poole
Bar Next Door 7:30, 9:30, 11:30 pm $12
• Doggie Woof: Super Natsuki Tamura, Ken Kobayashi, Jochem van Dijk;
Tyshawn Sorey/Fay Victor
Ibeam Brooklyn 8:30, 9:30 pm $10
• Luiz Simas
Metropolitan Room 9:30 pm $20
• Billy Vera Big Band with Tamela D’Amico
The Cutting Room 8 pm $25
• Michael Oien with Nick Videen, Jamie Reynolds, Eric Doob;
Brittany Anjou Portishead Tribute; One Tu and the Moon Bear: Rosa Tu, Anna Maria,
Andrea Tomasi, Matt Gold, Alex Khurgi
ShapeShifter Lab 7, 8, 10 pm $8-15
• Gaucho: Dave Ricketts, Michael Groh, Ari Munkres, Rob Reich, Ralph Carney,
Beth Goodfellow
Joe’s Pub 7:30 pm $20
• Raphael D’lugoff Quintet
Fat Cat 10 pm
• Household Tales: William Lea, David Redbranch, Elyse Reynard, Sean Ali, Tim Shortle
The Backroom 8 pm
• Alex Levine with Caleb Curtis, Julian Smith, Jay Sawyer; Takeshi Asai Trio with
Daniel Ori, Russ Meissner; Josh Levinson Sextet with Lucas Pino, David Gibson,
Jeb Patton, Yoshi Waki, Kevin Kanner; JB Baretsky and Trio
Somethin’ Jazz Club 5, 7, 9, 11 pm $10-15
• Yuko Ito; Jonathan Saranga
Tomi Jazz 8, 11 pm $10
• Armengot Quintet
• Rebecka Larsdotter; Michael Veal and Aqua Ife
Shrine 6, 8 pm
• Moth to Flame; Nafsi Groove
Silvana 6, 9 pm
êGary Bartz Quintet with Vincent Herring, Sullivan Fortner, James King, Greg Bandy
Smoke 7, 9, 10:30 pm $38
êDave Liebman Expansions Group with Matt Vashlishan, Bobby Avey, Tony Marino,
Alex Ritz
• Ron Carter Nonet
Ulysses Owens
Jazz Standard 7:30, 9:30, 11:30 pm $30
• Arturo Sandoval
êChris Byars Quartet; Ken Peplowski Quartet with Ehud Asherie, Martin Wind,
Matt Wilson; Stacy Dillard, Diallo House, Ismail Lawal
Smalls 7:30, 10:30 pm 1:30 am $20
• John Pizzarelli/Jessica Molaskey Café Carlyle 8:45, 10:45 pm $65-110
êLuis Bonilla Duo
• Larry Newcomb Quartet; Evgeny Sivtsov; Peter Valera Jump Blues Band
The Garage 12, 6:15, 10:45 pm
Sunday, November 3
• New Directions in Appalachian Music: Eugene Chadbourne, Evan Gallagher,
Thomas Heberer, Tatsuya Nakatani, Leslie Ross
• Ben Gerstein, Owen Stewart Robertson, Carlo Costa; Keefe Jackson, Christoph Erb,
Tomeka Reid, Nate Wooley
Ibeam Brooklyn 8:30 pm $10
• Freddie Bryant/Joris Teepe
Eats Restaurant 7 pm
• John Merrill Trio; Tine Bruhn/Anthony Wonsey; Johnny O’Neal
Smalls 4:30, 7:30, 10 pm $20
• Terry Waldo’s Gotham City Band; Fat Cat Big Band; Brandon Lewis/Renee Cruz Jam
Fat Cat 6, 8:30 pm 12:30 am
• Youngjoo Song Trio with Vicente Archer, Kendrick Scott
Cornelia Street Café 8:30 pm $10
• Satin Doll Trio: Patrice Ferris, Ken Kilpatrick, Fred Ferris
• Peter Leitch/Dwayne Burno
Walker’s 8 pm
• Tony Moreno Quintet with Marc Mommaas, Nate Radley, Jean-Michel Pilc,
Dean Johnson
55Bar 10, 11:30 pm
• Double Bass From Hell: Jochem van Dijk/Tom Shad; K. Page Stuart solo;
Jeff Platz Trio with India Czajkowska, Jonas Tauber
ABC No-Rio 7 pm $5
• Forge the Bell: Joy Askew, T. Taylor, Daniel Mintseris; Philip Hamilton
ShapeShifter Lab 7, 8:15 pm $8-10
• Matt Davis’ Aerial Photograph with Eugen Kim, Ben Sutin, Eric Lemmon,
Bronwyn Banerdt, Paul Jones, John Raymond, Jay Rattman, Leon Boykins,
Justin Leigh; Tom Blatt Project with Raymond Todd, Michele Smith, Charles Ramsey,
Andy O’Neil; Ece Goksu Quintet with Uri Gurvich, Can Cankaya, Scott Colberg,
Dan Pugach
• Jon Davis Measure 8 pm
• Shrine Big Band
Shrine 8 pm
• Elise Wood Duo; Red Sahara Collective
Silvana 6, 8 pm
Ulysses Owens
Jazz Standard 7:30, 9:30 pm $25
• Arturo Sandoval
• Adam Lane, Vinny Golia, Vijay Anderson; James Brandon Lewis, Eri Yamamoto,
Max Johnson, Juan Pablo Carletti Downtown Music Gallery 6, 7 pm
êNate Wooley solo
61 Local 6 pm $10
• Ike Sturm and Evergreen
Saint Peter’s 5 pm
• Tia Fuller Trio
Abyssinian Baptist Church 4 pm $20
• Central Brooklyn Jazz Consortium 14th Anniversary: Lesedi Ntsane with
Bakithi Kumalo, Morris Goldberg, Danny Bravo, Matciek Schejbal
Bedford Stuyvesant Restoration Corporation 4 pm
• Nicole Henry
Blue Note 12:30, 2:30 pm $29.50
• Linda Ciofalo Trio with Mark Marino, Marcus McLaurine
North Square Lounge 12:30, 2 pm
• Adrian Mira Quartet; David Coss Quartet; Abe Ovadia Trio
The Garage 11:30 am 6:30, 11 pm
Monday, November 4
êMingus Big Band
êJoanne Brackeen
êDavid Gilmore and Art of Ascension with Matthew Garrison, Gene Lake
ShapeShifter Lab 8:15 pm
• Manhattan School of Music Afro-Cuban Jazz Orchestra directed by Bobby Sanabria
Dizzy’s Club 9:30 pm $35
• Jill McCarron Trio with Greg Ryan, Joe Strasser; Diego Urcola Sextet with
Dave Samuels, Edmar Casteneda, Luques Curtis; Spencer Murphy
Smalls 7:30, 10 pm 12:30 am $20
• Chris Byars Quintet; Billy Kaye Jam
Fat Cat 9 pm 12:30 am
• David Amram and Co. with Kevin Twigg, Rene Hart, Adam Amram
• Wieland Möller Trio with Robert Boston, Nicolas Letman-Burtinovic
Spectrum 9 pm
• Lil Howlin Wolf
Silent Barn 8 pm
• Marianne Solivan; Jay Rodriguez/Victor Jones’ In The Spirit of Gil
Zinc Bar 7, 9, 11 pm $8
• Laura Campisi Trio with Saul Rubin, Ameen Saleem
Bar Next Door 8:30, 10:30 pm $12
• Dave Stryker/Steve Slagle
• Emmet Cohen Measure 8 pm
• Yoham Ortiz Concept with Itaiguara Brandao, Mauricio Zottarelli;
AmmoCake: Dorian Wallace, Carl Limbacher, Max Maple
Somethin’ Jazz Club 7, 9 pm $5-10
• Daniel Bagutti; Tom Wilson Trio Silvana 6, 8 pm
• Howard Williams Jazz Orchestra; Austin Walker Trio
The Garage 7, 10:30 pm
Tuesday, November 5
êMichel Camilo Big Band with Anthony Jackson, Cliff Almond, Lew Soloff,
Michael Mossman, Tanya Darby, John Walsh, Dave Bargeron, Conrad Herwig,
Luis Bonilla, David Taylor, Chris Hunter, Antonio Hart, Ralph Bowen, Lou Marini,
Gary Smulyan
êMarc Ribot Trio with Henry Grimes, Chad Taylor
êDjango Reinhardt NY Festival - Django Festival Allstars: Dorado, Amati and
Bronson Schmitt, Ludovic Beier, Pierre Blanchard, Francko Mehrstein, Brian Torff and
guest Cyrille Aimee
• Myron Walden Momentum with Darren Barrett, Eden Ladin, Yasushi Nakamura,
Mark Whitfield, Jr.
• Chris Pattishall Trio
• Andromeda Turre with JC Hopkins, Vito Dieterle, Joanna Sternberg, Dorota Piotrowska Iridium 8, 10 pm $25
• Frank Perowsky Big Band
NYC Baha’i Center 8, 9:30 pm $15
• Spike Wilner Trio with Yotam Silberstein, Paul Gill; Smalls Legacy Band: Stacy Dillard,
Josh Evans, Theo Hill, Rashaan Carter, Frank Lacy, Kush Abadey;
Kyle Poole and Friends
Smalls 7:30, 10 pm 12:30 am $20
• Saul Rubin; Nu D’Lux 6; Greg Glassman Jam
Fat Cat 7, 9 pm 12:30 am
• Jack Jeffers and the New York Classics
Zinc Bar 8, 10 pm
• Cuban Jewish All-Stars: Bernie Minoso, Ivan Barenboim, Meg Okura, Igor Arias Aaro,
Itai Kriss, Uri Sharlin, Roberto Rodriguez
• Lucas Pino Trio with Ugonna Okegwo, Colin Stranahan
• Anna Garano/Anaïs Tekerian; Clements Orth with Sam Minaie, Mark Ferber;
Gingerbread: Carol Morgan, Brad Linde, Corin Stiggall, EJ Strickland
ShapeShifter Lab 7, 8:15, 9:30 pm $10
• Juilliard Jazz Ensembles with guest Jason Moran
Paul Hall 8 pm
• CTMD Tantshoyz with Zev Feldman
Stephen Wise Free Synagogue 7:30 pm $15
• Julio Monterey 2’s and 4’s; Brad Henkel solo; Flin van Hemmen Trio with Eivind Opsvik,
Todd Neufeld
Spectrum 7:30 pm
• Amy Cervini and Jazz Country with Jesse Lewis, Matt Aronoff
2nd Floor at Clinton 7:30 pm
• David Lantz solo
Jazz at Kitano 8 pm
• Yana Bibb/Alessandro Fadini; Ted Kooshian’s Standard Orbit Quartet with Jeff Lederer,
Tom Hubbard, Warren Odze
Somethin’ Jazz Club 7, 9 pm $10
• Peter Brendler
Tomi Jazz 8 pm $10
• Liber 49
Shrine 9 pm
• Yvonnick Prene Quartet; Adam Larson Trio
• Audubon Lab Experiment
Silvana 6 pm
Wednesday, November 6
êMatthew Shipp, William Parker, Jeff Cosgrove
Klavierhaus 7 pm
• William Hooker Quartet with Matt Lavelle, Mark Hennen, Larry Roland; Welf Dorr Unit
with Dave Ross, Dmitry Ishenko, Joe Hertenstein; On Ka’a Davis and The Famous
Original Djuke Music Players with Nick Gianna, Cavassa Nickens, Welf Dorr, Peter Barr ShapeShifter Lab 7, 8:15, 9:30 pm $12
• Roberto Rodriguez Masada Project with Eddie Khaimovich, Ivan Barenboim,
Meg Okura, Carmen Staff, Itai Kriss, Uri Sharlin
• Kevin Hays New Day Trio with Rob Jost, Greg Joseph
• Manuel Valera and New Cuban Express with Yosvany Terry, Tom Guarna, John Benitez,
Ludwig Afonso, Mauricio Herrera Jazz Standard 7:30, 9:30 pm $20
• Glenn Zaleski, Rick Rosato, Colin Stranahan; Roberto Gatto Group with
Michael Blake, Nir Felder, Matt Clohesy
Smalls 9:30 pm 12 am $20
• Raphael D’lugoff; Groover Trio; Ned Goold Jam
êRoy Nathanson Project with Tim Kiah, Sam Bardfeld; Sebastian Noelle KOAN 4tet with
Loren Stillman, Thomson Kneeland, Ross Pederson
SEEDS 8:30, 10 pm
êMichael Rodriguez Quintet with Chris Cheek, Jeb Patton, Kiyoshi Kitagawa,
Obed Calvaire
Smoke 7, 9, 10:30 pm
• Valery Ponomarev “Our Father Who Art Blakey” Big Band
Zinc Bar 8 pm
• Joe Farnsworth Quartet with Eric Alexander, Harold Mabern, Dwyane Burno
An Beal Bocht Café 8, 9:30 pm $15
êAdam Lane/Vinny Golia
Barbès 8 pm $10
• Kristin Slipp/Dov Manski
êAlt.Timers: Denman Maroney, Ratzo B. Harris, Bob Meyer
Spectrum 8 pm
• Christine Ebersole with Aaron Weinstein Trio
54 Below 7 pm $50-65
• Steve March-Tormé
• QueensJazz OverGround Jazz Jam
Flushing Town Hall 7 pm $10
Bar Chord 9 pm
• Circuit Des Yeux; Jason LescaleetSilent Barn 8 pm
• The Stachel Quintet: Karen Stachel, Norbert Stachel, Bob Quaranta, Andy Eulau,
Daniel Gonzalez; Nancy and Spencer Reed
• Roger Davidson
Caffe Vivaldi 7:15 pm
• Eric Platz Trio; Hee Hawk
Silvana 6, 8 pm
• Marc Devine Trio; Dmitry Baevsky Trio
Gary Smulyan
guest Cyrille Aimee
• Myron Walden Momentum with Darren Barrett, Eden Ladin, Yasushi Nakamura,
Mark Whitfield, Jr.
• Kyle Athade Big Band
Saint Peter’s 1 pm $10
Thursday, November 7
êSteve Kuhn with Buster Williams, Billy Drummond
êJacky Terrasson Quartet
êDarcy James Argue’s Secret Society with Erica von Kleist, Sharel Cassity,
Sam Sadigursky, John Ellis, Josh Sinton, Seneca Black, Tom Goehring,
Jonathan Powell, Nadje Noordhuis, Mike Rodriguez, Mike Fahie, Ryan Keberle,
James Hirschfeld, Jennifer Wharton, Sebastian Noelle, Red Wierenga, Matt Clohesy,
Eric Doob
êDave Liebman/Phil Markowitz
êMel Martin Quartet with Don Friedman, Daryl Johns, Steve Johns
• Jaap Blonk Improvisation Night with Kyoko Kitamura, Michael Evans, Susan Hefner,
Judy Dunaway, Nate Wooley, David Grollman, ExclusiveOr: Sam Pluta/Jeff Snyder
61 Local 8 pm $10
• Cuban Jewish All-Stars: Bernie Minoso, Ivan Barenboim, Meg Okura, Igor Arias Aaro,
Itai Kriss, Uri Sharlin, Roberto Rodriguez
ê40Twenty: Vinnie Sperrazza, Jacob Sacks, Jacob Garchik, Dave Ambrosio;
Jesse Stacken, Reuben Radding, Michaël Attias
Ibeam Brooklyn 8:30, 10 pm $10
• Patrick Cornelius Trio with Harish Raghaven, Paul Witgen
• Saul Rubin Zebtet
Fat Cat 10 pm
• Gregorio Uribe Big Band
Zinc Bar 9, 10:30 pm
• Eric Comstock/Barbara Fasano Neue Galerie 9 pm $110
• Karl Berger’s Improvisers Orchestra; Seung-Hee Quintet with Toru Dodo,
Thomson Kneeland, George Schuller
• Sketches: Matt Holman, Jeremy Udden, Jarrett Cherner, Martin Nevin, Ziv Ravitz
• Koh Ohtera
Spectrum 7 pm
54 Below 7 pm $50-65
• Dave Wilson Quartet with Bobby Avey, Tony Marino, Alex Ritz; Dave Kardas Band
• Kavita Shah
Tomi Jazz 9 pm $10
• Robert Haight; Radek Wosko Group; Mem Nahadr
Silvana 6, 8, 10 pm
• Dan Furman Trio
• George Weldon Trio; Chris Carroll Trio
• Alex Hoffman Quartet; Glenn Zaleski, Rick Rosato, Colin Stranahan;
Carlos Abadie Quintet with Joe Sucato, Theo Hill, Clovis Nicolas, Luca Santaniello
Smalls 6, 9:30 pm 12 am $20
Gary Smulyan
guest Freddie Cole
Friday, November 8
êLadies Sing The Blues: Catherine Russell, Brianna Thomas, Charenee Wade with
Vince Giordano
Allen Room 7, 9:30 pm $45-75
êValerie Capers/John Robinson
êBill Stewart Quartet with Chris Cheek, Kevin Hays, Doug Weiss
Smoke 7, 9, 10:30 pm $38
êTony Malaby’s Paloma Recio with Ben Monder, Eivind Opsvik, Billy Mintz, Dan Weiss
• Garry Dial Trio; Walt Weiskopf Quartet with Peter Zak, Ugonna Okegwo, Jason Brown
Smalls 7:30, 10:30 pm $20
• Avi Rothbard Quartet; The Flail Fat Cat 6, 10:30 pm
êMichael Musillami Trio with Joe Fonda, George Schuller;
Oleg Kireyev/James Weidman Quartet with Harvie S, Steve Williams;
Mario Pavone’s ARC Quartet with Dave Ballou, Angelica Sanchez, Pheeroan akLaff
• EK Drum Codes: Roberto Rodriguez, Susie Ibarra, Oz Noy, Elefterios Bournias
êRed Baraat!
Brooklyn Bowl 8 pm $15
êDave Liebman/Phil Markowitz
Miller Recital Hall 7:30 pm
êLucian Ban/Abraham Burton
• George Coleman, Jr. Quartet with Don Braden, Mike LeDonne, John Webber
The Players 8 pm $20
• Steve Lehman Octet with Jonathan Finlayson, Mark Shim, Tim Albright, Chris Dingman,
Jose Davila, Drew Gress, Tyshawn Sorey
• Hiromi Shimizu Quartet with Don Friedman, Phil Palombi, Shinnosuke Takahashi
êRoss Hammond with Devin Hoff, Mike Pride
Spectrum 8 pm $10
• Etienne Charles with Jacques Schwarz-Bart, Victor Gould, Michael Olatuja, John Davis SubCulture 7:30, 10 pm $20
• Trumpeters of Queens: Josh Deutsch Group; Miki Hirose Group
Flushing Town Hall 8 pm $15
• Yotam Silberstein Trio
Bar Next Door 7:30, 9:30, 11:30 pm $12
• Andrea Wolper Trio with Michael Howell, Thomson Kneeland
Inkwell Café 8, 9:30 pm $5
• Roger Davidson with Jed Levy, Chris Berger, Marivaldo dos Santos, Norbert Goldberg
Zinc Bar 7 pm
• The Hot Sardines
• Maria Guida with Mark Soskin, Essiet Essiet, Tony Moreno; Sabrina Lastman Quintet
with Emilio Solla, Edward Perez, David Silliman, Meg Okura
Metropolitan Room 7, 9:30 pm $20
Goodbye Blue Monday 9 pm
• VR Smith
The Drawing Room 7 pm $10
• Deborah Davis and A Few Good Men; Maya Nova Quartet with Tuomo Uusitalo;
Sibling: Halley Hiatt, Anika Trujillo, Jason Berman, Eldad Arad, Justin Carter
• Rudi Mwongozi Trio
• Masami Ishikawa Trio; Kevin Dorn and the BIG 72
54 Below 8 pm $50-65
Gary Smulyan
• Clifton Anderson with Eric Wyatt, Tadataka Unno, Essiet Essiet, Steve Williams,
Victor See Yuen
Blue Note 12:30 am $15
guest Edmar Castaneda
êAhmed Abdulllah’s Diaspora
• Digital Sanctuaries: Roberto Rodriguez, Susie Ibarra, David Baron
êKris Davis solo; Michaël Attias’ Spun Tree with Ralph Alessi, Sean Conly, Tom Rainey
and guest Kris Davis
Greenwich House Music School 7:30 pm $15
• Jaap Blonk Improvisation Night with Andrew Drury/Jack Wright,
Darkminster: Brad Henkel, Nathaniel Morgan, Peter Hanson, James Ilgenfritz,
Dave Abramson, Sara Schoenbeck
Launch Pad Gallery 8 pm
• Taylor Ho Bynum Sextet with Jim Hobbs, Bill Lowe, Mary Halvorson, Ken Filiano,
Tomas Fujiwara
• JC Hopkins Biggish Band
Lucille’s at BB King’s Blues Bar 7 pm $25
• Joris Teepe
Fat Cat 10 pm
• Brandon Bernstein Trio with Putter Smith, Jeff Hirschfield
Bar Next Door 7:30, 9:30, 11:30 pm $12
• Tim Horner/Ron Horton Tentet Zeb’s 8 pm
• Assaf Kehati Quartet with Anat Cohen, Ehud Ettun, Ronen Itzik
• Remembering Joe Henderson: John Williams, Corey Wallace, Jahaan Sweet,
Russel Carter, Jason Marshall, Jon Beshay
• XBOP: Daniel Carter, Will Arvo, Jon Roberds, Brandon Miller
• Mala Waldron Project with Roger Byam, Marcus McLaurine, Willie Martinez BAMCafé 9 pm
• Nashaz: Brian Prunka, Kenny Warren, Nathan Herrera, Apostolos Sideris, George Mel,
Vin Scialla
Alwan for the Arts 8 pm
• Scott M. Rifkin and The Exploration Project
Spectrum 8 pm
• Brandon Bernstein Trio with Putter Smith, Jeff Hirshfield
Bar Next Door 7:30, 9:30, 11:30 pm $12
• MUSOH: Yutaka Uchida, Jostein Gulbrandsen, George Dulin, Trifon Dimitrov;
Fauré at Play: Louise Rogers/Mark Kross; Noshir Mody Quintet with Tsuyoshi Niwa,
Carmen Staaf, John Lenis, Yutaka Uchida; Brett Sandler Trio with Peter Longofono,
Adam Pin
• John Allen Watts; Chris Clark Tomi Jazz 8, 11 pm $10
• Denton Darien Trio
êLadies Sing The Blues: Catherine Russell, Brianna Thomas, Charenee Wade with
Vince Giordano
Allen Room 7, 9:30 pm $45-75
êValerie Capers/John Robinson
êBill Stewart Quartet with Chris Cheek, Kevin Hays, Doug Weiss
Smoke 7, 9, 10:30 pm $38
êTony Malaby’s Paloma Recio with Ben Monder, Eivind Opsvik, Billy Mintz, Dan Weiss
êMel Martin Quartet with Vic Juris, Ratzo Harris, Steve Johns; Walt Weiskopf Quartet with
Peter Zak, Ugonna Okegwo, Jason Brown; Ian Hendrickson-Smith with Marcus Parsley,
Steve Einerson, Hans Glawischnig, Chris Beck
Smalls 7:30, 10:30 pm 1:30 am $20
Gary Smulyan
guest Edmar Castaneda
• Pravin Thompson Quintet
Shrine 6 pm
• Jazz Meets Gospel: Damien SneedRose Hall 1, 3, pm $12
• Carol Sudhalter Astoria Big Band Langston Hughes Public Library 2 pm
• Alex Layne Trio; Brooks Hartell Trio
êJazz and Colors Festival: 2 Sisters, Inc Band; Andrew Lamb Trio; Arturo O’Farrill and
The Afro-Latin Jazz Orchestra; Brian Charette Organ Sextette; Daseul Kim Quartet;
Doug Wamble Quartet; Duane Eubanks; Frank London’s Klezmer Brass All Stars;
Gregg August Quartet; Hot Future Five; Jason Kao Hwang; Jason Marshall Quintet;
Jazz at Lincoln Center All-Stars with Russell Hall Quartet; Joe Alterman Trio;
Joel Harrison Quintet; John Raymond Quartet with Dan Tepfer; Kahlil Kwame Bell;
Kimberly Thompson Quartet; Lakecia Benjamin and Soul Squad; Marika Hughes and
Bottom Heavy; Mike Mohamed Quartet; Mitch Froman Latin Jazz Quartet;
Outer Bridge Ensemble: Steve Hudson, Mark DeJong, David Freeman, Mike Noordzy,
Javier Diaz; Roy Campbell Jr.; Stephanie McKay; Vince Ector Quartet;
Walking Distance; Wayne Escoffery Quartet with Carolyn Leonhart; Yard Byard;
Yosvanny Terry Quartet; ELEW and Nature of the Next
Central Park 12 pm
Sunday, November 10
êMostly Other People Do the Killing: Peter Evans, Jon Irabagon, Moppa Elliott,
Kevin Shea
• Roberto Rodriguez Masada Project with Eddie Khaimovich, Ivan Barenboim,
Meg Okura, Carmen Staff, Itai Kriss, Uri Sharlin
êMike McGinnis’ Road*Trip
Barbès 7 pm $10
• Jack Wilkins/Carl Barry
• Hartt School of Music Show; Barbara Rosene/Conal Fowkes;
The Flail: Dan Blankinship, Stephan Moutot, Brian Marsella, Reid Taylor, Matt Zebroski
Smalls 4:30, 7:30, 10 pm 12 am $20
• Terry Waldo’s Gotham City Band; Tineke Postma Quartet;
Brandon Lewis/Renee Cruz Jam Fat Cat 6, 8:30 pm 12:30 am
• The Weekly Reeders: Christos Rafalides, Carlos Cuevas, Elizabeth Tomboulian,
Lee Tomboulian, Cliff Schmitt; Ed Lucie with Steve Kirby, Mike Connors, Tucker Antell
ShapeShifter Lab 7, 9:30 pm $10
• Jeffrey Hayden Shurdut Band Spectrum 7 pm
• Vivienne Aerts/Florian Weber Metropolitan Room 9:30 pm $20
êPeter Leitch/Charles Davis
Walker’s 8 pm
• Broc Hempel, Sam Trapchak, Christian Coleman with guest Jason Rigby
Dominie’s Astoria 9 pm
• Jon Davis Measure 8 pm
• François Grillot/Claire de Brunner; The BE Duet: Blaise Siwula/Evan Gallagher;
James Brandon Lewis/Dominic Fragman
ABC No-Rio 7 pm $5
• Jason Yeager Trio with Danny Weller, Matt Rousseau; Taylor Watson and Friends with
Tim Sullivan, Josh Paris, Will Clark; Adam Everett Quintet with Ben Flood, Julian Hucq, Javi Santiago, Alex da Silva
Somethin’ Jazz Club 5, 7, 9 pm $10
• Michael Bank Quartet
Shrine 8 pm
• Elise Wood Duo; Bobby Katz Quartet
Silvana 6, 8 pm
êJacky Terrasson Quartet with guest Cécile McLorin Salvant
Gary Smulyan
guest James Carter
• Ross Hammond/Ava Mendoza; Omar Tamez/Angelica Sanchez
Downtown Music Gallery 6, 7 pm
• Gene Bertoncini Trio with Clay Jenkins
• Nicole Henry
Blue Note 12:30, 2:30 pm $29.50
• Melissa Hamilton Trio with Steve Berger, Dan Loomis
• Lou Caputo Quartet; David Coss Quartet; Tsutomu Naki Trio
Monday, November 11
êMingus Orchestra
êEric Person Big Band with Sly Scott, Craig Bailey, Paul Nedzela, Duane Eubanks,
Mark Magowan, Mark Williams, Adam Klipple, Bryan Carrott, Adam Armstrong,
Shinnosuke Takahashi
• Jon Cowherd’s Mercy
• Aimee Allen; Eddie Allen Aggregation Big Band with Joe Ford, Bruce Williams,
Frank Fontaine, Keith Loftis, Carl Maraghi, Kevin Bryan, Duane Eubanks,
Reggie Pittman, Vitaly Golovnev, Sam Burtis, Dion Tucker, Joe McDonough,
Aaron Johnson, Oscar Perez, Corcoran Holt, Jerome Jennings and guest Jeremy Pelt
Zinc Bar 7, 9 pm $8
• Brazilian Romance: Paulo Braga and Friends
Paul Hall 8 pm
êRoss Hammond, Max Johnson, Catherine Sikora, Billy Mintz
• Sensorium Saxophone OrchestraSpectrum 7 pm
• Non-Essential Personnel: Jacob Teichroew, Sebastien Ammann, Tyler Blanton,
Michael Blanco, Paul Wiltgen; The Delegation: Gabriel Zucker, Adam O’Farrill,
Bryan Qu, Jacob Teichroew, Eric Trudel, Mark Chung, Emily Bookwalter,
Bam Bam Rodriguez, Gabriel Globus-Hoenich
Douglass Street Music Collective 7:30, 9 pm $10
• Eden Ladin Quartet; Ari Hoenig Trio with Jean-Michel Pilc, François Moutin;
Spencer Murphy
Smalls 7:30, 10 pm 12:30 am $20
• Ned Goold Quartet; Billy Kaye Jam
Fat Cat 9 pm 12:30 am
• Tom Dempsey/Tim Ferguson Eats Restaurant 7 pm
• Samuel Blakeslee Group with Chris Coles, Steve Kortyka, David Meder, Scott Colberg,
Dan Pugach; Tineke Postma
• Daniela Schächter Trio with Bill Moring, Jason Tieman
• Dimitrije Vasiljevic Quartet
• Tamio Shiraishi; Michael Foster/Leila Bordreuil; Sean Ali solo
JACK 8 pm $10
• Shoko Amano with Toru Yamashita, Tony Ventura, Adriano Santos;
MeWooKa Trio: Stephan Kammerer, Will Woodard, George Mel
• jKb Freedom; Michael Sarian Quintet
Shrine 6, 8 pm
• Lou Caputo Not So Big Band; Afro Mantra
• Tom Wilson Trio
Silvana 6 pm
JA Z Z
at
K I TA N O
Music • Restaurant • Bar
“ONE OF THE BEST JAZZ CLUBS IN NYC” ... NYC JAZZ RECORD
L I V E J A Z Z E V E RY
W E D N E S D AY - S AT U R D AY
$ 10 W E D . / T H U R + $ 15 M i n i m u m / S e t .
$ 25 F R I . / S AT. + $ 15 M i n i m u m / S e t
2 S E T S 8 : 0 0 P M & 10 : 0 0 P M
JAZZ BRUNCH EVERY SUNDAY
TONY MIDDLETON TRIO
11 AM - 2 PM • GREAT BUFFET - $35
OPEN JAM SESSION MONDAY NIGHTS
8:00 PM - 11:30 PM • HOSTED BY IRIS ORNIG
SOLO PIANO EVERY TUESDAY IN JULY • 8:00 PM - 11:00 PM
NOVENBER 5, 12, & 26 - DAVID LANTZ • $15 MINIMUM
FRI. NOVEMBER 1
BEN ALLISON TRIO
BEN ALLISON, STEVE CARDENAS
STEVE WILSON
$25 COVER + $15 MINIMUM
SAT. NOVEMBER 2
JOHN MENEGON QUARTET
CD RELEASE EVENT “I REMEMBER YOU”
JOHN MENEGON , TINEKE POSTMA
FRANK KIMBROUGH, MATT WILSON
WED. NOVEMBER 6
KEVIN HAYS “NEW DAY” TRIO
KEVIN HAYS, ROB JOST, GREG JOSEPH
THURS. NOVEMBER 7
MEL MARTIN QUARTET
MEL MARTIN, DON FRIEDMAN
DARYL JOHNS, STEVE JOHNS
FRI. NOVEMBER 8
HIROMI SHIMIZU QUARTET
HIROMI SHIMIZU, DON FRIEDMAN
PHIL PALOMBI, SHINNOSUKE TAKAHASHI
SAT. NOVEMBER 9
ASSAF KEHATI QUARTET
WITH SPECIAL GUEST ANAT COHEN
ASSAF KEHATI, ANAT COHEN
EHUD ETTUN, RONEN ITZIK
WED. NOVEMBER 13
JULIAN SHORE QUARTET
JULIAN SHORE, NOAH PREMINGER
JOE MARTIN, MATT WILSON
THURS. NOVEMBER 14
KIMBERLY HAWKEY QUARTET
KIMBERLY HAWKEY, CARMEN STAAF
MATT ARONOFF, NADAV SNIR-ZELNIKER
FRI. NOVEMBER 15
MARTIN PIECUCH
JAZZICAL FUSION TRIO
MARTIN PIECUCH, REGAN RYZUK, RIC CRANE
SAT. NOVEMBER 16
MADELINE EASTMAN
WITH THE RANDY PORTER TRIO
TUES. NOVEMBER 19
SAMBA MEETS JAZZ OPEN HOUSE
CLAUDIO RODITI, MATT KING
NILSON MATTA, FERNANDO SACI
$15 MINIMUM
WED. NOVEMBER 20
DENISE DONATELLI/
FRANK KIMBROUGH DUO
THURS. NOVEMBER 21
JOHN RAYMOND QUARTET
JOHN RAYMOND, GILAD HEKSELMAN
AIDAN CARROLL, AUSTIN WALKER
FRI. & SAT. NOVEMBER 22 & 23
JANE IRA BLOOM QUARTET
CD RELEASE "ALL BALLADS"
JANE IRA BLOOM, DOMINIC FALLACARO
CAMERON BROWN, MATT WILSON
WED. NOVEMBER 27
JANN
PARKER QUARTET
JANN PARKER, JAMES WEIDMAN
MARCUS MCLAURINE, DION PARSON
THURS. NOVEMBER 28
NO MUSIC - THANKSGIVING
FRI. NOVEMBER 29
RUFUS REID & THE OUT FRONT TRIO
RUFUS REID, STEVE ALLEE, DUDUKA DA FONSECA
SAT. NOVEMBER 30
SERGIO SALVATORE/
CHRISTOS RAFALIDES DUO
RESERVATIONS - 212-885-7119
VISIT OUR TWEETS AT: http://twitter.com/kitanonewyork
www.kitano.com • email: [email protected] ò 66 Park Avenue @ 38th St.
39
Tuesday, November 12
êPeter Bernstein, Larry Goldings, Bill Stewart
• Eric Harland and Friends Birthday Celebration with Chris Potter, Taylor Eigsti,
Nir Felder, Matt Penman
• Charli Persip and the Super Sound Big Band with Angeleisha Rodgers, Lessie Vonner,
James Smith, Sharif Kales, Eric Hoffman, Thomas Dover, Daniel Reitz, Mike Guilford,
Danille Randall, Irwin Snow, Austin Becker, Matt Berman, Isaac Rosser, Melissa Slocum,
Marcus Persiani
• Danny Mixon Quartet with James Stewart, Lisle Atkinson, George Gray
• Joe Saylor Quartet
êMelissa Aldana Quartet with Glenn Zaleski, Pablo Menares, Jochen Rueckert
• Loston Harris Group with Ian Hendrickson-Smith, Mark Whitfield, Gianluca Renzi,
Clarence Penn
Birdland 8:30 pm $30
êMarco Cappelli Acoustic Trio with Ken Filiano, Satoshi Takeishi
Nublu 9 pm
• Music for String Quartet and Alto Sax: Jennifer Choi, Cornelius Dufallo, Lev Zhurbin,
Alex Waterman, Marty Ehrlich; Marty Ehrlich/Tyshawn Sorey
• Spike Wilner Trio with Paul Gill; Lucas Pino No Net Nonet with Matthew Jodrell,
Alex LoRe, Rafal Sarnecki, Nick Finzer, Andrew Gutauskas, Glenn Zaleski,
Desmond White, Colin Stranahan; Kyle Poole and Friends
Smalls 7:30, 10 pm 12:30 am $20
• Saul Rubin; Peter Brainin Latin Jazz Workshop; Greg Glassman Jam
• Voice Box: Nancy Harms; Akiko Pavolka and House of Illusion with Loren Stillman,
Nate Radley, Matt Pavolka, Bill Campbell
Cornelia Street Café 8:30, 10 pm $10
• Jacam Manricks Trio with Gianluca Renzi, Ross Pederson
• Matt Pavolka Horns Band with Kirk Knuffke, Jacob Garchik;
Delicatessen: Stephanie Richards, Stomu Takeishi, Kenny Wollesen
Korzo 9, 10:30 pm
• Ben Holmes Quartet with Curtis Hasselbring, Matt Pavolka, Vinnie Sperrazza
Barbès 7 pm $10
• Chris Pitsiokos, Tim Dahl, Mike Pride
JACK 8, 9:30 pm $10
• Stan Killian Quintet with Josh Evans, Brad Whitley, Corcoran Holt, McClenty Hunter
55Bar 7 pm
• Eleanor Reissa and Friends with Frank London
Jazz at Kitano 8 pm
• Jimmy O’Connell 5tet with Tim Basom, Christian Nourijanian, Leon Boykins,
Dustin Kaufman; Tomoyasu Ikuta Trio with John Glay
• Aida Brandes, Emanuele Tozzi Tomi Jazz 8, 11 pm $10
• Nick Grinder Group
Silvana 9 pm
• Rob Edwards Quartet; Mayu Saeki Trio
Cyrille Aimée, Bernadette Peters City Center 7:30 pm $30
êCedar Walton Memorial
êNiels Lan Doky’s Scandinavian Standards Trio with Gary Peacock, Jeff “Tain” Watts
êJack Walrath Quintet with Alex Foster, George Burton, Donald Edwards
Smoke 7, 9, 10:30 pm
• Nilson Matta Samba Jazz Ensemble with Harry Allen, Anne Drummond, Xavier Davis,
Fernando Saci
êSecret Keeper: Stephan Crump/Mary Halvorson; Think Shadow: Michaël Attias/
Sean Conly
SEEDS 8:30, 10 pm
êRoy Nathanson and Friends; Fay Victor’s Absinthe & Vermouth Ensemble with
Anders Nilsson, Ken Filiano; Morley Morley/Marika Hughes
JACK 7:30, 9, 10:30 pm $15
êPeter Brendler Quartet with Rich Perry, Peter Evans, Vinnie Sperrazza
Barbès 8 pm $10
êDayna Stephens Group with Aaron Parks, Charles Altura, Ben Street, Justin Brown;
Will Bernard Group with John Ellis, Gary Versace, Rudy Royston
• Raphael D’lugoff; Harold Mabern Trio; Ned Goold Jam
• Kevin Harris/Richie Barshay
Cornelia Street Café 6 pm $10
• Jeff Davis Glass Hat with Jon Irabagon, Jon Goldberger, Eivind Opsvik
• In the beginning was the Word: Erica Hunt, Marty Ehrlich, Dave Lopato;
Marty Ehrlich/Kate Gentile
• Janis Siegel with John di Martino, Martin Wind, Ben Wittman, Paul Meyers,
Dominick Farinacci and guests Peter Eldridge, Nanny Assis
• New York Voices
• Kevin Hays New Day Trio with Rob Jost, Greg Joseph
55Bar 7 pm
• Julian Shore Quartet with Noah Preminger, Joe Martin, Matt Wilson
• Katsuko Tanaka Quartet with Stacy Dillard, Dezron Douglas, Russell Carter
Zinc Bar 7 pm $10
• Deborah Latz; Ricardo Grilli Quartet with Julian Shore, Edward Perez, Lee Fish
• Junko Sakai
Tomi Jazz 8 pm $10
• Michael Reis
• Tom Tallitsch Quartet; Joonsam Lee Trio
êMelissa Aldana Quartet with Glenn Zaleski, Pablo Menares, Jochen Rueckert
• Yuki Shibata Trio
Shrine 6 pm
• Jann Parker/James Weidman Saint Peter’s 1 pm $10
OpEN hOUSE
& JAM - NyC
Jazz at Kitano
Park Ave. & E. 38 St.
Faculty Concert:
Nilson Matta –
Artistic Director,
Claudio Roditi, Matt King,
Fernando Saci, Harry Allen
Open Jam:
Bring your instruments!
RSVP: Alice@
SambaMeetsJazz.com
êDave Douglas Quintet with Jon Irabagon, Matt Mitchell, Linda Oh, Rudy Royston
êGeorge Cables Trio with Essiet Essiet, Victor Lewis
• Barbara Cook
Town Hall 8 pm $55-85
êRites Quartet: Marty Ehrlich, Ron Horton, Michael Formanek, Michael Sarin;
The Traveler’s Tales: Marty Ehrlich, Adam Kolker, Michael Formanek, Michael Sarin
• Stephan Crump’s Rosetta Trio with Liberty Ellman, Jamie Fox Greenwich House Music School 8 pm $15
• tAkE’N sHaDoW Vol. II: Fung Chern Hwei, Jonathan Goldberger, Stomu Takeishi,
Shoko Nagai; Mack Goldsbury Quartet with Mark Minchello, Maciej Fortuna, Lou Grassi
The Firehouse Space 8, 9:30 pm $10
• Camila Meza/Fabian Almazan Cornelia Street Café 8:30 pm $10
êBrandee Younger Quartet with Chelsea Baratz, Dezron Douglas, EJ Strickland
Brooklyn Public Library Central Branch 7 pm
• Interpretations: Anne LeBaron with FLUX Quartet, Thomas Buckner, Ana Cervantes,
Ralph Samuelson
Roulette 8 pm $15
• Perry Smith Trio with Sam Minaie, Jordan Perlson
• Greg Glassman Quintet
Fat Cat 10 pm
• Sanda Weigl
Neue Galerie 9 pm $110
• Laurent Coq
• Kimberly Hawkey Quartet with Carmen Staaf, Matt Aronoff, Nadav Snir-Zelniker
• The Manhattan Transfer
• PAK: Ron Anderson/Alex Cohen; Ava Mendoza, Tim Dahl, Matt Nelson;
Insect Ark: Dana Schecter; Anthony Coleman
JACK 8 pm $10
• Amy Cervini, Hilary Gardner, Melissa Stylianou with Michael Cabe, Paul Sikivie,
Matt Wilson
55Bar 7 pm
• Lathan Hardy/Carlo Costa Ange Noir Café 8 pm
• Scot Albertson/Dan Furman
Klavierhaus 8 pm
• Persons of Interest: Eric Wollman, Jim Donica, Peter Grant; Tim Lancaster Group
• Senri Oe
Tomi Jazz 9 pm $10
• Renaud Penant Trio
• Brielle; The Verb
Shrine 9, 10 pm
• Champian Fulton Quartet; Gabe Valle Trio
• A Bed and a Chair - A New York Love Story with Jazz at Lincoln Center Orchestra,
Cyrille Aimée, Bernadette Peters City Center 7 pm $500-10,000
• Dwayne Clemons Quintet with Sacha Perry, Josh Benko, Murray Wall,
Jimmy Wormworth; Dayna Stephens Group with Aaron Parks, Charles Altura,
Ben Street, Justin Brown; Nick Hempton Band with Jeremy Manasia, George Delancy,
Dan Aran
Smalls 6, 9:30 pm 12 am $20
• New York Voices
• Mat McDonald
Silvana 6 pm
Marty Ehrlich
The Stone Residency
The Long View
Join us for...
TUESdAy,
NOV. 19
12 sets, 10 different bands
VOCAL
& INSTRUMENTAL
wORkShOpS
Feb. 16–22, 2014
Week-long immersion in
Brazilian Music and Jazz...
Culminating performance
in Rio Jazz Club!
Ensembles | Clinics | Jams
Jazz Improv | Brazilian Phrasing
Brazilian Percussion
Batucada & More!
Alice Schiller, Executive Director | [email protected]
Luisa Matta, Director of Production, Brazil | [email protected]
SambaMeetsJazz.com
888.435.4003
November 12 - 17, 2013
The Stone
Avenue C and 2nd Street
Sets at 8PM and 10PM - $15
Featuring: Erik Friedlander, Drew Gress,
Liberty Ellman, Ray Anderson, Matt Wilson,
Brad Jones, J.D. Parran, Jack Walrath,
James Weidman, Ben Perowsky, Adam Kolker,
Michael Formanek, Michael Sarin, Ron Horton,
Kate Gentile, Erica Hunt, David Lopato,
Tyshawn Sorey, Jennifer Choi, Cornelius Dufallo,
Lev Zhurbin & Alex Waterman
For a complete listing
of ensembles visit:
www.martyehrlich.com
or www.thestonenyc.com
Look for Marty’s new CD
“A Trumpet in the Morning” out on
New World Records this month
Friday, November 15
êAACM Presents - The Music of George Lewis with Either/Or, Khari B.
Community Church of New York 8 pm $15-30
êOliver Lake Big Band
êLouis Hayes and The Jazz Communicators with Abraham Burton, Steve Nelson,
Kris Bowers, Dezron Douglas Smoke 7, 9, 10:30 pm $38
êMarty Ehrlich Sextet with Jack Walrath, Ray Anderson, James Weidman, Brad Jones,
Ben Perowsky and guest JD Parran
êMourning of a Star; Jeff “Tain” Watts Quartet with Harold O’Neal, Troy Roberts,
Chris Smith
ShapeShifter Lab 8:15, 9:30 pm $10-15
êReverse Blue: Mary Halvorson, Chris Speed, Eivind Opsvik, Tomas Fujiwara
• Lonnie Youngblood
Church of the Intercession 7:30 pm $20
• Clifford Barbaro Trio
• Marianne Solivan Quartet with Xavier Davis, Matthew Parrish, McClenty Hunter;
Saul Rubin Group
Smalls 7:30, 10:30 pm $20
• Bruce Cox Sense; Jared Gold Fat Cat 10:30 pm 1:30 am
• Martin Piecuch Jazzical Fusion Trio with Regan Ryzuk
• JACKtronics; Jeff Snyder, Cenk Ergün, Federico Ughi; Radical 2; Nathan Davis solo;
Steven Luffue
JACK 8 pm $10
• The Music of Louis Armstrong: “Hot Lips” Joey Morant and Catfish Stew
Lucille’s at BB King’s Blues Bar 8 pm $25
• Paul Bollenback Trio with Joseph Lepore, Rogério Boccato
Bar Next Door 7:30, 9:30, 11:30 pm $12
• Victor Lin Duo
• Lucio Ferrara Measure 8 pm
• Laila and Smitty: Kenny Warren, Myk Freedman, Jeremiah Lockwood,
Noah Garabedian, Carlo Costa Launch Pad Gallery 8 pm
• Alan Leatherman; Hye-Jeung; Adam Rivas/Alex Ramsay Collective with
Shawn Whitehorn, Jr., Lluis Capdevila
• Fukushi Tainaka Trio; Hot House The Garage 6:15, 10:45 pm
Jazz Standard 7:30, 9:30, 11:30 pm $30
êGeorge Cables Trio with Essiet Essiet, Victor Lewis
Cyrille Aimée, Bernadette Peters City Center 8 pm $30
• New York Voices
• Roz Corral with Gilad Hekselman, Boris Kozlov, Steve Williams
55Bar 6 pm
êRay Anderson/Marty Ehrlich Quartet with Brad Jones, Matt Wilson
êPreservation Hall Jazz Band
Apollo Theater 8 pm $35-50
• Kayhan Kalhor/Ali Bahrami Fard Asia Society 8 pm $30
êTomas Fujiwara and The Hook Up with Michael Formanek, Mary Halvorson,
Brian Settles, Jonathan Finlayson Cornelia Street Café 9, 10:30 pm $15
• Nioka Workman’s Fiery Strings with Mala Waldron Sistas’ Place 9, 10:30 pm $20
• TILLERY: Rebecca Martin, Gretchen Parlato, Becca Stevens
Rockwood Music Hall 7 pm $15
• Brooklyn Jazz Wide Open: Michel Gentile Quintet with Chris Speed, Brian Drye,
Chris Tordini, Satoshi Takeshi; Loren Stillman Quartet with Nate Radley, Matt Pavolka
Brooklyn Conservatory of Music 8 pm $10
• Mick Rossi
Spectrum 7:30 pm
êMadeline Eastman with Randy Porter Trio
• Sanda Weigl
Barbès 8 pm $10
• Brooklyn Raga Massive: House of Waters: Max ZT, Luke Notary, Moto Fukushima;
Neel Murgai Ensemble with Arun Ramamurthy, Trina Basu, Marika Hughes,
Ehren Hanson
JACK 8, 9:30 pm $10
• Loop 2.4.3 / TommyTom’s Time Machine; Gyan Riley; Sub-verse
• Outer Bridge Ensemble: Steve Hudson, Soren Nissen, Jerome Jennings,
David Freeman and guests
Soapbox Gallery 8 pm $10
• Radam Schwartz Trio; George Burton Quintet
Fat Cat 7, 10 pm
• Mark Cocheo Trio with Mark Zaleski, Conor Meehan
Bar Next Door 7:30, 9:30, 11:30 pm $12
• Mike Armando and In The Moment with Andy Golba, Gezim Sherifi;
Righteous GIRLS: Gina Izzo/Erika Dohi; Nick Brust/Adam Horowitz Quintet with
Matthew Sheens, James Quinlan, Dani Danor; Dave Pollack Quartet
• Misa Ogasawara; YooSun Num Tomi Jazz 8, 11 pm $10
• Justin Lees Trio
• Fabio Morgera Quartet; Saul Rubin Group; Eric Wyatt with Shinnosuke Takahashi,
Benito Gonzalez
Smalls 7:30, 10:30 pm 1:30 am $20
êLouis Hayes and The Jazz Communicators with Abraham Burton, Steve Nelson,
Kris Bowers, Dezron Douglas Smoke 7, 9, 10:30 pm $38
• Victor Lin Duo
Jazz Standard 7:30, 9:30, 11:30 pm $30
êGeorge Cables Songbook with Steve Wilson, Sarah Elizabeth Charles, Essiet Essiet,
Victor Lewis, Steve Kroon
• Michael Mwenso with Joe Saylor Quartet
• Maurício de Souza and Bossa Brasil with Dmitry Baevsky, Jerry Weir, Ben Winkelman,
Gary Mazzaroppi
Blue Note 12:30 am $15
Cyrille Aimée, Bernadette Peters City Center 2, 8 pm $30
• New York Voices
• Joe Costanzo and Trio; Mark Marino Trio; Peter Valera Jump Blues Band
The Garage 12, 6:15, 10:45 pm
• Encuentro NYC Colombian Music Festival: M.A.K.U. SoundSystem; Laura Kalop;
Juan Andres Ospina; Grupo Rebolú; Gregorio Uribe Big Band; Alejandro Flórez/
Ricardo Gallo; Pablo Mayor’s Folklore Urbano Orchestra; Diego Obregon’s
Grupo Chonta; Sebastián Cruz Cheap Landscape Trio; Alejandro Zuleta
Vallenato Collective; Chia’s Dance Party; Nilko Andreas Guarín; Fidel Cuellar with
Luiz Ebert; Johanna Castañeda y su Grupo Llanero; Pajarillo Pinta’o Dance Company Le Poisson Rouge 4 pm $30
41
Sunday, November 17
november–
december
nov 8–9 • 7pm, 9:30pm
LADIES SING THE BLUES
Vocalists Catherine Russell,
Brianna Thomas, and
Charenee Wade
nov 22–23 • 8pm
MUSIC FROM PAKISTAN
East meets West in this musical and
cultural exchange between the
Jazz at Lincoln Center Orchestra
with Wynton Marsalis and the
Sachal Jazz Ensemble of Pakistan
part of the ertegun jazz concert series
nov 22 • 7pm; nov 23 • 9:30pm
JIM HALL: MODERN
JAZZ GUITAR
Jim Hall with Peter Bernstein
and John Abercrombie
part of the ertegun jazz concert series
nov 22 • 9:30pm; nov 23 • 7pm
CHRIS POTTER’S
UNDERGROUND
ORCHESTRA
Saxophonist Chris Potter and his
expanded Underground quartet
dec 12–13 • 8pm
dec 14 • 2pm & 8pm
BIG BAND HOLIDAYS
Jazz at Lincoln Center Orchestra
with Wynton Marsalis and Cécile
McLorin Salvant
jalc.org
jazz at lincoln center
Venue Frederick P. Rose Hall
Box Office Broadway at 60th, Ground Fl.
CenterCharge 212-721-6500
Preferred Card of
Jazz at Lincoln Center
use your mastercard
and save 5%.
êThe Dark Woods Ensemble: Marty Ehrlich, Erik Friedlander, Drew Gress and guest
Liberty Ellman
êTadadaka Unno
Measure 8 pm
êJohn Merrill Trio; Bucky Pizzarelli/Ed Laub; Johnny O’Neal
Smalls 4:30, 7:30, 10 pm $20
• Terry Waldo’s Gotham City Band; Rick Germanson Trio;
êGene Bertoncini The Drawing Room 7 pm $20
• Sheryl Bailey/Joe Fitzgerald
• Broc Hempel, Sam Trapchak, Christian Coleman with guest Steve Kortyka
Dominie’s Astoria 9 pm
• Euphoria: Nick Demopoulos, Paul Ramsey, Evan Schwam, Mayu Saeki,
Jeremy Carlstedt
Drom 7:15 pm $15
• Miya Masaoka/Michelle Handelman’s Triangle of Resistance
Roulette 8 pm $20
êMichael Rabinowitz and Bassoon in the Wild with Joe Fonda, Grisha Alexiev,
Diana Herald
The Loft of Thomas Rochon 7 pm $15
• Clarice Assad/Joao Luiz Rezende Cornelia Street Café 8:30 pm $10
• Itamar Borochov; Jonathan Greenstein; Camila Meza
• Yoshiki Miura Group; Bob Bennett Quartet with Erica Seguine, Jesse Breheney,
Gusten Rudolph; Alex Cummings Quartet with Julia Chen, Daniel Stein, Austin Vaughn
êGeorge Cables Songbook with Steve Wilson, Sarah Elizabeth Charles, Essiet Essiet,
Victor Lewis, Steve Kroon
Cyrille Aimée, Bernadette Peters City Center 2, 7 pm $30
• Cheryl Pyle, Daniel Carter, Claire Debrunner; Michael Foster/Michael Evans
Downtown Music Gallery 6, 7 pm
• Ben Hall solo
61 Local 6 pm $10
• Peter Eldridge
êESP-Disk’ 50th Anniversary Concert - Benefit for the Sun Ra Music Archives:
Kali Z. Fasteau, Giuseppi Logan, Alan Sondheim, Bruce Eisenbeil, Tiger Hatchery,
Michael D. Anderson
JACK 3 pm $10
• Nicole Henry
Blue Note 12:30, 2:30 pm $29.50
• Roz Corral Trio with Gilad Hekselman, Orlando Le Fleming
• Kyoko Oyobe Trio; David Coss Quartet; Adam Rongo Trio
Monday, November 18
êSheila Jordan’s 85th Birthday Celebration with Steve Kuhn
êMingus Big Band
êCarline Ray Tribute
• Cliff Hanes with Sasha Masakowski, G Maxwell Zemanovic, Max Moran;
Ingebrigt Håker Flaten Trio with Nate Wooley, Chris Corsano; Desmond White’s
Short Stories with Fabian Almazan, Camila Meza, Leon Boykins
ShapeShifter Lab 7, 8:15, 9:30 pm $10-15
• George Braith; Billy Kaye Jam Fat Cat 9 pm 12:30 am
• Manhattan School of Music Jazz Orchestra directed by Justin DiCioccio with
guest Rich Perry
• Chris Pattishall Trio; Ari Hoenig Trio with Gilad Hekselman, Orlando Le Fleming;
Spencer Murphy
Smalls 7:30, 10 pm 12:30 am $20
• Hendrik Meurkins/Misha TsiganovEats Restaurant 7 pm
• Andrea Wolper Trio with Michael Howell, Ken Filiano
Bar Next Door 8:30, 10:30 pm $12 • Vicki Burns; Gary Morgan’s PanAmericana! with Seneca Black, Bryan Davis,
John Bailey, Andy Gravish, Mike Boscarino, Matt McDonald, Sam Burtis, Chris Olness,
Chris Komer, Shelagh Abate, Norbert Stachel, Matt Hong, Ben Kono, Quinsin Nachoff,
Terry Goss, Bob Quaranta, Gustavo Amarante, Ray Marchica, Carlos Maldonado,
Memo Acevedo, Richard Boukas Zinc Bar 7, 9, 10:30 pm $8
• Craig Yaremko Organ Trio with Matt King, Jonathon Peretz and guest Vic Juris;
Yuhan Su Group
• Julio Botti
Tomi Jazz 8 pm $10
• Howard Williams Jazz Orchestra; Kenny Shanker Quartet
• Tom Wilson Trio
Silvana 6 pm
êJamie Baum Septet + with Amir ElSaffar, Douglas Yates, Chris Komer, Brad Shepik,
John Escreet, Zack Lober, Jeff Hirshfield
• Renee Rosnes Quartet with Jimmy Greene, Peter Washington, Bill Stewart
• Jane Monheit
• Cyrille Aimee
êLavay Smith Sings Count Basie Dizzy’s Club 7:30, 9:30 pm $35
• Aaron Johnson Quartet
• Adi Braun
Iridium 8, 10 pm $25
• Warren Chiasson Trio with Ed MacEachen, Ralph Hamperian
• The BRT: Samm Bennett, Ned Rothenberg, Stomu Takeishi with guest Shelley Hirsch
Roulette 8 pm $15
• Samba Meets Jazz Open House: Claudio Roditi, Matt King, Nilson Matta, Fernando Saci
êGene Bertoncini solo; Smalls Legacy Band: Stacy Dillard, Josh Evans, Theo Hill,
Rashaan Carter, Frank Lacy, Kush Abadey; Kyle Poole and Friends
Smalls 7:30, 10 pm 12:30 am $20
• Arnold Lee, Michael Mohamed, Niels Bantilan; Adam Rudolph/Antoine Roney
• The RicTer Scale: Terri Hron, Ricardo Gallo with guests Dan Blake, Mary Halvorson;
Joshua Shneider Love Speaks Orchestra with Saundra Williams, Dave Stryker,
John O’Gallagher, Matthew Willis, Dan Pratt, Quinsin Nachoff, Frank Basile,
Matthew McDonald, Noah Bless, John Yao, Jeff Wilfore, Alexander Pope Norris,
David Smith, Andy Gravish, Dave Ambrosio, Eric Halvorson, Bennett Paster,
Joe Cardello; Mino Cinelu solo ShapeShifter Lab 7, 8:15, 9:30 pm $10
êMara Rosenbloom Quartet with Darius Jones, Sean Conly, Tomas Fujiwara;
Menna Mulugeta, Julie Spencer, Gernot Blume
Korzo 9, 10:30 pm
• Contagious Sounds: Matt Evans/Anne Lanzilotti; Travis LaPlante, Matt Nelson,
Patrick Breiner, Jeremy Viner
• Alex Lore Trio with Desmond White, Colin Stranahan
• Sean Harkness
2nd Floor at Clinton 7:30 pm
• Breslov Bar Band
• Gabriel Zucker Spectrum 7 pm
• Racha Fora, Hiroaki Honshuku, Rika Ikeda, Mauricio Anrade, Rafael Russi;
Dorian Wallace Big Band
• Javier Santiago
Tomi Jazz 8 pm $10
• Michael Sarian Quintet
Silvana 8 pm
• Randy Johnston Trio; Paul Francis Trio
• Lucio Ferrara The Garage 6, 10:30 pm
Measure 8 pm
êNation Time: Richard Hell, Arto Lindsay, The Thing: Mats Gustafsson,
Ingebrigt Håker Flaten, Paal Nilssen-Love with guest Joe McPhee
Guggenheim Museum 7 pm $30
• Roy Ayers
S.O.B.’s 9 pm $25
êYeYi Duet: Adam Rudolph/Ralph M. Jones and guests
• Denise Donatelli/Frank KimbroughJazz at Kitano 8, 10 pm $10
êIdeal Bread: Josh Sinton, Kirk Knuffke, Adam Hopkins, Tomas Fujiwara
• Bob Sands Quartet with Joel Weiskopf, Gregg August, Donald Edwards
Smoke 7, 9, 10:30 pm
• Joe Fonda, Adam Kolker, George Schuller and guest Omar Tamez
Barbès 8 pm $10
êJeremy Pelt Show with Roxy Coss, David Bryant, Chris Smith, Dana Hawkins
55Bar 9 pm
• Eli Degibri Quartet with Aaron Goldberg, Omer Avital, Obed Calvaire;
Aaron Kimmel Group with Adam Birnbaum, David Wong
• Raphael D’lugoff; Don Hahn; Ned Goold Jam
• Dave Miller Trio with Shawn Conley, Shawn Baltazor; Ryan Keberle’s Catharsis with
Mike Rodriguez, Jorge Roeder, Eric Doob and guest Camila Meza
SEEDS 8:30, 10 pm
• Pamela Z/Christina McPhee’s Carbon Song Cycle with Dana Jessen,
Charith Premawardhana, Marika Hughes, Russell Greenberg
Roulette 8 pm $20
• Juilliard Jazz Big Band directed by John Beasley
• Carmela Rappazzo
• Joe Alterman
• BOMB X Trio: Nicolas Letman-Burtinovic, Michaël Attias, Danny Sher
Bar Chord 9 pm
• Scot Albertson/Daryl Kojak
Klavierhaus 8 pm
• Alex Wyatt with Kyle Wilson, Jon DeLucia, Greg Ruggiero, Danny Fox;
Enrico Solano Quartet with Julien Hucq, Antonello Parisi, Yiorgos Kostopoulos;
Elias Meister’s Miracle Box with Gordon Au, Craig Akin, Joe Hertenstein
• Kristen Lee Sergeant
Tomi Jazz 8 pm $10
• Nick Moran Trio; Margaret Gianquinto and Trio; Rick Stone Trio
• Jane Monheit; Shoshana Bush Blue Note 6, 8, 10:30 pm $35
• Cyrille Aimee
êLavay Smith Sings Count Basie Dizzy’s Club 7:30, 9:30 pm $35
• Mike Kaplan/Ben Williams QuintetSaint Peter’s 1 pm $10
êRené Marie with Tatum Greenblatt, Pete Reardon Anderson, St. Clair Simmons,
Kevin Bales, Elias Bailey, Quentin Baxter
• Bobby Sanabria Multiverse Big Band with Matthew Gonzalez, Orestes Abrantes,
Leo Traversa, Enrique Haneine, Hiram “EI Pavo” Remon, Charenee Wade,
David Dejesus, John Beaty, Peter Brainin, Jeff Lederer, Danny Rivera,
Cameron Johnson, Shareef Clayton, Max Darche, Andre Nesseley, David Miller,
Tim Sessions, Joe Beaty, Chris Washburne
êGerry Hemingway solo and with Beth Warshafsky
Roulette 8 pm $20
êAdam Kolker/Scott Wendholt Quartet with Jay Anderson, Victor Lewis
êLage Lund Trio with Orlando Le Fleming, Jochen Rueckert
• Hit and Run Experience: Sonny Apollo and Tuxedo with guest Andrea Bonaparte;
Mariano Gil Quintet with Pete Rende, RJ Miller; Marco Cappelli Acoustic Trio with
Ken Filiano, Satoshi Takeishi
• John Raymond Quartet with Gilad Hekselman, Aidan Carroll, Austin Walker
êThe Unknown Billy Strayhorn: Michael Hashim Strayhorn Band with Art Baron,
Dave Gibson, Shawn Edmonds, Freddie Hendrix, Mike LeDonne, Ed Pazant,
Scott Robinson, Tad Shull, Kenny Washington
Miller Theater 7:30 pm
êJazz Alumni Series: Jacob Garchik Trio with Jacob Sacks, Dan Weiss Manhattan School of Music Comelli Studio 7:30 pm
• David Weiss
Fat Cat 10 pm
• Adam Larson Quintet with Nils Weinhold, Fabian Almazan, Harish Raghavan,
Jimmy Macbride
• Theo Bleckmann
Neue Galerie 9 pm $110
• Jake Hertzog Band with Harvie S, Victor Jones
78 Below 8 pm
• Sharon Rae North
• Frederika Krier’s Laghima
• The QC New Ensemble: Howard Brofsky, Julien Hucq, Jan Kus, Amadis Dunkel,
Yasuno Katsuki, Antonello Parisi, Peng Ji, Enrico Solano; Emily Wolf Project;
Walter Phishbacher Acoustic Trio with guest Elisabeth Lohninger
• Ken Kobayashi
Tomi Jazz 9 pm $10
• Ray Parker Trio
• Aaron Irwin Group; Ms Blue
Silvana 6, 8 pm
• Rick Stone Trio; Lafayette Harris Trio
• Tardo Hammer Trio; Eli Degibri Quartet with Gary Versace, Omer Avital, Obed Calvaire;
Carlos Abadie Quintet with Joe Sucato, Theo Hill, Clovis Nicolas, Luca Santaniello
Smalls 6, 9:30 pm 12 am $20
êYeYi Duet: Adam Rudolph/Ralph M. Jones and guest Oliver Lake
• Jane Monheit
• Nancy Harms
Birdland 6 pm $25
• Cyrille Aimee
• Harlem Speaks: Dayna Stephens Jazz Museum in Harlem 6:30 pm
Friday, November 22
êJim Hall Trio with Scott Colley, Lewis Nash and guests John Abercrombie, Peter Bernstein; Chris Potter’s Underground Orchestra
Allen Room 7, 9:30 pm $45-75
• Music From Pakistan: Sachal Jazz Ensemble and Jazz at Lincoln Center Orchestra
Rose Hall 8 pm $30-120
êLatin Free Jazz: Angelica Sanchez/Omar Tamez; Abraham Gomez-Delgado/
Taylor Ho Bynum; Michelle Rosewoman’s New Yor-Uba
Clemente Soto Velez Cultural Center 8 pm $22
• Ralph Lalama’s Bop-Juice with David Wong, Clifford Barbaro; Billy Drummond Group
with Jaleel Shaw, Adam Birnbaum, Dezron Douglas; Jeremy Manasia Trio with
Barak Mori, Charles Ruggerio
Smalls 7:30, 10:30 pm 1 am $20
• Sheryl Bailey Trio with Harvie S, Joe Strasser
Bar Next Door 7:30, 9:30, 11:30 pm $12
• Theo Hill Trio; Fabio Morgera Fat Cat 6, 10:30 pm
êAdam Rudolph’s Moving Pictures Octet with Ralph M. Jones, Alex Marcelo,
Kenny Wessel, Shanir Ezra Blumenkranz, Brahim Fribgane, James Hurt, Matt Kilmer
and guests
êCyrus Chestnut Trio with Curtis Lundy, Victor Lewis
Smoke 7, 9, 10:30 pm $38
êJane Ira Bloom Quartet with Dominic Fallacaro, Cameron Brown, Matt Wilson
êWorld Time Zone: Michael Blake, Frank Kimbrough, Ben Allison, Rudy Royston
• Hendrik Meurkens Samba QuartetFlushing Town Hall 8 pm $15
êMr. Ho’s Orchestrotica
Drom 7:15 pm $20
• Russ Kassoff Duo
êAdam Caine Quartet with Connie Crothers, Adam Lane, Federico Ughi
The Firehouse Space 8 pm $10
• Scruffy Herberts: Kenji Herbert, Peter Herbert, Tommy Campbell, Adam Kolker,
Franz Hackl; Arthyr Blythe Tribute with Oliver Lake, T. Brooks Shepard
• Fester: Sean Ali/David Grollman Launch Pad Gallery 8 pm
• They Say Its Spring!: Ken Greves/Frank Ponzio and guest Ben Cassara;
Doug White Quintet with Pat Casey, Chris Casey, Steve Porter, Tido Holtkamp;
Negroni’s Trio
• Yaacov Mayman Organ Trio
• Michika Fukumori Trio; Kevin Dorn and the BIG 72
Jazz Standard 7:30, 9:30, 11:30 pm $30
• Renee Rosnes Quartet with Steve Wilson, Peter Washington, Bill Stewart
• Jane Monheit
• Cyrille Aimee
• Harris Eisenstadt and the Brooklyn Conservatory Community Orchestra Brooklyn Museum of Art 4 pm $20
ESP-Disk' 50th Anniversary Concert
êCharles Tolliver Quartet
êEarl McIntyre 60th Birthday Extravaganza with David Amram, Arturo O’Farrill,
Renee Manning, Buddy Williams, Onaje Allen Gumbs, Victor See Yuen, Sam Burtis,
Patience Higgins, Tommy Campbell
BAMCafé 9 pm
êAaron Diehl Trio with David Wong, Rodney Green
Miller Theater 8 pm $25-35
êChris Dingman’s The Subliminal and the Sublime with Loren Stillman, Fabian Almazan,
Ryan Ferreira, Linda Oh, Justin Brown
SubCulture 8, 10 pm $15
• Joel Forrester Trio
êMike DiRubbo
Fat Cat 10 pm
• Oscar Penas Trio with Moto Fukushima, George Mel
Bar Next Door 7:30, 9:30, 11:30 pm $12
• Mitch Frohman and The Bronx Horns
• Leila Adu solo; Aaron Siegel solo; Peter Kerlin Octet with Taylor Bergren Chrisman,
Charles Burst, Mike Pride, Jessica Pavone, Emily Manzo, Sam Sowyrda, Cesare Papetti
• Anders Nilsson solo
Barbès 7 pm $10
• Parc X Trio: Gabriel Vinuela-Pelletier, Alex Lefaivre, Alain Bourgeois
ShapeShifter Lab 9:30 pm $10
• Dong Cheol Won with Kevin Sanchez, Anthony Pocetti, Daseul Kim; Sinan Bakir Trio;
Dori Levine; Jeff Gardner Trio with Gary Wang, Anthony Pinciotti
• Kathryn Allyn
Tomi Jazz 8 pm $10
• Red Sahara Collective
Silvana 8 pm
êChris Potter’s Underground Orchestra; Jim Hall Trio with Scott Colley, Lewis Nash
and guests John Abercrombie, Peter Bernstein
Allen Room 7, 9:30 pm $45-75
• Music From Pakistan: Sachal Jazz Ensemble and Jazz at Lincoln Center Orchestra
Rose Hall 8 pm $30-120
êLatin Free Jazz: Juan Quinonez’ Prize of Freedom; Román Filiú Septet;
Francisco Mora-Catlett Sextet
Clemente Soto Velez Cultural Center 8 pm $22
• Richard Sussman Group with Scott Wendholt, Rich Perry, Mike McGuirk,
Anthony Pinciotti; Billy Drummond Group with Jaleel Shaw, Adam Birnbaum,
Dezron Douglas; Stacy Dillard, Diallo House, Ismail Lawal
Smalls 7:30, 10:30 pm 1:30 am $20
êAdam Rudolph’s Moving Pictures Octet with Ralph M. Jones, Alex Marcelo,
Kenny Wessel, Shanir Ezra Blumenkranz, Brahim Fribgane, James Hurt, Matt Kilmer
and guests
êCyrus Chestnut Trio with Curtis Lundy, Victor Lewis
Smoke 7, 9, 10:30 pm $38
êJane Ira Bloom Quartet with Dominic Fallacaro, Cameron Brown, Matt Wilson
• Russ Kassoff Duo
Jazz Standard 7:30, 9:30, 11:30 pm $30
• Jane Monheit
• Cyrille Aimee
• Rebeca Vallejo’s The Flame
• Harris Eisenstadt and the Brooklyn Conservatory Community Orchestra Brooklyn Museum of Art 3 pm $20
• Marsha Heydt and the Project of Love; Champian Fulton Quartet;
Jason Prover Sneak Thievery Orchestra
The Garage 12, 6:15, 10:45 pm
Sunday, November 24
êTrombone For Lovers:
Location: JACK, 505-1/2 Waverly Ave.
at Fulton St. in Brooklyn
(Clinton-Washington C train stop)
+
Special guests
& Jam session
Sunday November 17, 3-9 PM
5
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Manufactured in the USA by
www.espdisk.com
The artists alone decide...
584 Bergen St., Brooklyn NY 11238
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N
A 78th Birthday Concert for Roswell Rudd with John Medeski,
Steven Bernstein, Bob Dorough, Gary Lucas, Richard Hammond, Aaron Comess,
Fay Victor, Michael Doucet, Rolf Sturm, Heather Masse, Ivan Rubenstein-Gillis and the
NYC Labor Chorus with Reggie Bennet
Le Poisson Rouge 3 pm $30
êGo: Organic Orchestra Flutes: Zé Luis Oliveira, Ralph M. Jones, Kaoru Watanabe,
Michel Gentile, Sylvain Leroux; Adam Rudolph’s Moving Pictures Octet plus
Go: Organic Orchestra Flutes with Ralph M. Jones, Alex Marcelo, Kenny Wessel,
Shanir Blumenkranz, James Hurt, Matt Kilmer, Ralph M. Jones, Kaoru Watanabe,
Michel Gentile, Sylvain Leroux The Stone 8, 10 pm $15
• Antonio Barbagallo Duo; Johnny O’Neal; Ehud Asherie Trio
Smalls 7:30, 10 pm 12 am $20
• Terry Waldo’s Gotham City Band; Joe Magnarelli Quintet;
• John Stowell/Tom Dempsey
• John McQueeny’s Combat Jazz Barbès 7 pm $10
• Sofija Knezevic Quintet with guests
• Peter Leitch/Ray Drummond
Walker’s 8 pm
• Steve Ash
Measure 8 pm
• Mike Wilkens Quartet with Matt Panayides, Sam Trapchak, Christian Coleman;
Sarpay Ozcagatay Quartet with Jesse Taitt, Tyreek Jackson, Angelo Spampinato
• Alan Leatherman Six
Shrine 8 pm
• Jane Monheit
• Jeffrey Hayden Shurdut Free/Jazz Warriors with Nicolas Letman-Burtinovic, Kevin Shea
Downtown Music Gallery 6 pm
• The Highliners: Melissa Fogarty, Debra Kreisberg, Steve Newman, Adam Kahan,
Tommy Mattioli
• Melissa Stylianou Quartet Saint Peter’s 5 pm
• Jazz Kids! with Amy Cervini
55Bar 2 pm $5
• Nicole Henry
Blue Note 12:30, 2:30 pm $29.50
• Roz Corral Trio with Paul Meyers, Santi Debriano
• Iris Ornig Quartet; David Coss Quartet; Will Terrill Trio
Fri, Nov 1
Sat, Nov 2
EXPANSIONS: DAVE LIEBMAN GROUP 9PM & 10:30PM
Matt Vashlishan, Bobby Avey, Tony Marino, Alex Ritz
Sun, Nov 3
YOUNGJOO SONG TRIO 8:30PM
Vicente Archer, Kendrick Scott
Mon, Nov 4
AMRAM & CO 8:30PM
David Amram, Kevin Twigg, Rene Hart, Adam Amram
Tue, Nov 5
BENJAMIN SCHEUER 8:30PM
NATALIA ZUKERMAN 10PM
Wed, Nov 6
Thu, Nov 7
KRISTIN SLIPP & DOV MANSKI DUO 8:30PM
Fri, Nov 8
Sat, Nov 9
TONY MALABY, PALOMA RECIO 9PM & 10:30PM
Ben Monder, Eivind Opsvik, Billy Mintz, Dan Weiss
SKETCHES, VOLUME ONE CD RELEASE 8:30PM
Matt Holman, Jeremy Udden, Jarrett Cherner,
Martin Nevin, Ziv Ravitz
Sun, Nov 10 MOSTLY OTHER PEOPLE DO THE KILLING 8:30PM
Peter Evans, Jon Irabagon, Moppa Elliott, Kevin Shea
Tue, Nov 12
VOICE BOX: NANCY HARMS 8:30PM
VOICE BOX: AKIKO PAVOLKA
& HOUSE OF ILLUSION 10PM
Loren Stillman, Nate Radley, Matt Pavolka, Bill Campbell
Sara Serpa, Host
Wed, Nov 13
THE KEVIN HARRIS PROJECT PRESENTS 6PM
Richie Barshay
JEFF DAVIS GLASS HAT 8:30PM
Jon Irabagon, Jon Goldberger, Eivind Opsvik
Thu, Nov 14
CAMILA MEZA/FABIAN ALMAZAN DUO 8:30PM
Fri, Nov 15
REVERSE BLUE 9PM & 10:30PM
Mary Halvorson, Chris Speed, Eivind Opsvik, Tomas Fujiwara
Sat, Nov 16
TOMAS FUJIWARA & THE HOOK UP 9PM & 10:30PM
Michael Formanek, Mary Halvorson,
Brian Settles, Jonathan Finlayson
Sun, Nov 17 NEW BRAZILIAN PERSPECTIVES:
CLARICE ASSAD 8:30PM
Joao Luiz Rezende; Billy Newman, Host
Tue, Nov 19
CONTAGIOUS SOUNDS:
MATT EVANS/ANNE LANZILOTTI 8:30PM
BATTLE TRANCE 10PM
Travis Laplante, Matt Nelson, Patrick Breiner, Jeremy Viner Vicky Chow, Host
Wed, Nov 20 IDEAL BREAD 8:30PM
Josh Sinton, Kirk Knuffke, Adam Hopkins, Tomas Fujiwara
Thu, Nov 21
SCOTT WENDHOLT/ADAM KOLKER QUARTET 8:30PM
Jay Anderson, Victor Lewis
Fri, Nov 22
WORLD TIME ZONE 9PM & 10:30PM
Michael Blake, Frank Kimbrough, Ben Allison, Rudy Royston
Tue, Nov 26
VOXIFY: NICKY SCHRIRE 8:30PM
Desmond White, Nir Felder, Ross Pederson
VOXIFY: MIKA HARY 10PM
Nir Felder, Sam Minnai, Jordan Perlson
Nicky Schrire, Host
Wed, Nov 27 DAN RUFOLO TRIO 8:30PM
Marty Kenney, Billy Drummond
Fri, Nov 29
HUSH POINT 9PM & 10:30PM
John McNeil, Jeremy Udden, Aryeh Kobrinsky, Vinnie Sperrazza
Sat, Nov 30
KRIS DAVIS EXPERIMENTAL QUARTET 9PM & 10:30PM
Sam Newsome, William Parker, Ches Smith
43
Monday, November 25
• Life Without Lupus Gala 2013 with Wynton Marsalis
American Museum of Natural History 6:30 pm $1,200
êFred Hersch/Julian Lage
• The Amigos Band Hosts David Amram with Justin Poindexter, Sam Reider,
Eddie Barbash, Noah Garabedian, Will Clark Dizzy’s Club 7:30, 9:30 pm $30
• Dave Kikoski Quartet with Seamus Blake, Matt Clohesy, Ari Hoenig; Spencer Murphy
Smalls 10 pm 12:30 am $20
êMingus Big Band
êDavid Chamberlain’s Band of Bones
Zinc Bar 9 pm
• Marta Sanchez Quintet with Román Filiú, Jerome Sabbagh, Sam Anning;
Conversations in Analog: James “Biscuit” Rouse, Reggie Young, Akie Bremiss,
David Deej DiGiantomasso, John Cave
ShapeShifter Lab 8:15, 9:30 pm $10
• Ken Filiano/Anders Nilsson
• Melissa Stylianou Trio with Orlando Le Fleming, Mark Ferber
• Jaron Eames/Emme Kemp
• Greg Chen Measure 8 pm
• Carlos Cuevas Trio
Somethin’ Jazz Club 9 pm $10
• Roman Rafalski
Tomi Jazz 8 pm $10
• New York Youth Symphony Jazz Band; Tomas Janzon Trio
• Tom Wilson Trio
Silvana 6 pm
• Dave Holland’s Prism with Kevin Eubanks, Craig Taborn, Eric Harland
êJason Moran and The Bandwagon with Tarus Mateen, Nasheet Waits
• Maria Schneider Orchestra with Tony Kadleck, Greg Gisbert, Garrett Schmidt,
Mike Rodriguez, Steve Wilson, Dave Pietro, Rich Perry, Donny McCaslin,
Scott Robinson, Keith O’Quinn, Ryan Keberle, Marshall Gilkes, George Flynn,
Gary Versace, Lage Lund, Frank Kimbrough, Jay Anderson, Clarence Penn
êThe Brooklyn Jazz Underground Meets the Queens Jazz OverGround: Tammy Scheffer,
Adam Kolker, David Smith, Carlo De Rosa, Owen Howard, Rob Garcia, David Cook;
Josh Deutsch, Jon lrabagon, J. Walter Hawkes, Amanda Monaco, Mark Wade,
Brian Woodruff
• Richard Johnson
• Mike Longo Funk Band
êCooper-Moore/Pascal Niggenkemper Duo; William Parker/Patricia Nicholson
JACK 8 pm $10
êGowanus Co.: Kyoko Kitamura, Han-Earl Park, Josh Sinton, Ingrid Laubrock, Fay Victor
Douglass Street Music Collective 7 pm $10
• POVO NOVO: Eyal Maoz, Shanir Ezra Blumenkranz, Cyro Baptista
• Steve Tyrell
Café Carlyle 8:45 pm $55-100
• Heavy Merge: Jeff Davis, Jason Rigby, Russ Lossing; Chris Speed, Kris Davis,
Chris Tordini, Devin Gray
Korzo 9, 10:30 pm
• VOXIFY: Nicky Schrire with with Desmond White, Nir Felder, Ross Pederson;
Mika Harry with Nir Felder, Sam Minaie, Jordan Perlson
• Saul Rubin; Itai Kriss and the Salsa All-Stars; Greg Glassman Jam
• Denis Beuret with Elliott Levin, Max Johnson, Marc Edwards
• On The Way Out: Aaron Dugan solo; Gospel of Mars
The Backroom 8:30, 9:30 pm $10
• Peter Anderson Trio with Will Anderson, Alex Wintz
• Whirling Dervish: Simon Yu, Evan Marien, Iakov Kremenskiy, Tobias Ralph
• Surface to Air Trio: Jonti Siman, Rohin Khemani, Jonathan Goldberger
Barbès 7 pm $10
• Lorin Sklamberg
Jazz at Kitano 8 pm
• Yongseok Lee Group with Dan Glaude, Myungwon Kim, Inyoung Kim, SeongKu Lee;
Ark Ovrutski Quartet
• Claire Duncan; Tierney Ryan
• Nue Jazz Project
Silvana 8 pm
• Jordan Young Trio; Nobuki Takamen Trio
• Spike Wilner Trio with Paul Gill; Dave Kikoski Quartet with Seamus Blake, Matt Clohesy,
Ari Hoenig; Kyle Poole and Friends
Smalls 7:30, 10 pm 12:30 am $20
• Ray Marchika Quartet with Chase Baird, Rodney Jones, Mike LeDonne
Smoke 7, 9, 10:30 pm
• Jann Parker Quartet with James Weidman, Marcus McLaurine
êMichael Blake’s Passion Compassion with Nir Felder, Marcus Rojas, Ben Perowsky
Barbès 8 pm $10
• Ben van Gelder Group with Mark Turner, Sam Harris, Ben Street, Nasheet Waits;
Gilad Edelman with Joe Magnarelli, Tardo Hammer, Clovis Nicolas, Charles Goold
• Juilliard Jazz Ensemble
• Richard Johnson
• Dan Rufolo Trio with Marty Kenney, Billy Drummond
• Felix Del Tredici/Kathryn Schulmeister
• Tim Chernikoff Group
• Roger Davidson
• Andre Vasconcelos Trio; Joel Perry Trio
• POVO NOVO: Eyal Maoz, Shanir Ezra Blumenkranz, Cyro Baptista
• Steve Tyrell
Measure 8 pm
Saint Peter’s 1 pm $10
• Greg Chen êDick Hyman solo
• Gato Barbieri Birthday CelebrationBlue Note 8, 10:30 pm $45
êWycliffe Gordon and Friends - The Music of Duke, Dizzy, and the Dorseys
Dizzy’s Club 7 pm $110
• Richard Johnson
• Greg Skaff Trio with Pat Bianchi, Carmen Intorre
• Emmet Cohen Trio with Russell Hall, Evan Sherman
Smalls 12 am $20
• Piotr Pawlak UStet with Benny Benack III, Jure Pukl, Tamir Shmerling
• Steve Tyrell
• Larry Newcomb Quartet; Champian Fulton Quartet; Justin Lees Trio
The Garage 1, 6, 10:30 pm
Friday, November 29
êRufus Reid and The Out Front Trio with Steve Allee, Duduka Da Fonseca
êThe Music of JJ Johnson: Steve Davis Sextet with Eddie Henderson, Eric Alexander,
Harold Mabern, John Webber, Joe Farnsworth
Smoke 7, 9, 10:30 pm $38
• Hush Point: John McNeil, Jeremy Udden, Aryeh Kobrinsky, Vinnie Sperrazza
• Alan Ferber’s Extended EnsembleThe Jazz Gallery 9, 11 pm $20
êPete Malinverni Trio with Ugonna Okegwo, Steve Williams; Jay Collins and
The Kings County Band with Scott Sharrard, George Lax, Jeff Hanley, Diego Voglino;
Anthony Wonsey Trio with Dimitri Kolesnik, Brandon Lewis
Smalls 7:30, 10:30 pm 1 am $20
• Mozayik; Buyu Ambroise and The Blues In Red Band
ShapeShifter Lab 8 pm $15
• Abraxas plays Masada: Aram Bajakian, Eyal Maoz, Shanir Ezra Blumenkranz,
Kenny Grohowski
• Jack Wilkins Trio with Andy McKee, Mike Clark
Bar Next Door 7:30, 9:30, 11:30 pm $12
• Paul Carlon’s La Rumba is a Lovesome Thing with Christelle Durandy, Ben Lapidus
Drom 9:30 pm $15
• Carol Sudhalter Quartet
Shell’s Bistro 7:30, 9:30 pm $15
• Monika Brand and Jacob Melchior Trio; Somethin’ Vocal with Matt Baker Trio;
Sean Clapis Band with Nick Roseboro, Tim Norton, Jay Sawyer
• Yukari Watanabe
Tomi Jazz 9 pm $10
• Ken Simon Quartet
• Alex Hoffman Quartet; Dre Barnes Project
• Richard Johnson
Jazz Standard 7:30, 9:30, 11:30 pm $35
• Steve Tyrell
Café Carlyle 8:45, 10:45 pm $75-135
• Kendra Shank, John Stowell, Rogério Boccato
55Bar 6 pm
• Yuki Shibata
Silvana 6 pm
êWayne Escoffery Quartet
Fat Cat 10 pm
êKris Davis Experimental Quartet with Sam Newsome, William Parker, Ches Smith
• Ben Monder Trio with Hans Glawischnig, Jeff Hirschfield
Bar Next Door 7:30, 9:30, 11:30 pm $12
• Sergio Salvatore/Christos Rafalides Duo
• John Zorn’s Metempsychomagia with Aram Bajakian, Eyal Maoz, Shanir Blumenkranz,
Kenny Grohowski The Stone 8, 10 pm $15
• Jeff Pearring with Adam Caine, Ken Filiano, Todd Capp
• Sunny Yang Group; Outerplay: Gabe Valle, Matt Tischio, Dave Zaks, Connor Koch,
Joe Spinelli; Billy White Group Somethin’ Jazz Club 5, 7, 9 pm $10-12
• Erika Matsuo
• Aki Yamamoto Trio
• Alex Layne Trio; Joe Pino Quartet; Akiko Tsuruga Trio
The Garage 12, 6:15, 10:45 pm
êThe Music of JJ Johnson: Steve Davis Sextet with Eddie Henderson, Eric Alexander,
Harold Mabern, John Webber, Joe Farnsworth
Smoke 7, 9, 10:30 pm $38
• Alan Ferber’s Extended EnsembleThe Jazz Gallery 9, 11 pm $20
• Tom Dempsey/Tim Ferguson Quartet with Joel Frahm, Eliot Zigmund; Jay Collins and
The Kings County Band with Scott Sharrard, George Lax, Jeff Hanley, Diego Voglino;
Ian Hendrickson-Smith with Marcus Parsley, Steve Einerson, Hans Glawischnig,
Chris Beck
Smalls 7:30, 10:30 pm 1:30 am $20
• Richard Johnson
Jazz Standard 7:30, 9:30, 11:30 pm $35
• Steve Tyrell
Café Carlyle 8:45, 10:45 pm $75-135
R E G U L A R
E N G A G E M E N T S
MONDAYS
• Ray Abrams Big Band
Swing 46 8:30 pm
• Ron Affif Trio
Zinc Bar 9, 11pm, 12:30, 2 am
• Woody Allen/Eddy Davis New Orleans Jazz Band Café Carlyle 8:45 pm $145
• Big Band Night; John Farnsworth Quintet Smoke 7, 9, 10:30 pm
• Michael Brecker Tribute with Dan Barman The Counting Room 8 pm
• Sedric Choukroun and The Brasilieros Chez Lola 7:30 pm
• Pete Davenport/Ed Schuller Jam Session Frank’s Cocktail Lounge 9 pm
• Emerging Artists Series Bar Next Door 6:30 pm (ALSO TUE-THU)
• Joel Forrester solo
Brandy Library 8 pm
• George Gee Swing Orchestra Gospel Uptown 8 pm
• Vince Giordano’s Nighthawks Iguana 8 pm (ALSO TUE)
• Grove Street Stompers Arthur’s Tavern 7 pm
• Jam Session with Jim Pryor Cleopatra’s Needle 8 pm
• Minton’s House Band
Minton’s Playhouse 5, 7:15, 9:30 pm (THRU SAT)
• Ian Rapien’s Spectral Awakenings Jazz Groove Session Ave D 9 pm
• Stan Rubin All-Stars
Charley O’s 8:30 pm
• Vanguard Jazz Orchestra Village Vanguard 9, 11 pm $30
• Diego Voglino Jam Session The Village Lantern 9:30 pm
• Jordan Young Group
Bflat 8 pm (ALSO WED 8:30 pm)
TUESDAYS
• Daisuke Abe Trio
Sprig 6 pm (ALSO WED-THU)
• Rick Bogart Trio with Louisa Poster L’ybane 9 pm (ALSO FRI)
• Orrin Evans Evolution Series Jam Session Zinc Bar 11 pm
• Irving Fields
Nino’s Tuscany 7 pm (ALSO WED-SUN)
• George Gee Swing Orchestra Swing 46 8:30 pm $12
• Loston Harris
Café Carlyle 9:30 pm $20 (ALSO WED-SAT)
• Art Hirahara Trio
Arturo’s 8 pm
• Yuichi Hirakawa Trio
Arthur’s Tavern 7, 8:30 pm
• Sandy Jordan and Larry Luger Trio Notaro 8 pm
• Mike LeDonne Quartet; Milton Suggs Quartet Smoke 7, 9, 10:30, 11:30 pm
• Ilya Lushtak Quartet
Shell’s Bistro 7:30 pm
• Mona’s Hot Four Jam Session Mona’s 11 pm
• Russ Nolan Jazz Organ Trio Cassa Hotel and Residences 6 pm
• Annie Ross
The Metropolitan Room 9:30 pm $25
• Slavic Soul Party
Barbès 9 pm $10
• Diego Voglino Jam Session The Fifth Estate 10 pm
WEDNESDAYS
• Astoria Jazz Composers Workshop Waltz-Astoria 6 pm
• Sedric Choukroun and the Eccentrics Chez Oskar 7 pm
• Walter Fischbacher Trio Water Street Restaurant 8 pm
• Jeanne Gies with Howard Alden and Friends Joe G’s 6:30 pm
• Les Kurtz Trio; Joonsam Lee Trio Cleopatra’s Needle 7, 11:30 pm
• Jonathan Kreisberg Trio Bar Next Door 8:30, 10:30 pm $12
• Guillaume Laurent Trio Bar Tabac 7 pm
• Jake K. Leckie Trio
Kif Bistro 8 pm
• Jed Levy and Friends
Vino di Vino Wine Bar 7:30 pm (ALSO FRI)
• Greg Lewis Organ Monk with Reggie Woods Sapphire NYC 8 pm
• Ron McClure solo piano McDonald’s 12 pm (ALSO SAT)
• Jacob Melchior
Philip Marie 7 pm (ALSO SUN 12 PM)
• Alex Obert’s Hollow BonesVia Della Pace 10 pm
• David Ostwald’s Louis Armstrong Centennial Band Birdland 5:30 pm $20
• Saul Rubin Vocalist SeriesZeb’s 8 pm $10
• Stan Rubin Orchestra
Swing 46 8:30 pm
• Alex Terrier Trio
Antibes Bistro 7:30 pm
• Brianna Thomas Quartet Smoke 11:30 pm
• Charles Tolliver Group
The Cell 8, 10 pm
• Bill Wurtzel/Mike Gari
American Folk Art Museum Lincoln Square 2 pm
THURSDAYS
• Michael Blake Bizarre Jazz and Blues Band Bizarre 9 pm
• Jason Campbell Trio
Perk’s 8 pm
• Sedric Choukroun
Brasserie Jullien 7:30 pm (ALSO FRI, SAT)
• Eric DiVito
The Flatiron Room 8 pm
• Gregory Generet Smoke 7, 9, 10:30 pm
• Craig Harris and the Harlem Night Songs Big Band MIST 9, 10:30 pm $15
• Jazz Jam Session
American Legion Post 7:30 pm
• Lapis Luna Quintet
The Plaza Hotel Rose Club 9 pm
• Curtis Lundy Jam SessionShell’s Bistro 9 pm
• Metro Room Jazz Jam with guests Metropolitan Room 11 pm $10
• Eri Yamamoto Trio
Arthur’s Tavern 7 pm (ALSO FRI-SAT)
FRIDAYS
• Scot Albertson
Parnell’s 8 pm (ALSO SAT)
• The Crooked Trio: Oscar Noriega, Brian Drye, Ari Folman-Cohen Barbès 5 pm
• Day One Trio Prime and Beyond Restaurant 9 pm (ALSO SAT)
• Lisa DeSpain solo
Machiavelli’s 8 pm
• Charles Downs’ CentipedeThe Complete Music Studio 7 pm
• Gerry Eastman’s Quartet Williamsburg Music Center 10 pm
• Finkel/Kasuga/Tanaka/Solow San Martin Restaurant 12 pm $10
• Patience Higgins & The Sugar Hill Quartet Smoke 11:45 pm
• Tommy Igoe Birdland Big Band Birdland 5:15 pm $25
• Sandy Jordan and FriendsABC Chinese Restaurant 8 pm
• Kengo Nakamura Trio
Club A Steakhouse 11 pm
• Brian Newman Quartet
Duane Park 10:30 pm
• Frank Owens Open Mic Zeb’s 6:30 pm $10
• Albert Rivera Organ Trio B Smith’s 8:30 pm (ALSO SAT)
• Richard Russo Quartet Capital Grille 6:30 pm
• Brandon Sanders Trio
Londel’s 8, 9, 10 pm (ALSO SAT)
• Bill Saxton and the Harlem Bebop Band Bill’s Place 9, 11 pm $15 (ALSO SAT)
• UOTS Jam Session
University of the Streets 11:30 pm $5 (ALSO SAT)
SATURDAYS
• Avalon Jazz Quartet
Matisse 8 pm
• Candy Shop Boys
Duane Park 8, 10:30 pm
• Barbara Carroll/Jay Leonhart Birdland 6 pm $35
• Jesse Elder/Greg RuggieroRothmann’s 6 pm
• Guillaume Laurent/Luke Franco Casaville 1 pm
• Curtis Lundy Trio with guests Shell’s Bistro 9 pm
• Johnny O’Neal Smoke 11:45 pm
• Skye Jazz Trio
Jack 8:30 pm
• Michelle Walker/Nick Russo Anyway Café 9 pm
• Bill Wurtzel Duo
Henry’s 12 pm
SUNDAYS
• Arturo O’Farrill Afro Latin Jazz Orchestra Birdland 9, 11 pm $30
• Avalon Jazz Quartet
The Lambs Club 11 am
• Birdland Jazz Party with Cyrille Aimée Birdland 6 pm $25
• Isaac Darch Group
Basik Bar 7 pm
• Marc Devine Trio
TGIFriday’s 6 pm
• Ear Regulars with Jon-Erik Kellso The Ear Inn 8 pm
• Marjorie Eliot/Rudell Drears/Sedric Choukroun Parlor Entertainment 4 pm
• Sean Fitzpatrick and Friends Ra Café 1 pm
• Ken Foley/Nick Hempton Quintet Smithfield 8:30 pm
• Joel Forrester solo
Grace Gospel Church 11 am
• Nancy Goudinaki’s Trio Kellari Taverna 12 pm
• Enrico Granafei solo
Sora Lella 7 pm
• Broc Hempel/Sam Trapchak/Christian Coleman Trio Dominie’s Astoria 9 pm
• Annette St. John; Roxy Coss Smoke 11:30 am 11:30 pm
• Bob Kindred Group; Junior Mance Trio Café Loup 12:30, 6:30 pm
• Ras Chemash Lamed Vocal Jam Session University of the Streets 6:45 pm $10
• Peter Leitch Duo
Walker’s 8 pm
• Alexander McCabe Trio CJ Cullens Tavern 5 pm
• Peter Mazza Trio
Bar Next Door 8, 10 pm $12
• Lu Reid Jam Session
Shrine 4 pm
• Sara Serpa/André Matos Pão Restaurant 2 pm
• Gabrielle Stravelli Trio
The Village Trattoria 12:30 pm
• Milton Suggs
Cávo 7 pm
• Jazz Jam hosted by Michael Vitali Comix Lounge 8 pm
• Brian Woodruff Jam
Blackbird’s 9 pm
CLUB DIRECTORY
• 2nd Floor at Clinton 67 Clinton Street
(212-529-6900) Subway: F to Second Avenue www.2ndflooronclinton.com
• 54 Below 254 West 54th Street
(646-476-3551) Subway: N, Q, R to 57th Street; B, D, E to Seventh Avenue
www.54below.com
• 78 Below 380 Columbus Avenue
(212-724-7800) Subway: B, C to 81st Street www.78below.com
• 55Bar 55 Christopher Street (212-929-9883)
Subway: 1 to Christopher Street www.55bar.com
• 61 Local 61 Bergen Street
(347-763-6624) Subway: F, G to Bergen Street www.61local.com
• ABC Chinese Restaurant 34 Pell Street
(212-346-9890) Subway: J to Chambers Street
• ABC No-Rio 156 Rivington Street (212-254-3697)
Subway: J,M,Z to Delancey Street www.abcnorio.org
• Abyssinian Baptist Church 132 Odell Clark Place/W. 138th Street
(212-862-5959) Subway: 2, 3 to 135th Street www.abyssinian.org
• Allen Room Broadway at 60th Street, 5th floor (212-258-9800)
Subway: 1, 2, 3, 9, A, C, E, B, D, F to Columbus Circle www.jalc.org
• Alwan for the Arts 16 Beaver Street, 4th floor
(646-732-3261) Subway: 4, 5 to Bowling Green www.alwanforthearts.org
• American Folk Art Museum 45 W 53rd Street (212-265-1040)
Subway: E to 53rd Street www.folkartmuseum.org
• American Legion Post 248 West 132nd Street
(212-283-9701) Subway: 2, 3 to 135th Street www.legion.org
• American Museum of Natural History Central Park West at 79th Street
(212-769-5100) Subway: B, C, to 81st Street www.amnh.org
• An Beal Bocht Café 445 W. 238th Street
Subway: 1 to 238th Street www.LindasJazzNights.com
• Ange Noir Café 247 Varet Street
(347-294-4759) Subway: L to Morgan Avenue
• Antibes Bistro 112 Suffolk Street (212-533-6088)
Subway: J, Z to Essex Street www.antibesbistro.com
• Anyway Café 34 E. 2nd Street (212-533-3412)
Subway: F to Second Avenue
• Apollo Theater & Music Café 253 W. 125th Street
(212-531-5305) Subway: A, B, C, D, 2, 3 to 125th Street
www.apollotheater.org
• Arthur’s Tavern 57 Grove Street (212-675-6879)
Subway: 1 to Christopher Street www.arthurstavernnyc.com
• Arturo’s 106 W. Houston Street (at Thompson Street)
(212-677-3820) Subway: A, B, C, D, E, F, M to W. 4th Street
• Asia Society 725 Park Avenue
(212-288-6400) Subway: 6 to 68th Street www.asiasociety.org
• Ave D 673 Flatbush Avenue Subway: B, Q to Parkside Avenue
• BAMCafé 30 Lafayette Ave at Ashland Place
(718-636-4139) Subway: M, N, R, W to Pacific Street;
Q, 1, 2, 4, 5 to Atlantic Avenue www.bam.org
• BB King’s Blues Bar 237 W. 42nd Street (212-997-2144)
Subway: 1, 2, 3, 7 to 42nd Street/Times Square www.bbkingblues.com
• Bflat 277 Church Street (between Franklin and White Streets)
Subway: 1, 2 to Franklin Streets
• The Backroom 627 5th Avenue (718-768-0131)
Subway: D, N, R to Prospect Avenue www.freddysbar.com
• Bar Chord 1008 Cortelyou Road
(347-240-6033) Subway: Q to Cortelyou Road www.barchordnyc.com
• Bar Next Door 129 MacDougal Street (212-529-5945)
Subway: A, B, C, D, E, F, M to W. 4th Street www.lalanternacaffe.com
• Barbès 376 9th Street at 6th Avenue, Brooklyn (718-965-9177)
Subway: F to 7th Avenue www.barbesbrooklyn.com
• Bedford Stuyvesant Restoration Corporation 1360 Fulton Street
Subway: A to Nostrand Avenue
• Bill’s Place 148 W. 133rd Street (between Lenox and 7th Avenues)
(212-281-0777) Subway: 2, 3 to 125th Street
• Birdland 315 W. 44th Street (212-581-3080)
Subway: A, C, E, to 42nd Street www.birdlandjazz.com
• Bizarre 12 Jefferson Street Subway: J, M, Z to Myrtle Avenue
www.facebook.com/bizarrebushwick
• Blackbird’s 41-19 30th Avenue (718-943-6898)
Subway: R to Steinway Street www.blackbirdsbar.com
• Blue Note 131 W. 3rd Street at 6th Avenue (212-475-8592)
Subway: A, B, C, D, E, F, M to W. 4th Street www.bluenotejazz.com
• Brandy Library 25 N. Moore Street
(212-226-5545) Subway: 1 to Franklin Street
• Brooklyn Bowl 61 Wythe Avenue
(718-963-3369) Subway: L to Bedford Avenue www.brooklynbowl.com
• Brooklyn Conservatory of Music 58 Seventh Avenue
Subway: F to Seventh Avenue, N, R to Union Street www.bqcm.org
• Brooklyn Museum of Art 200 Eastern Parkway (718-638-5000)
Subway: 2, 3 to Eastern Parkway www.brooklynmuseum.org
• Brooklyn Public Library Central Branch
Subway: 2, 3 to Grand Army Plaza; Q to 7th Avenue
• CJ Cullens Tavern 4340 White Plains Road, Bronx
Subway: 2 to Nereid Avenue/238th Street
• Café Carlyle 35 E. 76th Street (212-744-1600)
Subway: 6 to 77th Street www.thecarlyle.com
• Café Loup 105 W. 13th Street between Sixth and Seventh Avenues
(212-255-4746) Subway: F to 14th Street www.cafeloupnyc.com
• Caffe Vivaldi 32 Jones Street between Bleecker and W. 4th Streets
Subway: A, B, C, D, E, F, Q, V to W. 4th Street-Washington Square
www.caffevivaldi.com
• Capital Grille 120 Broadway
(212-374-1811) Subway: 2, 3, 4, 5 to Wall Street www.thecapitalgrille.com
• Casaville 633 Second Avenue
(212-685-8558) Subway: 6 to 33rd Street www.casavillenyc.com
• Cassa Hotel and Residences 70 W. 45th Street, 10th Floor Terrace
(212-302-87000 Subway: B, D, F, 7 to Fifth Avenue www.cassahotelny.com
• Cávo 42-18 31st Avenue, Astoria
(718-721-1001) Subway: M, R, to Steinway Street www.cavoastoria.com
• The Cell 338 West 23rd Street
(646-861-2253) Subway: C, E to 23rd Street www.thecelltheatre.org
• Charley O’s 1611 Broadway at 49th Street
(212-246-1960) Subway: N, R, W to 49th Street
• Chez Lola 387 Myrtle Avenue, Brooklyn
(718-858-1484) Subway: C to Clinton-Washington Avenues
www.bistrolola.com
• Chez Oskar 211 Dekalb Ave, Brooklyn (718-852-6250)
Subway: C to Lafayette Avenue www.chezoskar.com
• Church of the Intercession 550 W. 155th Street
(212-283-6200) Subway: 1 to 157th Street www.intercessionnyc.org
• City Center 130 W 56th Street
(212-581-1212) Subway: F, N, Q, R to 57th Street www.nycitycenter.org
• Clemente Soto Velez Cultural Center 107 Suffolk Street
Subway: F, J, M, Z to Delancey Street www.csvcenter.com
• Cleopatra’s Needle 2485 Broadway (212-769-6969)
Subway: 1, 2, 3 to 96th Street www.cleopatrasneedleny.com
• Club A Steakhouse 240 E. 58th Street (212-618-4190)
Subway: 4, 5, 6 to 59th Street www.clubasteak.com
• Comix Lounge 353 W. 14th Street Subway: L to 8th Avenue
• Community Church of New York 40 E. 35th Street
(212-594-7149) Subway: 6 to 33rd Street
• The Complete Music Studio 227 Saint Marks Avenue, Brooklyn
(718-857-3175) Subway: B, Q to Seventh Avenue www.completemusic.com
• Cornelia Street Café 29 Cornelia Street
www.corneliastreetcafé.com
• The Counting Room 44 Berry Street (718-599-1860)
Subway: L to Bedford Avenue www.thecountingroombk.com
• The Cutting Room 44 E. 32nd Street
(212-691-1900) Subway: 6 to 33rd Street www.thecuttingroomnyc.com
• Dizzy’s Club Broadway at 60th Street, 5th Floor (212-258-9800)
Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.jalc.org
• Dominie’s Astoria 34-07 30th Avenue Subway: N, Q to 30th Avenue
• Douglass Street Music Collective 295 Douglass Street
Subway: R to Union Street www.295douglass.org
• Downtown Music Gallery 13 Monroe Street
(212-473-0043) Subway: F to East Broadway
www.downtownmusicgallery.com
• The Drawing Room 56 Willoughby Street #3
Subway: A, F, C to Jay Street/Metrotech www.drawingroommusic.com
• Drom 85 Avenue A (212-777-1157)
Subway: F to Second Avenue www.dromnyc.com
• Duane Park 157 Duane Street (212-732-5555)
Subway: 1, 2, 3 to Chambers Street www.duaneparknyc.com
• The Ear Inn 326 Spring Street at Greenwich Street (212-246-5074)
Subway: C, E to Spring Street www.earinn.com
• Eats Restaurant 1055 Lexington Avenue
(212-396-3287) Subway: 6 to 77th Street www.eatsonlex.com
• Fat Cat 75 Christopher Street at 7th Avenue (212-675-6056)
Subway: 1 to Christopher Street/Sheridan Square www.fatcatmusic.org
• The Fifth Estate 506 5th Avenue, Brooklyn
(718-840-0089) Subway: F to 4th Avenue www.fifthestatebar.com
• The Firehouse Space 246 Frost Street
Subway: L to Graham Avenue www.thefirehousespace.org
• The Flatiron Room 37 West 26th Street
(212-725-3860) Subway: N, R to 28th Street www.theflatironroom.com
• Flushing Town Hall 137-35 Northern Boulevard, Flushing
(718-463-7700) Subway: 7 to Main Street www.flushingtownhall.org
• Frank’s Cocktail Lounge 660 Fulton St. at Lafayette, Brooklyn
(718-625-9339) Subway: G to Fulton Street
• The Garage 99 Seventh Avenue South (212-645-0600)
Subway: 1 to Christopher Street www.garagerest.com
• Ginny’s Supper Club at Red Rooster Harlem 310 Malcolm X Boulevard
(212-792-9001) Subway: 2, 3 to 125th Street www.ginnyssupperclub.com
• Goodbye Blue Monday 1087 Broadway, Brooklyn
(718-453-6343) Subway: J, M train to Myrtle Avenue
www.goodbye-blue-monday.com
• Gospel Uptown 2110 Adam Clayton Powell Junior Boulevard
(212-280-2110) Subway: A, B, C, D to 125th Street www.gospeluptown.com
• Grace Gospel Church 589 E. 164th Street
(718-328-0166) Subway: 2, 5 to Prospect Avenue
• Greenwich House Music School 46 Barrow Street
(212-242-4770) Subway: 1 to Christopher Street www.greenwichhouse.org
• Guggenheim Museum 1071 Fifth Avenue at 89th Street
(212-423-3500) Subway: 4, 5, 6 to 86th Street www.guggenheim.org
• Henry’s 2745 Broadway (212-866-060) 1 to 103rd Street
• Hostos Center 450 Grand Concourse
(718-518-6700) Subway: 2, 4, 5 to 149th Street www.hostos.cuny.edu
• Ibeam Brooklyn 168 7th Street between Second and Third Avenues
Subway: F to 4th Avenue www.ibeambrooklyn.com
• Iguana 240 West 54th Street
(212-765-5454) Subway: B, D, E, N, Q, R to Seventh Avenue
www.iguananyc.com
• Inkwell Café 408 Rogers Avenue between Lefferts and Sterling
Subway: 5 to Sterling Street www.plgarts.org
• Iridium 1650 Broadway at 51st Street (212-582-2121)
Subway: 1,2 to 50th Street www.theiridium.com
• Issue Project Room 22 Boerum Place (718-330-0313)
Subway: 2, 3, 4, 5 to Borough Hall www.issueprojectroom.org
• Jack 80 University Place Subway: 4, 5, 6, N, R to 14th Street
• JACK 505 Waverly Avenue
(718-388-2251) Subway: C to Clinton-Washington Avenue www.jackny.org
• Jazz 966 966 Fulton Street
(718-638-6910) Subway: C to Clinton Street www.jazz966.com
• Jazz at Kitano 66 Park Avenue at 38th Street (212-885-7000)
Subway: 4, 5, 6 to Grand Central www.kitano.com
• The Jazz Gallery 1160 Broadway, 5th floor (212-242-1063)
Subway: N, R to 28th Street www.jazzgallery.org
• Jazz Museum in Harlem 104 E.126th Street (212-348-8300)
Subway: 6 to 125th Street www.jazzmuseuminharlem.org
• Jazz Standard 116 E. 27th between Park and Lexington Avenue
(212-576-2232) Subway: 6 to 28th Street www.jazzstandard.net
• Joe G’s 244 W. 56th Street (212-765-3160)
Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle
• Joe’s Pub 425 Lafayette Street (212-539-8770)
Subway: N, R to 8th Street-NYU; 6 to Astor Place www.joespub.com
• Kellari Taverna 19 W. 44th Street (212-221-0144)
Subway: B, D, F, M, 7 to 42nd Street-Bryant Park www.kellari.us
• Klavierhaus 211 West 58th Street (212-245-4535)
Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.klavierhaus.com
• Knickerbocker Bar and Grill 33 University Place at 9th Street
(212-228-8490) Subway: N, R to 8th Street-NYU
www.knickerbockerbarandgrill.com
• Korzo 667 5th Avenue, Brooklyn (718-285-9425)
Subway: R to Prospect Avenue www.korzorestaurant.com
• Kosciuszko Foundation 15 East 65th Street
(212-239-9190) Subway: 6 to 68th Street
• The Lambs Club 132 W. 44th Street
212-997-5262 Subway: A, C, E, to 42nd Street www.thelambsclub.com
• Langston Hughes Public Library 100-01 Northern Boulevard, Queens
Subway: 7 to 103rd Street
• Launch Pad Gallery 721 Franklin Avenue, Brooklyn
(718-928-7112) Subway: S to Park Place www.brooklynlaunchpad.org
• Le Poisson Rouge 158 Bleecker Street
(212-228-4854) Subway: A, B, C, D, E, F, V to W. 4th Street
www.lepoissonrouge.com
• Littlefield 622 Degraw Street
(718-855-3388) Subway: M, R to Union Street www.littlefieldnyc.com
• The Loft of Thomas Rochon 100 Grand Street, 6th Floor
Subway: 6, A, C, E, N, Q, R to Canal Street
• Londel’s 2620 Frederick Douglas Boulevard (212-234-6114)
Subway: 1 to 145th Street www.londelsrestaurant.com
• L’ybane 709 8th Avenue (212-582-2012)
Subway: A, C, E to 42nd Street-Port Authority www.lybane.com
• McDonald’s 160 Broadway between Maiden Lane and Liberty Street
(212-385-2063) Subway: 4, 5 to Fulton Street www.mcdonalds.com
• Machiavelli’s 519 Columbus Avenue
(212-724-2658) Subway: B, C to 86th Street www.machiavellinyc.com
• Manhattan School of Music 120 Claremont Avenue
(212-749-2802, ext. 4428) Subway: 1 to 116th Street www.msmnyc.edu
• Matisse 924 Second Avenue
(212-546-9300) Subway: 6 to 51st Street www.matissenyc.com
• Measure 400 Fifth Avenue
(212-695-4005) Subway: B, D, F, M to 34th Street
www.langhamplacehotels.com
• Metropolitan Room 34 W. 22nd Street (212-206-0440)
Subway: N, R to 23rd Street www.metropolitanroom.com
• Michiko Studios 149 West 46th Street, 3rd Floor
(212-302-4011) Subway: B, D, F, M to 47-50 Streets
www.michikostudios.com
• Miller Recital Hall 120 Claremont Avenue
(212-749-2802) Subway: 1 to 116th Street www.msmnyc.edu
• Miller Theater 2960 Broadway and 116th Street
(212-854-7799) Subway: 1 to 116th Street-Columbia University
www.millertheater.com
• Minton’s Playhouse 206 West 118th Street (between St. Nicholas Avenue
and Adam Clayton Powell Jr. Blvd) (212-243-2222)
Subway: B, C to 116th Street www.mintonsharlem.com
• MIST - My Image Studios 40 West 116th Street
Subway: 2, 3 to 116th Street
• Mona’s 224 Avenue B Subway: L to First Avenue
• NYC Baha’i Center 53 E. 11th Street (212-222-5159)
Subway: 4, 5, 6, N, R to 14th Street-Union Square www.bahainyc.org
• Neue Galerie 1048 5th Avenue
(212-628-6200) Subway: 4, 5, 6 to 86th www.neuegalerie.org
• Nino’s Tuscany 117 W. 58th Street (212-757-8630)
Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.ninostuscany.com
• North Square Lounge 103 Waverly Place (212-254-1200)
Subway: A, B, C, E, F to West 4th Street www.northsquareny.com
• Notaro Second Avenue between 34th & 35th Streets (212-686-3400)
Subway: 6 to 33rd Street
• Nublu 62 Avenue C between 4th and 5th Streets
(212-979-9925) Subway: F, V to Second Avenue www.nublu.net
• Nuyorican Poets Café 236 E. 3rd Street between Avenues B and C
(212-505-8183) Subway: F, V to Second Avenue www.nuyorican.org
• Pão Restaurant 322 Spring Street
(212-334-5464) Subway: C, E to Spring Street www.paonewyork.com
• Parlor Entertainment 555 Edgecombe Ave. #3F between 159th and
160th Streets (212-781-6595) Subway: C to 155th Street www.parlorentertainment.com
• Parnell’s 350 East 53rd Street #1(212-753-1761)
Subway: E, M to Lexington Avenue/53 Street www.parnellsny.com
• Paul Hall 155 W. 65th Street
(212-769-7406) Subway: 1 to 66th Street www.juilliard.edu
• The Players 16 Gramercy Park South
(212-475-6116) Subway: 6 to 23rd Street www.theplayersnyc.org
• The Plaza Hotel Rose Club Fifth Avenue at Central Park South
(212-759-3000) Subway: N, Q, R to Fifth Avenue www.fairmont.com
• Prime and Beyond Restaurant 90 East 10th Street
(212-505-0033) Subway: 6 to Astor Place www.primeandbeyond.com
• Rockwood Music Hall 196 Allen Street (212-477-4155)
Subway: F, V to Second Avenue www.rockwoodmusichall.com
• Rose Hall Broadway at 60th Street, 5th floor (212-258-9800)
Subway: 1, 2, 3, 9, A, C, E, B, D, F to Columbus Circle www.jalc.org
• Roulette 509 Atlantic Avenue
(212-219-8242) Subway: 2, 3, 4, 5 to Atlantic Avenue www.roulette.org
• Rubin Museum 150 W. 17th Street (212-620-5000)
Subway: A, C, E to 14th Street www.rmanyc.org
• S.O.B.’s 204 Varick Street
(212-243-4940) Subway: 1 to Varick Street www.sobs.com
• Saint Peter’s Church 619 Lexington Avenue at 54th Street
(212-935-2200) Subway: 6 to 51st Street www.saintpeters.org
• San Martin Restaurant 143 E. 49 Street between Lexington and Park
Avenues (212-832-0888) Subway: 6 to 51st Street
• Sapphire NYC 333 E. 60th Street (212-421-3600)
Subway: 4, 5, 6, N, Q, R to 59th Street www.nysapphire.com
• SEEDS 617 Vanderbilt Avenue Subway: 2, 3, 4 to Grand Army Plaza www.seedsbrooklyn.org
• ShapeShifter Lab 18 Whitwell Place
(646-820-9452) Subway: R to Union Street www.shapeshifterlab.com
• Shell’s Bistro 2150 5th Avenue
(212) 234-5600 Subway: 2, 3 to 135th Street www.shellsbistro.com
• Showman’s 375 W. 125th Street at Morningside) (212-864-8941)
Subway: A, B, C, D to 125th Street www.showmansjazz.webs.com
• Shrine 2271 Adam Clayton Powell Boulevard (212-690-7807)
Subway: B, 2, 3 to 135th Street www.shrinenyc.com
• Silent Barn 603 Bushwick Avenue
Subway: J, M, Z to Myrtle Avenue www.silentbarn.org
• Silvana 300 West 116th Street
(646-692-4935) Subway: B, C, to 116th Street
• Sistas’ Place 456 Nostrand Avenue at Jefferson Avenue, Brooklyn
(718-398-1766) Subway: A to Nostrand Avenue www.sistasplace.org
• Smalls 183 W 10th Street at Seventh Avenue (212-252-5091)
Subway: 1,2,3,9 to 14th Street www.smallsjazzclub.com
• Smithfield 215 West 28th Street
(212-564-2172) Subway: 1 to 28th Street www.smithfieldnyc.com
• Soapbox Gallery 636 Dean Street
Subway: 2, 3 to Bergen Street www.soapboxgallery.org
• Smoke 2751 Broadway between 105th and 106th Streets
(212-864-6662) Subway: 1 to 103rd Street www.smokejazz.com
• Somethin’ Jazz Club 212 E. 52nd Street, 3rd floor (212-371-7657)
Subway: 6 to 51st Street; E to Lexington Avenue-53rd Street
www.somethinjazz.com/ny
• Sora Lella 300 Spring Street (212-366-4749)
Subway: C, E to Spring Street www.soralellanyc.com
• Spectrum 121 Ludlow Street, 2nd floor Subway: F to Delancey Street
www.spectrumnyc.com
• Stephen Wise Free Synagogue 30 W. 68th Street
(212-877-4050) Subway: 1 to 66th Street www.swfs.org
• Stern Auditorium at Carnegie Hall 881 Seventh Avenue (212-247-7800)
Subway: N, Q, R, W to 57th- Seventh Avenue www.carnegiehall.org
• The Stone Avenue C and 2nd Street
Subway: F to Second Avenue www.thestonenyc.com
• SubCulture 45 Bleecker Street (212-533-5470)
Subway: 6 to Bleecker Street www.subculturenewyork.com
• Swing 46 349 W. 46th Street (646-322-4051)
Subway: A, C, E to 42nd Street www.swing46.com
• Symphony Space Leonard Nimoy Thalia, Peter Jay Sharp Theatre
& Bar Thalia 2537 Broadway at 95th Street (212-864-5400)
Subway: 1, 2, 3, 9 to 96th Street www.symphonyspace.org
• Tagine 537 9th Ave. between 39th and 40th Streets
(212-564-7292) Subway: A, C, E, 1, 2, N, R, 7 to 42nd Street
• Tea Lounge 837 Union Street, Brooklyn (718-789-2762)
Subway: N, R to Union Street www.tealoungeNY.com
• Tomi Jazz 239 E. 53rd Street
(646-497-1254) Subway: 6 to 51st Street www.tomijazz.com
• Town Hall 123 W. 43rd Street
(212-997-1003) Subway: 1, 2, 3, 7 to 42nd Street-Times Square
www.the-townhall-nyc.org
• University of the Streets 130 E. 7th Street
(212-254-9300) Subway: 6 to Astor Place www.universityofthestreets.org
• Via Della Pace 48 E. 7th Street and Second Avenue
(212-253-5803) Subway: 6 to Astor Place
• The Village Lantern 167 Bleecker Street
• The Village Trattoria 135 W. 3rd Street (212-598-0011)
Subway: A, B, C, D, E, F, M to W. 4th Street www.thevillagetrattoria.com
• Village Vanguard 178 Seventh Avenue South at 11th Street
(212-255-4037) Subway: 1, 2, 3 to 14th Street www.villagevanguard.com
• Vino di Vino Wine Bar 29-21 Ditmars Boulevard, Queens
(718-721-3010) Subway: N to Ditmars Blvd-Astoria
• Walker’s 16 North Moore Street (212-941-0142)
Subway: A, C, E to Canal Street
• Waltz-Astoria 23-14 Ditmars Boulevard (718-95-MUSIC)
Subway: N, R to Ditmars Blvd-Astoria www.Waltz-Astoria.com
• Water Street Restaurant 66 Water Street (718-625-9352)
Subway: F to York Street, A, C to High Street
• Williamsburg Music Center 367 Bedford Avenue
(718-384-1654) Subway: L to Bedford Avenue
• Zeb’s 223 W. 28th Street
212-695-8081 Subway: 1 to 28th Street www.zebulonsoundandlight.com
• Zinc Bar 82 W. 3rd Street (212-477-8337)
Subway: A, B, C, D, E, F, M to W. 4th Street www.zincbar.com
45
(BJM CONTINUED FROM PAGE 13)
sensitive playing providing plenty of momentum; at
times he placed a towel over one drum head to recreate
a tabla timbre.
Like Gyselinck, drummers Verbruggen and Lionel
Beuvens also played in multiple groups. The former
lent his talents to Igor Gehenot’s piano trio, which
alternated introspective ballads with aggressive
uptempo numbers, while Beuvens’ quartet, which
recently released the impressive Trinité (Igloo), found
him much more in his element than behind
saxophonist/bass
clarinetist
Fabrice Alleman’s
Obviously Quintet’s smooth, syrupy melodies.
Joachim Badenhorst, an intense reed specialist,
focused on song-like solo miniatures (nothing over
five minutes), revealing a distinctive beauty at the core
of each piece’s tonal center and multiple technical
approaches - from a hypnotic Phillip Glass multitextural attack on clarinet and Tuvan overtones on bass
clarinet to awesome circular breathing on tenor.
The gifted, swinging trumpeter Jean-Paul
Estiévenart sounded like a future FONT candidate
with his lively trumpet/bass/drums trio. He utilized
an effective electronic echo treatment, his bandmates
interacting as much with him as with his reverberating
brass shadow. Another trio (the only drummer-less
one) was ¾ Peace. Reminiscent of Jimmy Giuffre with
Paul Bley and Steve Swallow, alto saxophonist Ben
Sluijs recalled Lee Konitz in a set that especially stood
out because of its unamplified nature. Pianist Christian
Mendoza took the opportunity to fill the canvas of
open acoustic space by effectively plucking the piano’s
strings on the moody ballad “From A Distance”, Sluijs
featured on flute.
The only other all-acoustic set was by Mâäk, a riproaring, risk-taking quintet starring tuba extraordinaire
Michel Massot, whose unique approach to the
instrument supported the three-horn frontline of
trumpet and saxophones. Mâäk closed the first night
by leading a second line of audience members straight
to the bar, a celebration of two of Belgium’s great past
times: jazz (after all it was Belgian Adolphe Sax who
invented the saxophone) and beer! v
musical cultures ranging from rock and electronics to
folkloric and free jazz; Splitter also had a wider
dynamic range than its French counterpart. Hayward’s
valve-twisting multiphonics shared space with
unprecedented altissimo squeals from Chris Heenan’s
contrabass clarinet; Dörner ’s staccato slide trumpeting
modified Liz Allbee’s pointillist tones on the standard
trumpet and quasi-lyrical linkages were propelled by
the flute lines of Sabine Vogel and irregular sweeps
from Anthea Caddy’s cello. As the performance
reached a climax of intermingled timbres, it was
further defined with a call-and-response section where
Beins’ abrasive rubs on the drum top were paralleled
by Olsen’s reverberating mallet pressure. Even
electronic impulses were fully integrated into the
piece: resonances from Boris Baltschun’s computer and
the overt gestures of Berlin-based Mario De Vega, who
set wire fires and snuffed them out with light-weight
metal sheets.
Amid the dour experimentation that characterized
this second edition of Crak, what was missing was a
sense of humor. Luckily that was supplied in abundance
on the final afternoon, with a tribute to the swing
sextet of bassist John Kirby (1908-52), which in its
heyday featured trumpeter Charlie Shavers and alto
saxophonist Russell Procope. Running through a
selection of the group’s repertoire, which included
originals like “Jumpin’ at the Pump Room” and “Blues
Petite”, warhorses like “Royal Garden Blues” and
swing versions of so-called classical themes like
“Bounce of the Sugar Plum Fairy”, each brief tune was
a gem of foot-tapping joy. With solos reduced to merry
breaks, clear-toned trumpeter Louis Laurain and
flutter-tongued
alto
saxophonist
Benjamin
Dousteyssier expressed themselves forthrightly, a
change from their subdued dissonance in the ONCEIM.
As much of a contradiction this performance
might imply compared to Crak’s other sets, the Kirby
salute was really part and parcel of the same idea.
Whether European and experimental or American and
swinging, the raison d’être of the festival is group
expression rather than individual flashiness.
Maintaining a midpoint between the two and
lightening its entire tone will be the festival’s challenge
in future editions. v
For more information, visit belgianjazzmeeting.be
For more information, visit babbelproductions.com
(CRAK CONTINUED FROM PAGE 13)
and former constantly spinning his drum as he rapped
on its top and sides with different sized mallets, the
connection with Hayward’s blasts or breaths produced
an effect as portentous as it was balanced.
17 Berlin-based improvisers and 23 Parisians on
subsequent evenings demonstrated the opposing
Gallic-Teutonic views of large ensemble improv.
Interpreting a composition by guitarist Jean-Sébastien
Mariage - whose bow-sawing and string-pummeling
solos were one of the highlights of a set with five other
computer, electronic and noise-makers the final
evening - the ONCEIM’s polyphonic group
performance sounded completely notated. In truth
each orchestra member interpreted written instructions
that marked the duration and the clef within the person
was to play. Mariage used hand signals to select the
players in a final variation. Notable in its ability to
sustain unhurried tension over a protracted period, the
effect of the performance was almost agonizing, since
except for a couple of quasi-lyrical motifs from the
violinist, nothing else modified ONCEIM’s constant
sonic pressure.
Arrayed so that they faced every which way on
stage, the Splitter Orchester ’s performance consisted
of 30-minutes-plus of free-form improvisation. With
similar instruments paired and sub-divided into
groups, the ensemble brought forward intimations of
(KRAKOW CONTINUED FROM PAGE 13)
beautiful tone, hypnotic proto-blues lines and crunchy
circular breathing, crafting an intense and deliberate
narrative. The EFG trio played for 45 minutes, broken
up into three long improvisations and a brief encore.
This group, documented on the 2009 release Kopros
Lithos (Multi Kulti Project) doesn’t traffic in subtlety;
when not crackling with spiky tension, the threesome
are creating an unholy squall. What is most wondrous
is the level of communication despite almost
impenetrable density.
Férnandez, who had received a Spanish national
cultural prize just prior to coming to Poland,
demonstrated a very different side of his playing
during his solo set of the third night, spending the
entire 12 minutes alongside the piano, scraping and
tousling the strings, creating an arc somewhere
between a solo acoustic bass piece and digital
exploration. After a uniquely meteorological trio set
from Motland, Dieb 13 and Nilssen-Love and a
typically debilitating solo segment from Evans,
Bothén’s Acoustic Ensemble, active well over a decade
earlier, with Gustafsson, Nordeson, Håker Flaten,
Holmlander and Nilssen-Love, played a short but
excellent set of the leader ’s originals. Gustafsson in
particular was exultant and the vibe was reminiscent
of the New Thing/Eric Dolphy axis of ‘60s jazz,
Nordeson’s vibes a bit of cream to mitigate the spice of
the others. Bothén fêted his former employer Don
Cherry with an encore of “Mopti”.
The final night of small formations featured 15
minutes of solo turntables by Dieb 13, as thoughtful
and multi-faceted as any acoustic instrument
improvisation, followed by a brief but prescient duo by
Evans and Holmlander and then a solo set by Nordeson
on both expanded drumkit and vibraphone. This was
all a polite introduction to 65 minutes of The Thing
with McPhee, a band that is the musical equivalent of a
Mariano Rivera cut fastball: you know what’s coming
and yet you still can’t catch up with it. But the audience
wasn’t daunted, demanding and receiving three
encores after a set that included many of the group’s
Top-40 hits.
The goings-on could have ended there and no one
could have cause for complaint. But this was all simply
a prelude to the 75 minutes at Manggha. Gustafsson is
perhaps known more for his bombastic improvising
than his thoughtful conceptualizing but both were in
effect for his new composition. The Nu Ensemble
features two 28-year-olds (Motland and Strøm)
alongside a pair of septuagenarians (Bothén and
McPhee) and the piece was a timed graphic score
dedicated to and drawing on the work of Little Richard.
All those earlier smaller formations, enjoyed in a
vacuum, became significant to the arc of the piece, as
some earlier collaborations were revisited and a whole
other festival’s worth of new pairings was introduced.
The piece had an elliptical orbit around Motland’s
improvisations on Little Richard lyrics (“Send Me
Some Lovin’; “Slippin’ And Slidin’”; “Ready Teddy”,
“Money Honey”). Evans blew a fanfare over the two
bassists and drummers. Gustafsson played slide
saxophone in a trio with Evans and Nordeson’s
glockenspiel. Bothén’s guimbri was matched against
McPhee’s muted trumpet for a township vibe. Evans
and Holmlander presented a doleful melody against
the scratching bows of Håker Flaten and Strøm,
conjuring up an image of a funeral procession with an
unwilling guest-of-honor. Gustafsson blasted off with
an alternate Thing of Strøm and Nordeson. Dieb 13
looped Little Richard interview segments. Gustafsson
cued electronics in a trio with Evans and Dieb 13,
yielding to a quartet of guimbri, tuba, vocals and
glockenspiel. All of these segments - and many others
- were connected by jittery full ensemble improvisatory
punctuations or terrifying flurries. The trumpet/tuba/
basses theme then reappeared, buoyed by alternating
kick drum prods until Motland was left alone to
whisper “Come back tomorrow night and try it again”
from Little Richard’s “Keep On Knockin’”. High school
was never like this. v
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IN MEMORIAM
by Andrey Henkin
OSCAR CASTRO-NEVES - The Brazilian guitarist was a legend in the bossa
nova movement but also integral in mixing that genre with jazz of the ‘60s
onward, either under his own name or composing for or playing with figures
such as Bob Brookmeyer, Herbie Mann, Antonio Carlos Jobim, Flora Purim, Ella
Fitzgerald and long-time collaborator Paul Winter. Castro-Neves died Sep. 27th
at 73.
LINDSAY COOPER - The English horn player/bassoonist was a member of
numerous progressive European and English bands, most notably Henry Cow
in the late ‘60s-late ‘70s and collaborated with Maarten Altena, Mike Westbrook
and numerous others while releasing a handful of albums under her own name
in the ‘80s. Multiple Sclerosis ended her performing career in the late ‘90s.
Cooper died Sep. 18th at 62.
PER GOLDSCHMIDT - The Danish saxophonist came up in ‘60s Copenhagen,
working with a wide array of his countrymen, as well as the ex-pats who had
settled in Denmark, before progressing to a leadership role starting in the ‘70s,
both for his own projects and later the Ernie Wilkins Almost Big Band. In
addition to a number of albums as a leader, he was also an accomplished film
composer. Goldschmidt died Sep. 17th at 70.
FRED KATZ - The cellist was a crucial figure in bringing his instrument, an
outsider to jazz during its early history, into a more prominent role. Katz came
from a classical background and used the cello, initially with drummer Chico
Hamilton’s ‘50s quintet and then later as a leader, in a frontline melodic role,
which established it as a legitimate tool for jazz improvisation. For many years,
Katz taught world music in the California State University system. Katz died
Sep. 7th at 94.
BERNIE MCGANN - The saxophonist was not well known outside of his native
Australia but there he was among the country’s most beloved performers,
working locally with numerous groups since the ‘50s and sometimes touring
internationally and collaborating with fellow saxophonists like Dewey Redman.
McGann died Sep. 17th at 76.
DON NELSON - His brother, Ozzie, was the more famous one in the family,
ubiquitous on ‘50s television and Don wrote many of the scripts for The
Adventures of Ozzie and Harriet but still found time to be a jazz saxophonist, even
releasing an album in 1957 and then again in 1986 and being a longtime member
of the Great Pacific Jazz Band in the ‘80s-90s. Nelson died Sep. 10th at 86.
JIMMY PONDER - The Pittsburgh guitarist’s earliest credits came on a wide
array of late ‘60s-early ‘70s funk-influenced jazz albums by the likes of Stanley
Turrentine, Lou Donaldson, Donald Byrd and Jimmy McGriff and continued in
that vein through the ‘90s and ‘00s with numerous sideman credits and over a
dozen albums as a leader, mostly on Muse and then HighNote. Ponder died Sep.
16th at 67.
GIA MAIONE PRIMA - The vocalist replaced Keely Smith as both singer for
and wife of bandleader Louis Prima in the early ‘60s and continued to perform
alongside him until his illness and eventual death in 1978. Maione Prima died
Sep. 23rd at 72.
JAROSLAW SMIETANA - The guitarist was a veteran jazz-rocker in his native
Poland but gained a more international reputation with work alongside Joe
Zawinul, Art Farmer and a 2003 recording pairing him with John Abercrombie.
Smietana died Sep. 2nd at 62.
BIRTHDAYS
November 2
†Bunny Berigan 1908-42
Rudy Van Gelder b.1924
Herb Geller b.1928
Phil Woods b.1931
Phil Minton b.1940
Ernest Dawkins b.1953
Frank Kimbrough b.1956
Gebhard Ullmann b.1957
Kurt Elling b. 1967
Chris Byars b.1970
November 3
†Joe Turner 1907-90
†Billy Mitchell 1926-2001
Andy McGhee b.1927
Henry Grimes b.1935
Joe McPhee b.1939
Azar Lawrence b.1953
November 4
†Joe Sullivan 1906-71
†Joe Benjamin 1919-74
†Ralph Sutton 1922-2001
†Carlos “Patato” Valdes
1926-2007
†Larry Bunker 1928-2005
†Willem Breuker 1944-2010
Eddie Gomez b.1944
David Arner b.1951
Jeremy Pelt b.1976
November 5
Diego Urcola b.1965
Kenny Brooks b.1966
Neil Cowley b.1972
Ben Markley b.1981
November 6
†Francy Boland 1929-2005
Arturo Sandoval b.1949
November 11
†Ivy Benson 1913-93
†Willie Cook 1923-2000
Mose Allison b.1927
Ernestine Anderson b.1928
Mario Pavone b.1940
Hannibal Peterson b.1948
Kahil El’Zabar b.1953
Mark Shim b.1971
November 7
†Joe Bushkin 1916-2004
Howard Rumsey b.1917
†Al Hirt 1922-99
†Ray Brown 1948-2002
†David S. Ware 1949-2012
René Marie b.1955
November 12
†Buck Clayton 1911-91
†Lou Blackburn 1922-90
†Charlie Mariano 1923-2009
†Sam Jones 1924-81
Wolfgang Schluter b.1933
Koby Israelite b.1966
November 8
†Chris Connor 1927-2009
Bertha Hope b.1936
Don Byron b.1958
Jerry Costanzo b.1959
Russell Malone b.1963
John O’Gallager b.1964
Vadim Neselovskyi b.1977
November 13
†Bennie Moten 1894-1935
†Eddie Calhoun 1921-93
†Hampton Hawes 1928-77
Idris Muhammad b.1939
Janet Lawson b.1940
Ernst Reijseger b.1954
Ari Hoenig b.1973
November 9
†Mezz Mezzrow 1899-1972
†Pete Brown 1906-63
†Muggsy Spanier 1906-67
November 14
†Art Hodes 1904-93
†Billy Bauer 1915-2005
†Don Ewell 1916-83
Ellis Marsalis b.1934
George Cables b.1944
Kim A. Clark b.1954
November 10
Paul Bley b.1932
Houston Person b.1934
Andrew Cyrille b.1939
Hubert Laws b.1939
Stanton Davis b.1945
John LaBarbera b.1945
Mark Turner b.1965
Gustavo Casenave b.1971
Warren Wolf b.1979
November 16
†WC Handy 1873-1958
†Eddie Condon 1905-73
†Dolo Coker 1927-83
Diana Krall b.1964
November 22
†Hoagy Carmichael 1899-1981
†Horace Henderson 1904-88
†Ernie Caceres 1911-71
Gunther Schuller b.1925
†Jimmy Knepper 1927-2003
Ron McClure b.1941
Tyrone Hill b.1948
Rogério Boccato b.1967
November 17
David Amram b.1930
Roswell Rudd b.1935
Lisle Ellis b.1951
Ben Allison b.1966
November 18
†Johnny Mercer 1909-76
Claude Williamson b.1926
Victor Sproles b.1927
Sheila Jordan b.1928
†Don Cherry 1936-95
Bennie Wallace b.1946
Cindy Blackman-Santana b.1959
November 19
†Tommy Dorsey 1905-56
Nobuo Hara b.1926
†André Persiany 1927-2004
Vincent Herring b.1964
November 20
†Skeeter Best 1914-85
†June Christy 1925-90
Jay Rosen b.1961
Don Braden b.1963
Geoffrey Keezer b.1970
November 15
†Gus Johnson 1913-2000
†Jerome Richardson 1920-2000
Ali Haurand b.1943
Kevin Eubanks b.1957
Roland Guerin b.1968
Susie Ibarra b.1970
November 21
†Coleman Hawkins 1904-69
†Lloyd Glenn 1909-85
†Alvin Burroughs 1911-50
†Sal Salvador 1925-99
Peter Warren b.1935
Alphonse Mouzon b.1948
Rainer Brüninghaus b.1949
November 23
†Tyree Glenn 1912-74
Johnny Mandel b.1925
†Pat Patrick 1929-1991
†Victor Gaskin 1934-2012
Alvin Fielder b.1935
Jiri Stivin b.1942
Ray Drummond b.1946
Melton Mustafa b.1947
November 24
†Scott Joplin 1868-1917
†Teddy Wilson 1912-86
†Wild Bill Davis 1918-95
†Serge Chaloff 1923-57
†Al Cohn 1925-88
Gary Boyleb.1941
Brian Charette b.1972
November 25
†Willie “The Lion” Smith
1897-1973
†Willie Smith 1910-67
†Joe “Bebop” Carroll 1919-81
†Paul Desmond 1924-77
†Matthew Gee 1925-79
†Dick Wellstood 1927-87
†Etta Jones 1928-2001
†Rusty Bryant 1929-91
†Nat Adderley 1931-2000
Steve Johns b.1960
Terell Stafford b.1966
November 26
†Jack Perciful 1925-2008
Kiane Zawadi b.1932
Art Themen b.1939
Mark Dresser b.1952
Peter Gannushkin
November 1
†Sabby Lewis 1914-94
†Sam Margolis 1923-96
Lou Donaldson b.1926
Roger Kellaway b.1939
†Raphe Malik 1948-2006
Carmen Lundy b.1954
Conrad Herwig b.1959
Antonio Sanchez b.1971
Tim Luntzel b.1972
November 27
†Eddie South 1904-62
†Nesuhi Ertegun 1917-89
Michel Portal b.1935
Randy Brecker b.1945
Lyle Mays b.1953
Maria Schneider b.1960
Joris Teepe b.1962
Wessell Anderson b.1964
Jacky Terrasson b.1966
KAHIL EL’ZABAR
November 11th, 1953
November 28
†Gigi Gryce 1927-83
Gato Barbieri b.1934
Roy McCurdy b.1936
Adelhard Roidinger b.1941
Butch Thompson b.1943
†Dennis Irwin 1951-2008
Charlie Kohlhase b.1956
November 29
†Billy Strayhorn 1915-67
†Nathan Gershman 1917-2008
†Bobby Donaldson 1922-71
Ed Bickert b.1932
Tony Coe b.1934
Billy Hart b.1940
Adam Nussbaum b.1955
Fredrik Ljungkvist b.1969
November 30
†Benny Moten 1916-77
Jack Sheldon b.1931
†Johnny Dyani 1945-86
Stan Sulzmann b.1948
Ted Rosenthal b.1959
Chicago-born percussionist
Kahil El’Zabar is an eclectic
musician typical of his home
town. He grew up with jazz,
blues and R&B, studied
African music in Ghana in
the early ‘70s and was a
member of the Association
for the Advancement of
Creative Musicians. Much of
his output as a leader has
come under the auspices of
two groups - Ethnic Heritage
Ensemble and Ritual Trio
(which has featured guests
like Pharoah Sanders and
Archie Shepp) - as well as
duo collaborations with
David Murray and Billy
Bang.
His
discography
includes sideman credits
with Wadada Leo Smith,
Murray, Shepp, Bang and
Hamiet Bluiett and he has
worked with Dizzy Gillespie,
Cannonball Adderley, Stevie
Wonder and Nina Simone,
among many others.
-AH
ON THIS DAY
by Andrey Henkin
Why Do I Love You
Helen Carr (Bethlehem)
November 11th, 1957
Reincarnation Of A Love Bird
Charles Mingus (Candid)
November 11th, 1960
The vocalist’s potential was cut short
This is an interesting album in the
legendary
bassist’s
catalogue.
Recorded at Nola’s Penthouse Sound
Studios, it features only two originals:
the title track and “Bugs”. The rest of
the material is two standards - “Wrap
Your Troubles in Dreams” and “Body
and Soul”. Joining the leader for this
session is an octet featuring Eric
Dolphy, Charles McPherson and Paul
Bley for the originals and a sextet with
Roy Eldridge, Jimmy Knepper,
Dolphy and Tommy Flanagan for the
standards, Dannie Richmond on
drums throughout.
a few years after this recording with
her death at 36. In addition to this
album, Carr fronting a group with
Cappy Lewis (trumpet on several
tracks), Howard Roberts (guitar) and
Red Mitchell (bass) and playing
standards like the Hammerstein-Kern
title track, “Be Careful, It’s My Heart“
(Irving Berlin) and “You’re Getting to
Be a Habit with Me” (Dubin-Warren),
Carr made an earlier album for
Bethlehem and waxed a track with
Charles Mingus in 1946 and then
some with King Curtis a decade later.
The Black Cat!
Gene Ammons (Prestige)
November 11th, 1970
Saxophonist
Gene Ammons was far
more than just the son of pianist
Albert. After breaking in with Billy
Eckstine in the mid ‘40s, the younger
Ammons debuted as a leader in 1947
at age 22. By the time of this session,
when he was 45, the saxophonist had
released a slew of albums under his
own name, mostly for Prestige.
Joining him here is an allstar band of
Harold Mabern (pianos), George
Freeman (guitar), Ron Carter (bass)
and Idris Muhammad (drums) for a
session of standards, Freeman’s title
track and the Beatles’ “Something”.
Star Eyes
Lee Konitz & Martial Solal (hatART)
November 11th, 1983
Live at Princeton
Benny Carter (Music Masters)
November 11th, 1990
Continuing a partnership that began
Benny Carter is one of the
monumental figures in jazz, with a
prolific career as a player, composer,
arranger and bandleader since his
first sessions back in the late ‘20s. By
the time of this live recording from
Princeton University, he was firmly in
living legend territory and a NEA Jazz
Master to boot. His band is no slouch
either: trumpeter Clark Terry, pianist
Kenny Barron, bassist Rufus Reid and
drummer Kenny Washington, with
Billy Hill guesting on vocals, for a
program which mixes standards with
Carter originals.
in 1968, the then-50-something duo of
American alto saxophonist Lee Konitz
and French pianist Martial Solal
convened in Hamburg for what
would be their third full album. As
with the earlier duo albums, standards
make up the bulk of the program: the
title track, “Just Friends”, “Body and
Soul” and “Cherokee” as well as
Konitz’ tune “It’s You”, Solal’s
composition “Fluctuat Nec Mergitur”
and the almost obligatory piece by
Konitz’ mentor Lennie Tristano,
“April”.
47
31 ALBUMS
ON 34 NEWLY REMASTERED CDS
INCLUDING HIS
BIGGEST ALBUMS, RARE GEMS
JAPAN-ONLY RELEASES
AND
ORIGINAL
LP REPLICA MINI-JACKETS
200-PAGE BOOK
&
MILES DAVIS
THE ORIGINAL MONO RECORDINGS
Miles’ 9 earliest Columbia albums remastered in
ORIGINAL, BRILLIANT SOUND
together for the FIRST TIME ON CD
Includes the iconic
KIND OF BLUE, PORGY AND BESS,
plus rarities JAZZ TRACK, MILES &
MONK AT NEWPORT, and more!
Original
LP REPLICA MINI-JACKETS
& 40-PAGE BOOK
LegacyRecordings.com
“Columbia,” W, “Legacy” and l Reg. U.S. Pat. & Tm. Off. Marca Registrada.
© 2013 Sony Music Entertainment
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- The New York City Jazz Record

Transcription

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